We are no longer watching streetwear integrate with the broader ‘fashion’ industry – it’s here, it has been here; arrived and ascended. Streetwear is fashion – everyday, and direct – and yet it has taken two decades for it to go from racks to runways in the way that we are witnessing it today. I don’t need to tell the story – from Nigo to Virgil – you know it, and if you don’t; it’s no longer a conversation that really needs to be justified. What has happened, is that fashion is democratising – relevant to a larger scope of people than just the usual, luxury sycophants (I say this with respect, as one myself) – and in doing so, dosing the dissemination of fashion with a revitalisation that we never knew we needed. Un a world on a fast-track to material excess (or past the point of no return) and the decay of the natural world – it was becoming increasingly difficult to justify fashion. The pomp and ceremony of productions, seasons; point of views that often, we have seen before. Yes, artistic expression – yes, sartorial consciousness – but for who? This question is answered when I watch a showcase like SA Menswear Week this past Saturday. Wonderland Studios, ominous in size and located in Cape Town, offered a stage upon which the final day of shows came to a curtain call.
The last series of labels showing at SAMW spoke across the board of streetwear, with some athleisure brought in most distinctly by Redbat. The brand, a division within Sportscene, are also host to Redbat Posse – a women-powered design initiative – this year, selected designers were given Redbat garments and instructed to develop upcycled garments through their stylistic lens. Notable moments include Anita Hlazo’s (Afrogrunge) punk-inspired denim waistbands intricately stitched together, and Robyn Agulhas’ (Sin Chui) eternal ode to Japanese silhouettes were seen with a patchwork oversized, structured jacket. Seeing upcycling on the runway is a beautiful anecdote for the future of fashion – minimising waste and encouraging creative dynamism.
Then, the INFLUHKS family came through – with a slot dedicated to four brands affiliated under the store’s guardianship. The affinity for connectivity was palpable – with the turn out of family, friends and associates brought an unmatched energy into the space. Rapper K.KEED gave a live performance as models wearing Lazy Stacks snaked the runway; the mood ran high, with the signal that streetwear and culture are intertwined; never separated. Football-esque sweat-sets came out in green and brown – the colourway for Lazy Stacks SS23 – with a moment of twinshop between K.KEED and a model both donning the bandana shirt and shorts set. King on Horses came next, with their arrow-angle logo emblazoned on hoodies and other essentials – and the iconic phrase ‘invaders must die’ came on with a nod to the world’s digital future, as a model bravely walked with a VR headset as an accessory.
Flux explored materiality – diversifying their collection across silks and plush faux-fur, and a notable puffed jacket. The shows, beautifully cast, carried the strength of attitude inherent to showcasing streetwear; the models honing in on the mood of assurance in oneself, essentially so. Lastly, Bigtynsonly closed with a case study on the importance of styling: with orange corduroy, utility sets, a reversible puffer vest moment – Bigtynsonly stayed true to their name with beautifully styled – Balenciaga-esque – head scarfs and shades. With Cultish rounding off the streetwear performances with signature essentials – a world of possibility remains open for young creatives aiming to build their vision, supported by the tutelage of SA Menswear Week & Cape Town Fashion Council.
Written By: Holly Bell Beaton
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