Figures of Fortitude (2018) by Thebe Magugu
View the lookbook on www.thebemagugu.com

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@thebe-magugu
Figures of Fortitude (2018) by Thebe Magugu
View the lookbook on www.thebemagugu.com
Figures of Fortitude (2018) // For the past two collections – Gender Studies SS18 and Home Economics AW18 – we explored the condition of the female force in South Africa. We are constantly surrounded by women, and on a personal level, the trait I have always found most admirable is their powerful ability to possess both Strength and Vulnerability; traits I feel blessed to have been exposed to with the matriarchal figures [ Tiego Magugu, Ma'Funo Magugu Nenungwi and the late Matiego Magugu] who raised me and traits which are monumental in anyone hoping contribute positively to the bigger human condition. For this lookbook, shot on sculpted scarecrows, the two collections come together to form a personal short story: an ode to women. In some of the images, you will see a raging fire taking place; a crop burning we found quite poetic. Some dresses are pretty, some are challenging. Some coats are functional, some are torn in half. I also wanted to create a dialogue about how beauty operates on a very subjective spectrum, which doesn’t have a wrong or right side. View the full collection on my website: www.thebemagugu.com Ph// Aart Verrips Creative Direction// Thebe Magugu
Thebe Magugu Spring Summer 2017 Lookbook - South Africa
Exclusively published on Vogue Italia
Inspired by South African Indigenous Children’s Games.
Shoot credits:
Models: Niler Bernard, Refiloe Seretlo, Mitchelle Daka, Retha Lethoko, Emy Ozori, Geraldine Mojaki,
Photographer: Aart Verrips
Stylist: Bee Diamondhead
Make-up: Annice Roux using MAC
Longline Striped Jumper + Split Seam Cargo by Thebe Magugu, shown at South African Fashion Week. The collection was strongly influenced by camping,
New Matron’s Dress by Thebe Magugu in Marie Claire Magazine
Our first dress for 2017:
The New Matron’s Dress by Thebe Magugu, worn by Gladys Brown, photographed by Aart Verrips
Controversy at fashion editor’s funeral
It was the late Lebo Devonch who stated in her will that a fashion editorial be shot at her funeral, to be used for the March issue of her high- fashion publication – but not everyone is happy. By Janet Barker
“I don’t want people to cry at my funeral”, is something Lebo Devonch (59) always said in passing, the now-deceased editor of South Africa’s premium fashion publication, A Fashion Publication. “I want it to be an affair, with thousands of my closest and most cherished industry contacts”. Not to be defied – even from beyond the grave – Ms.Devonch’s testament was fulfilled, thanks to an updated will. Ms. Devonch, who died of natural causes last week while visiting family in Nelspruit, was known for her eclectic and sometimes violent mannerisms. “Today she’d be my best-friend and tomorrow, I’d be barred from entering Sandton completely”, said long-time assistant, Dennis Fraser. “But with her, you always had to expect the unexpected – like this funeral”. Handled by Molebeledi PR in Hyde Park, the press release promises to “put to rest a phenomenal woman in a way the woman would’ve approved of”. Plans for the funeral were swift, executed shortly after the reading of her will. A source close to the family has provided us with excerpts from the will that outlines proceedings in the event of death: 1. “Don’t bother having a funeral if the venue isn’t in the North of Johannesburg” 2. “I am to be dressed in a black crepe asymmetric skirt (right to left) with a silk-chiffon pussy-bow blouse. I am certain that by the time I pass on, these proportions will debut on the runways that following season” 3. “All guests are to wear jet black – please refer to the appendix for Pantone Number. No other shade will be accepted” 4. “All the brims on hats must have a starting diameter of 43 cm” 5. “Most importantly, a fashion spread with clothes from Thebe Magugu spring, Rich Mnisi fall and Martelle Ludik resort must be shot at the funeral, to appear in the March Issue of A Fashion Publication” It is reported that this will be A Fashion Publication’s biggest selling issue. However, not all family members are happy with the shoot – Ms. Devonch’s first born Khumo to be exact – who, after a grief sabbatical from social media, stated on Twitter: “Even though it’s in her will, I don’t think its dignified to have a fashion shoot at my mother’s funeral – it’s glamourising tragedy. And shame on @TheLast-MinuteReview if they decide to run the story. It’s sad to see a semi-respectable paper reduced to this”. Retweets of agreement soon followed. The shoot, shot by legendary fashion photographer Markus Do, was headed by over six models and a cameo from Trevor Stuurman, who had to cut his trip to Hong Kong short. The shoot is only scheduled for publication in March but, due to the iCloud hacking of Markus Do’s computer, the pictures have surfaced and we, unbound temporarily by privacy laws, can reveal this exclusive picture.
Johannesburg Socialite has the Court on its Heels
The Last-Minute Review sends staff writer Angela Makoti to court to see what’s got the fashion industry crying “yasss”
Johannesburg socialite Dineo “Lulu-Belle” Motaung, whose now ex-husband Richard Dunuza has been arrested with charges of tax evasion and fraud, is now the key witness in the lawsuit, filed by Dunuza’s former business partner, Glen Vaughn. Their company, PRODCORP, was founded by the two in 2009 as the middle-man between sample garments from a manufacturer and the consumer. According to the website, the company approaches manufacturers and rebrands the ‘otherwise generic clothes’ and markets it in a way that taps in emotions, making the idea of wholesale shopping a sense of exclusivity. However, Vaugn saw discrepancies in the books, balances thrown off by small, but frequent withdrawals in debts that fell under miscellaneous. After a brief internal audit, the tracks lead to Mr. Dunuza, who was arrested in Blairgowrie while on lunch. But that doesn’t seem to be important. While fraud in South Africa is a serious offense, it seems like the media has shifted its attention to Mr. Dunuza’s wife, who has made the whole trial all the more fascinating to watch. A source close to Ms. Motaung can confirm that she commissioned designer Thebe Magugu to create eight looks for her to wear everyday to court, so she could focus on the trial instead of deciding what to wear each morning - which apparently made sense to her. Now, bloggers, fashion writers and a few editors make their way down to Johannesburg Magistrate’s Court every-morning to see what she will wear next – myself included, because what a woman wore to court today trumps #feesmustfall coverage. “We’re knocking off the wide shawl collars from yesterday’s look”, said Darren Blaine, buyer for local e-tailer LINDELU. He, like many others, stood outside the tall, mesh fences of Johannesburg Magistrates Court, impatiently waiting for the drama of a black town car to pull up. “Where did you get your skirt?”, he said, not interested. When I told him downtown, he dragged the last of his cigarette, dropped it to the pavement and ground his black leather shoes on it to leave the scene. It was the sort of cattiness that you read about in novels and I smiled down sadly. I heard the sudden amble of heels and cameras clicking and when I looked up, a sleek Mercedes Benz slowly slid down the road, its clean black reflecting the awe-struck faces of writers who took this all too seriously and bloggers who should be at school. “Tsepo, if you don’t get this shot like yesterday, I swear”, said someone in the ruckus of trying to get the first photo, “why are we here”, said another, who was quickly drained out by the hollering and general hooliganism of the paparazzi. The door opened and a black Chelsea boot planted onto the pavement. Up until the mid-calf, the leg was swathed in a white culotte with thin, black pinstripes. “Pinstripes for summer!”, said a lanky man to what looked like a terrified intern, who wrote down notes furiously. A hand, with perfectly healthy clear nails, held onto the top of the door and pulled itself up. A gasp from an overenthusiastic by-stander prompted a slew of flashes to ensue. I pushed aside a blogger to get a better look. Ms. Motaung, in her effortless insouciance, wore an oversized, navy-blue wide-collared parka. “I knew it , I knew”, said Darren, “It’s a thing”. The collar was paneled with a fur inset and its sleeves revealed themselves as a cape hybrid. A thin mustard foulard around her neck introduced an accent colour that beautifully framed her face and grounded the look. Before I could see any more details, two burly men covered Ms. Motaung and lead her through the crowd of crazed fashion people. From odd spaces in the throng, I could see Ms. Motaung dissatisfaction with this circus, her brow crinkling in the chicest way. Then, just like that, she was gone, the high energy fast declining into timid self-composure “I hope that inspired you”, said Darren , who smiled down at my skirt before hailing a cab. Even though it was his second jab, I admitted to myself : I was moved. For a woman to command an audience without saying a word is powerful and something I want for myself. I took everything I said about the frivolity of fashion and the documenting of Ms. Motaung’s every move. It’s sad that a woman has been subpoenaed to speak of her ex-husbands criminal activity but she should know that even if the jury serves her husband with life, she gave the fashion industry life first and served the face to match.
Refiloe Seertlo: Model Student
She splits her time between submitting a comprehensive think-piece on fashion history at school, endorsing the biggest brands and walking the runway for the most established designers – and that’s all in a morning. The Last-Minute Review photographs an intimate profile on Refiloe Seertlo, the model making everyone around her look incredibly lazy and shows that beauty and brains are not as foreign as many make it out to be ** “It is tough – school and modeling all happen in the day so my schedule looks like hieroglyphics”, she says, looking very striking in slim navy cigarette pants, a white knitted turtle-neck and a yellow parka whose proportions are as ambitious as she is, “but it helps that I know a fair share of people in the industry – designers, photographers and directors – so I can swing it sometimes. I’ve known Refiloe since our days at LISOF and there has always been a cat-like beauty to her, even in her energy – sometimes, I’d be compelled to look from a distance, but that was trumped as soon as I started talking to her. “I think its because of my need for professionalism in myself and others in a work environment – when Im on a job, I feel like I’m there to complete a task and complete it to my best ability and not nesisarily there to be best friends or make jokes and many might take that as me being standoffish” – something is she is most definitely not. She can tell you about the latest music from a band that started yesterday or why new government policies might not work as well as they promise – “I think its because of Twitter though”, she says. If there is one thing I know she is obsessed with is her Twitter – not that she updates or name-drops – “I follow the relevant authority figures within various fields like news, entertainment, fashion and politics “ but will admit to cracking the odd joke. When asked about the state of fashion – what with the many exits internationally and its state of flux here in South Africa is, her answer is curt: “It’s good”, she says, taking a large gulp of water from her bottle to allow for her puzzling response to land. “I can see how people can lament it but…a couple of years ago, many people were noting how the closing of music stores was such a tragedy because no one was buying them – but that wasn’t the case at all: buying music had just changed its format. I think that’s the most exciting thing, the idea of the new. I think that’s what’s happening to South African fashion right now. There is an emergence of new designers who are so keen on getting back to the principles of good design and innovation. For every negative there’s the potential of creativity to solve it and something really great is coming within fashion here, even if the road is difficult
The Last-Minute Review sits with legendary photographer Graeme Williams whose beautiful images of Johannesburg CBD have led to solo exhibitions in Paris and New York with contributions to The New York Times and National Geographic. We ask him about his inspirations and new book, “A City Refracted”.
Words by Thebe Magugu.
TM: Do you remember the first photo you ever took? GW: I was still at school when I got in trouble for 'wasting' a whole roll of film whilst photographing people I didn't know. TM: Do you have a running theme in your work or does it constantly transform to accommodate changing subjects? GW: My projects focus on my response to various aspects of South African life. TM: Your photo-book, A City Refracted, was shot in Johannesburg inner-city - has the general aesthetic changed from when you first started photographing the area in the nineties? GW: Yes, my first book on Johannesburg was called, The Inner City, and it was shot in B/W and it expressed a sense of isolation and uncertainty during the initial stages of integration following the first democratic elections in 1994. A city refracted is more lyrical and uses colour to enhance the mood. TM: Why did you decide on the loose photographic style you used for the series? GW: Some images are framed very loosely, some are out of focus or blurred by movement, and none of the images have captions. I wanted to break down the observer-subject relationship that is so strong felt in photography. I was trying to move away from the presentation of a statement or opinion and allow the viewer to experience how it feels to live within the inner city. TM: What peaks your interest when photographing a subject? GW: The unforeseen juxtaposition of contradictory elements. TM: Many people outside of fashion speak about its alleged frivolity – does it play a role in your work or is its presence in your photography not a factor? What is your take on fashion’s relationship with photography anyway? GW: Fashion per se, does not contribute strongly in my decision to take a photograph. However, like all forms of societal expression, it is the inherent meaning within any moment that attracts my attention. TM: Fashion often has its minimalists and its maximalists – if you were a fashion designer and based on your photographic style, which side would you fall under and why? GW: Minimalist definitely. TM: I’m sure there will be many more to come but what has been your career’s defining moment? GW: When I told my parents that I wasn't going to become a Geologist (after finishing my studies) and that I intended to become a photographer. TM: You’ve travelled and shown in many capitals – namely New York and Paris, which are two of fashion’s main capitals – how would you say the people are different there then they are here? GW: In New York, especially, a large percentage of the population is highly visually literate and they really engage with the work. TM: Is there a film that has had a significant impact on you? GW: 'In the mood for love' by director Kar-wai Wong. TM: Is there any advice you’d like to give to budding photographers? GW: Don't become a photographer unless you really, really want to.
The Film I made for The Last-Minute Review, starring Geraldine Mojaki.
Photography: Thebe Magugu
The Blue Robe Coat from my collection is in the July Issue of Marie Claire South Africa // Styled by Gabrielle Kannemeyer // Model: #nykhor
Karlie Kloss by Mario Testino for Vogue US July 2012
Jing Wen for Elle China March 2015
Rosemary’s Baby// “There are plots against people, aren’t there?”
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