South African photojournalist Uviwe Mangweni has a way of getting so close to her subjects that you can almost see them breathe. Having grown up in Cape Town, she now lives in the creative centre of Johannesburg where her focus is on documenting the places and moments that most people miss. One early project took her to the ex-mining town of Durban Deep - a run-down locale largely overlooked by cosmopolitan Johannesburg - where she spent a week with its people who scratch out a living with the most basic of amenities. More recently, back in the city, she took her camera to the dozens of hair salons in the business district to capture the hum and buzz of these social hubs. Dazed caught up with Uviwe to find out more about her work, what makes something catch her eye and where she wants to take her camera in the future. 

What drew you to using a camera to tell a story? 
Mostly being bored with life in my university days and just wanting to get out there and create something. A youthful restlessness I suppose. 

Who in the world of photojournalism are you inspired by and why?
To be honest I never aspired to be like anyone, I just did what I did because I felt like it. But when I began understanding the significance of photography, especially in South Africa, I began looking up to the legends like Peter Magubane and Alf Khumalo.

You often shoot in black and white - what drives that?
That usually comes in the editing process. I don’t know, maybe I have a bit of an old soul that wants to recreate the same depth and feeling we see in historical images. But I do shoot in color a lot too. 

There's a very intimate, relaxed quality to your photographs. Is that something you look to achieve?
Yeah, I try to capture people in their most natural way of being. I want to be invisible to them.

What was the idea behind your black hair salon series?
Black hair salons are all over the city of Johannesburg. It feels like there is literally one on every block. One day when I was doing my hair as I frequently do, I just thought about how they are huge part of the socio-economic landscape but they’re hardly captured or recognized.

What is about them that fascinates you?
One can't ignore those colorful murals used to advertise the salons. It's interesting cause they all depict international celebrities and hip hop artists and, a lot of the time, a hairstyle will be named after these celebrities. Also fascinated by how so many salons will occupy the same area in the CBD [the central business district] and almost all of them will survive as a business.

What was your eye drawn to when you photographed them?
I was drawn to the characters in the space at the time and how they interact with one another. There's always a little bit of drama or comedy in cases where the hairstyle did not come out the way it was supposed to.

Could you give a little background to the ex-mining town you photographed?
Durban Deep is an ex-mining town off Main Reef Road, West of Johannesburg. People who reside there are mostly migrants from neighboring cities and countries. They get on with life with no electricity and communal water pumps. It felt ghostly, a stark reminder of SA’s brutal past and how far we still have to go as a country in terms of real redistribution.

How did the town's inhabitants feel about you photographing them?
Initially people were uncomfortable, one would walk past and some people would shut their doors at the sight of a lens. But I kept going back and the more I related to them and explained what my mission was, the more they opened up. Just basic human decency and respect gets you a long way.

Are there other sides of Johannesburg you would like to document?
Yes, I would like to capture more stories that project the vibrance and rich creative culture in this city.

Where else would you like to take your camera in the future? 
(Laughing) I wanna take it everywhere.  But I need to get out more, spend more time on the peripheries of the urban environment. 

Taken from the February Issue of Dazed & Confused:

“Doona is an angel. She creates art without artifice; often it feels like there is nothing between the lens and her pure, vulnerable emotion. She is also as lovely and kind as you might imagine her to be.” - Lana Wachowski

She might be an unfamiliar face to western audiences, but in Korea Doona Bae is a household name. Highly regarded for roles in Park Chan-wook’s Sympathy for Mr. Vengeance (2002) and the Japanese film Air Doll (2009), she is able to cherry-pick parts from some of the world’s most acclaimed directors. So her audition for the German $100-million adaptation of David Mitchell’s novel Cloud Atlas was her first audition in 13 years – but one she was happy to undertake. “I really wanted to work with the Wachowskis and I don’t like big main roles,” Bae says. “If my favourite director gives me a role that is very...” – she pauses to find the right word – “sparkly? A very brilliant character? I’ll do it.”

In her role as clone Sonmi-451 in the dystopian country of Nea So Copros, Bae delivers a poignant performance that required serious prep. She had to learn English from scratch and play three characters, all of different ages and ethnicities. “I was a little bit confused to be absolutely honest,” Bae says of the challenge. “I went to Berlin by myself because I wanted to become Sonmi. She is very miserable at the beginning and I was also really lonely, but Lana and Andy Wachowski were amazing. In the end we were like a family.”

After Cloud Atlas wrapped, Bae elected to travel straight to London to tackle her next project – mastering English. “When filming ended I could still hardly tell my friends and my directors how much I loved them, and how much I enjoyed making the film,” Bae explains. So she spent six months living with her dialogue coach in Primrose Hill, enjoying a spell of rare anonymity. “No one knew me, no one bothered me. It was refreshing.”

What challenge next awaits the multilingual, award-winning actress? Bae remains undecided. But it seems likely she will undertake it with characteristic dedication. “I really love learning and working long hours. I was even jealous of my Cloud Atlas stand-ins because I love being in front of the camera,” she says, earnestly. “In social situations, when I’m surrounded by people, I become very shy. But if there’s a camera in front of me, I feel free.”

Cloud Atlas is out on February 22

Photography Lauren Ward
Styling Sara Paulsen

Given David Bowie's 66th birthday present to himself and the world, 'Where Are We Now?', a bolt out of the darkness reflecting on his Berlin era, as well as the upcoming Bowie V&A exhibit, there has been a drought of the Thin White Duke on catwalk soundtracks this season. Bowie is, for Raf Simons, a hero – and has been since his youth. Simons' silhouette owes much to the musician, his models' candour and fair hair often reminiscent of one of the greatest recording artists of all time.

It's interesting then that Simons, for his finale music – which turned away from the thud-thud techno we all love, and the Belgians are obsessed with – to Bowie's 'Modern Love', from Let's Dance. The track is a world away from the wrought emotion (and coke-detached surface) of 'Station To Station' or the teutonic wail of 'Heroes'. It's a true crossover hit and one that snobs would undoubtedly scoff at.

That choice said everything about this Raf Simons collection. Here was the designer drawing out his loves and influences in a new way. The clothes were 70s from an angle Simons has never perched himself at before, with patterned wool tank tops, big collars and cuffs dishevelled on fitted shirts, fluid trousers, fuller-cut suit jackets with patch pockets, striped satin t-shirts with matching bags and an architectural take on the lavallire, unbowed. If the feeling before was all Sisters of Mercy, Smashing Pumpkins and Berghain bangers, this was more Grange Hill, corduroy, Ford Cortina. From the angsty youth to the wistful one. There's something about that that feels very right – and honest – for the moment.

It would be a bit odd if Simons's post as womenswear creative director at Christian Dior hadn't questioned his entire creative spectrum. Looking at this show, with its celebration of colour and open fashion ambition, it's clear the designer is in a good place personally right now. He wants to share it with all of us.