Luxury shopping at the V&A's Watershed and Zeitz Museum is not about price tags but rather authenticity and limited editions.
Retailers respond to aspirational consumers seeking international merchandise.
Tammy Violet Frazer explains how ordinary handmade products achieve luxury status.
Durban-born artist, Pastelheart, takes surreal art to the streets, with paintings of a Tumblr-inspired aesthetic of garish colours and fragmentation.
The award-winning duo have put together a thought-provoking exhibition highlighting society’s tendency to perceive Muslim men as one and the same.
The discourse about colour in art ignores the uncomfortable sociopolitical ramifications of race.
Graffiti artist, Nardstar, is making her mark on the street art scene, as well as in a medium that's often regarded as macho.
Perfumer Tammy Violet Frazer looks at how fragrances for men have changed over the years; from light, fresh citrus notes to sweet and smoky notes.
Zanele Muholi's portraits of post-apartheid sexuality join Mikhael Subotzky's book, Ponte City, in an eclectic, political selection.
Playwright and artist Brett Bailey shared this post on Facebook about this past weekend's protests against Exhibit B, currently showing in Paris.
Fundiswa Ntoyi’s photographs portray emotion so vividly and each image becomes a translation of a South African story.
Original works by ‘the greatest copperplate technician’, Rembrandt, are being shown on a scale not seen in South Africa before.
For many hoping to see their work placed in the public sphere, the easy route seems to be an approach of "play-play".
Albertus Swanepoel, who has designed hats for retailer Target, has now created a collection for major fashion retailer, Bench, in the Philippines.
Never obvious, photographer David Goldblatt’s landscapes are elegiac, silent – and monumental, writes Melvyn Minnaar.
Guerilla art group Tokolos Stencil Collective poses dirty challenges to audiences and the art gallery.
Doing Hair, an exhibition that aimed to explore the sociocultural representation of hair in Africa fails to address the right questions.
Wangechi Mutu’s depiction of the black female form explores current experiences and the way history and politics frame and shape that experience.
A new sculpture that neatly aligns commercial interests with art and our history has the twitterati frothing about apparent opportunism.