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wanted P O W E R F U L









HE 2018 EDITION OF Salone del Mobile has just come to an end in Milan, where the great and the good of the design world would have gathered to view the latest works by design studios around the globe. It was most intriguing to read about an installation called Waste no More, curated by Lidewij Edelkoort and Philip Fimmano — the trend-forecasting team who are regular visitors to South African shores. Waste no More was a showcase of DesignWork, a new project by US fashion designer Eileen Fisher that involves the felting and stitching of used garments into striking wall hangings, upholstery, and interior accessories. The results are exquisite works of art and design — please search for them on the web and you’ll see what I mean. But more striking than the pieces’ physical beauty, is what they represent. As Edelkoort observed: DesignWork blurs the boundaries between design, textiles, and activism. She calls it “a lifestyle brand found in the debris of overconsumption” and emphasises the idea of the circular economy: “When waste becomes wealth and culture, the circle has come around twice, empowering new ventures, gifting the world with true beauty.” Fisher expands on how fashion’s modus operandi can be disrupted by providing renewable solutions: “What is new is how we’re scaling our systems to create a truly sustainable business model that’s circular by design.” Fisher also introduces the staggering statistic that 85% of used and unsold clothes end up in landfills. Her upcycling of potential waste to create high design that hangs proudly at the world’s leading design fair should be an inspiration of what is possible to change the way we live and consume. Recycling is not only a philosophy and a good practice: it can be good business too.


Don’t forget Mother’s Day on Sunday 13 May. And could you say it better than with the exquisitely feminine Rolex Pearlmaster 39? This timepiece, framed by a diamond bezel and with the delicious colour combination of an Everose gold bracelet and pearly grape dial, is a real head-turner. The technical qualities remain those of the ever-brilliant Rolex Oyster.





Collabs are the name of the game at this month’s hottest décor and design show, taking place from 25 to 27 May at the Sandton Convention Centre. There are some great design names taking part, but I’m most excited about a Marble pop-up curated by the chef himself, David Higgs, and interior-designer Irene Kyriacou – this month’s Wanted Power Dresser.

While we’re on the subject of Mother’s Day, don’t miss the best winter weekend in Joburg on 12 and 13 May. This is when the Nirox sculpture park becomes a massive celebration of food, wine, and art – and you’re sure to know at least half the people enjoying their picnics on the grass. Get your tickets before they’re sold out!

Elsewhere in this edition, you’ll come across a delightful piece by Annegret Affolderbach about Nigerian-British artist and designer Yinka Ilori. His sweetie-coloured chairs are also so much more than just another upcycling story. As the author says, they represent a conscious marriage of imagination, heritage, care for the environment, and the creation of communities. Upcycling has certainly come of age, and it’s beautiful. Jacquie










Thembalethu Zulu tested the new Italian beast on the curvy roads of Monaco

Track the tides and the sun with the Officine Panerai L’Astronomo Luminor 1950 Tourbillon Moon Phases Equation of Time GMT


Bright and bold statement pieces by local designs will ensure you stand out





Yinka Ilori’s Estate Playground installation for CitizenM Hotel, Shoreditch, during the London Design Festival 2017; photography: Guy Bell

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20 Ballerina Londiwe Khoza reflects on her Rolex mentorship under Ohad Naharin

22 Cape Town’s Norval Foundation is the newest local private art museum

26 Meet Yinka Ilori: the British-Nigerian artist who tells stories through his chairs

EDITOR Jacquie Myburgh Chemaly ( MANAGING EDITOR Matthew McClure 011 280 5605 or 082 446 0747 ( CREATIVE DIRECTOR Anna Lineveldt ( SENIOR DESIGNER Thembekile Vokwana ( JUNIOR DESIGNER Athi Conjwa ( DESIGN INTERN Shannon Daniels ( FASHION DIRECTOR Sharon Becker ( FASHION ASSISTANT Sahil Harilal FASHION ASSISTANT Keneilwe Pule FASHION INTERN Christelle Crinall BEAUTY EDITOR Nokubonga Thusi ( MOTORING EDITOR Mark Smyth ( FEATURES WRITER Nothemba Mkhondo ( CHIEF SUBEDITOR Theresa Mallinson EDITORIAL ASSISTANT Jes Brodie EDITORIAL INTERN Paula Andropoulos FINAL EYE Margaret Harris DESIGN HUB ONLINE EDITOR Stephen Haw ( WANTED ONLINE DIGITAL EDITOR Katharynn Kesselaar ( CONTRIBUTORS Michele Magwood ( Seth Shezi ( Thembalethu Zulu ( BUSINESS DAY EDITOR  Lukanyo Mnyanda PUBLISHER Aspasia Karras GENERAL MANAGER: Group Sales and Marketing Reardon Sanderson MANAGING DIRECTOR Andrew Gill BUSINESS MANAGER Yvonne Shaff 082 903 5641 ( ACCOUNT MANAGER Johannesburg Tamara Nicholson 083 604 0949 ( ACCOUNT MANAGER Western Cape Samantha Pienaar 082 889 0366 ( ACCOUNT MANAGER Durban Gina van de Wall 083 500 5325 (

Wanted is available with Business Day nationwide, to subscribers only. Subscription enquiries: 086 052 5200 PRINTED by Paarl Media for Tiso Blackstar Group, Hill on Empire, 16 Empire Road (cnr Empire and Hillside roads), Parktown, Johannesburg, 2193

30 C O N T R I BU TO R S Propertuity is moving into the suburbs with its Hyde Park House development

34 We take a tour through the rich history of local fabric and textiles just in time for winter

38 All the latest gadgets and gizmos to kit out the perfect smart home




What role do art foundations play in South Africa? Optimistically, they will widen the audience for art and keep more artists in the black. Which are the most important art collections in the country? The Johannesburg Art Gallery and Cape Town’s National Gallery. Why is collecting art important? It isn’t, but when you begin to do so it rewards the heart and mind.

A prominent fabric trend to keep an eye out for? Natural fabrics with textures: we are seeing a lot of textiles made from natural fibres or plants. Your advice for planning a new look for a room? One of the easiest ways to transform a room is with paint and textiles. A fabric artist making waves at the moment? I’m totally in love with Evolution Product.

Your favourite home-cooked dish for winter? A 24-hour tripe ramen. I like the process of making the stock from scratch the day before. Signature dinner-party dish? My dinner parties feature build-your-own poké bowls. The last meal that truly impressed you? It’s a tie between my meal at Le Sirenuse in Positano, Italy, and one at La Tête in Cape Town.


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style notes

Cha nel H y dra Bea u ty Mi cro Li qu i d Es s ence, R 1 635

D io r Prestige Le Cushio n Teint de R o se SPF 50 PA + + + , R 1 515


BOSS STEPS UP ECO OFFERING Boss is making big moves towards creating more sustainable products with the latest addition to its footwear collection. These sleek, casual lace-ups — with an upper made from Piñatex, a material created from pineapple-leaf fibres; and a sole made from recycled thermoplastic polyurethane — are 100% vegan. Boss Sandton City, 011 884 1437

Put Chanel ’s Hydra Beauty range t o t h e test t his winter: we’ re pret ty s ure you won’t be d isappointed. Tw o new products have been added t o t he lux urious, hydrat ing skincare l ine inspired by Mademoisel le Chanel ’s favourite flower, t h e Camel ia. The jel ly-l ike formula of t he l iquid essence seems to burst on t he skin l ike water, act ivat ing t he hydrat ing microdroplets, while t he l ightweight, o v ernight mask saturates t he skin w it h zinc, copper, and magnesium for intense moisture.

Louis Vuitton’s new femininity


Chloé invit e s u s t o c om e on a jou r ne y and indu lg e in t he b r and’s fre e -spir it e d way s wit h t he int r odu c t ion of t he Nom ade fr ag r anc e pillar. I t b oast s a ne w “O” b ot t le shape — inspire d b y t he fashion hou se ’s m ost ic onic b ag de sig n, t he Dre w Bag — and pe r fu m e r Q u e nt in Bisc h c apt u re s t he e ffor t le ss and c ont ag iou s spir it of t he Chloé wom an wit h not e s of oak m oss, M ir ab e lla plu m , and fre e sia t hat allu de t o a se nse of nat u re and t he g re at ou t door s.


it h a l l t h e c r e a t iv it y r a d ia t in g f r o m Al e s s a n d r o Mich e l e a t t h e h e l m o f G u c c i, it ’ s n o s u r p r is e t h a t he has released a n o t h e r fr a g r a n c e under the Gucci B l o o m p il l a r. T h e Ac qu a d i F io r i b o t t l e fe a t u r e s a g r e e n H e r b a r iu m p r in t , w h il e t h e h e a r t note of Rangoon c r e e p e r is g ive n a f r e s h , a qu a t ic p e r s o n a l it y w it h t h e in t r o d u c t io n of green accords, in c l u d in g c a s s is a n d ga l b a n u m l e a f.

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Five hundred rose petals may seem extravagant, but not for Dior when it came to creating the h o u s e ’s l i g h t w e i g h t cushion foundation. The f o r m u l a c o m b i n e s D i o r ’s signature ingredient — the Rose de Granville, known for its resilience — with oils; and its cushion compact dispenses a superaerated formula to create a creamy, buildable, and luminous coverage that feels like second skin.



Gu cc i Bl oo m Acqua Di F io r i, ED T, 75 ml , R 1 5 4 0



av in R a ja h is taking hi s ho mewa r e co l l ectio n o ne step fur ther with t he ad ditio n o f s l eepwe a r to his G eisha and Ko i c oll ectio ns fo r @Ho me . T h e Japan- inspire d h omeware co l l ect i o n tr ans l ates R ajah’ s signature hig h fa shi o n i n to mo der n ho mew a r e an d s l eepwear, wit h lu xe fabricatio n featur i ng tr aditio nal Japan e se mot ifs incl uding w ave s, c louds , fans , and my st i ca l Koi f is h. h ome . co . z a

C h lo e No m a de E DP 50m l , R 1 345

Louis Vuitton’s Autumn/Winter 2018 collection is a sartorial expression of quintessential French elegance and powerful femininity, with hip, accentuated, peplum silhouettes; shoulderspanning stripes; soft, sculpted leather; and waist-cinching corsetry. With this vision for the woman of now, Nicolas Ghesquière’s new-season wardrobe is ultra-wearable and a definite must-have. Louis Vuitton Sandton City, 011 784 9854


Cha nel H y dra Bea uty Ma sque de Nuit Au Ca m el ia , R 1 360





Gucci has announced a new partnership with Unicef and Beyoncé, in honour of World Water Day, championing a movement towards fashion for a cause. Gucci, acting under the banner of its global campaign — Chime for Change, founded in 2013 — has made a $10-million commitment to bring clean and safe water to women and children in Burundi, by supporting the building of 80 new wells in country.




HE ICONIC TANK is most likely the first timepiece to spring to mind when we think of Cartier watches, yet it is the Santos that is getting all the attention this year — and deservingly so. This watch, created in 1904, was the product of a collaboration between two visionaries and friends — Louis Cartier and aviation pioneer Alberto SantosDumont — and the very first men’s wristwatch. It was both elegant and practical: the inventive square shape with rounded angles of this pilot’s watch; its familiar eight screws on the bezel; its “functional hardware”; and very legible Cartier Roman numerals on the dial, all reflect the lifestyle and individual style of Santos-Dumont and the age of engineering. Santos-Dumont designed and flew many flying machines, and his unique dress style and tools developed as a result of these passions. He favoured function over fashion, which reflected the aesthetic of his generation, with comfort an essential component of the new, modern lifestyle. The new Santos de Cartier celebrates this era, but also reflects the innovative, dynamic spirit of our age. Its square shape remains unchanged, text GA R Y COT T ER EL L but the bezel has been updated to complement the newly engineered bracelet. Just as the leather strap defined the first wristwatch, the new Santos features two new innovations to suit our contemporary lifestyles. The QuickSwitch system allows for easy interchange between a choice of metal bracelets and numerous, colourful hide options. The SmartLink self-fitting technology also means that link-length adjustments to the bracelet can be effected without a tool. The collection is available in stainless steel, stainless steel and yellow gold, pink gold, and yellow gold. It comes in two sizes: medium (35.1mm x 41.9mm) and large (39.8mm x 47.5mm). All pieces are powered by the 1847 MC automatic calibre, which is also impressively on show in the large skeletonised versions. The new in-house movement features anti-magnetic components and has a power reserve of 42 hours. The elegant, all-steel version with its polished bezel on a brushed case and bracelet, is on trend, with practical sportswatch appeal. Dashes of blue add flair to the collection through the crown-set gems and the blued-steel, sword-shaped hands, and both steel or 18K rose-gold cases would also sit nicely on a blue-leather strap. The Santos is perfect for high-flyers, and it’s also good to know that its water resistant to 100m, should you have to take the plunge. From $6 250 for the stainless steel (medium) watch — for an extra $600 I’d opt for a large — to $63 500 for the skeletonised option in pink gold. Cartier boutique, Sandton: 011 666 280;

A LANGE & SÖHNE LANDS ON OUR SHORES German watch brand A Lange & Söhne is now available at The Vault in Melrose Arch, Johannesburg. The exclusive brand, which established its place in the watchmaking industry with its handcrafted pocket watches, now crafts only a few thousand wristwatches in gold or platinum every year. The new luxurious shop space is the perfect go-to for the discerning watch collector looking for refined, precisely hand-assembled timepieces.



OUSE of ZS jewellery, inspired by fine art and the ancient practice of decorating one’s body with art, transforms motifs of amulets and talismans from ancient history into statement jewellery pieces for the present. House of ZS jewellery is handcrafted from sterling silver, gold, crystals, and natural stones, including amethyst, citrine, and quartz, and provides a powerful combination of captivating colour and intricate detail.



OW YOU CAN BUY one-of-a-kind Geraldine Fenn pieces and have them delivered straight to your door. Fenn’s jewellery is a unique mix of precious materials, such as silver and diamonds, combined with less-traditional materials, including plastics, all made using traditional goldsmithing techniques. Fenn also offers a bespoke service to bring your personal jewellery desires to life.





More than 25 years since its original release, Michele Herbelin’s Newport Chonograph has a new look and feel, with a black, PVD-coated, stainless-steel casing and black, rubberised, leather strap. The sporty yet sleek timepiece, with 42.5mm dial featuring sapphire crystal, is water resistant up to 100m and is sure to have you ready for your next adventure in no time.

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w w w . s t e p h a n w e l z a n d c o . c o . z a


2 9 M AY 2 0 1 8 | J O H A N N E S B U R G Killar n ey Country Club, 6 0 5t h Stre e t, Ho ug hto n E state

Viewing 23 - 28 May | 9am – 4pm | excluding Sunday Saturday 26 May | 9am – 12pm Viewing of Gemstones & Fancy Coloured DIamonds Knox Safe Deposit Boxes, 1 River Street, Houghton Estate By Appointment Only

Viewing of Meteorites & Mineral Specimens Killarney Country Club, 60 5th Street, Houghton Estate

For an appoinment to view please call 011 880 3125

A Rhodochrosite Specimen | $ 5 000 - $ 7 000

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2018/04/23 3:29 PM



IRENE KYRIACOU For the interior designer, accessories are the key to creating a balanced look

Jacket, Maje

Burgundy top and trousers, Cos

Accessories, Katy Valentine

t ext PAU L A ANDRO PO U LO S p h o t o g ra p h y AART-V E RRI PS / L AM PO ST

Heels, Giuseppe Zanotti


RENE KYRIACOU is the owner of Oniroco, one of the interior-design brands that collaborated in the creation of David Higgs’ Marble Restaurant, on Johannesburg’s Keyes Art Mile. Kyriacou is polished, warm, and endearingly animated; one immediately gets the impression that the designer is a seasoned multitasker. For her, the magic of creating spaces such as Marble lies in curating the details, and this approach translates into her personal style, which Kyriacou describes as eclectic. “I like to mix classic and contemporary styles,” she says. “I always find a happy balance between the two. For me, accessories are key to everything, and I think it goes with what I do: always adding a little layer. A great belt, earrings, rings — I love rings: I have a weakness for beautiful dress rings. But then, I tend to love black, shades of grey, and tan, and that came through with Marble.” Kyriacou’s emphasis on supporting the best local artisans and designers, while envisioning her role in terms of a story-telling process, lends the spaces she puts together a marvellous combination of finesse and originality — Marble exudes a very modern, cosmopolitan aura of effortless hauteur. Now, having completed Marble’s butchery component, Kyriacou is participating in the assembly of a new Higgs enterprise, Saint, which is set to open in August.

KYRIACOU RECOMMENDS HOW DOES YOUR WARDROBE REFLECT YOUR DESIGN APPROACH? It’s mixing old and new: that juxtaposition of styles. You can find something simple, like a plain T-shirt and jeans, and, just with the right accessories, you can make it either more organic or more sophisticated. THE FIRST ITEM OF CLOTHING YOU WERE EXCITED TO OWN? I must have been about 13 or 14 years old, and in those days, Scott’s was one of the stores I used to go to for trendy things in South Africa. It was a pair of red-and-white court shoes, and I fell in love with them. They had a kitten heel, and I wore them with a polka-dot skirt. DO YOU HAVE A SIGNATURE FRAGRANCE? I have two. One is from Chloé, and then there’s a beautiful one I get from France: a Byredo fragrance called Old Rose. THE LAST ITEM OF CLOTHING YOU WERE REALLY EXCITED TO BUY? I bought a mint-green blazer quite recently. For the upcoming summer all the sorbet colours are so trendy.

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WHICH BOOKS OR SERIES DO YOU FIND INSPIRING AT THE MOMENT? On Netflix I’m watching Chef’s Table, and also Ugly Delicious, both food-inspired shows. I’ve recently finished an amazing book called The Bronze Horseman by Paullina Simons. It’s a love story set during the Second World War in Russia. YOUR FAVOURITE CITY? My favourite city in the world is Paris. I love looking up, and when I see the top of those buildings, and the architecture — there’s something about that place. It’s magic. WHICH LOCAL DESIGNERS EXCITE YOU? Interior-wise, we are really spoilt for choice. Laurie (Wiid) van Heerden from Wits is doing incredible things, and David Krynauw’s doing amazing things with furniture. With fashion, I’m quite a big fan of Gert Johan Coetzee. I love what he does and how he styles: it’s quite an international feel on a local platform. David Tlale also does amazing things, and they’re so different!



Berlin Diary

Clockwise from top left: The Kiss, a detail from the Berlin Wall; Jewish Museum; Memorial to the Murdered Jews of Europe; being a tourist at Checkpoint Charlie; the Reichstag building; Andreas Murkudis entrance; and the Haus des Lehrers building

The creative consultant finds a feast of public culture in the German Capital


T’S HARD TO IMAGINE BERLIN — West Berlin — as an island hemmed in by the Wall until 1989. Walls are futile and this one ridiculous, keeping Westerners in, and, if anything, inspiring an even more “debauched”, creative society than the one that Soviet propaganda purported it to be. Perhaps it’s because of this history, the characters past and present who inhabit the space, and the clever city planners who masterminded the unified Berlin that it is one of the most exciting and functional cosmopolitain metropolises I’ve visited, besides Tokyo. There is good reason for Tokyo’s continued rating as the world’s most livable city (based on Monocle’s quality of life survey). Berlin tied with Munich in third place last year, which is proof that the German authorities are doing something right. Berlin is not a conversationally beautiful city, but as one of the most multi-cultural in Europe — more than half of its residents aren’t native Berliners — it is Berlin’s engaged citizens who add


character to its neighborhoods and abundant public spaces. The city is flat and the distances between central neighbourhoods are quite manageable. On my recent visit, under the guidance of Berlin-based artist Olaf Hajek, I happily explored on foot. Many of the main attractions were a few steps or comfortable walk away from my accommodation at the luxurious Hotel Adlon Kempinski overlooking the Brandenburg Gates. On the doorstep is the forested Tiergarten — one of the biggest city parks in the world — and the contemplative sculptural maze of the Memorial to the Murdered Jews of Europe. With museums, public and private art galleries, and theatres on just about every city block, you don’t have to venture far for culture in this city. Wherever you look, new buildings and renovation projects bear the signatures of famous architects from around the world. There is David Chipperfield’s Neues Museum on Museum Island, the Norman Foster-designed glass dome atop the Neo-Renaissance Reichstag Building,

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and the imposing Axes of the iconic Jewish Museum extension by Daniel Libeskind to name a few. Berlin was also one of the main centres of the Bauhaus movement, so it’s a real treat for archiphiles. Berliners young and old make full use of their cultural institutions. Free lunchtime concerts at the Berlin Philharmonic are packed out by parents and toddlers, and the main season’s programme is sold out weeks in advance. The private contemporary König Galerie — based in St Agnes, between Mitte and Kreuzberg — is a monumental former church built in the 1960s in the Brutalist style. Here you’ll also find the office and small concept store of cult fashion and art magazine 032c. On Potsdamer Straße, pop in at the wonderful milliner Fiona Bennett, and for local and international fashion the beautifully curated Andreas Murkudis concept store in a former newspaper printworks. Lovers of denim will go crazy for 14oz on Neue Schönhauser Straße in the Mitte, established by Karl-Heinz Müller, the founder of street fashion fair Bread & Butter. Here you’ll find everything from established and niche brands in everyday cuts to limited-edition Japanese finelinen deconstructed styles. If you’ve a fetish for footwear, high-heel it to the Trippen flagship store. At the end of the day, tuck into a giant Berlinstyle Wiener schnitzel and a Berliner Kindl Weisse at Borchardt, a 150-year old institution frequented by the chancellor. For a more creative-industry vibe, head to Cecconi’s at SoHo House, where you’ll also find The Store, with an impressive edit of fashion, furniture, music, art and books. Paravent by Olaf Hajek opens at Guild on 25 April. Shop 5B, Silo 5, V&A Waterfront, Cape Town; Cotterell was a guest of the Rolex Mentor & Protégé arts initiative (see interview with Londiwe Khoza, page 20).



A dirty mirror has never looked so good: this aesthetically commanding piece of functional art features a sculpturesque, jacaranda-wood base and a gradated gold- and ultra-violet-purple glass finish

photography JU DD VA N RENSBU RG product ion NOKU BO NGA THU SI

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Pu r p l e R a i n Di r ty Mi r r o r, R10 000, Sta y Ev i l K i d s






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GREW UP THINKING: ‘I’m so aware of my body because I’m a dancer.’ But until the mirror is taken away… you don’t actually know what it feels like to dance, because you’re always relying on the reflections, checking your posture,” says Londiwe Khoza, reflecting on the transformation and complete about-turn in her approach to dance over the past year, under the mentorship of acclaimed Israeli dancer-choreographer Ohad Naharin. The 23-year-old Capetonian is a classically trained dancer, and one of a growing community of exceptional artists of different generations, cultures, and disciplines from around the world selected to participate in the prestigious Rolex Mentor and Protégé Arts Initiative. Naharin is artistic director of the Batsheva Dance Company in Tel Aviv, Khoza’s new home, and where she immersed herself in the dance-genre Gaga, learning its vocabulary unaided by those inhibiting dance-studio mirrors. Without conversation, healthy debate, and the exchange of knowledge and ideas, culture would surely die. What’s more, the arts are a necessary sounding board, contributing to a heathy and engaged society. “Facilitating an enriching dialogue between artists of different generations, cultures, and disciplines is at the heart of the Arts Initiative,” says Rebecca Irvin, head of philanthropy at Rolex. “It is this passing on of art from master to young artist that formed the basis of the earliest mentoring relationships in the Renaissance, and which continues to ensure that great art is transmitted over centuries.” Since 2002, 50 accomplished masters in the field of dance, theatre, film, visual arts, music, literature, and architecture have worked one-on-one with 50 gifted protégés. From South Africa, the list has included William Kentridge (mentor 2012-2013), Nicholas Hlobo, who was mentored by Anish Kapoor (20102011) and Baxter Theatre director Lara Foot who was

mentored by the late great Peter Hall (2004-2005). I met Khoza in Berlin recently during an inspiring long weekend of performances, exhibitions, and talks, which marked the end of the 2016-2017 cycle, and included luminaries such as composer Philip Glass, architect David Chipperfield, author Mia Couto, film director Alfonso Cuarón, multimedia artist Joan Jonas, and playwright/actor Robert Lepage. Strong debate over the future of arts education, a multimedia performance by Japanese-Peruvian composer and intermedia artist Pauchi Sasaki, and Khoza’s moving dance piece left an indelible impression on me. “The only way to learn is through continuous dialogue,” Khoza says. She exudes a quiet confidence, and, despite the potential distractions of the day, is 100% present in our conversation. “It’s crazy to think how disconnected I was from my body. I feel far more secure in myself now. It’s a far more present experience,” she says of her transformation. “I feel a lot more grounded and calm from inside out, not outside in. “Gaga is a movement language based on improvisation,” Khoza says. “I don’t want to use the word ‘principles’, but it’s a lot about being sensitive to gravity and the flow of energy and your senses, rather than about creating positions. “Ohad developed Gaga many years ago as part of his rehabilitation after an injury that left him paralysed for a while. It has elements of Feldenkrais, which is about creating awareness through movement, but involves ongoing research, and is always evolving, based on lots of improvisation and tapping into different sensations,” she says. “Ohad gave me space to figure things out, which is what I really appreciated, as it gave me time to kind of debrief and figure out what I’m doing and feeling.” This debriefing, however, was not about undoing Khoza’s years of ballet training — first through the Cape Academy of Performing Arts, followed by the neoclassical Cape Dance Company and Joburg Ballet. “I can still use the


“IT’S CRAZY TO THINK HOW DISCONNECTED I WAS FROM MY BODY. I FEEL FAR MORE SECURE IN MYSELF NOW. IT’S A FAR MORE PRESENT EXPERIENCE. I FEEL A LOT MORE GROUNDED AND CALM FROM INSIDE OUT, NOT OUTSIDE IN” [ballet] technique that I have, but for him it was also that I had come from somewhere so different and so correct and rigid. In selecting me as his protégée, the challenge for him was how he could possibly unlock a few things and see what happens in our interaction,” she says. Dance is one of the most physically demanding and expressive art forms, but, as Khoza points out: “Everyone is talented, yet without the passion to move, or ability to use your skill set — and without imagination — you are just another talented dancer.” Khoza has an ongoing conversation with her body and her infectious smile regularly appears as if it’s an outward expression of new discovery. Filled with passion and armed with her new vocabulary, she’s able to express herself on stage with incredibly emotive power. Johannesburg-based choreographer and executive director of Vuyani Dance Theatre, Gregory Maqoma, explains that this unique opportunity is made possible through the full year of funding from Rolex, which allows artists to truly immerse themselves in their work. Maqoma was the regional nominator for this cycle, and responsible for presenting Khoza to Naharin as a potential candidate. “The nominators are led by the requirements of the mentors, who give clear guidelines on the calibre of protégés they’d like. Londiwe fitted what Ohad was looking for. Young, but with experience in classical dance, yet also routed in contemporary dance experience. He also recognised her passion, hunger, and curiosity,” Maqoma says. At age five, Khoza saw a production of Swan Lake and immediately knew she wanted to be a ballerina. By the time she was 18, she realised that to pursue a career as a professional dancer she’d have to leave South Africa. As prepared as she might have seemed, she had no idea of “the awakening” that lay ahead. But thing is for sure: she was curious and ready to embrace a new journey. “I didn’t want to be a corporate dancer,” she says. “Dance is about constant research and discovery. Researching your limits to see how far you can go; discovering things about yourself. If you are passionate and curious, you can go for as long as your body allows you to.”


The South African ballerina has become more in tune with her body due to her Rolex mentorship under Israeli dancer-choreographer Ohad Naharin tex t GA RY COTTERELL photography RO LEX/TI NA RU I SI NGER


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M O N E Y,



The Norval Foundation, located on the lower slopes of the Steenberg mountains in the Constantia wine valley, opened in April

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The age of the private art museum is here and Cape Town’s Norval Foundation could just be the new South African benchmark



(Zeitz Mocaa), which focuses on 21st century art, opened in a repurposed grain silo at the V&A Waterfront. The cathedral-like cavity carved into the vertical concrete tubes of the century-old building is what Instagram hearts were made for. But this dockside venue wasn’t the only private museum to open during Cape Town’s waterless spring. On the Saturday afternoon before Zeitz Mocaa’s eyewateringly expensive gala dinner, A4 Arts Foundation, an artist-centric exhibition venue and laboratory in the CBD, held an informal launch. Hosted by Swiss fair conglomerate Art Basel, attendees at A4’s luncheon included artist William Kentridge, financier Paul Harris, and producer Mfundi Vundla, the latter both avid collectors. The reason for the VIP turnout is uncomplicated: A4 is an initiative of collector Wendy Fisher, the Potchefstroom-born daughter of billionaire businessman Nathan Kirsh. Fisher, who lives in London and New York, heads the board of trustees at the Solomon R Guggenheim Foundation, among other accomplishments. Power does not operate in a vacuum. A4, whose name is an acronym for “academy, access, archive, and apparatus”, has faced strong pushback from the Boycott, Divestment, Sanctions (BDS) movement, an



HE APRIL GARDEN PARTY celebrating the launch of Norval Foundation, a tony art museum on the lower slopes of the Steenberg mountains in the Constantia wine valley, bookends an astonishing period of emergence for Cape Town as an art destination. And I really do mean astonishing. The past two years have witnessed a raft of new private art museums opening in this water-scarce outpost for opposition politics and fancy dining. It began modestly in February 2017 with the opening of collector Tammi Glick’s Maitland Institute, a free-form exhibition space located in a former meat-processing warehouse. The institute is resolutely non-commercial, and its gritty urban address along Cape Town’s workingclass Voortrekker Road highlights a major theme in the global museum boom: urban renovation. Glick is a director at Daleglen Property Group, an eight decade-old company led by her father, Cedric Glick. Then in September, the Thomas Heatherwickdesigned Zeitz Museum of Contemporary Art Africa


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anti-Israel lobby group, due to Kirsch’s stake in Magal Security Systems, whose perimeter-intrusion systems were used on the West Bank barrier. “There are optics and contexts that are unavoidable,” said A4’s director, Josh Ginsberg. “The people who support us are a fantastic family.” Zeitz Mocaa has similarly been in the crosshairs, for instance, standing accused of a cosy relationship with privately owned Scheryn Art Collection, a promotional vehicle for contemporary art, whose directors include investor Herman Steyn and entrepreneur Dabing Chen. The arrival of mall developer and collector Louis Norval’s eponymous art foundation marks an important moment of consolidation as the growing trend towards private museums spreads north. Trend, you ask? Still to come is the Javett Art Centre at the University of Pretoria, and there’s also talk of collector Gordon Schachat opening a Johannesburg space for his pioneering collection of contemporary art. In this increasingly crowded landscape, the Norval Foundation looks set to be a benchmark, at least as a piece of infrastructure. Its programme, which focuses

From left: Museum of African Contemporary Art Al Maaden; Othman Lazraq

“ THE BIGGER CHALLENGE WAS MAKING THE PROJECT SUSTAINABLE. IN THE DEVELOPED WORLD YOU HAVE A LOT OF STATE MONEY AND PHILANTHROPY HELPING, BUT IN PLACES LIKE SOUTH AFRICA YOU HAVE TO FIND A MODEL THAT WORKS” on researching and exhibiting 20th- and 21st-century art from South Africa and beyond, will — like all these new museums — have to prove itself over time. The foundation is located opposite the US Embassy, on a site between Steenberg Road and a wetland; its centrepiece is a DHK-designed rectangular building with off-shutter concrete walls and glass atrium overlooking a 4ha sculpture garden. The building’s public-access areas are spread across four floors, two sunken below ground, and host nine galleries and a restaurant named for artist Cecil Skotnes and supervised by chef Phil de Villiers of 54 on Bath acclaim. The new foundation is lavishly specced. Its galleries are voluminous and have a minimum 4m ceiling height. Still looking up, the ceilings incorporate sounddampening technology and high-end Erco lighting from Germany. The roof is decked with solar panels, generating 35% of the museum’s power. There is also an enormous climate-controlled storage facility buried underground, with waterproofed double walls, drains, and gas suppression in case of smoke or fire. “The one thing I can tell you unequivocally: I decided not to compromise on one thing,” Norval says. “We made the optimum decisions to build a worldclass institution.” My interview took place during a rare site inspection by Norval, who is domiciled in Mauritius and spends only three months of every year in South Africa. He also has homes in London and in Portugal’s Algarve region. Norval is a former amateur golfing champion and quantity surveyor by training. This self-styled “handson” guy, says he handled the nitty-gritty of the build remotely. “This has been a breeze compared to what we have done,” he says, referring to his former life as one of this country’s most successful mall developers. His projects include Woodlands Boulevard in

Pretoria, Clearwater Mall in Johannesburg, and Garden Route Mall in George. The simple longitudinal form of the foundation is the outcome of exploratory visits by Norval to more than a 100 art institutions around the globe. “I looked at everything, all the extremes, from Yoshio Taniguchi’s simple and timeless model, to Frank Gehry on the other end,” Norval says. Taniguchi is best known for his sober modernist redesign of New York’s Museum of Modern Art in 1997, while Gehry’s expressionist approach to museums is evident in Bilbao, Paris, and Los Angeles. “We opted for something closer to the Taniguchi model, if I can call it that. The building is beautiful and timeless, but it is ultimately not about the building and the architect, but rather the art,” Norval says. The self-effacing quality of the building is, in some senses, an expression of the man who commissioned it. “I dislike flashiness,” says Norval, who netted R1-billion in cash and R1-billion in shares when listed company Hyprop paid R9-billion in 2011 for Attfund, the privately owned property fund he cofounded in 2002. “My whole style is one of not being in the limelight. It is not a strategic thing, just how I prefer it.” For a time the foundation was going to be called the Steenberg Gallery. Norval’s interest in art doesn’t have a definitive origin story. Two events galvanised his passions as a collector. Sometime in the 1990s, he doesn’t remember exactly when, Norval paid R675 000 for what he considers his “first proper work,” a portrait of a lady with a yellow headscarf by Maggie Laubser. Over the next decade he ramped up his collecting. He bought more Laubsers and also started his “long game” pursuit of Anton van Wouw’s small bronze figures — they number 43 different figures, of which Norval currently owns 30.

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In 2007, Norval attended the Kirstenbosch auction of 46 works belonging to Jack and Helene Kahn, a demure Sea Point couple without heirs who had quietly amassed a collection of modernist paintings by the likes of Laubser, Wolf Kibel, and Irma Stern. Stern’s 1936 portrait of a doe-eyed Indian woman holding two proteas sold for R6.6-million. The auction’s proceeds all went to charity. The Kahn sale had a profound impact on Norval, who has made it his mission to buy and preserve important collections. He paid Bruce Campbell Smith tens of millions of rand (no one is saying exactly how much) for his collection of works by chiefly black artists practising between the 1920s and 2005. Norval also purchased Barbara Jeppe and Leigh Voigt’s 279 botanical illustrations depicting the amaryllidaceae of southern Africa and John Meyer’s Lost in the Dust series of 15 narrative paintings of the Anglo-Boer War. Of course, he bends his own rules when it comes to his favourite artist, Alexis Preller. Norval’s passion for this metaphysical painter has seen Preller’s stock rise exponentially at auction. But this biographical detail is irrelevant to the foundation bearing Norval’s name. His personal Homestead Collection is legally distinct and separate from the foundation, although it will sleep in the museum’s basement. There is also no mandate that it has to be exhibited. Of course, there is an alignment between Norval’s interests and the foundation. As well as a worldly group show exploring the intersection of contemporary art and craft curated by former Zeitz Mocaa staffer Owen Martin, Norval Foundation is also hosting three solo exhibitions devoted to mid-century sculptors Sydney Kumalo, Ezrom Legae, and Edoardo Villa. Norval acquired Villa’s studio and household contents following his death in 2011. It was how he met artist and historian Karel Nel, who is now an advisor and adjunct curator at the foundation. Norval said his decision to establish the foundation in Cape Town was a no-brainer. Like Glick, Fisher,

and David Green, the unheralded CEO of the V&A Waterfront who initiated the idea of an art museum, Norval recognises that Cape Town gets the tourists. Leisure is also deeply coded into the city’s DNA. “The bigger challenge was making the project sustainable,” says Norval. “In the developed world you have a lot of state money and philanthropy helping, but in places like South Africa you have to find a model that works.” Norval did not want to walk the path of collectors such as Cape Town investor Piet Viljoen and Moroccan property magnate Alami Lazraq. Both created museums principally to showcase their holdings, most recently Lazraq, whose Museum of African Contemporary Art Al Maaden opened at his plush Al Maaden Golf Resort in Marrakech in 2016. Norval esteems the Louis Vuitton Foundation in Paris, not for its Gehry-designed galleon with 3 600 glass panels, but because of chief patron Bernard Arnault’s strict business approach. Two formal agreements underpin the creation of Norval’s private foundation. The first is a long-term lease of the building on a “peppercorn rental” (a nominal rental sum); the lease is registered against the title of the property. Another contract records the donation of startup capital to get the ball rolling. A board of trustees, the majority of them non-family members, supervises the foundation’s affairs. Four subcommittees direct its operations: their focus is on art, education, finance, and fundraising and marketing. The hard graft of making the foundation work as a cultural business rests on the foundation’s director, Elana Brundyn, formerly of Zeitz Mocaa and before that a successful art dealer. Her chief priority is to raise R300-million for the foundation’s endowment, while Nel and Martin will supervise the two major exhibitions and four smaller focus exhibitions annually. “I’m not going to run this,” says Norval, who considers much of his work done. “I leave the day after the opening. I’m not here to tell them how to run it. It is not about me.” Clockwise from top: Yoko Ono, Mend Piece, 1966-2015, You & I installation view at A4 Arts Foundation; a Nicholas Hlobo installation at the Maitland Institute; installation view of More for Less, with (left) Ernest Mancoba, Untitled, 1980, and (right) Kyle Morland, Nude, 2016 at A4 Arts Foundation; Penny Siopis Wallpaper; Zanele Moholi wallpaper, both at the Maitland Institute


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IF CHAIRS COULD TALK: When the art of African storytelling is paired with pre-loved furniture, a new form of meaningful design emerges


p hotography X X X XX XXXXXX



When the art of African storytelling is paired with pre-loved furniture, a new form of meaningful design emerges M AY 2 0 1 8




IGERIAN-BRITISH ARTIST AND DESIGNER Yinka Ilori is among a new generation of influential creatives and designers who are conscious of the profound messages they embed in their designs through using ancient stories, materials, and processes. Ilori repurposes vintage furniture into statement pieces, proving that one person’s waste is another’s coveted luxury. The resulting interiors fluidly join ancient narratives, with contemporary edges, bold colours, and humour elevating their appeal. Ilori draws on his Nigerian cultural heritage and his British upbringing as he playfully explores and celebrates the cultures, unfolding a deeply personal story. His design tales take us into a world of imagination inspired by ancient Nigerian proverbs. Ilori’s design process starts with choosing a proverb that speaks to him, with the aim of breaking down inhibiting cultural barriers. African proverbs offer wisdom and narratives about life, love, and death integrated into everyday communications. They are designed to teach morals, tell stories, illustrate life lessons, pass on enlightenment and inspirational messages, and their meaningful essence is handed down from generation to generation. Ilori was surrounded by such deep wisdom in his childhood home, and the narratives of Nigerian proverbs resonated with him, giving him a unique perspective on life. Today they serve as one of the fundamental pillars of his work. “No matter how long the neck of the giraffe is, it still can’t see the future” is his favourite proverb.


design “It’s saying we can’t predict what’s in store for anyone, so don’t judge them,” he says. Ilori’s first Parable Chair collection, 2013, brougt the oral Nigerian tradition into the realm of contemporary design; it was an ode to Yoruba parables that bear deep personal meaning for him. The ancient wisdoms underlining the collection are reinterpreted and embedded into the deconstructed vintage chairs. The works playfully remind us that: “A lamp is not valued in the afternoon.” // meaning: {there is always a right time} “If the eyes are not blind, the legs won’t miss the way.” // meaning: {vision is critical. you can’t get what you can’t see} Ilori touches on further reminders of his Nigerian heritage by pairing the profound narratives with Dutch wax-print textiles. His mother wore the bold, patterned wax prints on special occasions, and they were a firm presence during his London upbringing. Ilori was aware that the textiles served as a bridge between his two cultures, and he adorned the seats of his chairs with them, underlining the wisdom he seeks to playfully pass on to us. “Vintage furnitures are powerful objects that hold personal stories, secrets, emotions, and sentiments,” Ilori says. Preloved chairs especially hold a deep meaning for Ilori. In his culture, it is a gesture of respect and invitation to offer one’s personal chair to another. The idea that while sitting in our chairs we share our feelings and thoughts, our love and our stories, inspired Ilori to explore his childhood friendships.


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Clockwise from top left: Yinka Ilori; Estate Playground, installation for CitizenM Hotel, Shoreditch, during London Design Festival 2017; opposite page: Installation for opening of the new Africa Arts Centre, London, 2017

If Chairs Could Talk, his 2015 Solo Show at concept store Bluebird, London, told the stories of his different friendships, reflecting the characters of his boyhood friends in London. Ilori’s collections put stories and aesthetic over function, with humorous details embellishing his creations. Ilori holds the belief that chairs are part of our life story, and carefully selects each chair he works with from charity shops and pre-loved furniture stores. Ilori consolidates his fascination for nostalgia in every layer of his designs, due to his decision to embed new narratives onto chairs, which bring their own previous history. Furthermore, his decision to transform discarded furniture and objects into luxuries is inspired by his passion for repurposing the unnecessary waste we generate in consumer cultures. Ilori’s considered application of materials and narrative elevate every pre-loved piece into desirable luxuries that convey new purpose and meaning. As Ilori progresses to establish his practice, his projects are expanding in cultural symbolism, boldness, and colour. By bringing alive complex cultural narratives, Ilori is making new waves through designing spaces and installations that emphasise his love for colour. Ilori’s recent works, driven by a deep need to create

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Chairs from Do Good Because Of Tomorrow installation, Milton Keynes Art Centre, 2016

joy and inclusivity in our public spaces, appear to be underpinned by the ethos of placemaking — a form of urban planning that aims to transform public spaces with the intention of promoting inclusivity, people’s health, happiness, and well-being. Ilori applies the bold colours surrounding him in his Nigerian communities, and, thus, unapologetically draws attention to the designs and environments he creates. His recent project, Estate Playground, is an indulgence of memories of his childhood playground in London. The colourful space, installed among brutalist London architecture, was designed to prompt dialogue, build human connection, and provoke joy among the locals. Next on the horizon, Ilori will soon unveil his latest commission in Sweden. The design of the new dialogue and library space at the Ethnographic Museum of World Cultures in Stockholm, Sweden, is his most complex work to date, and brings together his passion for design, storytelling, colour, and cultural inclusivity. Ilori’s designs effortlessly lead the way into a future, where luxury purposefully and consciously marries imagination, heritage, care for our environment, and the creation of communities — a covetable kind of beauty.; Insta: @yinka_ilori




URBA N -S U BU R B A N FRON TIER T HOSE PEOPLE who take the short cut between Hyde Park and Illovo will have noticed the large wall at the top end of 1st Road Hyde Park. It has recently been painted black, with the words “Belong Here” splashed across it in red. It’s adjacent to a certain elaborate house, infamous for its arsenal of statues; the two contrasting facades are a metaphor for the way in which the residential market is shifting. Behind the black wall, Hyde Park House

is a next-gen solution to lacklustre sectional title living. “Belong Here” is an apt tagline for property trailblazers Propertuity and Narrative’s joint venture. The phrase puts into words what they plan to achieve with this holistic residential development: a sense of belonging and a dose of the city in the suburbs. Sprawling mansions on many-acred stands are becoming unsustainable in a city with growing numbers, rising municipal costs, and security threats. Propertuity

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founder and CEO Jonathan Liebmann claims that this — with a sweeping hand gesturing an 8 864m² former family home — represents the future of such ostentatious homes, with low-density sprawl no longer being realistic. Propertuity masterminded Maboneng, and has earned a reputation for turning disused inner-city buildings into vibrant hubs for living, working, and leisure. Its foray into the suburban calm of Hyde Park is a giant leap, a coming of age that hints at the company’s future movements. “This is Propertuity’s first move outside of the Joburg and Durban CBDs, which have been our focus for the last 11 years. While Propertuity remains a brand focused on urban regeneration, we have the ability to surprise with unexpected, yet relevant developments like Hyde Park House,” says Richard Berold, the property’s sales manager. The group of 30-somethings at Propertuity, together with Jamie Levin of Narrative — a property development brand with a future-thinking approach — comprise a young team, and who better to rock the boat when it comes to sectional title-living in Johannesburg? What sets Hyde Park House apart from a multitude of homes-turned-developments across Johannesburg is design and the arts. Bringing the connectedness and buzz of the city into the calm and privacy of the suburbs is a union the developers call super-urban.

“As suburban areas like Hyde Park become denser, they will naturally take on the qualities of urban space. The super-urban is a necessary stepping stone in the movement towards full-blown urbanism, which is imminent for this area,” Liebmann says. Hyde Park House takes an approach that’s driven by community. It includes features such as a micro dog park, yoga studio, swimming pool, bicycle facilities, an urban farm, from which residents can pick fresh vegetables, and a sculpture park, which will be open to the public. All of these amenities are part of a desire to bring residents together, as well as unite them with their neighbourhood. Architect Enrico Daffonchio of Daffonchio & Associates is behind the design of the 49 apartments and 13 houses. “The aesthetics of the project aimed to question the ‘white box’, creating a warm, soulful and dynamic living environment,” Daffonchio explains. His scheme is textured and incorporates raw materials such as terrazzo-style tiles, cor-ten steel, breeze block, face brick, and dense planting, which are a foil for the high-end, contemporary finishes within each unit. The property’s expansive garden and immense trees were a major gain, as they forge a sense of character and authenticity lacking in new developments. In the same vein, part of the original 1930s heritage dwelling will be included in the new, artcentric club house, a move that nods to Propertuity’s reputation for honouring built heritage in the city. The club house is located at the centre of the property: it’s an ode to the past and forms the very heart of all residential amenities. Currently, in true Maboneng style, the dwelling is being used as an artists’ residency, with artists Sarah Grace and Jonathan Freemantle working there. Once complete, Hyde Park House will include an impressive sculpture garden curated by Hazard Gallery, with about 15 works by the likes of Edoardo Villa and MJ Turpin, as well as the artists in residency. In this way, engagement with art is made possible for every resident, as well as the public on occasions when the sculpture garden will be opened up. “This building digs deep to afford its owners a more holistic and considered experience, with elements like art, authentic design and a host of raw materials used throughout the private and public spaces,” Liebmann says. If depth and soul are what residential developments lack, then Hyde Park House is upping the ante, all the while bridging the urban-suburban divide. Judging by the commitment the project has already garnered, with 40% of the units sold by the end of March, it’s exactly the kind of change homeowners are seeking in the property market.



THRILLS EVERY TIME YOU WALK IN THE ROOM LOVE WHERE YOU LIVE What is love? The shot of excitement; that feeling of butterflies in your stomach; the sheer thrill of finding that exquisite new couch and discovering how everything else in the room just fits. Now that’s a feeling you want to have every day. Available from your nearest @homelivingspace.

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Embrace the rich history of fabric and textiles, with a local twist. From knits and weaves to prints and embroidery, we have this trend covered

produc t i on KA R IN O R ZO L

photography G R A EME W YL IE




From top to bottom: cream cotton throw, R580, Amatuli; black and white, textured, cotton throw, R1 700, Mungo; grey mohair blanket with tassels, R2 999, The Storer; black and brown, handwoven throw, R1 995, Weylandts; blue and white, textured, cotton throw, R1 745, Mungo; brown and cream rug, R480, Amatuli

STOCKISTS @home Amatuli Evolution Product Huckhl Mungo The Ninevites The South African Sheepskin Company TheSASheepskinCo The Storer 011 679 2962 Weylandts


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RAFT IS CURRENTLY A MAJOR INFLUENCE in décor, but it isn’t about a folksy take on interiors. Instead, what we are seeing is a blending of textiles and design that shows an appreciation of global culture. So said Carla Buzasi, the chief content officer at trend-forecasting company WGSN, when presenting the key trends in African design recently. As our living environment becomes increasingly hi-tech, mankind’s desire for comfort and indulgence has not changed. In fact, it’s probably increased. Trend forecasters say we’re going to be travelling less, cocooning more, and looking for solace and sensory experiences that take us away from a challenging world. Tactile experiences in the home are what our souls need, and the touch and weave of nature and natural materials are going to makes us far happier than the cold glass of our smartphones. Africa enjoys a fine tradition of printing and weaving. Now is the time to feel your way to that point where the worlds of craft, décor, and design meet.

Opposite page: Gavin Rajah scatter cushion, R1 199, @home; oversized, blue-cotton cushion cover, R830; inner, R470, both Mungo; cotton-printed cushion, R1 050, Weylandts; X-Ray-printed cushion cover on linen, R950, Evolution Product; cotton, frayed, cream cushion cover, R448, Amatuli

This page, top left: Faded, black, fringed, cotton towel, R488, Amatuli; bath-sheet, linen dhow, R800, Mungo; bath-sheet, linen dhow, R800, Mungo; bathtowel, cotton interlace linen, with charcoal-border trim, R770, Mungo

Top right: Linen and cotton black/ brown duvet cover, R1 995, Weylandts; embroided, hand-printed, large bedcover/ throw in 100% linen, R3 995, Evolution Project


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Bottom right: 100%-natural cotton basket, R1 210, Roopip at Mungo black and white sheepskins, R2 750 each, The South African Sheepskin Company; wool rug with patterned, handwoven mohair, R9 500, The Ninevites


Bottom left: Black and white Planet Smith silk scarf, R2 400; cashmere and wool blue The Return scarf, R2 250, both Huckhl by Elsa Young

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The future is here: we’re not quite at the level of the Jetsons, but we can command disembodied robot voices to fulfil our (almost) every whim t ext a n d i l l ust ra t io n s SY LV IA M C KEOWN


LEXA, SIRI, AND GOOGLE ASSISTANT aside — or, as I like to call them, the Charlie’s Angels of virtual personal assistants — thanks to the world of tech’s infatuation with The Internet of Things (IoT) pretty much every new gadget on the market is all about automation. It’s practically impossible to find any gizmo that doesn’t come with wireless connectivity, not to mention its very own app — and bonus points if it’s modular. And if that weren’t enough, you have the likes of Samsung integrating Bixby, its AI overlord, into all of its products, meaning you don’t just have a smartphone anymore, but a smart fridge as well — and they’re sharing your secrets. But why not have a fridge that tells you when you are out of milk and allows you to order from your local store straight from a touchscreen on its door? Why not have a robot that mows the lawn for you? (Thanks Robomow RS622!) You work hard for your money: your house may as well work hard for you. We decided to play house and let our tech Barbie playhouse fantasies run wild with some of the best gadgets your money can buy — and a few that it can’t buy just yet.

YOUR GARAGE You probably think your home’s future is in the palm of your hand — ie, your smartphone — but you may be surprised to find that soon you will be able to control your whole set-up from an entirely different place: your car. With the likes of Ford partnering with Amazon, you will soon be able to voice control your own homebody Alexa from your dashboard, and ask her to heat up the oven when you’re on your way home, or to press play on your favourite song as you drive into the garage that automatically opens for you.

Likewise, Mercedes-Benz is now working with Googleowned Nest, which recently programmed its offerings of cameras and thermostats to act as a hub, together with other connected home devices, such as Yale Smart Locks and Philips Hue Lights. Soon your car itself will be automated, if Elon Musk and Google have their way, so you may as well spend that time reading the manual on how to program your future perfect home life. Sure, yelling out things at your car has never looked as sexy as Will Smith makes it out to be in iRobot, but if you arrive home to everything being exactly the way you like it, it’s more than worth it. If you are too impatient to wait for that life to arrive, you could always try Automatic. This gadget plugs into your car’s data port, and not only monitors your car for you, but also works alongside If This, Then That, an app that streamlines all your IoT devices and apps in one place. So not only will it message your loved ones when you’re in an accident, but it will also work with your smart devices to have your house ready and waiting for you.

YOUR LOUNGE Now that you’ve arrived home, it’s time to relax. Everyone likes going to the movies, but who even has the time these days? And the age-old (man-cave) question of whether to splash out on a projector or a massive TV is always a sticky one. You know you want 4K, but there is something quite magical about going supersize when watching The Rock invariably destroy yet another city. So why not split it both ways and get Samsung’s The Wall, which, as the name suggests, can fill your whole wall. It’s made up of modular MicroLED panels, so you can have your TV your way and make it as large as you want — even going as big as staggering 146 inches without a hitch.



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B&O speaker




“IF YOU WANT ART ON THE WALL FOR ART’S SAKE (BUT WITH A TECH TWIST), THEN LOOK NO FURTHER THAN KLIO, WHICH IS A FRAMED 4K DIGITAL ART SCREEN THAT ALLOWS YOU TO PROGRAM AND DISPLAY ART DOWNLOADED FROM THE WEB” And, since you’re going to need some roaring sound with that, call in the best. Steinway & Sons is not only the world’s best piano maker, but it also, together with Lyngdorf Audio, makes the best sound systems. The brands will design a bespoke sound system just for you, using precision technology designed in-house. No two movies starring The Rock are alike (apparently), so why shouldn’t your sound system be the same? And forget Apple TV: bump up your experience and watch your Netflix through your Xbox One X. Shooting up some aliens with your kids in 4K on the most powerfulgaming console ever made, or streaming the latest episodes of Grace and Frankie, has never been this fun.

YOUR KITCHEN Mind your feet, Roomba is in the house and cleaning up your popcorn spills. Sure, the little self-automated vacuuming robot has been around for a while, but it never gets old as it rides around cleaning for you and bumps into the cat. And why stop at the floors when iRobot Mirra 530 does the same to clean your pool? No more cabana boys necessary — much to the chagrin of some people. But back to the kitchen we go. Sure, LG has had a fridge that can order milk for you since 2014, allowing the devices to nag you on HomeChat when you’re out of groceries — if your significant other bothers to throw out the empty carton in the first place. And, as already discussed, your fridge and Bixby will be chatting to each other real soon. But this is our fantasy tech house so we want more than that. Why not go with an Everblume, an automated box that allows you to grow your own produce indoors. Basically, it’s a hydroponic garden fridge that you can open up and pick your salad from while it’s still growing

in nutrient-rich water. Obviously, it also comes with an app that relays all the information the box collects as it adjusts the lighting, temperature, CO², and oxygen levels according to the plants’ needs. The concept is not unlike the Philips Biotower, which was designed in 2009 as a part of the Philips Food Probe investigating the way that people eat. The concepts included a cutting board that monitored your nutritional intake, and a self-contained farm in your kitchen that came complete with a tiny fish farm. It just goes to show that the future takes a while to materialise, but when it does you will never have to worry about the freshness of your sushi again. And when it comes to cooking your tiny farm produce, why not do it the most overwrought technical way possible with a WiFi-controlled sous vide immersion circulator? Sous vide is a variant of poaching, whereby the food is placed in a vacuum-sealed bag and placed in a vat of constantly moving, temperature-controlled water. Now you can control that water from anywhere, thanks to the Anova Culinary Precision Cooker. Or, if water isn’t your thing, there is always the Cider Grill, which does pretty much the same thing, but with a grill.

YOUR BEDROOM Now, thanks to IoT, you can Goldilocks your existence and get your room temperature just right. Opt for a Nest Learning Thermostat, which is smart enough to keep your home feeling just the way you like in the most energyefficient way possible. Or, if you like to keep it breezy, you can go for a Hisense 10 000 BTU portable air conditioner that connects to your WiFi and can be controlled by your phone. But the biggest bonus, apart from being portable, is that it’s quiet and easy to install.

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To set the mood, you could keep it simple with some Philips Hue Lights that let you control the intensity and preferred hue at the tap of an app. But, if you want something more dramatic and space-age, check out the Nanoleaf Aurora smart lighting system. It’s is made up of giant, triangular, modular panels, allowing you not only to illuminate, but also to create a statement — or several, if you adjust the colour flows, brightness, and speed. Next step: time to serenade. We suggest carrying on with that modular-shaped life and rigging up a B&O BeoSound Shape. The Danish, wall-mounted, wireless speaker system is similar to the Nanoleaf in terms of tech practicality meeting art, but also provides ridiculously good sound, as well as coming in 10 different colours. Thanks to the B&O app and the company’s wireless connectivity network capabilities, you can set up speakers throughout the house to play whatever music you like, or keep the Barry White confined to the bedroom. But if you do want to just have art on the wall for art’s sake (but with a tech twist), then look no further than Klio, which is a framed 4K digital art screen that allows you to program and display art downloaded from the web. Or you could just pick from the thousands of works uploaded by Klio’s community of paid artist and animators. Finally, move over Hästens, because if someone is going to be sleeping in a ’60s idea of sci-fi fantasy, then looks no further than the HiCan. This concept is nothing short of a metal, box-like igloo that comes with its own projector, sound system, Apple TV, gaming consol support, privacy blinds, automated adjustable head and foot rest, and, of course, a wake-up alarm. It monitors your sleeping habits, your weight, and your environment for humidity and air quality. Plus, it can come in gold with lime-green, leather trim. What more could you ask for?




The future definitely involves a smarter home, but there are good reasons to resist the current range of record-everything smart speakers t ext TOBY S HAP S HAK


HERE ARE ALL THE GADGETS?” a friend asked when he came to my house for the first time recently. Because I publish a technology magazine, he’d been expecting some fancy smart home of the future, where everything — from the lights to the refrigerator to the sound system — was wired up. He was especially disappointed that I don’t own an Amazon Echo speaker. My wife and I are very old fashioned. We get up and walk to the wall to turn the lights on. And off. When we want to search for something, we reach for these things we call smartphones and ask The Google. I very deliberately do not have any kind of smart speaker, because of some very real privacy concerns. To build up a database of your voice — which is added to the database of all voices — for its voice assistant Alexa, Amazon records everything you say. Yes, everything. Only when you say “Alexa” does the Echo speaker register that you’re giving it an instruction and act on it, but it still uploads everything you say. Google’s voice assistant, in its equivalent home speaker, does the same. When I tell this to most people, their default response is a dismissive “I’ve got nothing to hide” remark, coupled with one of those looks suggesting that I might be a little too paranoid. If anything, I don’t think we are paranoid enough. The recent Cambridge Analytica revelations about the surveillance economy run by Facebook should be a strong warning. That nothing-to-hide argument is a fallacy. Sure, you’re not plotting treason, but your privacy is a deeply personal thing, and you should guard it jealously. We’ll look back at this early period of social media and realise how easily we surrendered our privacy. It’s a sad sign of how social media has desensitised us to the value of our privacy that we no longer react with the appropriate scepticism and caution about such wanton invasions of it.

TO BY ’ S TO P F I V E S M A R T G A D G E T S 1. LG 55SJ800V smart TV I resisted getting a 4K television because the current DStv signal is only 720p, not the full 1080p that is defined as high-definition. The designation 4K means it’s four times that, which the TV does a good job of boosting. It’s clearly the future, and now that you can stream Netflix in 4K I upgraded. LG’s excellent 55-inch TV – which is the right size for our TV room – has a clever remote control (based on what was once the Palm Pilot operating system), and a dedicated button for Netflix. 2. Kindle Oasis I read vociferously and have been a keen user of the Kindle since it first appeared. I have the first version of the top-end Oasis (not the current waterproof model) and love it for the clever use of two buttons on just one side (you flip it for different hands) and the extra battery in the cover. The Paperwhite or Voyage are cheaper and just as good. 3. UE Boom Bluetooth speaker Even though we inherited a sophisticated built-in sound system that lets us play music throughout the house (using excellent roof speakers and wall-mounted mini amplifiers), we’ve recently started using a UE Boom 2 Bluetooth speaker. It means we can just fire up Spotify on our phones and play whatever we were listening to in the car. 4. Decent WiFi The most important thing in any home these days is decent WiFi coverage. To that end we have fibre (100Mbps, up and down) and an Ethernet network with WiFi repeaters throughout the house. I already had several of the Apple Airport Express devices, so I cabled those in. If I did it again, I’d try the Netgear Orbi range. 5. Pigeon bottle steriliser We have a 10-month-old son. The most-used technology in our house is the bottle steriliser and food warmer from Pigeon. It’s the hardestworking gadget right now.


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How much convenience is truly worth it to say “Alexa I want to hear The XX’s new album” or “Alexa, what is the weather going to be like today?” when you can take, oh, 10 seconds more to check an app on your phone? Alexa, and its Echo speakers, are designed to make it easier to make purchases for subscribers to Amazon Prime, which offers free two-day shopping and free access to its video and music offerings. Prime isn’t available in South Africa, meaning you’re paying the extra $100 a year for a modicum of convenience provided by a voice assistant that listens in on your every conversation. No thank you. I’m also deeply sceptical of this current generation of internet-connected devices, such as security cameras and fridges, because they lack decent security. A major distributed denial of service attack in 2016 that took down Dyn — a major provider of domain-name servers — was through such CCTV video cameras and digital video recorders. Some of these are too “dumb” to have security. Worse, they all have the same password, which was “password”. Who wants their poorly secured fridge to be part of a botnet targeting internet takedowns? There’s no doubt that smarter homes are the future, but to retrofit an existing house is lot more complex — and pricier. Apart from running Ethernet cables through our roof to key points around the house where a WiFi booster spreads the love from our 100Mbps fibre line (thanks Vumatel), our house is relatively old school. The major change from the time I hooked up my previous home, is that the main internet point is now under the TV, not in the study. That alone demonstrates how much has changed in 10 years. Ironically, a wired connection is required only for the TV itself, so that we can stream Netflix in 4K. We no longer even have a landline. The one clever thing our electrician did was rig our lights on a separate circuit to the plugs, so that we can see what we’re doing if the electricity trips. That’s the kind of smart home we like. Shapshak is editor-in-chief and publisher of Stuff




OU WILL BE FORGIVEN for thinking that motoring writers are all about power, power, more power, and, perhaps, cupholders. That’s just not true. Actually, it is partly true, but it is a stereotype that even Jeremy Clarkson will be forced to rethink, as electric cars become more prevalent. Whether we’re talking about a V8-powered muscle car, a long distance manager’s diesel, or an electric car, everything that keeps a vehicle moving is hidden beneath design, and it is present in every component — even those cupholders. The automotive industry has been preparing for the future for decades. Just think back to the dramatic

concept cars of the ’60s and ’70s that looked as if they belonged in science-fiction movies. Most were relegated to storerooms or private collections, but today the designers are actually having to design for a once-predicted future that is almost upon us. “The question is always one of how far you can go,” says Michael Mauer, chief designer at Porsche. “Everything that happens here is a wager with the future. The fashion industry is designing things today that will be shown in three months. But for us, at least two or three years will go by before the presentation, and the car will spend another five to 10 years — or much longer for a Porsche — on the roads. As designers we, therefore, have to throw our stone way out ahead. But if I throw it so far that no one will find it, I might

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have created a fantastic, ground-breaking product that people will need another 40 years to understand.” For Mauer, design might seem relatively easy, although a completely new model, such as the Mission E, presents new challenges. Most companies are having to find new design solutions in response to changes in engineering or legislation. The latter is crucial, because carmakers need to produce cars that protect those inside and outside the car in the event of a crash, and designers have to take this into account. “When one day cars are so connected that they detect and communicate with each other, and collisions become unlikely, that will give design a totally new freedom and lightness,” says Ivo van Hulten, director of interior design at Porsche. “That will liberate design


Talking about design: damn, what has happened at Aston Martin? First the new DB11 came along with a cleaner, meaner look and then this: the new Vantage. The famous British marque has taken a radical turn when it comes to design; so far, this is most evident in the latest Vantage. Wanted drove the new-generation model in Portugal. Where once the Vantage was a sports gran tourer, now it is an out and out sportscar, capable of both inspiring confidence and smashing it at the same time. The Mercedes-AMG-sourced V8 delivers 375kW and 685Nm to the rear wheels in a way that is less tourer and more Porsche 911-chaser; in fact, Aston even refers to the Vantage as a 911-hunter.


The BMW M5 has always been a bit of a wolf in sheep’s clothing. It has never worn a big wing or a fancy bodykit, but those that know have always been able to spot its subtle but unique looks. It is an executive machine: designed and engineered for those who want to be able to go about their daily journeys in comfort, but with the knowledge that there is vast power available should the mood take them. It’s the same with the latest generation, but now it also has another trick up its tailored sleeve — it’s a track weapon. Its new M xDrive all-wheel drive system, engineered to be able to hit the race track, provides superb grip to match its 441kW and 750Nm. If you have the skill, it can drift around corners, leaving you grinning like someone who has forgotten how much tyres actually cost. It is the new definition of an executive with attitude.


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The new Volkswagen Touareg has finally been revealed and it will be available in South Africa later this year. The big design news is inside, where the designers have paid special attention and the tech people have included a curved touchscreen infotainment system dubbed Innovision. The Touareg just got cool.

2 3 3. VOLVO XC60

touchscreens that run the width or length of the interior and that can even connect to virtual-reality glasses for holographic control or gaming on the move. The possibilities seem endless, but carmakers are cautious of going too far too quickly. “It’s not where we are going. It’s the signpost,” says Klaus Bischoff, design chief at Volkswagen. “We could have gone further. It’s not good to take a design to the moon and turn around and there’s nobody there.” Ironically, some of the designs coming out now are exactly what science fiction predicted we would be driving on the moon. We are not quite there yet, but with designers being given even more room to be creative, we can expect to see more diversity in design on our roads in the years and decades to come.

It still has GT appeal though, dispensing with some of the bumpy Portugese roads with ease, but even then it is more involved than previous generations. It comes into its own on the track though, where it demands your attention constantly in a way that has not been such a true characteristic since the famous Vantage of the late 1980s. The driving position is excellent, and the ergonomics superb, save perhaps for the rather fussy centre console. And if the most you are ever going to want to carry is a couple of weekend bags, then the luggage space is fine. The new Vantage is definitely a 911-hunter, but whether it is a 911-beater remains to be seen.


Automotive design is undergoing a transformation, thanks to changes in technology


1. BMW M5

as well. We won’t even need traffic lights. Cars will be able to shed their armour.” Recent fatal crashes involving a self-driving Tesla and Uber’s Volvo, show that we are still a long way from the day when cars can “shed their armour” completely, but technology is dramatically changing the way cars can be designed. Electric cars are an obvious example. Electric motors can be in the wheels, under the floor, or on the axles. Designers will no longer have to accommodate big engines, gearboxes, and fuel tanks, but just an electric motor and its batteries. Designers will be free to have more fun; to be more experimental. An example is the all-electric Jaguar I-Pace, which will go on sale in South Africa early in 2019. “The I-Pace’s electric powertrain offered us unprecedented design freedom,” says Ian Callum, Jaguar’s director of design. “Starting with a clean sheet enabled the dramatic cab-forward profile, unique proportions, and exceptional interior space — yet it is unmistakably a Jaguar. We wanted to design the world’s most desirable electric vehicle, and I’m confident we’ve met that challenge.” The focus is often on the exterior, but we can expect major changes in the interiors too. Volkswagen is preparing to launch its new ID electric vehicle brand with 20 battery-electric models by 2025. One of these is the ID Vizzion. With its electric motor and batteries beneath the floor, suddenly the designers can create a car that provides lounge-like space inside, and

Volvo keeps on racking up the awards and here we are reporting on yet another. Awards don’t get much bigger than this though because the latest generation XC60, due in South Africa in the middle of 2018, has been crowned the 2018 World Car of the Year. It’s no surprise though, with the XC60 offering technology, lots of interior space, practicality, and all that Swedish style that sets the brand apart from many of its rivals.



ORT! RORT! THERE was a clattering of barstools in the twittersphere as Jordan B Peterson, guru du jour, threw a punch at Pankaj Mishra, the lustrously barbate and erudite critic and essayist. Writing in the august New York Review of Books, Mishra had given Peterson’s book, 12 Rules For Life: An Antidote to Chaos, a right drubbing, noting that it is “packaged for people brought up on BuzzFeed listicles”, and accusing him of “harmlessly romancing the noble savage”. Peterson reared up like an adder, calling Mishra “an arrogant, racist son of a bitch”, and saying: “You sanctimonious prick. If you were in my room at the moment I’d slap you happily.” Not since Norman Mailer klapped Gore Vidal has there been such an entertaining literary spat. Twitchforks were hoisted and righteous torches ignited as (predominantly male) supporters and detractors weighed in. So here it is: Peterson is a professor of psychology at the University of Toronto, ploughing a furrow these past years of applying the wisdom and meaning of mythology to neuropsychology and morality of today. He shot to fame in 2016 when he refused to use gender-neutral pronouns at the university — which new Canadian legislation compelled him to do — and this got him labelled either a free-speech warrior or a transphobe. Peterson rails against snowflakes and political correctness and casts the far left as totalitarian and intolerant. He took to YouTube to explain his philosophy, where his lectures have racked up a staggering 45-million views and along the way he has collected half-a-million Twitter followers. So any new book by Peterson was going to gain a lot of attention.


professor is no public intellectual, but let’s not throw the lobster out with the seawater

“the stupid man’s smart person”, while closer to home Richard Poplak in the Johannesburg Review of Books called the book “a self-help book for assholes, basically”. 12 Rules for Life, he summed up, is: “paleo-intellectualism crossed with a Hallmark card.” From the stools at the back of the cyberpub here — where I’m having a quiet buchu-infused gin and wishing I weren’t, because it is foul and I should have just had a glass of chenin — I think it is all very amusing. Looks to me like a lot of lobsters out there, out-lobstering each other, stirring up the seabed, snatching at Peterson’s feelers, wagging their crusty tails at each other. Guys, let’s not throw the baby out with the bath water here, or should it be the lobster out with the seawater? I had an (admittedly quick) whip through the 12 Rules and rather liked what I saw: the chapter on not allowing your bratty, undisciplined children ruin a lunch party, for instance. Or how to tackle the admin you’ve been avoiding. Do good. Delay gratification. You know, that kind of thing. Alt-right? Fascist? I don’t think so.


The title, 12 Rules for Life: An Antidote for Chaos, is self-explanatory. Peterson sets out a dozen maxims, based on his studies and on many years practising as a clinical psychologist. Chapters have names such as Stand up straight with your shoulders back and Tell the truth — or at least don’t lie, and he pulls in wisdom from the Bible, Nietzsche, Freud, Jung, Dostoevsky and... lobsters. Peterson uses lobsters — which share many of the same neurological structures as humans — as an intriguing illustration of hierarchical societies. If lobsters lose fights on the seabed their serotonin drops, they get depressed, and they tumble down the hierarchical ladder. Simply said: humans must fight depression if they are to succeed, and Peterson goes on to suggest how this can be achieved. In other words, we must man up. The response has been frenzied. There are many people who love him, but a lot who don’t. The novelist Hari Kunzru wrote: “Reading Peterson is like being shouted at by a rugby coach in a sarong.” Maclean’s magazine called him

Peterson is not the “public intellectual” that everyone is claiming him to be. Michel Houellebecq and Bernard-Henri Levy are proper public intellectuals; so are Camille Paglia and Richard Dawkins. Peterson is just the latest in a very long line of popular psychologists/self-help, and spiritual pundits, from Desiderata to M Scott Peck’s The Road Less Travelled to Neale Donald Walsch to Eat Pray Love to Malcolm Gladwell’s famous Ten Thousand Hours. So pick up the barstools, sheathe the claws, read the book — or at least more than five lines into a review of it — and take from it what is useful to your life. Soon there will be another guru on the horizon peddling life advice. Imagine how many YouTube hits Kahlil Gibran would have had? After all, it was he who said: “Say not that I have found the truth but rather that I have found a truth.” PS. When Vidal went down on the floor as Mailer decked him he said, immortally: “Words, as always, fail Norman.”

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Get the chilly season off to a good start with this year’s American Express Winter Sculpture Fair


HOSE ART LOVERS who have regularly driven out of smoggy Joburg into the beautiful countryside around the Cradle of Humankind to attend the annual Winter Sculpture Fair will know how popular it has become. For one weekend in the middle of May, the sprawling grounds of the Nirox Sculpture Park are filled to capacity with art and food lovers. The Winter Sculpture Fair curates a selection of thought-provoking, contemporary works of sculpture by diverse local and international artists. The works blend in seamlessly with the landscaped wonder of the park, and there is truly nothing nicer than ambling along one of the many pathways with a glass of méthode cap classique in hand, taking in the views and the art. This instalment, now in its sixth year, will see more than 30 artisanal food and wine makers from the Franschhoek Valley tantalising your taste buds. Once you’ve filled up on good food and drink, engage your inner art aficionado and enjoy the sculptures by women artists from South Africa, the African diaspora, and other countries. Yoko Ono’s Wish Tree will be exhibited in Africa for the very first time, so don’t miss out. There is no better way to treat your mother on her special day this year, so be sure to purchase your tickets early to avoid disappointment. 12 to 13 May 2018; Visit to stand the chance to win one of 10 pairs of tickets for you and a partner (or your mom) to attend the 2018 American Express Winter Sculpture Fair.


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Above: Esther Mahlangu at work; below: Yoko Ono’s Wish Tree

navigator Dispatches on all things cool, covetable, and cultural








HY’D you do it Jamie? Wwhhyyyyy? Let me start by saying that I like Jamie Oliver. I think he stands for everything good about cooking and the sharing of food, and he seems like a nice enough guy. I love his cookbooks. The recipes work: they’re delicious, clever, and useful. But what does Jamie’s Italian in Melrose Arch have to do with his cooking? Not bloody much. I guess it was plain thick of us to imagine otherwise, but the Jamie brand has a level of integrity which allows one (oh, okay, the gullible) to believe that this might just be the one time a celebrity-endorsed product in the form of a huge franchise machine lives up to its name. First, some positives. The place looks good (great fonts abound on menus, the kitchen shines, and the loos are swanky). Second, the waiters are really great. And third: from the array of the starters we sampled, the polenta chips, mushroom fritti, and arancini were excellent (in fact, I haven’t had arancini that good in Italy). End of positives. It all went steeply downhill after that. The real horror was every one of the pasta dishes. What’s the point of the pasta being freshly made when it’s all drowning in sauce? We actually struggled to locate the pasta sheets within the lasagne, which appeared as a small raft in a vast sea of something-like-napoletana. Too-thick ravioli also gasped its dying breath under an ocean of acidic tomato sugo. Nearby, an intense, un-bolognaisy “bolognese” choked a pile of tagliatelle. Pictures on Trip Advisor indicate that the death by drowning method was not the result of a bad night, but is standard practice. Pizza suffers the opposite fate: biscuit-like crust with no stretch or yield, and dry, tasteless toppings. A side of coleslaw was totally devoid of taste. Weirdly, the burger was the only good main: something I’d actually go back for. My younger son was totally chuffed. Dessert was arbitrary, so I won’t go into details, but just know that it all felt a bit Spur-without-the-sparklers. We’d gone there for my daughter’s birthday supper. She’s a pathologically cheery child, so it felt crummy that her comment on leaving was, “Wow, what a let-down”. On the website promoting the chain, Jamie tells us that it’s a celebration of Italian. Sorry, but at this Jamie’s Italian, it’s more of an insult: both to Italian food and to the diners. Come on Mr Oliver. You don’t need the dosh, so why would you put your name to something that you have so little control over? I really don’t get it. We felt jolly sorry for ourselves after that dinner, but the person I feel most sorry for is Leanne, the guest-relations manager, who has to sign “Big Love“ on her replies to both good and bad online reviews for the loca franchise, to keep the big-hearted Jamie thing going. Cringe. Burgener is chef at The Leopard at 44 Stanley Avenue


T APPEARS THE TIME FOR CONSCIOUS consumption has finally arrived. It takes more than an overly hyped trend to make a much-needed impact on the sustainability of our resources; it takes a reputable industry thought leader to adopt it, less as a passing fad, but a well-intentioned food philosophy, and this is exactly what Bistro Sixteen82 is doing. In an effort to source only seafood that is ecologically responsible and socially fair, chef Kerry Kilpin of Bistro Sixteen82 has joined forces with the WWF-Southern African Sustainable Seafood Initiative (Sassi) and traditional fishermen and -women to pilot the Abalobi project. Abalobi is a non-profit, community-driven initiative aimed at supplying restaurants with sustainable and traceable premium quality seafood caught by small-scale local fishers. The Abalobi project, and its subsequent adoption by Bistro Sixteen82, provides fishing communities on the western and southern Cape coast with a chance to trade with restaurants, offering the fishermen better prices for their fish, and improving their livelihoods. Imagine being able to trace the catch of the day on your plate directly back to the local fishermen, discovering more about the species, and, more importantly, where, how and by whom it was fished. Using the Abalobi app, diners are able to scan a QR code at their table and get the full story of the fish on their plates as tagged and told by the fishermen and -women. On the day of my visit to the Steenberg-situated bistro, I had the curried baby calamari with baba ghanoush, avo pulp, soy syrup, and sesame seeds, which remains one of the bistro’s stalwarts, and always delivers on flavour. The sample of the seabream taco off my lunch guest’s plate was sublime, but the real gobsmacker was the sustainable fish of the day: a perfectly prepared fillet of yellowtail served on an Asian slaw. According to my QR code, the fish I was savouring had been caught that morning by David Nicolas Shoshola (a master fisherman of 30 years) in Lambert’s Bay. This vividly brings to life, and to my plate, the term “From Hook to Cook”.

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INTRODUCING THE GREAT WHITE 2017 The Grea t White 2017, jus t out of t he c el la rs of t he Grea t Sout h Af ric a n Wine Com p a ny, is a n exp res s ion of Stel lenb os c h m ounta in vineya rd s , s ourc ed f rom m a ture vineya rd s of 20 yea rs a nd old er. It ’s a b lend of s ém il lon, s a uvignon b la nc , a nd c henin b la nc , a nd its f la vours of l im e, p ea r, p a s s ion f ruit, a nd honey revea l a la yered p a la te t ha t w il l no d oub t c ont inue to d evelop f or a t lea s t a not her eight yea rs a f ter vinta ge. R160 p er b ot t le; a va ila b le f rom

t ext WAD E B ALES

The G l e nl ivet ’s ma ste r d i st il ler has cre a te d t he ul t imate w hi sky mystery . Thi s ye a r ’s l imited e d i t i on i s a laby rint h of f l a v ou r s t hat w i l l te st t he senses of e v e n t h e most d i sce r ni ng whisky d r i nke r. Th e whisky , i nsp i re d by t he i coni c Br i t ish code b re a ke r s, is encased i n a b l a ck bot t le w i t h no i nformat ion a b ou t ca sks used, nor ta st i ng notes: it ’s al l u p to you r palate to u nl ock i ts secrets.


S h ack l e t o n ’s B l e n de d M al t S co t ch , i ns p ired b y t he An t arct i c ex pl o re r an d h i s l o v e o f M ac kinla y’s Ra re Ol d H i g h l an d M al t W h i sky, i s e v e ry b it a s a d venturous as i t s n ame sake . W h yt e & M ackay’s m a s ter b lend er R i ch ard Pat e rso n wo rke d wi t h t h e M ac kinla y’s s a lva ge t e am t o pro fi l e S h ack l e t o n ’s fav o u ri te d ra m . The re su l t : a h an dpi cke d se l e ct i o n o f t h e b es t Highla nd mal t wh i sk i e s, marri e d o v e r a l o n g p eriod to c rea te a co n t e mpo rary an d e n i g mat i c bl e n ded m a l t t ha t is ri ch an d ro bu st , wi t h a wh i spe r o f smoke. A p ort ion o f pro ce e ds fro m sal e s wi l l be do n ated to t he An t arct i c H e ri t ag e Tru st t o pre se rv e Sha c kleton’s An t arct i ca base camp, as we l l as t o ot her p rojec ts t h at e mbo dy t h e ex pl o re r ’s pi o n e e ri ng b ra very an d i n spi rat i o n al l e ade rsh i p sk i l l s. R499 a b ot t le; t h esh a c k l et o n w h isky . c o m

t hegle nl i ve t . co m


Two gin newcomers, both hailing from Liverpool, have arrived on our shores.


Th i s f an t as t ica l ly sh a r p g i n i s bl en d e d w it h o rg an i c h an d p icke d bo t an i c al s a n d g ra in s pi r i t . I t ’s m a d e fro m t h e f i n es t i n g re d ie n t s f ro m t h e qu a y sid e , i n c l ud i n g j un ip e r b e r r ie s, c o r i an der, a n g e l ica ro o t s , an d cit r u s fr u it s, an d t h e res u l t is a n exc el l en t l y b a la n ce d y e t c o mpl ex g i n .


Th i s o ran g e-sce n t e d g i n i s bur s t in g w it h t h e d i s t i n c t i v e f la v o u r s o f o rg an i c bo t a n ica ls a n d z es t y , c i t r us n o t e s fro m t h e o rg an i c o ra n g e s bro ug h t o v er fro m Val en c i a i n S p a in . Fro m R3 5 0 p e r b o t t le ; av ai l abl e at se le ct e d o ut l et s c o un t r y w id e



Ea rly s a ilors w ere s o m es m eris ed b y t he m ighty a l b a tros s c a lm ly gl id ing over t he Ca p e of Storm ’s f ierc e ga les t ha t t hey na m ed it t he Ma l lem ok, m ea ning t he “m a d gul l ”. Ma l lem ok Vod ka , d is t il led f rom Ca p e c oa s ta l c henin b la nc gra p es , em b od ies t his s a m e s p irit of b old ind ep end enc e w it h its ea rt hy c ha ra c ter a nd notes of c a ra m el, p inea p p le, a nd p ea r. From R409 a b ot t le; mal lemokvod Early Bird Recipe I N GRE DI E N TS

25m l Ma l lem ok Chenin Bla nc Vod ka ; 5m l s trongly b rew ed c of f ee; 100m l tonic w a ter TO S E RV E

Pour a l l t he ingred ients over ic e. Give it a q uic k s t ir b ef ore you s ip t his l ip -s m a c king t ip p le Ga rnis h w it h a lem on tw is t/p eel. Sq ueeze t he oil f rom t he tw is t over t he d rink — it m a kes a l l t he d if f erenc e.

WADE BALES WINE & MALT WHISKY AFFAIR 2018 This has become one of the Cape’s not-to-be-missed events — and it’s happening on 17 and 18 May. This affair — which will be taking over the opulent African Pride 15 on Orange Hotel, promises to be as memorable as ever — delivering the ultimate indulgence for fine-wine enthusiasts and whisky connoisseurs alike. The event showcases a unique selection of sought after, limited-release wines and rare malt whiskies from around the world. Tickets are R290 per person and include all wine and whisky tastings, a complimentary glass, and a delectable selection of gourmet cheese, antipasti deli items, and artisanal breads. Book your tickets on


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he one indulgence you would never forgo? A cold beer in celebration of a day’s hard work; better yet, having one or two with good friends in support of local South African business. When I support my friend Lethu Shabangu, a craft-brewing alchemist, I feel part of the success. His Ukhamba Beerworx in Woodstock is a few blocks away from my studio. What are your essential grooming and treatment balms, lotions, and potions? Swazi Naturals raw shea butter products, again in support of a small local business that can be found at a local monthly market Inxwala Slow Market in association with Ukhamba Beerworx at The Palms in Woodstock, Cape Town. Which tech gadget couldn’t you live without? My iPhone 6 Plus. I like playing music while I am working or cooking, taking images, finding directions, and sharing my trips on social media. What is your most sentimental and important object? It would without a doubt be the loose typewriter keys, that I was given by Alexis, my wife of 10 years. What is your drink of choice? A craft beer called State Capture brewed at Ukhamba Beerworx. It’s a sly beer, with flavours of lightly roasted barley and youthfully matured yeast. I say it’s sly, because it reminds you of itself the morning after, and makes you appreciate that you had a good time. Where do you eat out? Ocean Jewels at the Woodstock Exchange. It has the best tuna, salmon, noodle, and soyhoney dishes. What is the single element of your wardrobe that signifies your sense of style? I spent some time in Swaziland (now eSwatini) a few years ago, and bought printed fabric at Manzini market. An amazing elderly man, a brilliant tailor, took my measurements and within an hour made the best pants I have ever worn. What was the last object that you instantly fell in love with? I recently spent time with a friend from Nigeria, Tunde Owolabi, who owns a brand called Ethnik, creating accessories and shoe collections made from hand- and loom-woven fabrics and clan graphic patterns by weavers in Nigeria. A watch brand you love? Swedish watch brand Daniel Wellington for its design aesthetic and consistent design sensibility. As most things Swedish, it expresses an expected excellence in craftsmanship. I don’t



The master ceramicist enjoys supporting local businesses, and replenishing his soul at home in the Eastern Cape




own a watch though The last place you travelled to that captured your heart? Santa Fe, New Mexico. The familiar feeling of home was so real and warmed my heart. It was spiritual, welcoming of culture, and there were lots of amazing traditional ceramics to explore. Architectural height and colour-palette limitations ensure that the landscape remains the least disturbed by human activity or presence, which, for me, says a lot about the respect people have there for the preservation of the spirit of the land and space they occupy. This informed parts of my latest collection Idladla showcased at the Southern Guild gallery in the Silo District, at the V&A Waterfront. What books can we find on your bedside table? Of Water and Spirit by Patrice Malidoma. I am reading Song of the Stars by Vusamazulu Credo Mutwa. Do you remember the last meal that really blew you away? A home-cooked meal at friends who run a small food business making traditional Xhosa cuisine, called Mnganam Foods. I had deboned beef trotters, which delivered a meltingin-your-mouth absolutely perfectly cooked satisfaction, with sides of lentil and umngqusho (corn and beans) salad and Ukhamba Utywala sorghum beer. Which musician really appeals to you at the moment? Ali Farka Touré: beautiful sound from Mali. The sound is similar to country blues, except it feels transcendent in a nomad, desert-travelling sort of way. What’s next on your list of must-have items? A drone for my birthday. I’d love to see and capture images from a different perspective and fly it to our neighbouring village in the Eastern Cape. What is the one item you’ll always find in your fridge? Blue cheese. The best gift you’ve been given recently? Ceramic works given to my wife and I in Gulgong, Mudgee District in Australia by locally based ceramists Peter Cameron and Tracy Dickason. A gift you’ve recently bought for someone? Water colour paints, paint brushes, and a sketchbook for my wife. She is amazing — I saw her painting using a feather that she picked up — so I knew this gift would bring her happiness. Which place inspires and rejuvenates you? Home: Ngobozana Village in the Amathole District in the Eastern Cape. My family and the landscape fill me with spirit soul food. What was the last item of clothing that you added to your wardrobe? A pair of black trousers by local South African brand Good Good Good: they are super comfortable and well made. Your favourite city? Santa Fe, New Mexico: it really feels like a place that could be a second home.




1. iPhone 6 Plus 2. Ethnik sneakers 3. Ali Touré, Farka 4. Drone 5. Ukhamba craft beer 6. Song of the Stars: the love of a Zulu Shaman by Vusamazulu Credo Mutwa.

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Tambour Horizon Your journey, connected.

Profile for SundayTimesZA

Wanted Magazine: May 2018  

Powerful design: DHK’s Norval Foundation, Enrico Daffonchio’s Hyde Park House, Yink Ilori’s Chairs, Elsa Young’s scarves, and more

Wanted Magazine: May 2018  

Powerful design: DHK’s Norval Foundation, Enrico Daffonchio’s Hyde Park House, Yink Ilori’s Chairs, Elsa Young’s scarves, and more