Elegance is an attitude Simon Baker
HydroConquest
A SUMMER SURVIVAL KIT
SHADES, SNEAKERS & SWIMWEAR
THE MUSIC IS SUE AK A SPRING/SUMMER 2019/2020 VOLUME 15 R66 INCL VAT OTHER COUNTRIES R57.39
S TARRING
LIL WAYNE THE OTHER DJS AUSTIN MALEMA TELLAMAN
contents g q s t y l e s P R I N g / s U M M e R 2 019 / 2 0 2 0
08 Let ter from the editor 10 Contributors 15 Face the sun The new eyewear styles to get your face on this season
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20 Minimal vs maximal Which sneaker st yle comes out up top? 24 Through my lens A look at photographer Austin Malema’s greatest moments in hip-hop and pop culture 36 Spotlight How the Concourse d’Elegance is the ultimate classics showdown 48 Space expoloration The rise of the co-ever y thing space 58 Lead s tory AKA 68 Gear The best new watches of 2019 76 Tell it like it is Tellaman fronts the season’s street wear fashion 86 Tom Sachs,
the handyman of high ar t The contemporar y
118 Directory Revealing our sources
120 Objects of desire
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ON tHe COVeR AKA wears shirt POR, trousers POR Dolce & Gabbana; jewellery AKA’s own
Photog r a Ph y by Pau l S a mu el S
ar tist invites us into his studio 94 The other DJs How The Other is reshaping the music industry 104 Celeb profile Lil Wayne’s fashion influence 110 Summer time The best accessories to let you add luxe to your most relaxed looks
I With its pure and sophisticated lines, Alpine Eagle offers a contemporary reinterpretation of one of our iconic creations. Its 41 mm case houses an automatic, chronometer-certified movement, the Chopard 01.01-C. Forged in Lucent Steel A223, an exclusive ultra-resistant metal resulting from four years of research and development, this exceptional timepiece, proudly developed and handcrafted by our artisans, showcases the full range of watchmaking skills cultivated within our Manufacture.
ed’s letter LiL waYnE
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i have to admit that by the time 2020 came rolling around, i figured we’d all be living in some sci-fi world that amalgamated themes found in the tv shows of my youth, where our food would come in the form of freezedried pills that required two drops of water to actualise into something delicious; or where, a la The Jet sons, where our homes would also be floating in the sky and we’d have sassy robot housekeepers; where our cars would fly and roads would be converted into walking gardens – or better yet, we’d be able to teleport. in this imagined future, our clothes would be self-cleaning and would be able to easily adapt as needed (feeling cold? Just hit a button and
extend your sleeves!). our fashion choices would be pared down to utilitarian body suits, à la Star Trek (although a part of me always hoped for a bit more customisation, more in line with Inspector Gadget – i do tend to whisper “go go yati legs!” when reaching for something up high). while we’re seemingly just a few moments away from the new decade, we’re still at least a few years away from any of that sci-fi future. so what then does style mean in 2019? while our clothing may not (yet) be able to change on the fly, we certainly are. For us, style means going bigger, bolder and fully celebrating individuality and selfexpression. today, style comes in every shape, every size, every colour and fabrication – and allows for dressing out loud, without holding anything back. who better to illustrate this than one of sa’s most outspoken musicians, aka. “i know that i’m one of the most polarising
figures in african pop culture,” he shares, and he sees his all new sneaker collaboration with reebok as a form of expression that’s an extension of the stories he narrates through music. Find out how he’s translated his “supamega” style to footwear on page 58. similarly, lil wayne champions creativity of all kinds, and while we waited seven years for his latest album, he certainly hasn’t been slacking, with fashion collaborations with the likes of neiman marcus and ugg. we see his unapologetic attitude running through just about everything, including his brand ambassadorship with bumbu rum, topped off with a series of incredibly candid video interviews. “if i like something i wear it, that’s authentic to me,” he says (p104). “as far as being a style icon, i just wear clothes that express who i am and how i’m feeling and if other people find inspiration in that, that’s cool.” of course, locking down your individual style takes work – and time. photographer austin malema gives us a view (p24) into his wideranging portfolio of shooting some of the world’s biggest talents, and his philosophy: “you can’t rush a good thing – or rather, something you want to last forever.” Flanked by local starts tellaman and the other dJs, and an exploration into the changing nature of office and retail spaces, and even how classic cars are informing the future of design, we’ve put together a summer lookbook that’s equal parts loud and laid-back – and fresh enough to let you fly into 2020, whatever it may bring.
N ko s I yat I k h U M a l o edItoR-IN- chIef
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For us, st yle means going bigger, bolder and Fully celebrating individualit y. today, st yle comes in every shape, every size, every colour and Fabrication – and allows For dressing out loud, without holding any thing back
photog r a ph y by pau l s a mu el s, n a bil, r emi da rg eg en
g q s t y l e s P R I N g / s U M M e R 2 019 / 2 0 2 0
SA NDTON C ITY D iamond Walk B outiq ue U22 Tel: +27 11 326 7767
G Q S T Y L E S P R I N G / S U M M E R 2 019 / 2 0 2 0
CONTRIBUTORS
ED I TO R- IN - C HIEF
Nkosiyati Khumalo FASHION DIRECTOR | Rust y Beukes ART DIRECTOR | Robyn-lee Pretorius FASHION EDITOR | Mira Leibowitz MANAGING EDITOR | Lesley Mathys SENIOR COP Y EDITOR | Tumi Moletsane SYNDICATION MANAGER | Walter Hay ward FASHION AS SIS TANT | Tania Durand GR APHIC DESIGNER | Keenan Jeppe SENIOR CONTENT PRODUCER | Shannon Manuel CONTENT PRODUCER | Thobeka Phanyeko
CONTRIBUTORS
Paul Samuels PHOTOGRAPHER
An avid drone enthusiast, the Joburg-based photographer spends most of his time flying compact aircrafts and building electronics. In between his electronic-filled days, he shoots campaigns for Standard Bank, Powerade and Vodacom, and has worked with a number of SA’s mega stars, including this issue’s cover star, AKA. @paulmsam
Mark Anthony Green, Jason Nocito, Clark Parkin, Olaf Wipperfürth, Luke Kuisis, Paul Samuels, Nabil, Michael Christensen, Pablo Enriquez, Hamish Niven, Chris Cloete, Austin Malema, Jonathan Kope, Niquita Bento, Remi Dargegen
ADVERTISING ACCOUNT MANAGERS (JHB) Lorraine Bradley, Jacqui Erasmus, Wendy Robinson (CT) Charlotte Nutman ADVERTISING LIAISON MANAGER Natasha O ’ Connor SALES REPRESENTATIVE ITALY Angelo Careddu (OBERON MEDIA)
CONDÉ NAST INDEPENDENT MAGAZINES (PTY) LTD ACTING CEO Mbuso Khoza HEAD OF FINANCE Paul Myburgh BRAND PROPERTIES MANAGER Desiree Kriel / BRAND PROPERTIES ASSISTANT Ntokozo Masinga / EVENTS MANAGER Thobile Sithole / EVENTS CO-ORDINATOR Lindiswa Putuma / ONLINE EDITOR Molife Kumona / SOCIAL MEDIA OFFICER Arthur Mukhari / SENIOR GRAPHIC DESIGNER Viné Lucas / ONLINE CONTENT PRODUCERS Gugulethu Mkhabela, Amy Saunders, Luthando Vikilahle / PRODUCTION MANAGER Jean Jacobs / PRODUCTION CO-ORDINATOR Charné Phillips / CIRCULATIONS MANAGER Frederick Smit / CIRCULATIONS CO-ORDINATOR Bertina Ellis / PERSONAL ASSISTANT AND OFFICE MANAGER Karen Shields
Robyn-lee Pretorius ART DIRECTOR
Robyn has worked across all three brands under the Condé Nast South Africa umbrella, and coming from the mighty Glamour, the transition into GQ was really smooth. Her creative approach to her very first GQ Style is minimal but with a punch of colour – a reflection of her own personality. @robynleepretorius
DIRECTORS CHAIRMAN Dr Iqbal Survé Takudzwa Hove
CAPE TOWN HEAD OFFICE
Condé Nast Independent Magazines (Pty) Ltd, 10th floor, Heerengracht Street, Convention Tower, Foreshore, Cape Town, 8001. PO Box 16414, Vlaeberg, 8018. Tel: 021-344-0500
JOBURG OFFICE
Tania Durand
Condé Nast Independent Magazines (Pty) Ltd, Vunani House, Block C, Vunani Office Park, 151 Katherine Street, Sandton, Johannesburg, 2196. Tel: 011-263-9560
FASHION ASSISTANT
A fan of Vogue growing up, Tania had the privilege of visiting the Vogue House while in London, where she was attending the Condé Nast College of Fashion & Design. A loving and devoted mother of two boys, Tania also counts GQ as her third child – one that equally gives her as much stress and grey hairs.
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@durand.tania5
Mira Leibowitz FASHION EDITOR
Although a Joburg girl at heart, Mira made the move to the mother city in pursuit of her dreams to make it in the world of fashion. And boy is she glad about it! Bringing her own style, mad admin skills and all-round kindness to the job, Mira is absolutely honoured to be a part of this year’s GQ Style. @miraleibowitz
REPRODUCTION Studio Repro PRINTING Novus Print Montague Gardens DISTRIBUTION Allied Publishing (Pty) Ltd, 32 Wepener Street, Booysens, Johannesburg, 2016 PRODUCT MANAGER Soraya Pretorius, 011-248-2418 © 2019 Condé Nast Independent Magazines (Pty) Ltd. Copyright subsists in all work published in this magazine. Any reproduction or adaptation, in whole or in part, without written permission of the publishers is strictly prohibited and is an act of copyright infringement which may, in certain circumstances, constitute a criminal offence. ‘The paper used for this publication is a recyclable and renewable product. It has been produced using wood sourced from sustainably managed forests and elemental or total chlorine free bleached pulp. The producing mills have third-party management systems in place, applying standards such as ISO 9001 and ISO 14001. This magazine can be recycled either through your kerbside collection or at a local recycling point. Log onto www.prasa.co.za to find your nearest sites.
issns: 1562-4366
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Boutique Haute Horlogerie BOUT IQ UE HAUTE
H OR LO GERI E
Johannesburg: Hyde Park +27 11 325 4119 Cape Town: V&A Waterfront +27 21 418 1889
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S T Y L E . G R O O M I N G . W O M E N . F I T N E S S . E N T E R TA I N M E N T . S U C C E S S . L I F E S T Y L E
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It’s time to replace your sunglasses. Here’s your guide to the three styles you need to get your face on this season
SUN
Creative direction and words by Rusty Beukes Photography by Luke Kuisis
THE IN-BETWEENER Polarised sunglasses R1 590, wayfarer sunglasses R1 490 Arnette »
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KYLE DEUTSCH
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Shirt R5 995, jacket R23 495 Burberry Sunglasses R2 490 Ray-Ban Jewellery Kyle’s own
THE ENDURING CLASSIC Silver aviators R2 290 Emporio Armani; tortoiseshell aviators R2 490 Ray-Ban
AMEEN HARRON Shirt R1 899, jacket R2 299 G-Star Raw Cap R5 995 Burberry Sunglasses R3 190 Persol
THE EXPERIMENT Brown-tint sunglasses R3 190 Persol; geometric sunglasses R4 190 Prada »
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AVIATORS
The enduring classic aviator shape will suit any face shape, and it provides you with a modern and nostalgic look at the same time. If you’re worried about what shape suits your face, this is your best bet.
RECTANGLE
Rectangle frames are the perfect way to add definition to your face shape. They’ll give a more sporty, architectural structure to your face while still being understated – the perfect formula for an ordinary guy that still wants to make a statement. 3
GEOMETRIC
This is the new kid on the block. If you’re more daring, geometric frames are what you should experiment with. Play it safe or go full on hexagon and frameless. ×
g r o o m i n g b y m e r l e t i t u s at s u p e r n o V a C r e at i V e m a n a g e m e n t; F a s h i o n a s s i s ta n t ta n i a d u r a n d
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TAG HEUER CARRERA CALIBRE HEUER 02 Chris Hemsworth works hard and chooses his roles carefully. He handles pressure by taming it, and turning it to his advantage. #DontCrackUnderPressure was coined with him in mind.
TAG Heuer Boutiques: Sandton City and V&A Waterfront Also at selected fine jewellers nationwide For further information please call 011 669 0500. www.picotandmoss.co.za
Creative direction and words by Rusty Beukes Photography by Luke Kuisis
MINIMA
COP IT | SNEAKERS
CLOCKWISE, FROM LEFT: Adidas, R1 399; Reebok, R1 299; Nike x Undercover Jun Takahashi Daybreak, R2 600; Puma Storm, R1 699; Dolce & Gabbana, R12 000
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EVERY THING IN FASHION MAKES A RETURN AT SOME STAGE; IT’S JUST HOW THE CYCLE WORKS. MINIMALISTIC, RETRO-ST YLE SNEAKERS ARE ENTERING OUR RADAR AGAIN… >>
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VS MAXIMAL
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F a s h i o n a s s i s ta n t ta n i a d u r a n d
CKWISE, FROM LEFT: Prada, R16 800; Gucci, R13 500; ersace Chain Reaction, from R12 275; Puma LQDCELL Origin, R2 199; Dolce & Gabbana, R13 000
… WHILE CHUNKY FOOTWEAR IS STILL HAVING A MOMENT WITH HEAVIER, BIGGER SILHOUETTES WRAPPED IN LIGHT AND TONAL STYLES FOR A MORE GROWN-UP APPROACH. JUST TO BE ON THE SAFE SIDE, MAKE SURE TO GRAB A PAIR OF BOTH.
×
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MY Internationally acclaimed photographer Austin Malema boasts an impressive portfolio. Recently recognised by Forbes as an inspirational and influential creative, he’s fast becoming a household name. Here, he talks capturing global icons and building a formidable brand Words by Thobeka Phanyeko Photography by Austin Malema
A u S t i n M A l e M A’ S photoGrAphY JourneY BeGAn W h e n h e WA S A S i x- Y e A r - o l D l ivinG in venDA, northern South A f r i c A . ‘A family friend from a neighbouring village was a photographer, and when he visited he would take pictures of us,’ he recalls. Malema’s family would book the photo shoots in advance and made sure they were fully prepared on the day. ‘I would wear my Sunday best to make sure I looked good in the images. I think this was one of the factors that inspired me to become a photographer. I only remembered later on in my career that this used to happen when I was young.’ GQ: When did you realise that you could make a living out of photography, and when did the vision start taking shape? Austin Malema: When I was in varsity, I needed to make cash on the side to buy myself the latest and coolest pairs of sneakers and to go out with friends. I started assisting
a photographer, who used to shoot weddings, as his second shooter and assistant. I discovered you can make good money as a photographer. I started shooting events and trying to get more jobs at parties and social gatherings, as I believed shooting socialites would help me make a name for myself. Within a couple of years, I’d built a network and had started to get booked by celebrities and other people in entertainment. GQ: You’ve had the honour of capturing global icons such as Beyoncé, Jay-Z, Drake and David Beckham. What’s that like? AM: Unreal! It all started locally, with icons I grew up looking up to and watching on TV, and then, the next thing I know, international stars are booking me to be their photographer – it’s
a dream come true. Sometimes I still fan out, but internally I’m chuckling. I can’t be seen looking like a stan when I’m working. I sometimes pinch myself and ask myself if these moments are real. Never in my wildest dreams did I imagine this would happen to me. GQ: What does it mean to you, as a South African, to be recognised on an international scale? AM: It means a lot to me, and the industry as a whole, as it shows our growth and the impact we have on the global creative culture. I believe this is only the beginning and future generations will achieve a lot more – we’ve merely opened the door. I find it unbelievable that a kid from Venda can have people from all over the world admiring his work and photograph megastars.
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GQ: What’s the Austin Malema signature? AM: Man! The Austin Malema Signature in photography is hard to describe. I’d say it’s a stolen moment with a touch of glamour. I look for moments that cannot be relived; when the subject is in his or her most relaxed state, they reveal a lot of themselves.
PREVIOUS SPREAD, FROM LEFT Drake at the Los Angeles restuarant Catch LA; Post Malone during his performance at the Castle Lite Unlocks concert. THIS SPREAD, FROM LEFT Beyoncé at the Global Citizen concert in Joburg; Kwesta filming the music video for “Spirit”.
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GQ: i can imagine you have to build rapport with your subjects, for them to trust they can be vulnerable around you. What does taking the perfect picture involve? AM: It’s based on trust between the photographer and his or her subject. I fire off a couple of test shots and see how the subjects behave in front of the camera. Then, I invite them to view the images on my screen. We start building from there. Sometimes, I’ll play the model, showing them how I want them to pose on set. They’re more likely to act confidently in front of the camera if the environment is easygoing. We both end up happy with the pictures.
GQ: What story do you want to tell? AM: I want my audience to feel like they’re part of the journey of the image, which is why my photographs tend to show a lot of what’s happening in the foreground. GQ: has digital technology influenced your work? AM: I think new digital cameras are great because now work can be done faster. New cameras have Wi-Fi functions that help make >>
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images available instantly for events, uploads and likes on various social media platforms. In the past, people would’ve had to wait a couple of days to see their images. The idea of instant access can be both a blessing and a curse, as I find my audience cares more about having something they can post online rather than the quality of the image. We need to slow down sometimes. As the saying goes: ‘You can’t rush a good thing.’ Or rather, something you want to last forever. GQ: What are some of the challenges you’ve faced as a photographer in 2019? AM: I think the biggest challenge I’ve faced is the perception I’m a lifestyle and celebrity photographer. My portfolio is diverse and covers a whole lot more than that. I’m trying to advertise this, and have more to offer soon, but it’s not always easy for an individual who doesn’t have an agent.
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GQ: let’s talk about your role in film and tv. What kind of projects do you gravitate towards, and why?
AM: I love a short series with high energy and impact that disrupts how we view societal norms and current affairs. I want to get back into editing series or TV that will challenge me to think outside the box. I’ve been scouting and hoping for the right project. GQ: What’s your take on representation and inclusivity in media, advertising and art in general? AM: South Africa’s creative industries are doing better, but a gap still exists between white people and people of colour. Many black photographers feel excluded. More often than not, they’re hired for social events (read: unsophisticated), but their skills are deemed insufficient for more sophisticated jobs such as advertising shoots. Emerging creatives are often robbed of opportunities they deserve, by those at the helm who have >>
FROM LEFT ASAP Rocky at Sole DXB in Dubai; Swizz Beatz with Riky Rick; Jay-Z at the Global Citizen concert in Joburg.
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Dj Black Coffee performing at Tomorrowland.
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FROM ABOVE Caiphus Semenya at his 80th birthday celebrations; Steve Aoki at Tomorrowland.
been around for longer than they have. GQ: photography has played a monumental role in South African history. What role does it play now? AM: I think the role of photography in today’s society is to show how diverse the country is. Africa isn’t a jungle, and social media has helped show how beautiful this place is, as well as the amount of creativity our youth possesses.
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GQ: What does the future hold? AM: Photography has a great future, especially in South Africa. Photographers’ work that transcends different styles and markets is valued. There was a point when the future lay in personal photographs of celebrities, but this seems to have shifted as
more young photographers are breaking into the advertising and editorial markets. GQ: You’ve already achieved so much, at such a young age. What else can we expect from you? AM: Wow, I honestly don’t think I’ve done enough yet. I want to build a community of photographers clients can trust because they come from the “Austin Malema School of Photography”. Not only do I want to elevate my name for personal gain, but I also want other creatives to have opportunities because of who trained them. In our industry, it’s who you associate with that makes you successful. I want to be that person for others. One of the many goals I’d like to accomplish is to work overseas. You can’t predict the future. Watch this space. ×
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FROM ABOVE J Cole performing at Castle Lite Unlocks in Joburg; Sho Madjozi and Masego at Sole DXB in Dubai.
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Cult classics
A celebration of classic car design reveals just how much the past can influence the future of motoring Words by Nkosiyati Khumalo Photographs by Remi Dargegen
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CLOCKWISE FROM TOP LEFT: Lake Como as seen from Villa Erba; a 1961 Aston Martin DB4 Zagato; a 1953 Osca MT4 1450; one of the many grand entrances at Villa d’Este; a 1953 Siata 208S and a 1954 Mercedes-Benz 300SL
»
There are few places on earth as beautiful as Italy’s Lago di Como, and the small
town in the Cernobbio municipality, which is its namesake. A slow, scenic drive from Milan reveals a lush countryside and small villages leading to Como. A kneejerk description would call them sleepy, but in the sunnier months there’s a peculiar electricity in the air. It’s not all a current like that of Milan, Rome or larger cities; this is not a pulse driven by urgency, and it’s not one that will push you towards work and output and the rat race. This is more of an impetus to relax, exhale, get outside and enjoy the view or, better yet, get out on the water. Get to a comfortable vantage point and you’ll
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see why this is a haven for the world’s rich and famous – it’s just so damn beautiful. »
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CLOCKWISE FROM TOP LEFT: Inside the rebuilt Garmisch, recreated in homage to the original groundbreaking concept car first unveilled in Geneva in 1970; BMW’s Adrian van Hooydonk (left) with Bertone’s Marcello Gandini; scenes from Villa d’Este
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‘The “ConCouRse d’eLeGAnCe” Is RATheR LITeRALLy A CoMpeTITIon of eLeGAnCe, wheRe pResTIGIous vehICLes ARe dIspLAyed And judGed’
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CLOCKWISE FROM TOP: The best-inshow-winning 1937 Alfa Romeo 8C 2900B (now the most awarded classic car to date); a 1967 Lamborghini Marzal concept; a 1970 Ferrari 512 S Modulo concept
It’s also a combination of hundreds of different eras at once. You’ll see architecture that appears as if it’s been standing for two centuries, juxtaposed against a sense of contemporary, laid-back luxury that’s always cool, and never sloppy. It’s no surprise that in a pop-culture context, George Clooney has been all but appointed as a Lake Como ambassador – the town feels like not only the perfect place for him to live, but in fact like the very incubator wherein he was created. Our basis for a weekend on the shores of Italy’s most famous lake was the 90th showing of the Concorso d’Eleganza, one of the world’s most revered classic- and concept-car showcases, headquartered at the
historic Villa d’Este. Considered one of the most fascinating architectural creations of the 16th century, and one of the area’s crown jewels, Pellegrino Pellegrini designed the Villa as a vacation residence for the cardinal of Como, in 1568. A mainstay of the European aristocracy, it’s changed hands many times since then, and each owner added a new level of grandeur, such as the marchioness Vittoria Peluso who added fortresses in 1806 so her second husband, a Napoleonic general, could stage mock war battles. Significantly, a group of Milanese businessmen acquired the estate in 1873 and converted it into a luxury hotel. In 1913, it became a protected heritage site; 1966 saw the addition
of a sporting club, complete with a floating swimming pool, the first on Lake Como. March 2019 marked the 147th season opening of Villa d’Este. Yet Villa d’Este is as much a destination as it is a hotel, and has served as the exquisite backdrop to the Concorso d’Eleganza, one of the world’s most influential classic and vintage automotive events, since 1929. The “Concourse d’Elegance” is rather literally a competition of elegance, where prestigious vehicles are displayed and judged. The concept dates back to 17th century France, where aristocrats showed off their horse-drawn carriages in the parks of Paris in the summer. The event hosted at Villa d’Este is the oldest in the world and inspires classic and vintage car owners to restore their vehicles to beyond-mint condition – you’ll often see cars that are in better shape than they were when they were new. It’s a wellheeled confluence of car enthusiasts, art and history lovers, and fans of engineering. Organised by the BMW Group, the event attracts cars and owners of all marques, and also serves as a platform for the group and other auto manufacturers to unveil their unique concepts, design studies and one-off vehicles. Dual anniversaries synchronised at this year’s show: 90 years of the Concorso, and 90 years of BMW automobile production, and to celebrate, BMW showcased its rebuilt Garmisch concept car which dates back to the 1970s. »
BROOKLYN GATEWAY SANDTON MENLYN EASTGATE V&A MALL OF AFRICA CANAL WALK ROSEBANK
adds provocative design elements, the Garmisch features many classic Bertone elements, such as honeycomb window covers and a flamboyant mix of materials inside. It’s a captivating car to view in person, especially when viewed against other more recent BMW concepts, such as the Vision Next 100, or the newfor-2019 Concept 4 (a precursor to 2020’s new 4-Series) – the vertical grille designs are nearly identical in shape, likely not by accident. This year’s Concorso also unveiled the BMW Motorrad Concept R18 bike, also a study in giving a classic motorcycle shape a modern, custom attitude. It’s the brand’s first direct hit into the cruiser market place, one which is still dominated by American brands like Harley-Davidson and
AdditionAl photogr Aphy supplied by bMW
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The BMW Motorrad Concept R18 gives pays homage to 1950s motorcycles while signifying the marque’s intention to target the cruiser market for the first time
The original Garmisch concept car, an independent design study intended to showcase the capability of the Bertone studio, was inexplicably lost while making its way back from its unveiling at the Geneva Motor Show in 1970 – and remains in the wind. This year, the brand’s head of design, Adrian van Hooydonk, embarked on a journey to rebuild the concept with the original coachbuilder, Bertone’s Marcello Gandini. Built onto the chassis of a classic BMW 2002, the Garmisch celebrates one of Italy’s most influential car designers and coach builders – which has built or designed concept and production cars for the likes of Alfa Romeo, Ferrari and Fiat. A mid-sized coupé that honours BMW’s design language but
Indian. Its visual design is all about being pared back to only the most necessary elements and borrows heavily from 1950s motorcycles from BMW, including the black and white finish, graphics of the headlamp design, and boxer engine, cradle frame setup. That 1800cc boxer engine is the star of the show, though also blending classic design with modern thrust that really sets the R18 up as a strong contender against American cruisers. Alongside these new classics were a wide variety of some of the world’s most rare cars from every era of motoring, immaculately preserved or restored, including a Lamborghini Marzal concept (also designed by Bertone’s Gandini), an Alfa Romeo once-off now owned by the grandson of the original coachbuilder (found after extensive negotiations with its interim owner), an Austin Seven 850 Beach Car, and new concepts like the Bugatti La Voiture Noire and Peugeot e-Legend Concept. Themed “A Symphony of Sound”, the Best-InShow and Audience Favourite winner was a 1937 Alfa Romeo 8C 2900B, which, after earning the Best in Show title at the Pebble Beach Concours d’Elegance in 2018 and at the Peninsula Classics in Paris earlier this year, makes it the most awarded classic to date. If anything is to be taken away from the Concorso d’Eleganza experience, it is that beauty in automotive design endures – and we’ll continue to be inspired by classic designs for many years to come. ×
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Meet the SneAKA
AKA takes his bold and unapologetic creativity to new levels with an exclusive collab with Reebok
Hitting the streets this October is the inaugural limited edition of 600 pairs of ‘SneAKA’ shoes, which sees AKA designing a first-of-its-kind custom classic leather shoe with Reebok. This is the first partnership between a global shoe brand and an African icon designing a shoe from conception and being involved in its creation right up until the end product. AKA spent many hours with Reebok’s design gurus at their headquarters in Boston, Massachusetts, to learn the ins-and-outs of turning a sneaker design concept into reality. As an artist who pushes the boundaries of harmony and trends, AKA was entrused with full creative control over the design of the shoe – and the end result is a unique reflection of AKA’s individuality. ‘For me, creating the
sneAKA is very much like creating music; you take what you have inside you and exude that into the final product. Reebok is an iconic and timeless brand, and I feel privileged to be aligned with them,’ he explains. ‘Our relationship allows me to further influence the hip hop culture, the way people dress and the way people feel about themselves. #TheSneAKAs really embody who I am as an artist, and I’m so excited to share them with South Africa.’ Only 600 pairs of #TheSneAKA are being made. Each box is individually numbered and signed by AKA, and comes with a certificate of authenticity. #TheSneAKA will be available for purchase from 26 October at Reebok.co.za and Reebok concept stores.
CheCK ou t An e xClusi ve video seRie s wi t h Reeb oK And AK A At g q. C o. z A
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Offices, retail, event venues – everything we knOw abOut brick-and-mOrtar edifices is changing. we take a lOOk at sOme Of the mOst innOvative cO-everything spaces Out there Words by nkosiyati Khumalo Photography by pablo Enriquez, Hamish niven, chris cloete
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With over 527 000 global members, and branches in 111 cities and 29 countries, it’s safe to say WeWork is the largest- and fastest-growing network of co-working spaces in the world. A whopping 40% of its global membership is made up of enterprise companies with over 500 employees – a strong indicator that the traditional office setup
may be a thing of the past. The membership model allows for everything from pay-as-you-go hot desks to fully-managed office solutions for the likes of Microsoft, adidas and Pinterest to make their pathways into new markets much smoother. Membership credits for the individual allow access to any WeWork location, which is especially handy if you travel. You also get access to special rates on business services such as car rental or website hosting and, of course, access to other businesses who share your space. There’s one location in Joburg (173 Oxford Road, Rosebank) which already has 2 000 members. It’s soon to be followed by a second Joburg location and one in Cape Town. >>
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The TradiTional r e Ta i l s T o r e m ay s o o n be a Thing of The p a s T. Because our lifestyles have become more itinerant, digitallydriven and remote – we can connect to anyone, from anywhere – we use space differently. Take a drive through Cape Town and its surrounds, for example, and you’ll find a mixed-use space on virtually every corner – with more to follow. Offering a range of everything from hot desks to full-enterprise solutions, cafés, shops that sell organic produce, bars, and even hotel rooms and apartments, spaces like this quickly become allday destinations suitable for just about anything. Here, a list of our favourite co-everything spaces.
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With retail, food and beverage, co-working, health and wellness, and even an entrepreneur development programme, Good is truly a co-everything spot. Through GoodWork, GoodFood, GoodBalance and the GoodStore, Good strives to consider the environment, what sustainable business practice looks like, its impact on people and communities, and what it means to live a conscious life. GoodWoodstock, is Good’s proof of concept and is located on the ground floor of the historic Iron Works building in Woodstock. >>
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Gucci Wooster, in SoHo, New York, is a destination for those seeking the creative and innovative spirit of the district, a spirit that was established during the ’70s and ’80s and haunts the neighbourhood still. It’s this last facet of SoHo’s creative heritage that Gucci decided to celebrate by opening the Gucci Wooster Bookstore. Recalling the fondness of New York’s small independent bookstores, the Gucci Wooster Bookstore caters for the truly literary souls of today. It offers delight, intrigue and self-discovery among its carefully-selected titles focusing on avant-garde art and photography. To give the Bookstore a unique and authentic character, Gucci invited Dashwood Books founder David Strettell to curate the assortment. Titles range from contemporary to used and rare books, including many out-of-print titles that continuously rotate based on Gucci’s inspirations and seasonal projects. An eclectic range of niche magazines is also featured. The bespoke selection shines a spotlight on fashion and lifestyle, youth culture, art, interiors and architecture, illustration, design, and photography. The shelves also house an array of works by many Friends of the House including artist Petra Collins, photographers Ari Marcopoulos, Ryan McGinley, documentary maker Martin Parr and singer Florence Welch. Guests can flow freely between the book shop, which encourages cross-discovery. In keeping with the aesthetic of the space, the Bookstore features pieces of restored antique wooden furniture, including bookcases and a large lectern-style reading table. It’s also home to Gucci’s latest cast of book experts including a chief librarian and book worms that oversee the bookstore.
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Cape Town’s WEX1 takes its cues from its front-facing neighbour, creative marketplace and culinary hub The Woodstock Exchange. It has restaurants, shops and offices on the ground floor, while the fourth floor is home to the Stock Exchange Hotel, managed by Newmark Hotels (making this the group’s second apart-hotel, following the Onyx). There are 33 apartment-style rooms, with full kitchenettes. Furniture and decor items are locally sourced, and you’ll find a “design map” in your room that leads the way to places where you can buy more locally made goods. A courtyard area with tons of communal seating leads onto a pool and entertainment deck. Together with a small bar, these enable visitors to interact with the building’s other occupants: owners and tenants of the permanent apartments upstairs. Or, pop downstairs to Darling Brew for some awardwinning specialty beers. >> Wexliving.co.za, neWmarkhotels.com
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Architect Sir David Adjaye OBE’s vision for the Alara Concept Store was to create an iconic retail design experience that would evolve the fashion, design and conceptstore experience within West Africa and beyond. In just under five years, Alara has established a contemporary visual language for African luxury, contributing to the global discourse on the retail experience. ‘It was our vision to capture the essence of Pan-African design, provenance and excellence.
Africa’s flair for design has been globally recognised and celebrated, from architecture to curated works of art, furniture, textiles, fashion, sculpture and art,’ says Adjaye. The architectural provenance has not only informed a shift in terms of visual narratives about Africa, fashion and retail sectors, but the concept store has also inspired and liberated African audiences to feel more “optimistic” and excited about belonging to such a rich and vibrant continent. The concept store founded by Reni Folawiyo has, to date, hosted Africa’s and the diaspora’s most accomplished patrons and guests within its 9m-high, voluminous, rectangular, contemporary galleria, which also includes an art gallery and terrace. The building has a series of suspended platforms, staircases and landings where objects are displayed. And at the rear, a café opens onto a garden that offers shaded respite from the frenetic energy of Lagos. The use of cast concrete, internally and externally, establishes an industrial quality. Inside, the concrete is black, and on the exterior, it’s red and pigmented. The drama of the triple-height volume in the interior encourages visitors to explore. It’s broken up by display platforms that vary in size. There are also timber enclosures, where finer objects and bespoke jewellery pieces are displayed. ‘I established Alara as an iconic building and space to inspire and to elevate,’ says Folawiyo. ‘It’s pivotal in changing the way we see ourselves and the way the world sees us. It’s brought visitors from all over the world to our city. >> alaralagos.com
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e xch A nge, Supplied by ne Wm A rk hotelS, Supplied by A l A r A , Supplied by ide AS cA rtel
Inner City by Ideas Cartel is one of Cape Town’s longest-running co-working spaces. Memberships are tailored to individuals, teams and businesses looking for a sophisticated, shared workspace, of any size. Lease subscriptions and terms are flexible, and members have access to an impressive network of individuals and businesses. Inner City also offers custom-built office space solutions on long-term leases. In addition to a number of on-site restaurants and cafés, the Ideas Cartel venues boast exclusive bars – such as The Founders Lounge and Frontier – which are available exclusively to members of the Cartel Members Club, hotel guests, Inner City office members and for special bookings made on certain nights, arranged with the owners in advance. If you need an all-in-one solution – working and staying in the same place – hotel options have opened at Cape Town’s Loop Street location. Hotel guests can access all the Ideas Cartel’s services.
A d d i t i o n A l p h o t o g r A p h y S u p p l i e d b y W e W o r k , S u p p l i e d b y g o o d , S u p p l i e d b y t h e W e x 1, S u p p l i e d b y t h e W o o d S t o c k
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STEppinG up hiS Ga
AwArd-winning rApper AKA, is elevAting the conversAtion from A brAnd, business And sociAl perspective words by Thobeka Phanyeko photography by Paul Samuels styling by Rusty Beukes
THIS PAGE: Shirt R18 050, jeans R11 650, sneakers R16 800 Prada OPPOSITE PAGE: Shirt R3 000 Good Good Good; sunglasses R2 790 Burberry; sneakers R4 499 Reebok
» It’s been three years since we last featured AKA, and he says, at the time, he was still
shifting from being AKA the rapper to AKA the businessman – and now he’s here. ‘That’s been an eye-opening experience with its own teething problems, and I can now say that I’ve found a balance.’ He is confident about the direction of his business model and is making comfortable strides in his Reebok sneaks to ensure that his “Megacy” is sustainable.
GQ: Let’s talk about your collab with Reebok. How did this come about, and what’s the vision? AKA: it’s a change of attitude. it was around the time i signed with reebok, back in 2017, that i realised that there was more to just wearing the reebok apparel and tweeting about it. i signed with reebok as the official ambassador for the African and middle east region. the heritage of the brand and the product were a perfect fit for me. every partnership i want to get into becomes a part of my legacy plan. people may come and go, they get promoted or move around, but what stands is the passion that the team has for its product and the passion it has for me. i’m so thankful to work alongside people who see me as a true icon of the game, who listen to my input, and trust me to deliver when it’s time to turn it on. today, sales in our region are up 200%. the partnership proved its value, and we’re now launching the supAmegA sneaker and building towards bigger collaborations with reebok. what’s more touching for me, was the carte blanche reebok gave me; i worked on the design and graphics with my younger brother, stephan forbes. to me, this is a tremendous deal. GQ: Who’s the target market for the sneaker collection, and how would you like people to feel when they step out in the world? AKA: contrary to popular belief, my fashion style, unlike my personality, is far from loud. the sneaker has a bit of a laid-back chill to it, more on the comfortable and practical side. the boldness of my character comes through in the details. this drop is
common ground with my personal views on life. mostly, against the better advice of my team, i just talk and put things out there to create a conversation.
my debut into the sneaker world, which is a culture and a movement all on its own. so i had to enter it with caution and respect, as this is a critical market that represents almost half of the world’s sportswear sales. our next collaboration will be more focused on fashion, with style and comfort at the centre of it all. GQ: What would you say is the relationship between music and fashion? AKA: from a personal perspective, i know that i’m one of the most polarising figures in African pop culture. i embrace that, because it’s been intentional. i see this break into sneaker culture as another form of expression that extends into music where i can become a bona fide fashion force. fashion broadens the stories we narrate through music, so why not veer into that space? GQ: You’ve been engaging your followers quite a lot in your process of making music. What informed this approach and how do you filter through the feedback to your followers? AKA: it’s very important to tap into your market – to know what they are thinking and understand their likes and dislikes. get a sense of where their thought process is and find
GQ: We’ve also seen a different side to you: there’s a picture you shared of yourself and your daughter, Kairo, with the caption ‘You won’t find this in a Gucci store,’ and it went viral. Dads joined in and shared their snaps of themselves and their little ones. What’s your approach to fatherhood? AKA: fatherhood is a beautiful journey. every day brings about new lessons in fatherhood. Kairo has exposed me as a softie at heart. she motivates me to do better as a man. she even influences the music i play during our car rides together. having a daughter has definitely impacted my music. i’m more aware of how my message lands. most importantly, as a girl child, my reinforcement to her is that there are no boundaries that can be placed on her future. i don’t want her to feel like her gender is a hindrance peppered with rules and limitations. i want her to know she is limitless. GQ: You make fatherhood seem so cool and easy. Have you encountered any challenges regarding parenting? AKA: definitely. fatherhood and parenting comes with its own challenges. i’ve made mistakes and will continue to do so. my parents always impress upon me that even 31 years of experience in parenting my brother and i, they faced challenges and made mistakes. there’s no guide or rule book, one just has to feel through it and tailor parenting according to your understanding. i lean mostly on >>
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THIS PAGE: Shirt R14 500 Versace; trousers R1 199 H&M x Giambattista Valli; sunglasses R2 790 Burberry; watch AKA’s own; sneakers R2 299 G-Star Raw OPPOSITE PAGE: Shirt POR Dolce & Gabbana; jewellery AKA’s own
my parents for guidance. the most amazing thing is that i have a very vocal child, who isn’t shy about expressing her feelings. that also gives me guidance. GQ: Do you share the same fears as other South African parents who are raising girl children in a time of violence against women and children? AKA: besides exposing me as a softie at heart, Kairo has made me more sensitive to the fact that, as men of this country and this continent, we have to do better by women. we have to listen to women, stay believing in their abilities and to always challenge ourselves and others on behalf of women, and to protect them and what is right. i’ve always been protective and supportive of women, but Kairo has turned me into a complete advocate of women’s rights. this is a time where we cannot just be learning about women’s equality, we have to be doing it, too. we have to practice equality. GQ: You donated R100 000 towards the Wits SRC Humanitarian Fund earlier this year – what inspired this gesture? AKA: my own experience motivated me: i was well on my way to being an engineer, i studied just for a while before financial matters hindered me continuing with my studies. it pains me to hear such stories, where students aren’t able to pay for tuition or textbooks that aren’t covered by financial aid. with the little abundance that i’ve been blessed with, i lose nothing by giving a hand where i can. GQ: I recall you said during an interview with Pearl Thusi on Behind The Story that you would drop the name AKA in the near future. What would this mean for your brand?
‘I don’T MAKe MusIc To wIn. I cReATe MusIc To evoKe eMoTIons. To AffecT people’s lIves. IT’s nIce To wIn, buT IT ReAlly Isn’T even A THougHT wHen I’M In THAT booTH’
AKA: man, my supporters owned that narrative and shut it down as quickly as i uttered it. GQ: What are some of the challenges you face as a South African artist in 2019? AKA: there’s too much talk and no action from the higher ups and even within the artistry. we need to break the chains and stop talking about breaking them. we need to be daring and intentional in the presentation of our hip-hop culture. GQ: What would you say is the future of hip-hop in SA? AKA: put in the work. stay on course of the process. none of the top hip-hop artists were built overnight – they all worked for it and towards it consistently and constantly. GQ: You recently bagged the PanAfrican Artist of the Year award at the Namibian Annual Music Awards. What does this mean to you, and what does it speak to? AKA: it speaks to the fact that, love or hate AKA the man, AKA the musician is on your playlist and making an impact not just here at home but across the physical and mental borders we place on ourselves. the award came a week after my peers in the music game
– peers who i’ve worked and interacted with for years – misrepresented and twisted my words, and – incited violence on my name, my daughter’s name and my entire family. the namibian Annual music Awards showed me that there’s hope for Africa’s oneness and not everyone is about a negative narrative. GQ: You’ve said in the past that your validation doesn’t come from awards, but what does it mean to you for your work to be recognised and to know that you’re seen and heard? AKA: winning an award is a recognition of the work. winning is nice, and it feels good, but one doesn’t win every award. i hear people ridiculing the losses, but to me they aren’t losses, as i don’t make music to win. i create music to evoke emotions. to affect people’s lives. it’s nice to win, but it really isn’t even a thought when i’m in that booth. GQ: How do you manage to stay relevant and topical 13 years into the game? AKA: by staying true to myself. ensuring that i never fail in the same manner twice. And by not saying yes to everything that’s laid in front of me. GQ: You’ve performed across the globe, how has the reception been? AKA: it gives me validation when people from across the borders jam to my music and give me a great reception. it shows that i’m on the right path with my music. i’m transcending cultural divides and being one with the universal music language. but absolutely nothing beats home crowds. i’m so looking forward to my second orchestra presentation in durban in november, because the durban crowd is one of the hardest to please, but so giving of their love at the same time. GQ: What would you say is your Megacy? AKA: my megacy is in my ability to take an inventory of my wins and losses. to learn from them and to better myself. ×
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Meet 2019’s Bes t Dressed Men See who made the cut this year
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quote: GQ Style Vol 15 offer
THE O P ULENCE O F A N EXTRA OLD COGNAC
AUTOMATIC
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Automatic versus quartz is the dividing line in the world of timepieces. It’s not dissimilar to the conundrum of investing in a bespoke suit versus one mass-produced by a fastfashion brand. Both might look good, but you know deep down which is better on all other levels, right? utavia Isograph er, POR; Michel ewport, R9 500
NOSTALGIA MEETS CASUAL ELEGANCE Inspiring serious watch envy for every occasion – with some real-world options thrown in, too, so we’re not all left dreaming Words by Michael Christensen
T H E U LT I M AT E 2 0 1 9
DIVER
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A UTILITARIAN WINNER. ALWAYS Cartier Calibre De Cartier Diver, R158 000; Victorinox Professional Diver AntiMagnetic, R9 550
Dive watches are loved for their ruggedness and sporty appeal, not to mention their seemingly endless heritage of being associated with the bottom of the sea. Despite
the name, most people who own dive watches haven’t gone deeper than the bathtub – indeed there’s no compulsory ‘must be able to swim’ that comes
with purchasing one. We’re here for the rotating bezels, predominately rubber straps and the luminous hands and indices. Less so, for the 200m water resistance. >>
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Breitling Premier BO1 Chronograph 42 Norton, R125 300; JaegerLeCoultre Polaris Chronograph World Time, R221 000
MOTORCYCLE -RIDING EXPERIENCE: OPTIONAL You don’t need to own a motorcycle to merit wearing a chronograph. Though, just saying – Brad Pitt does and this Breitling number is his go-to piece. Like diving
watches, chronographs tend to be as handsome as they are sporty. We imagine few use the stopwatch on their trusty chrono to its full capacity, but really, that’s
where the fun is at. Timing anything and everything. Like, anything. The subdials make for an eye-catching aesthetic, regardless.
TOURBILLON
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THE BARE BONES OF A COMPLICATION Oris Big Crown Propilot X, POR; Rotary Greenwich Skeleton, R8 500
Before you purchase one, make sure you appreciate what a tourbillon is, else it’s a bit like investing in a new Porsche 911 when you can’t drive. Given the intricate mechanics of tourbillons,
you could be forgiven for thinking this was horological innovation at its most recent. Alas, tourbillons were first invented in 1795 by Abraham-Louis Breguet to improve accuracy. While
they still do such, they’ve actually become a way to showcase a brand’s watchmaking artistry. So it’s best to know what you’re looking at if you own one. >>
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Bell & Ross BR 05, POR; Longines Master Collection Moonphase Diamond Dial, R37 100
PRESENTING A SERIOUS CASE FOR PLATINUM Dressy no longer only equates to complementing a tuxedo at a sit-down dinner. Gents, it’s a new time and we dress to impress for anything, be it grocery shopping, going to
Sunday lunch at your gran’s or bowling. From a watch perspective, that shouldn’t change too much – you’re looking for understated elegance that remains special whenever you
wear it. We think a precious metal like platinum would have Daniel Craig approving the Bond-ness of your weapon of choice – duly activating peak mode on the dressy front.
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BOARDROOM INSPO LOOKS LIKE THIS Longines Hydroconquest All-Black Ceramic, R49 800; Patek Philippe Calatrava Weekly Calendar, POR
While the big-ticket items, (think Pateks, Piagets and Rolexes) are impressive, there’s a wealth of outstanding Swiss watches with in-house movements in the R50 000-R100 000
range, so don’ tbe afraid to invest outside of the big dogs. Indeed, whether it’s a work bonus, timely tax return or you’ve come into some inheritance money, our sage advice is to invest
in timepieces from today that are set to become tomorrow’s vintage classics, AKA a sound investment piece. You know, so they really rise in value. >>
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CONVERSATION STARTER
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Rolex GMT-Master II, R119 900; Tudor Black Bay 41 S&G, R59 300
BECAUSE WHO DOESN’T LOVE A GOOD CHAT ? Patrick Bateman went for a passive aggressive ‘Don’t touch the watch’ while in bed between two beautiful women; Captain Koons was slightly more long-winded in Pulp Fiction. There are
many ways to begin talking about watches on your wrist that are close to your heart. But, in order for anyone to care, your wrist candy needs to be noteworthy. Be it a vintage piece with an
incredible history or a oneof-a-kind novelty – you know you have something special when people want to hear about it.
CLASSIC
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Omega in Moonshine Gold Speedmaster Apollo 11 50th Anniversary, R515 000; IWC Tribute Pallweber Edition, R534 000
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WHILE STILL KEEPING IT MODERN Many worlds have seen a return to retro, classic staples and watches are no different. In some ways it’s led the way – such is the history that comes with Swiss watchmakers
and the storied pasts of specific models. The beauty of vintage watches is that they can never be replaced, but they can be reimagined, which is a beauty in itself. Indeed,
each year the collective delight can be heard from the halls of SIHH and Baselworld upon the latest unveiling of compelling new reiterations. ×
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SA artist Tellaman is more than just his serenading vocals. Now he extends his repertoire by fronting a spread of what local and international streetwear has to offer Creative direction by Rusty Beukes Photography by Niquita Bento
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Previous Page T-shirt r450 sol-sol; vest r950 Leaf apparel; sunglasses r3 390 oakley This Page shirt r1 680 aKJP; sunglasses r2 390 ray-Ban
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This Page hoodie r900, vest r1 200, trousers r1 000 Leaf apparel; socks Tellamanâ&#x20AC;&#x2122;s own; sneakers r1 599 adidas Yung-96 Chasm
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G r o o m i n G by m e r l e T i T u s aT s u p e r n o va C r e aT i v e m a n a G e m e n T. Fa s h i o n e d i T o r m i r a l e i b o w i T z . Fa s h i o n a s s i s Ta n T Ta n i a d u r a n d
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Tom Sachs, the Handyman of High
An epic conversation about death, sex, sleep and success from inside the workshop of artist Tom Sachs Words by Mark Anthony Green Photography by Jason Nocito
»
Most artists luxuriate in lawlessness. Not Tom Sachs. His ‘greatest
work of art’ – his words and ours – is the studio he’s created. But he’s not talking about the sculptures in his studio – objects that look like the genius renderings from a child’s imagination. And technically he’s not talking about the people, either: a small assortment of misfits, most of whom are one part welder, one part stylish New York inhabitant.
Sachs’ prestige, so to speak, is the studio itself – the rules and guidelines and code and language and expectations that exist before anyone even clocks in. In one of his films, Ten Bullets, he outlines the code for his workshop. The film is a quirky instruction guide, anchored by 10 bullet points, shot with Sachs’ rough edges and trademark DIY look. The rules are strict. (One example of a rule is “Always Be Knolling”; another is “Sacred Space.”) Everyone must watch Ten Bullets before entering the studio, team members as well as guests. Ten Bullets is polarising. If you read the comments below the video, people seem to think it’s bonkers. (‘Weaponised autism’ is my personal favourite.) But there are thousands of people – from art-world snobs in their 60s to kids who camped out for his highly coveted Nike collaboration – who would kill to work in Sachs’ infamous studio. Most people think it’s crazy to go to the moon, too. Walking from one end of the studio to the other was trippy. Parts of it looked like NASA’s workshop on a tight budget. (Sachs has done three massive intergalactic exhibitions in which he recreates
elements of space; so far, he’s been to Mars, the moon, and Jupiter’s icy moon, Europa.) Other parts of the studio looked like a chop shop for random objects like basketballs and lobsters. The more in progress something looked, the closer it was to being done. When all the works, tools and people are together, everything looks like art. When I finally got to Sachs at the rear of the studio, he was shirtless. (He’d just had a haircut.) At 53, Sachs is pretty ripped. He has those type of non-gym muscles that look like he earned them while at work. Like a farmer. So I thought that seemed like a safe place to start. GQ Style: You’re pretty ripped, Tom. What’s your workout routine? Tom Sachs: Space Camp! Space Camp is a three-day-a-week ritual. It’s something that former trainer Pat Manocchia developed. We do five essential exercises. And follow it religiously. It’s a deadlift, a chin-up, a lunge, an ab exercise and push-ups. We follow the health triangle, which is diet, exercise and rest. And sleep is key. You need to do all three.
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GQS: How many hours a night do you sleep? TS: Eight. It’s a priority. That’s also why I don’t get sick. GQS: When was the last time you had a cold? TS: I think it was the day I made that deal with Satan, when he said, ‘Bubeleh, it was such a pleasure doing business with you. So in addition to the “Sell Your Soul for Success” deal, I’m going to throw in the “No Sick” clause for free.’ GQS: You reference Satan a lot in your work. But you’re also influenced by, and love, a lot of musicians and artists who are very spiritual. Are you a spiritual person? TS: Well, of course I’m spiritual. I’m a scientist. We don’t know. Extraordinary claims require extraordinary proofs. GQS: But that’s just your body. What do you think happens to Tom Sachs, the artist-scientist? TS: The same thing that happens to my cat who died last October. Just, like, it’s gone. I don’t know
about all the fake news that religion pumps into us to help us behave and work better in a consumerist society, like the afterlife, or nirvana, or heaven, or 72 virgins, or whatever. I think it’s important to accept truth over certainty and not just choose certainty, which is like faith and belief that you’ll have a second life or heaven or whatever, because you can’t deal with the truth. The truth is that we don’t know and there’s a real possibility that there is absolutely nothing after death. Death is a tragedy that happens once and it’s over. If you start to really look into that, you might find that it’s so maddening a concept to comprehend that it might make it difficult for people to do simple things like love one another and get up out of bed. I think that the contemplation of death is something that separates us from the other animals and is probably an unrecognised or undiagnosed source for madness among many men. GQS: James Baldwin was an atheist. I think that’s part of the reason he worked so hard. This is it, ya know? Do you feel an added
pressure, considering that any day you could be turned into worm food? TS: I think I’m more agnostic than atheist because I don’t know. I believe in magic. I believe in superstition. I believe in different things that I don’t understand and things I just don’t know. But, for sure, if there is something after this, it’s not this. I tend to make the most of every day because it’s gone in a second. The short amount of years between birth and death, compared to geology or the life of a tree or something, it’s so short that it does make me want to make the most of every minute. It’s so complicated, because you’re weighing that against the length of life. The sonata’s long, you must take care of the bow. GQS: Before a big show or project, do you find it difficult now to feel that same kind of excitement you felt when you were trying to make a name for yourself? TS: Jay-Z’s “My 1st Song” is my theme song. I write my first song like it’s my last, and my last like it’s my first, or something like that. I think that’s how I make work. Now, no one is immune to death »
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and to the curve, and Werner Herzog said that great filmmakers only have a 15-year life span. The great films. The best. He’s said he’s looked at all of them. And I said, ‘Including you?’ With artists, it’s different lengths. With rock musicians, it’s the shortest one; architects, it’s the longest. But no one is immune to that. If you acknowledge that, you can fight a little harder. But the other side of that is that there’s an established language within which we can work and develop, so it’s easier. Everything has its cycle. Just like everyone else. I’m inspired by the same exact things, so it’s mostly just the needs of the body. The sensuality. It’s always work, and the reward for good work is more work. So every time it’s hard, and it’s just hard in different ways. As you keep raising the bar, it gets harder and harder to innovate. But never innovate for its own sake. Sometimes it’s best to sit back and do the same thing again and incrementally build.
GQS: Is it true that all of this is the result of a broken heart? TS: Here’s the story. She was a first-year and I was a final-year university student. She selected me to be her lover. Our university was pretty progressive. Some of the students, including her, were really, really brilliant. It was a kind of community, where you could learn more from another student than the teacher, and she was one of those students. I took a sculpture class. And of course she was older than me, so she had been doing it for a while, so there was a lot to learn. She taught me to weld, and then took me to the Museum of Modern Art, and taught me the Kama Sutra, and then dumped me. All in, like, really, in a month or a few weeks. She left me with the skills to work in a welding studio. I had nothing to live for because I was so devastated. But I was pretty inspired by her and the experience to make sculpture. I just poured all of my broken-heart energy into this one pretty terrible steel sculpture, but it was a lot of physical
‘I hate the pretension of the art world. I’m an athlete, and my sport is sculpture and put ting up bathroom shelves’
always at Jon Kessler’s house, who’s an artist and a friend of mine. It was never a plan. The ritual of the studio has developed organically over the past 30 years. When I first started in this space, I was a lift repairman and I repaired all the lifts in this block because this block is all owned by one landlord.
GQS: But how do you push people to such a successful place, create a family without people feeling like you’ve pushed them too hard? Where’s the limit? TS: It’s complicated, but it comes down to three
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GQS: Was it always the plan to build an entire world for yourself to live in? TS: No. When I moved to New York, I didn’t know I’d have a successful career as an artist. I thought I’d be invited to interesting dinner parties. I’ve been to three dinner parties. I go to one a decade that’s memorable, and they’re
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GQS: Some athletes play the game better when everyone is booing. Some need the love of a home crowd. Does sadness or turmoil help you play better? TS: I play the game best when I’m happy, and in love, and well fed, and well fucked, and rested. Healthy. I don’t believe in the myth of the tortured artist. It’s not for me. I think it’s a crutch.
GQS: James Brown is a hero of yours. And in Ten Bullets, you reference James charging band members for mistakes. He was a genius. But also a tyrant. And most people hated working for him. Are you as difficult to work for? TS: I’m better than James Brown. I’m a better team leader because I’ve learnt from his mistakes. I also had a huge advantage over him. I mean, talk about white entitlement. James Brown came from a very, very fucked-up place. It’s a miracle that he survived.
GQS: Did you try to hide your work so it looked natural? Or were you, at 17, into the homemade aesthetic? TS: I tried to make it as good and as clean as I could. I got the little kit with the speaker grilles and cut the doors out. I tried to make it nice. I was in high school, and I spent years trying to do it the right way before I realised there was virtue in doing it the wrong way.
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work. I found through the physical pain of labour, you can find solace through physical work by sweat.
GQS: Thanks, university girlfriend! What were the early days of the ritual like? TS: The ritual started with waking up early, going to the coffee shop on the corner for an inexpensive coffee and a pork bao. It’s delicious. But the point is, it was cheap and it’d get you going. I’d work all day into darkness and have my ritual of working with my team, because I always hired my friends from school to help me. Those are the same people that are here today in the studio. It’s friends. We’re a family.
GQS: What’s the origin of the stereos you make? TS: They’re homemade sound systems assembled from existing components, like audio components, but put together to create an environment for a party. It comes from my first stereo, which my sister’s high school boyfriend stole. I traded my Physical Graffiti double-LP record for it and took my 1976 Plymouth Volare wagon, which was originally my mom’s car but became mine at 17. It had an AM radio, and I cut it out and installed this thing myself. I just did it. I went to the shop and bought speakers to put in the doors. It was so loud and good. It was incredible. It was like a party in my car. That was the first sound system that I made. So it’s like Pimp My Ride: Tom Sachs Edition. It didn’t have any physical ambitions; I just wanted it to sound good.
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GQS: That was your job? TS: That was my job. It was something I told people I could do and then figured it out. It seemed dangerous, and I could charge a lot of money, because no matter how much I charged, it was less than other repair guys and welders. Because I learnt from my university girlfriend how to weld.
words: selection, development, and retention. You’ve got to choose wisely, and you have to get rid of people when they don’t work out quickly, but also give them long enough time to work things out. I can tell you, some of the people that are the best on my teams are the ones I really wanted to fire.
GQS: Would you consider that – doing it the wrong way – your breakthrough? TS: Yeah. I was making this one model – this is 1998 – for my second art show at Morris-Healy Gallery. I made a full-scale model of the “Fat Man”, the atomic bomb that was dropped on Nagasaki a couple of days after Hiroshima. But mine, instead of having a bomb, had a little capsule hotel with a sofa, a TV, a toilet, and it was functional. But I made all this effort to make it really slick and perfect, the way an atomic bomb would be. Smooth. I had assembled all the parts, but it was the first time I used a fabricator. I hired someone to do it because it was all fibreglass, so I used a boat fabricator to build it. I walked in his shop, and I was watching him paint it. He had done all these different colours of fibreglass and patching underneath, and it was so beautiful. I was »
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watching him spray paint over it and make it unified, which is what I asked him to do. I was like, ‘Dammit, I wish I had made it myself.’ Because if I had made it myself, I would’ve seen that the patchwork had virtue. It was unpretentious. He just did it to make it quick, and it looked great. GQS: Looking at the Nike collaborations, how do you feel right now about it all? TS: I feel good about the fact that so many people were able to get them. I hate the pretension of the art world. Also, the studio is a sponsored team. I’m an athlete, and my sport is sculpture and putting up bathroom shelves.
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GQS: When you collaborate with somebody, are you ever reluctant to give their project some of the magic you’ve been building? TS: I don’t like collaborations. I don’t do them very often. With brands, I only work with Nike. It seems like there might be others, and I’ve flirted with it, but I’m only really interested in one thing. I don’t really like working with other artists – it’s a lot of time spent with power dynamics and stuff.
GQS: Why did you work with Frank Ocean? TS: I think what he’s doing is important, and I want to do what I can to help. His art helps people to value intuition and sensuality. And help people think about their emotional landscape with more intention. There isn’t a lot of support for that. So of course I want to be of assistance. GQS: You don’t seem like the type of person to binge-watch TV, let alone cartoons like Family Guy and The Simpsons, but you reference them a lot in your work. Are you really a fan? TS: From 1989 to September 11, 2001, I had a TV and I’d watch The Simpsons every night. I’d work here at my welding station, and I had the rest of the antennas out of the window. But when they blew up the Twin Towers, I lost reception. I’d sit here and watch The Simpsons. GQS: Every day? TS: Yeah. The reruns. I’d watch it every night, and I’d always work here, and that was part of my ritual.
‘As you keep raising the bar, it gets harder and harder to innovate. But never innovate for its own sake’
GQS: Who’s your favourite Simpsons character? TS: Lisa is the artist. Bart is pure Dionysian, whereas Lisa is this mix. She’s emotional and spiritual, but she’s also a straight-A student. She’s a scientist and an artist. GQS: Do you consider this place – the studio and the culture that you’ve built around it – a cult? TS: This place is a cult, and I mean that in the scariest, most Manson-family kind of way, in that we’re totally committed to this way of life. Anyone is free to leave whenever they want. There is zero pressure. We’re very, very, very committed to it being a safe work environment. The whole #MeToo, sexual-harassment thing doesn’t even come close to what we’re trying to do here. Like, everyone in the studio was bullied in high school or participated in some part of that. We were all subject to that. We’re very careful to make this a supportive work environment for everyone. We’re always trying to make it safe and deal with all of these difficult topics.
GQS: Another difficult topic is cultural appropriation. How have you navigated that? TS: Who is this white middle-aged non-Asian male to do something about the Japanese tea ceremony? I always say the same thing: if you do it for a couple years, it’s an interest; for five years, it’s a hobby. But when you do something for 20 years, it becomes a part of your life and you become a part of it. And I become an amplifier. And I am the best stereo maker that’s ever lived. And I can back it up. I’ve been inspired by people, and I try to elevate. I would actually say the guys who do the sound systems in Jamaica or in the Caribbean parades, even here in New York, they’re way better at sound-system making for those parties. But it’s a different kind of thing. I’m looking into more discreet, more compact objects for a room. And same with the tea ceremony. The people that get pissed off at me about me appropriating the tea ceremony aren’t Japanese tea masters. Japanese tea masters fucking love what I’m doing. I’m bringing attention to their craft, I’m studying, I’m elevating, I’m respecting it. I’m turning it inside out. I’m taking
a shit on it, then gilding it, and putting it on a pedestal. People that get mad are other white middle-aged non-Asian people who are like, ‘I can show you!’ The art of America is the art of the African diaspora. And I’m not black. I’m white. When people ask me what art I’m into, I say James Brown and Bob Marley and Fela Kuti, even. Though he’s not part of America, you hear American influences in his music. And that’s the art that inspires me. It’s not necessarily my territory to work with. I just think you have to do it with sensitivity. GQS: Maybe your biggest inspiration would appear to be NASA and space. Would you ever go to Mars, if given the opportunity? TS: Maybe. Not definitely. I’d need a lot more information. I definitely wouldn’t go on the oneway trip. No way. Probably not. I probably wouldn’t go. The most hospitable place on Mars is a billion times more dangerous than the bottom of the ocean and the top of Everest, which I’m not really interested in going into. Earth is like a big warm wet kiss and I want to explore every part of her. ×
The They may appear abstract at first, but this brilliant trio is creating endless opportunities and a real future with their brand
OTher DJS Styling and words by Mira Leibowitz
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PreVIOUS PAGe AArON WeArS Shirt r6 495 Versace JOhAN WeArS Shirt r6 495 Versace; trousers r3 580 Spaghetti Mafia MATT WeArS Shirt r6 495 Versace ThIS PAGe MATT WeArS T-shirt r490 Spaghetti Mafia; blazer POr, trousers POr Better half; sunglasses r2 790 Burberry AArON WeArS T-shirt r450 Sol-Sol; blazer POr, trousers POr Better half; sunglasses r2 790 Burberry
I f yo u c o n s I d e r yo u rs e l f to b e a t ru e admIrer of musIc, a collector of vInyl or a f e s t I va l e n t h u s I a s t here In cape town, then the other m ay r I n g a b e l l . The Other first popped up on my radar last year in the form of The Other DJs. Their first official performance together at Cape Town Electronic Music Festival was a memorable experience. I remember staring up at an incredibly high stage to find three young guys, donning bold-coloured blazers, having a blast while performing their electronic set. Fast forward a year later, and The Other is now a familiar name, solidifying themselves as
a household brand in the Cape Town music scene with new expansions to their growing brand: The Other DJs, The Other Records, The Other Events and The Other Radio (set to launch in November). Aaron Peters and Matt Hichens have been buds since primary school, and as Matt puts it, ‘Everyone has that core friend who’s a go-to when it comes to music – Aaron was that friend growing up.’ With Aaron having a background in classical and jazz music, and later managing successful music bands, and Matt’s many DJ residencies, together the boys started what is now a seven-year-old party called SWIM, one of the many events that fall under The Other Events. Although Philippus Johan only
entered the picture a few years later, his affinity with Matt and Aaron feels like they’ve all been mates since the beginning. When I asked Johan where he was from, he playfully responded, ‘Nowhere in particular.’ Appreciative of his farm life upbringing, he made the move to Cape Town in 2010. Being a self-taught DJ and having studied graphic design, Johan had an in with the SWIM boys, designing a poster for a gig and, shortly after, performing at their parties. This served as a foundation for their partnership in 2017, which would then lead to the creation of The Other, a catchall for all that the brand comprises. An integral sub-creation that has pushed the brand forward is The Other Records, a small record store
in Observatory curated with both local and international music that you wouldn’t have found otherwise. The store’s host of sounds can be attributed to each member’s vast taste in music that they’ve gained over the years. ‘When you put it all together, it’s the sweet spot between all our tastes,’ says Johan. ‘We’re all connected. That’s our favourite line, after all – it sits in our shop, on our posters, everywhere.’ Ultimately, the store is a physical manifestation of what they stand for: bringing people together to experience music. ‘It’s more than just making a profit,’ adds Aaron. ‘It’s about creating a culture, a space to connect.’ For more on the trio, head to theother.co.za. ×
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MATT WeArS Jacket r26 400 Gucci AArON WeArS T-shirt r7 500, jacket r35 300 Gucci JOhAN WeArS Jacket r21 400 Gucci
Shirt r799 Zara; jacket POr Spaghetti Mafia
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Shirt r13 800, hat r5 300 Prada
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Polo neck r579 Zara; jacket r8 699 Calvin Klein; trousers POr Better half
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MATT WeArS Shirt r2 199 Calvin Klein AArON WeArS Shirt r99 h&M; coat r2 099 Zara
P h o t o g r a P h y b y J o n at h a n K o P e at o n e L e a g u e C r e at i v e M a n a g e M e n t. g r o o M i n g b y r o x a n n e S ay e r S . F a S h i o n a S S i S ta n t ta n i a D u r a n D
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No matter where you look in todayâ&#x20AC;&#x2122;s hip-hop scene, youâ&#x20AC;&#x2122;ll see the influence of Lil Wayne. For almost two decades, the New Orleans-born rapper has redefined the art of rap with a string of game-changing, multi-platinum releases that have earned him the title of Best Rapper Alive Words by Shannon Manuel Photography by Nabil
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UDED BY JAY-Z, NICKI MINAJ, DRAKE AND 2 AINZ, AND HAILED BY KENDRICK L AMAR AS OF THE MOST INFLUENTIAL ARTISTS OF THE GENERATION, WHATEvER YOUR OPINION THE CREATOR OF “A MILLI”, IT’S HARD TO UTE HIS SUCCESS. STYLE ICON
Last year, tha C a r t e r V ( f i n a L Ly ) dropped – and wowed its enthusiastiC a u d i e n C e . After years of Lil Wayne purgatory, eager fans were treated to a 23-track album, featuring guests that even included the rapper’s mother and daughter. His first track, “I Love You Dwayne”, features Wayne’s mom, Jacida Carter. She breaks down crying, telling her son how proud of him she is, calling him her rock. Lil Wayne’s then 19-year-old daughter Reginae Carter adds melodic vocals to “Famous” – he says it’s his favourite of them all, ‘For beautifully obvious reasons.’ Wayne had suggested Tha Carter V would be his final album, and the product of an extensive, storied career. ‘Man, I’m proud of it,’ he adds. ‘I’ve accomplished a lot and struggled a lot, and the album embodies that. Was it my last album? Only time will tell.’ [Since conducting this interview, Wayne has confirmed that his upcoming album, Funeral, will be released later this year.] Some people thought his record wouldn’t live up to the standard and style of today’s music, considering its release had been put off for so long, but Wayne was confident he could write timeless lyrics. ‘I’m always confident. Who else will believe in you if you don’t?
Have I ever let y’all down? Yes, I had to make a lot of changes due to the time. But most of it is original because I felt a lot of it needed to be heard the way I intended it to be.’ While the seven-year wait for Tha Carter V sounds extreme – Lil Wayne first discussed the album in 2012, when he revealed plans to drop it the following year – it’s through no fault of his own. The latest of Tha Carter series was put off time and time again by Cash Money Records (CMR), whose label head – mentor and father figure Bryan Williams, better known as Birdman – allegedly blocked Wayne from releasing it, setting off a three-year legal battle between the longtime friends. (Tha Carter V is the first Lil Wayne album in his two-decade-plus career that wasn’t released by CMR.) In the interim, actual shots were fired at Wayne’s tour bus in April 2015, Young Thug nearly appropriated the Carter name and, believe it or not, Tha Carter V faced potential seizure by the US government in a bizarre plot twist involving “Pharma Bro” villain Martin Shkreli. During this stage, Wayne stayed busy with an absurd amount of mixtapes and guest appearances.
He faced teasing that he was quitting and had ‘lost his touch’ – critics citing that a comeback was needed. Whether Tha Carter V was a comeback, he comments, ‘As for a “comeback”, I didn’t go anywhere! But I’m glad to have finally delivered my promise. It’s a great album and I’m proud of it.’ Throughout it all, he received support from fellow heavyweight artists, who dismissed claims of retirement, which he admits felt good. ‘Quit? My friends know me too well for that. I’m always recording music, as that’s just how I express myself.’ Asked about his view on the current rap game, and the popular opinion that it needs to be saved, he says, ‘Rap isn’t dead. There are rappers who are fighting hard, inspiring and influencing, and doing new stuff. Creativity will never die out.’ On that note of creative collaboration, for the past few months he’s been touring with the punk rock band Blink-182. Was his love of skate culture a factor in the unlikely combination? ‘Blink-182 are my bros, they’re family now. As for skating, I’m all about that life! So yes, there’s a mutual appreciation there. I’ve been enjoying every second of touring with them. We’ve done nearly 40 shows and we’re still talking so I’d say that’s a win!’ And alternative musicians that have influenced his career in rap? ‘I love the guitar. Guys like Jimi Hendrix and Nirvana. The Beastie Boys for sure, they walked that line and are legends.’
He’s one of the few people in this world who can wear clothes and shoes that don’t match, but still make them look cool. With his unique sense of style, Lil Wayne is arguably one of the top fashion icons of today – his fashion is provoking and fascinating the masses. His daily outfit usually comprises simple items such as a fitted hat, a pair of sunglasses, a T-shirt from his clothing lines, Levi’s jeans or shorts, and a pair of sneakers. Weezy’s longtime affair with fashion led to the birth of his very own skateboard-oriented line, TRUKFIT, in 2012, inspired by his well-known passion for skateboarding and streetwear, and pulling influence from his distinctive style and voice. Since then, he’s expanded his foray into fashion, with recent notable mentions being his Neiman Marcus x Young Money collection and modelling the new BAPE collaboration with UGG for the official spring/summer ’19 campaign lookbook. Earlier this year, making another power move in the fashion world through a new partnership with American Eagle Outfitters, he launched the skatewear-influenced AE x Young Money collection, a 25-piece men’s clothing and accessories range which features jeans, hoodies, T-shirts, shorts, boxers, socks, hats and more. The decision behind the unusual collaboration? ‘I’ve always used music and style, two of the most powerful forms of self- »
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TTOm’S up Lil Wayne has starred in Bumbu’s first campaign. How does he feel about working with one of the most desirable brands in the country? He’s pretty stoked, ‘Bumbu is the GOAT. I only work with the greatest. When you got a drink that looks and tastes this good, there’s no competition.’ Was he a fan before he signed on? ‘Hell yeah, I was a fan. When you sip on Bumbu, you get this smooth taste that makes you think you’re living in a dream. You’re on some beach, you got your girl, you got your Bumbu. Doing shots. Life is good. I know y’all waiting on the new Bumbu XO in South Africa, but when that hits you’ll be blown away. Matte black bottle, aged 18 years.’
He’s also been in the hot seat in the first few episodes of The Bumbu Room, an online series by Bumbu, hugely popular due to his directness in answering fan questions, not surprising when Wayne’s most endearing quality is his authenticity. He gives you all of himself on every project, even when maybe you wish he wasn’t being so honest about all the explicit details. ‘Man, The Bumbu Room is killing it. But the fans asked, and I answered. We’re getting all these hot recording artists to come through, be candid, and show love. I don’t believe in censorship, there’s enough of that in the world. What I say reflects the life I live.’ And what a life it is. In the first video of the series, Wayne is grilled on plastic surgery, side chicks, Rihanna and Nicki Minaj, and Michael Jordan versus Kobe Bryant. With Wayne often rapping about his sensual ways, fans had some questions regarding the mix of two Weezy favourites in smoking and women. ‘I’ve ashed out my blunt on a booty while having sex,’ the New Orleans native candidly admits. ‘My man, Hoody, he’s a dog when it comes to a big booty. Let me mind you this is a fat guy. I’ve seen this guy eat a meal off [a butt], a nice meal.’ And speaking of butts, when asked if he prefers real asses or fake asses, he said that he likes real ones
because the fake ones are too hard. But a good “bad booty” (open to your own interpretation) is the best. ‘The ones that aren’t done all the way right but you still know it’s fake. Whew. Bumbu that’s good. Lord have mercy. That’s a good bum-booty,’ he says. When it comes to Nicki Minaj and Rihanna, he is always siding with the queen of Young Money. ‘Nicki,’ he emphatically states. ‘We would go into the studio and make beautiful music, then we would go somewhere and make beautiful something else.’ His comment on the news that she’s retiring? ‘I want her to stay in the game. But even if she bows out, I don’t think it’ll be for long – Nicki’s too good to hang up the mic.’ Following a wild debut into the series, Wayne once again entered The Bumbu Room for an unpredictable second episode and dished on an array of topics, ranging from his affinity for Miami women to dressing up as Michael Jackson as a kid and copping a Mercedes when he was just 15 years old. Both videos are available to watch on YouTube, with more of the world’s hottest artists to be featured. ‘The Bumbu Room is just getting started. We’re coming out with some fresh new episodes soon and they’ll blow your mind. I love how all these artists are
pulling up – my bros DJ Khaled and Dave East. I’d love to see some of the women in the game sit in the Bumbu hot seat.’ The brand was also represented at the annual Lil Weezyana Festival in his home state, Louisiana. This year marked the fifth year in a row that he’s hosted the event and it’s only gotten bigger and bigger, becoming a New Orleans tradition. ‘New Orleans is my hometown. The love I feel there, it’s real – it’s genuine. This year, we doubled in size. We had The Bumbu Room section so everyone could pull up and get Bumbu drinks, and the lineup was crazy. I was proud to bring that to the fans at home. It was indescribable,’ says Wayne. The line-up included Travis Scott, Meek Mill, Megan Thee Stallion, Saweetie and Kash Doll. On why these artists are part of his squad: ‘Because these artists are hip-hop luminaries,’ he says. ‘This is the new wave.’ On his relationship with his fans, he says, ‘I love them all, man. I got people still with me from Tha Carter release, people who been with me since the New Orleans scene, from my early mixtapes. And I got new fans, people supporting after they heard Tha Carter V. They all got one thing in common: they love rap. And that’s what I’m here to do.’ The GOAT: Bumbu is available in all major retailers. ×
additional Photogr aPhy by gallo images/get t y images, suPPlied by bumbu rum Co
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expression, as ways to live my truth – without apologies. American Eagle celebrates individuality, so it made perfect sense to collaborate with them.’ With Young Money, BAPE, TRUKFIT and American Eagle behind his name, the musician keeps venturing further into the fashion game. ‘It’s amazing to see anybody wear stuff I’ve created. These just started as an idea, and now it’s grown into more and more creative pathways.’ So what is the authentic Lil Wayne style you may ask? ‘If I like something I wear it, that’s authentic to me. I’m attracted to skate style. I picked that up before I even picked up a board. As far as being a style icon, I just wear clothes that express who I am and how I’m feeling, and if other people find inspiration in that, that’s cool.’
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SummEr When the mercury goes up, most people let their style standards go down. But you’re not most people. The best accessories let you add luxe to your most relaxed looks
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Styling by Clark Parkin Photographs by Olaf Wipperfürth
Bv LG a r i With a whopping 53mm diameter, the Bvlgari Gerald Genta Tourbillon is definitely going to attract attention – but it doesn’t look too massive, thanks to its seemingly free-floating manufacture movement.
Shorts, sunglasses and bag Prada; jewellery Hermès
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c h o pa r d Elegant and clean – the Chopard LUC Lunar Big Date’s white gold case harmonises perfectly with the satin-finished silver dial. Both allow the deep blue moonphase the space it needs to attract attention.
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Jacket and shorts MSGM; sunglasses Cartier
B E L L & roS S The Bell & Ross BR-XI Skeleton Tourbillon Sapphire has a transparent sapphire crystal case – and it’s extremely rare, with a release of just five copies.
Top Helmut Lang; sunglasses Gucci; jewellery Hermès
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h u B LoT What’s not to love about the Hublot Classic Fusion Chronograph Orlinski? On one hand, you’ve got the masterfully composed movement. On the other, you’ve got a pavé setting made of diamonds that sits like a finely spun net of pure light over the gold chronograph case.
Shirt Mr P; trousers Jitrois; sunglasses Cartier; belt Gucci
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paT E k p h i L i p p E The Patek Philippe Aquanaut 5168G is the sportiest model, and the newest and most modern version of this extremely popular 5168G.
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Shirt and jewellery Hermès; shorts Orlebar Brown; sunglasses Dita Eyewear; sneakers Gucci
richard miLLE Limited to 30 pieces, the Richard Mille RM 70-01 GroominG by michael Salmen; model eric berGmann
Tourbillon Alain Prost owes its existence to the second passion of the former world champion: driving on a racing bike.
Sweater The Elder Statesman; sunglasses Balenciaga
G q S t Y L E S p R i N G / S u m m E R 2 019 / 2 0 2 0
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FROM LEFT Burberry R13 313; Zara R1 458; Herschel Supply Co R590; Gucci R21 703; Zara R650
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