In South Africa, craft may be ancient, but design is young. With the launch in 2017 of the world-class Zeitz Museum of Contemporary Art Africa designed by British architect Thomas Heatherwick in Cape Town’s historic grain silo on the waterfront – which was the biggest public art space to open on the continent for more than a century – along with the beach city’s thriving design and gallery scene and annual art fair, South Africa is finally attracting global attention in terms of culture. South African design, in disciplines spanning from furniture to ceramics, is one of the most exciting sectors for new collectors.
The Woodstock Design District in particular, a suburb located between Table Mountain and the harbor, has become a key cultural hub. Once a farming hamlet that developed into a lively multicultural suburb in the 1800s, before turning into an industrial area in the early 1900s that led to a mix of Victorian row houses, semi-detached townhouses, factories and warehouses, Woodstock is a hotspot with the highest concentration of design stores and art galleries in the country. Over the past decade, the cheap rentals for unusual spaces, proximity to the city and high crime rate in Johannesburg have enticed creatives to move to Woodstock, and today it is filled with shops, showrooms, eateries, design studios and high-end contemporary art galleries like Stevenson, Blank Projects, SMAC and Goodman Gallery. The design landscape may be more widespread now, but Cape Town remains extremely vibrant.
Much interest has been focused on Southern Guild, the continent’s most renowned collectible design gallery founded in 2008 by Trevyn and Julian McGowan with its first permanent home in Woodstock, which has been instrumental in boosting world-class, locally-made limited-edition design and giving South African design a voice. Nurturing designers, it became the first African gallery to participate in Design Miami in 2011, organized the Guild Design Fair in Cape Town – the first international design fair in Africa – presenting international galleries in 2014 and 2015, and was the first to be featured at Christie’s London’s annual design auction in 2015. Through The Guild Group, the husband-and-wife duo have also established a sustainable creative and commercial infrastructure in South Africa, and its platforms cover practically all aspects needed to build a credible, flourishing design industry.
Dr Thomas Girst, Head of BMW Group Cultural Engagement, which is a partner of Southern Guild, says, “It is important as a global company with 30 locations alone for our plants worldwide that we engage the local culture. It’s not about exporting the Munich Philharmonic, with which we collaborate as well, on a tour worldwide. It’s more important as a global brand that intercultural aspects is not something we aspire to but something that is the basis of what it is that we do also in our core business. We want to be at the forefront of cultural development, as we are with our core product in terms of leadership when it comes to technology and digitalization.”