fbpx

ASICS x CEC: City Living is a Sport – ft. Andile ‘Ace’ Dlamini

‘THE CREATIVE DIRECTOR WITH A STRICT HONOUR CODE.’

He built a brand from the ground up through defiance, collaboration, and centering community as its blueprint. Oh, and by breaking every rule established before him. This creative director is guided by his instinct to build something that changes the way we understand storytelling, design and culture. Nonconformity is the energy, integrity is the method. You can catch him in the departure lounge heading to DXB or rearranging his vintage archive. For him, style is comfort – not the other way around. 

Our latest editorial campaign in collaboration with ASICS SportStyle is a celebration of the pulsating energy that emanates throughout city living. It’s often unpredictable and requires resilience and a relentless drive to make the most of one’s time immersed in it. At the center of this narrative, we are highlighting a series of creatives over the next 5 weeks, who through their innate expression, contribute to the vitality of their cities as sites of creative and cultural evolution. 

First up — the creative director; the archetype that bridges vision and execution, transforming abstract ideas into tangible cultural moments. They are the tastemakers, the ones who set the tone and pace, ensuring the city’s rhythm stays fresh and forward-thinking.

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus,Talent: Andile ‘Ace’ Dlamini, Photographer: Keegan Foreman

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus,Talent: Andile ‘Ace’ Dlamini, Photographer: Keegan Foreman

Few embody this essence as emphatically as Andile ‘Ace’ Dlamini, founder of Broke – a fashion brand with many, many offshoots across music, experiences, community and design. Ace is the rule-breaking creative director who has built a brand on defiance and collaboration, and his story embodies the spirit of adapting to the demands of city living with creativity and integrity. For this visionary, nonconformity is a method for innovation— and as Ace aptly notes, “nonconformity has allowed me to express myself authentically and challenge the fashion industry by defying social norms,” and “it paves the way for future generations to express themselves without fear and follow their own will.” 

This approach aligns with Ace’s perspective on design— intrinsic to the Broke movement, grounded by a balance of courage and aesthetic sensibility that resonates with those navigating the complexities of city living: moving through it, figuring it out and making dreams actually, truly, happen.  

When asked about advice for emerging creatives, Ace emphasises the art of intentionality. “Be very intentional about your every move. Don’t just do things for the sake of doing them or to be perceived as a rule breaker.” This principle has guided him through years of building a brand from scratch and centering community as its central purpose—a journey marked by a clarity and commitment for learning and collaboration.

“I’m inspired by my friends,” Ace explains. “All my friends come from different walks of life, and although we’re in the same ecosystem, we experience life differently. Those experiences serve as my source of inspiration.” Collaboration, much like city living itself, is about bringing different elements together to create something greater than the sum of its parts. Broke, and Ace’s role as a creative director, captures this energy from the ether and roots it right down into the concrete of the city. 

Reflecting on the campaign tagline, Ace says, “City living is a sport indeed. I’ve lived in the township, which is a sport of its own, and now in Woodstock. City living can be challenging and demanding; it requires a unique combination of physical, mental, and strategic skills to navigate its hurdles.” City living demands adaptability, resilience, and resourcefulness. From navigating ever-changing landscapes to optimising daily routines, the city dweller embodies the spirit of an athlete—always poised to pivot and thrive in dynamic environments.

This ethos comes alive with Ace’s fit— a juxtaposition of ASICS’ SportStyle intermixed with a piece from their athletic collection. With many iconic silhouettes under the GEL series, ASICS SportStyle redefines casual wear, embracing both heritage-inspired and futuristic elements. Whether on the streets or in motion, ASICS SportStyle champions individuality and self-expression through fashion and performance.

 

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus,Talent: Andile ‘Ace’ Dlamini, Photographer: Keegan Foreman

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus, Talent: Andile ‘Ace’ Dlamini, Photographer: Keegan Foreman

Ace is wearing ASICS’ the GEL-QUANTUM™ KINETIC in Sand and Black, demonstrating the advanced aesthetics and experimental engineering that draw inspiration from iconic ASICS running franchises. Styled with a vintage suit and paired with ASICS Performance Running long sleeve top in the (divine) shade ‘Pink Rave’, this look encapsulates the dance between performance and style as two intrinsic needs for tastemakers in the 21st century. Designed for everyday running, the running long-sleeve is lightweight, quick-drying knit fabric enhances moisture management, ensuring all-day comfort whether you’re logging kms with your running club or grabbing a drink at Broke Klubhouse— remember, there are no rules.

For this creative director, the synthesis of culture, design, and storytelling is where the magic happens. Ace’s hunger to redefine these fields are palpable, as is his dedication to integrity. “Always allow yourself to learn. Asking for help has played a big role in building my brand. I understand that I don’t know everything, so I’m always open to learning from people of all ages,” Ace shares. 

In a world that is so demanding of innovation and resilience, City Living Is A Sport celebrates those who navigate the challenges and joys of the city with grace and grit. It’s a tribute to the everyday athletes who find creativity and strength in the rhythm of the city— and how our cultural lexicon, references and lives are so much more enriched for it. 

Ace’s look: Ace sports the GEL-QUANTUM™ KINETIC in Sand and Black, demonstrating an advanced aesthetic style that draws inspiration from iconic ASICS franchises. Paired with ASICS’ essential running long-sleeve in ‘Pink Rave,’ these pieces showcase the dynamism of ASICS across its varying offerings. Lightweight, breathable, and built to move with you.

 

Credits: 

Produced by CEC for ASICS SportStyle 

Creative Direction by Candice Erasmus

Talent: Andile ‘Ace’ Dlamini

Production assistant: Grace Crooks

Photographer: Keegan Foreman 

HMU: Xola Makoba 

Stylist: Holly Beaton

Art Direction and Campaign Design: Briony Blevin

Written by: Holly Beaton

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Follow CEC on Instagram

Speaking from the Heart with Lezanne Viviers

Categorising Lezanne Viviers is like trying to hear a whisper underwater – don’t waste your time. She’s a conceptual designer for whom classification is redundant and in fact, discouraged. In her world, the merger of art and fashion, sculpture, print-making and textile design is celebrated. Thus, her namesake label marries the duality of life, thrives on diversity and is in every essence aware of both the macro and micro. It’s an honor to dive into the mind of a creative person attuned to her inner intuition, a spiritual soul who is able to communicate this so effectively.

Her work is avant-garde yet references history, androgynous and genderless, and holds a promise to sustainable materials and practices. Her latest collection AW2025 (he)ART OFFICIAL prompted thought-provoking questions about the relationship between internal and external voices, which I had the privilege to ask in this Q&A. What was revealed in our conversation illuminated not the answers per se, but highlighted the importance of creating space for thought, time for rumination and deep curiosity.

Grace: Let’s start at the beginning, what led you to being an award-winning, artful-conceptual fashion designer?

Lezanne: My parents convinced me that it’s easier to have a career in fashion than it is to be a visual artist. After studying fashion in Stellenbosch, I moved to Johannesburg to experience a real South Africa, a city that is  more representative of South Africa than Cape Town.

Eight years later, after working as the Creative Director at Marianne Fassler, I started my own brand. It was a pivotal moment because I had to figure out and communicate my own aesthetic. It meant asking myself, which part of what I’ve done is me versus which parts were me in dialogue with the brand? I went through a self-discovery moment figuring out what I actually have to say. How do I view fashion? I wanted the brand to be an umbrella space where I could explore sculpture, fashion photography, print-making, painting – an opportunity to hybridize the disciplines and bring them all together.

Lezanne Viviers Portrait by Eva Losada
(He)ART Official AW2025 photography by Donovan Marais 

Grace: When I think about you and your work, the harmony yet abundance of it, the word ‘prolific’ comes to mind – you have a drive that is unmatched. Where would you say that forward-thinking momentum comes from?

Lezanne: Concept. How I start any new collection is writing and it’s always very personal. Asking questions like, how do I see the world? What do I think the world should be? Then, it’s putting together the teams. I’ve got a big team with 10 permanent people, including other designers; if you start with a strong concept, it’s quite easy to collaborate and communicate the bigger vision you would like to manifest. I think people often forget the importance of really spending time on that initial concept, the true meaning and intention behind a body of work, there you can easily collaborate with a variety of creatives and disciplines because every person will interpret that concept with a fresh eye and a personal, meaningful approach. The big question is always, ‘would I wear it?’

At the end, we all actually have the answers inside of ourselves. We tend to forget that and we don’t make enough time to be quiet and just allow your intuition to come through. You don’t need to sit for hours and look for inspiration. It comes at the most unexpected times. But we keep ourselves so distracted with our phones!

Grace: I’ve often felt that curiosity is one of the best qualities in a person, and you certainly have it in abundance. How would you encourage others to live a life with eyes open, not only observing but asking ‘why’?

Lezanne: How can you be alive and not ask questions? You’ll just be complacent. I think you’ll be dead.  I’m forever digging. I’m a bit of an investigator of life, I suppose. The more you learn, the less you know, the more questions arise. 

My collection concepts are always in line with my own spiritual journey, in terms of digging. What’s the truth? What have we been told about religion, societal conditionings and the 3D matrix of the holographic world we experience? Why are there certain rules and systems in place? Do I believe in them or not? 

You can’t actually teach someone not to stagnate. 

Grace: In light of your most recent collection (he)ART OFFICIAL, it references such a genuine attunement with one’s self and soul creativity. What has been a favorite or most noteworthy collection you’ve made to date?

Lezanne: If I look at each collection, I can almost literally see exactly where my head was and the emotions tied to my frame of mind. I won’t say there’s one that’s better or worse, but some of them are more fun, some of them I love because of the collaboration, others reflect challenges and some serve as answers or testaments to my questions. I’ve collaborated a lot with my soul sister, Marlene Steyn. We have a lot of fun together, we play like children; we are both mothers. Collaborations just add another unexpected ingredient to the pot.

Grace: What I would imagine is one of the most human or natural examples of creation is birth and motherhood, what is your relationship between creativity and motherhood?

Lezanne: Having a child encourages you to play completely in the present moment. You have to contribute to their imaginative games. You are painting, you are literally sitting in boxes that you made yourself. You have to be so honest. There’s no pretense when you’re playing with a child because they are so pure and in the moment, it’s not like you can sit and philosophise, the moment is instant. There’s a lot of spontaneity.

So, it’s fun to be a mom and I think it can be very creative if you allow it to be. Of course it’s also stressful at times. It’s the self-reflecting mirror that a child shines towards a parent… But it’s the creative play that actually reminds you of the small things in life and the constant questioning of the most mundane habits we have adopted as humans.

‘Disclosure’ photography by Aart Verrips
‘YGGDRASIL’ photography by Aart Verrips

Grace: Capturing your collections through photography as well as exhibitions and showroom spaces seems like an important way to archive. This also completes a life cycle of the work in that it is honored, displayed and presented. Your Joburg Glasshouse Showroom, your Mutual Heights Apartment space, your collections from Confections x Collections, global Fashion Weeks are all extremely intentional.. How does it feel to see your work out in the world, living a life of its own?

Lezanne: In the end when you do the show or the presentation, that is when the concept comes to life. The story that you wrote, the questions that you asked, is now alive. You don’t necessarily know what it would look like visually when you write the concept, but here it is, alive and breathing.

Grace: Recently I’ve been thinking a lot about how people are so addicted to instant gratification. It makes it challenging to try to figure out how we can create a culture and broader society where things are more intentional, slower and longer-lasting. However, when it comes to slowing down there’s also a question of the luxury of time and having the luxury to slow down. My question to you is, what does luxury represent to you?

Lezanne: Human touch. Human nature. It takes time to educate your audience through challenging dialogues, especially in the fast fashion industry that exists. It takes time to explain to someone that a well-made dress takes at least 3 to 4 full days of someone working on it in our studio, compared to a pair of Levi jeans made in a factory in under 15 minutes.

I ask myself, ‘why do people not buy clothing with the same intention as when they are buying artworks?’ It’s something that you bring into your space. To me, energy is very important. So there’s a reason why fast fashion is bought and given away or sold or thrown away because the energy in the garment probably does not align with your soul.

Our experience of life is splitting into two kinds of very distinct directions: people that are more conscious, people who are drawn to things with positive meanings, serving communities and others and people who are frenzy-focused, hype culture-focussed and part of the disposable culture that is mostly driven by service to the self. It’s just two different approaches, each individual chooses that for themselves. I don’t think you should try and change them because you can’t change anyone and their soul contract.

Grace: You can’t force someone to open their eyes. 

Lezanne: You can splash someone with cold water,  you can plant little seeds, but at the end of the day, who’s going to keep watering the seeds?

Grace: Tell us a bit about NURU and the showroom taking place over the Investec Cape Town Art Fair period this February. Could you share a little about what this year might hold for you, more broadly?

Lezanne: Looking forward, I think it’s a pivotal year; the year of the snake. I follow astrology very closely and 2025 is a big year of completions and beginnings, the most pivotal year to date; the year of change All those things that you have been struggling with or have been carrying internally, throw them in the garbage, heal your inner child and clean your closet to open space for the new, fresh wave of creativity and flow, but, this requires silencing the mind from the chaos around you.

We’ve been in business for 5 years now and it feels like there’s a new phase emerging. That phase is also part of why we started NURU: it means more nice people, more collaboration, more community-driven collectives, more intention and more mutual respect

It’s about not trying to convert people but finding people who have the same approach to life and making more time for them. A big theme for me for this year is remembering that at the end of the day, you choose your own reality, you determine what makes you happy. No one else can do that for you. Less stress, more play. Change your mind, change your reality. You are the creator of your own experience.

In a world so driven by satiation and a bombardment of distractions, especially from one’s true self, it feels increasingly rare to encounter a creative like Lezanne – one who believes in community, one who could convince you to hear a whisper underwater.

NURU showroom will be taking place at Lezanne’s penthouse of Mutual Heights Building for a curated viewing experience of a collection of local sustainable designers – by appointment over the Investec Cape Town Art Fair (18-24 February).

 

Follow Lezanne Viviers on Instagram here

Visit Viviers Studio Website here

Written by: Grace Crooks
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Follow CEC on Instagram

Goldkimono releases his new single and video for ‘Lifetime’

Dutch singer-songwriter Goldkimono (Martijn ‘Tienus’ Konijnenburg) has released ‘Lifetime’ and an accompanying video via his own Camp Kimono Records.

Following the trajectory with debut album ‘The Legend Of The Goldkimono’ in 2022, Martijn is making his mark on contemporary music. The new single is taken from his upcoming album, to be released later this year and co-produced by Martijn himself and Tim Bran (London Grammar, Birdy). It emerges from a moment of doom scrolling and self-reflecting, resulting in the simple realisation: “this ain’t your timeline, this is your lifetime”. Whilst being disguised as a sun-drenched pop tune with a carefree vibe, dig deeper and Goldkimono’s animated lyrics actually explore the discord between our digital existence and real-world connections.

Goldkimono shares, ‘Lifetime’ reflects on the chaos and disconnection in the modern world, from global tensions to personal struggles. The song touches on themes of spiritual awareness, unity, and the quest for inner peace in a world full of digital distractions.”

With the single comes a vibrant video created by visual director Cal Bain, where computer-generated imagery played a big part in bringing ‘Lifetime’s’ urgent message to life in a colourful way.

Cal says about the track, “You know those days when life feels like it’s running on cruise control, and then suddenly – bam! – you’re dodging curveballs left and right? I wanted to show that feeling through Goldkimono’s digital character and this virtual playground we created. I used CGI to create this mix of old-school and modern digital vibes, hoping to capture something familiar but fresh.”

 

Watch the video here 

Listen to ‘Lifetime’ here

 

Press Release courtesy of Goldkimono 

Money Badoo ft. Una Rams release ‘Heartbreak Hotel’

Money Badoo has just released Heartbreak Hotel’, leading up to the unveiling of her much-awaited album M$RYLUV$CMPNY, set to drop on March 7th, 2025.

“Heartbreak Hotel” offers a poignant glimpse into the emotional depth of Money Badoo’s upcoming album M$RYLUV$CMPNY, where themes of love, heartbreak, and self-discovery come to life. This ‘80s pop-inspired track, featuring Una Rams and produced by Select Play, touches on the theme of heartbreak and explores the emotional chaos of toxic relationships. With its moody synths and reflective lyrics, it highlights the cyclical nature of heartbreak, it paints a vivid picture of love’s darker side, setting the tone for an album that explores heartbreak, self-discovery, and empowerment.

Lines like: “To tell the truth / I’m just a fool / I keep falling for your lies,” capture the emotional conflict of a protagonist caught in a cycle of love and betrayal. The titular refrain – “Heartbreak Hotel” – symbolizes a place of emotional chaos, where the protagonist checks in repeatedly, unable to escape the destructive pull of unrequited love. 

Heartbreak Hotel marks a new sonic chapter for Money Badoo, who expertly blends nostalgia with fresh contemporary energy, pushing her musical boundaries while staying true to her storytelling roots. In addition to the release of “Heartbreak Hotel,” Money Badoo premiered the music video for her recent hit single “WAKE UP” on January 17th, 2025, exclusively on Trace TV. The explosive visuals release helped amplify the success of the track, which had already garnered significant traction on digital streaming platforms and playlists. Since its release, the video has accumulated over 30,000 streams on YouTube.

 

Listen to Heartbreak Hotel here

 

Press release courtesy of Paradise Sound System

 

youANDme and Black Soda release ‘Believe’

Berlin’s youANDme teams up once again with Namibian vocalist and poet Black Soda for ‘Believe’ – a dub-infused deep house tune. The original features a crisp groove work, underpinned by a pulsating bass and overlaid with warm synth textures and melodies that blend perfectly with Black Soda’s otherworldly vocal performance – all tailored into an arrangement that’s sure to satisfy dancers and home listeners alike. 

The originals are backed up by a stripped-down Dub that’s unmistakably made for the dancefloor, and the beatless Sea Of Strings mix for ambient listening pleasure. The package is rounded off with some brilliant remix work. Rising South African DJ and producer Jackson Brainwave stuck to the original vocal arrangement while masterfully transforming the tune into his signature Afro-House and 3-step style. Moodorama delivers the goods with a classic US-inspired dub house workout reminiscent of some great offerings from Ron Trent’s Future Vision imprint – but with a contemporary spin.

 

Listen to ‘Believe’ here

 

Press release courtesy of Compost Records 

Insights Into SA’s Retail Landscape with Industry Specialist Vuyo Mjoli

South Africa’s retail industry is difficult to pin down— in a globalised world, our burgeoning retail industry faces pressing international competition and internal erosion of our own manufacturing capacity, coupled with many other complex factors. This is a topic that we covered in South Africa’s manufacturing legacy for Interlude Chapter 26 in 2024, where I spoke to various CMT owners and alumni of South Africa’s local trade, writing that “in looking at any industrial mechanism, we are always in essence looking at a single thing: the historical struggle of labour. The question of human labour is political, economic and social – and as South Africa’s fashion industry continues to grapple with the influences of each of these stratas.” 

It is easy to fall into a state of disarray when we are situated in a context that is always shifting and never feels truly certain. So, when I came across Vuyo Mjoli, I knew that she was an industry expert that simply had to join Interlude. Vuyo is a seasoned retail specialist and former fashion buyer, with an instinct and insight that is wildly wise and poignant, which she shares with her TikTok audience—in a continual dialogue around her thoughts and findings with her followers. Vuyo’s work speaks to the power of content creation grounded in analysis, and her work serves as an incredible resource for anyone who wants to tap into the proverbial nuts and bolts of fashion and retail in South Africa. 

Vuyo’s career spans roles at major players like Edcon, Woolworths, and Polo South Africa, as well as her current position in the burgeoning e-commerce space, and her perspective and journey demonstrates firsthand how South Africa’s retail sector has transformed and where it’s heading; Vuyo has grown up in retail, and alongside its changing and reassembling expression.

Image courtesy of Vuyo Sisanda

Imagery by Charlota Blunarova, via Unsplash

“I studied fashion at LISOF back when it was still called LISOF, before it became STADIO,” Vuyo shares on her foray into the industry, “initially, my goal was to become a fashion designer, but as I progressed through the course, my interests began to shift.” LISOF (now STADIO) remains renowned for its comprehensive curriculum that covers the creative, technical, and business aspects of the fashion industry — and I have often pointed to the lack of fashion education in this country that expands beyond simply the designer pathway. As Vuyo notes, “people often think being in fashion only means becoming a designer, but there are so many other avenues—production, retail buying, fashion journalism, trend forecasting, and more. While I was deeply passionate about designing, I quickly realised I didn’t enjoy sewing at all! By the time I was in my final year and working part-time in retail as a sales assistant, I began to see the appeal of becoming a buyer, so I applied for Edcon’s Management Development Program (MDP) after graduation.”

Edcon, then a retail giant and a dominant force in South African fashion, became a pivotal chapter in Vuyo’s career. “Edcon, at the time, was an iconic retail powerhouse—arguably the largest clothing retailer in the Southern Hemisphere. Their buying program was incredible, offering exposure to both local and international suppliers,” she recalls. As a trainee buyer in the formalwear department, Vuyo gained invaluable insight into the intricate workings of the industry. “Back then, South Africa still had suiting suppliers and coat specialists manufacturing locally, which is rare today. It was sad to witness many of those factories close over time and the loss of significant job opportunities,” she says.

These experiences, coupled with her role in international supply chains, laid a solid foundation for Vuyo to explore many different retail spaces, each with their own approach and distinct dynamics. “After two years as a trainee, I decided to branch out,” she says, leading her to join Polo South Africa. At Polo, Vuyo gained exposure to a new facet of retail: wholesale operations. “Polo SA is not affiliated with Ralph Lauren but is instead inspired by it,” she explains. What stood out to me at Polo was its emphasis on quality and its pride as a family-owned business,” with Vuyo noting that her work involved building ranges for diverse clients, including retail customers, agents, and retail partners. 

“From Polo, I returned to corporate retail as a buyer for the Studio W range at Woolworths,” Vuyo continues, and that “I found myself back in the formalwear category—something I’d thought I left behind! Woolworths stood out as a retailer with world-class standards. Their design and quality processes are unmatched in South Africa. For example, Woolworths has its own colour lab containing their range of colour swatches that they develop themselves, rather than relying on standard Pantone shades, which people don’t really know about.”

V&A Waterfront by C Caupers, via Pexels

Shopping by Arina Krasnikova, via Pexels

Vuyo’s time at Woolworths offered her a deeper appreciation for the intersecting priorities of design, quality, and consumer education. “Working there taught me the importance of educating consumers about value,” she says. Woolworths, she tells me, invests heavily in areas such as sustainability and innovation, which often come with higher costs that aren’t always visible to the customer. “Sustainable fabrics, for instance, are significantly more expensive. While they’re better for the environment, they can make products seem overpriced compared to fast-fashion retailers like Shein,” Vuyo notes, emphasising the critical role of storytelling in helping consumers understand the bigger picture behind price points— especially in our South African context, in which its feels easy to lay blame at our local retailers for price points that don’t align with our understanding of their products and processes. 

Vuyo’s next move took her back to Johannesburg, where she joined Edgars as a specialist buyer during a particularly turbulent time for the company. “This was when Edcon was undergoing a turnaround strategy and eventually entered business rescue,” she recalls. Despite the challenges, Vuyo found herself drawn to the company’s renewed focus on private label brands. “I strongly believe in private labels because they support local manufacturing and offer better profit margins. They create a win-win situation for retailers and the local economy,” she explains.

From Edgars, Vuyo transitioned to Jet, where she was introduced to the world of discount retail—a new terrain that left a myth-dispelling impression on her. “Jet actually prioritises quality even within the discount market, which was impressive and I don’t think people really know,” she shares. “For example, many of their t-shirts were 100% cotton and locally manufactured—proof that you can offer good quality at an affordable price if you negotiate effectively and produce at scale.”

Currently, Vuyo has taken her expertise into the realm of e-commerce, where she works as a site merchandising manager. This role represents a natural progression of her skills in buying and retail strategy, now applied in the digital space. I ask Vuyo what she has witnessed around the growth of e-commerce in the South African market, seemingly accelerated by the COVID-19 pandemic. “E-commerce has grown significantly, with retailers seeing a much larger percentage of sales coming from online platforms,” she notes. One of the standout advantages of e-commerce, according to Vuyo, is agility. “For example, if it’s raining today, I can immediately update the homepage to promote raincoats, whereas a physical store would take days to adjust displays and signage,” she explains. This responsiveness allows e-commerce to capitalise on trends and consumer behavior almost instantly, a capability traditional retail cannot match. “E-commerce also leverages data to predict trends and adjust strategies in real time. If I notice a specific product is being searched frequently, I can highlight it online and push it through promotions almost instantly,” Vuyo adds, “That said, brick-and-mortar stores are far from obsolete. Physical stores offer an experience—customers can touch, feel, and try on products, which is something online shopping can’t replicate. I think the future lies in omnichannel strategies, combining the strengths of both online and in-store retail to offer customers the best of both worlds.”

E-commerce has fundamentally reshaped the retail landscape, equally as a platform for selling and as a logistical innovation. Today, physical stores are evolving into mini distribution centers (DCs) as Vuyo points out, to bridge the operational gap for businesses that may not have the capacity to manage large-scale warehouses. This model brings significant advantages, particularly in terms of delivery speed. “Instead of waiting 5–6 days for a product, customers can now receive it within 1–2 days as items are shipped directly from the nearest store,” Vuyo explains, and she reflects on her experience with Me&B, a South African brand that has grown from being e-commerce-only to establishing physical stores. “I ordered on a Thursday, and my product was ready for pickup by Friday morning. That’s an amazing turn-around time.”

Vuyo highlights convenience as the driving force behind the fastest-growing sector of e-commerce. “Platforms like Zulzi and Checkers Sixty60 are dominating the on-demand delivery space, providing consumers with groceries and essentials at their fingertips,” she says. However, she points out a noticeable gap in on-demand fashion. “Superbalist had the potential to explore this niche, but its sale by Takealot shifted the company’s focus. Interestingly, Takealot appears to be quietly building its own fashion offerings, including handbags and apparel. Once they refine this, I suspect they’ll eventually move into convenience fashion,” Vuyo predicts, but that “returns and sizing complexities make it far more intricate. Unlike groceries, where the margin of error is minimal, fashion requires a more robust system to handle fit, style, and customer satisfaction.”

The South African e-commerce market is evolving rapidly, bolstered by the entry of global players like Amazon. “Amazon’s arrival highlights the untapped potential in our market. I think they’re leveraging strategies like lightning-fast delivery without additional costs and unbeatable deals to attract customers,” Vuyo explains. “What’s remarkable is their ability to absorb initial margin losses for market entry, which gives them a competitive edge. Their focus on building a loyal audience now sets the stage for their eventual market dominance.” Vuyo notes that Amazon’s approach could inspire local players to rethink their strategies, particularly around delivery times and customer experience, saying that, “how can retailers create a seamless, reliable experience at every touchpoint that makes customers return again and again?”

Dressing Room by Skylar Kang, via Pexels

 

Imagery by Clem Onojeghuo, via Unsplash

Another notable contributor for Vuyo is the rise of the resale and pre-owned luxury market. Platforms like Yaga have carved out a niche in this space, fueled by growing consumer interest in sustainability. “Yaga are doing extremely well and resale platforms thrive on the demand for sustainable fashion amidst the industry’s overproduction crisis,” Vuyo observes. “They provide high-value returns with minimal investment, often operating on consignment. This model, combined with South Africa’s increasing focus on sustainability, looks like an aspect of the sector that will continue to grow.”

Vuyo is particularly passionate about the untapped potential of the rural e-commerce market, which she believes e-commerce stands out as an incredible solution to an inaccessibility problem, “startups are beginning to address the neglected rural economy, providing on-demand services to areas that have historically been underserved,” she explains, “instead of traveling long distances to purchase essentials, rural consumers can now order via mobile. This saves time and resources, and opens up significant revenue opportunities for businesses willing to invest in these regions. I think businesses that tap into this market stand to benefit while driving economic inclusion.”

The boom of e-commerce has revolutionised retail, bringing both opportunities and tensions, particularly for South African retailers contending with global giants like SHEIN. Platforms such as SHEIN thrive on their unparalleled data-driven operations. As Vuyo explains, “SHEIN is fundamentally a tech and data company. Products are actually just a vehicle for their business model and their vertically integrated supply chain enables rapid trend analysis, efficient production, and minimal waste—at a speed that completely outmatches us.”

This efficiency starkly contrasts with the challenges local retailers face. “South African retailers finalise their summer collections during the current summer,” Vuyo adds, highlighting how long lead times and fragmented supply chains prevent local players from responding swiftly to the rapidly shifting trends dictated by social media and platforms like TikTok. To counter this, initiatives such as the Clothing, Textile, Leather, and Footwear Master Plan are currently driving collaborations to rebuild local vertical supply chains and reduce lead times from months to weeks. While promising, these efforts struggle to compete with the agility and scale of SHEIN’s model, which bypasses traditional intermediaries to deliver trending items almost instantly.

One step toward leveling the playing field is the recently introduced VAT hike on low-value parcels. This measure aims to reduce the price gap between international and local retailers by curbing the dominance of cheaper imported goods. Vuyo believes this change could encourage greater investment in local production, though she emphasises the need for South African retailers to adopt data-driven decision-making and Quick Response (QR) models. “Testing small batches, scaling successful products, and ensuring trend-aligned offerings are essential to staying competitive,” she says.

However, SHEIN’s approach also affects consumer behavior.The focus on quantity and affordability often erodes the ability to discern quality,” Vuyo explains. This shift puts additional pressure on local retailers, who must balance affordability with quality while navigating high-margin expectations from management. This often results in safer, less innovative product selections, creating a vicious cycle in competing with fast fashion’s allure, “traditional six-month lead times are no longer viable as suppliers increasingly sell directly to consumers through platforms like SHEIN. So what can retailers do to leverage a competitive advantage for its local audience? Vuyo shares that, “creativity is the competitive edge for local retailers. More brands need to be working with artists, fashion designers, and other creatives to produce unique collections as a way for retailers to differentiate themselves while connecting with their audience. People want to be part of a movement, and our local creative scene is the best way to build local context and loyalty. Community is no longer about a rewards card or superficial engagement. It’s taking the time to create authentic, meaningful relationships with your audience,” she explains. She points to brands like Thebe Magugu, Artclub and Friends, and Selfi, which have earned customer loyalty through deep authenticity.

For example, workshops and events that merge product education with engagement create lasting impressions. “Good Good Good’s T-shirt-making workshop last year showcased the craftsmanship and intention behind their products and invited their community to participate in real time. I thought it was such a smart move.” Vuyo shares. Similarly, Thebe Magugu’s sample sales have become community events, offering loyal supporters exclusive access to unique pieces. “The label’s recent sample sale required customers to complete a quiz application— pointing to the brand’s commitment to maintaining a respectful relationship between the brand and its audience,” she says.

As e-commerce and traditional retail continue to converge, Vuyo envisions a hybrid model that moves away from rigid seasonal structures. “Retailers need to think dynamically, grouping products functionally rather than by season,” she advises. This shift reflects the global consumer’s fluid shopping habits. “Today, someone in a small South African town can shop online from Stockholm and receive their items within days. Retailers must adapt to this interconnected reality. Historically, South African retailers excelled at tailoring their offerings to regional needs. High-end malls like Sandton and Gateway catered to affluent urban consumers, while smaller towns relied on South African brands due to limited options. E-commerce has leveled the playing field. Social media exposed rural consumers to global brands like SHEIN, Zara, and H&M. It was a wake-up call for local retailers when they saw shoppers in rural areas sporting international labels,” Vuyo remarks.

I could easily spend hours dissecting retail and its many complexities with Vuyo and I believe her work, sharing these conversations online for South Africans, is a crucial part of the solution in educating us as consumers about our local retail landscape; it helps us understand the tensions and dynamics that drive us to either seek international quick fixes or choose to support local businesses. Here’s to seeing our local retail space and South African economy can expand — across rural and urban communities, and at financial accessibility points for all. As for us as consumers? The ever-pressing question of quality versus quantity remains the contending question that we will each have to make peace with. 

 

Written by: Holly Beaton

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Xavier Thxmas releases his mixtape offering, ‘Taste the Cheese’

Sabelo “Xavier Thxmas” Thabethe is a Hip-Hop and Trap artist from eMalahleni, Mpumalanga who’s been making music since 2017 and gained momentum for his lyrical performance through freestyles and cyphers. 

Growing up with his mother who worked as a teacher and his father, a sports coach and apartheid war hero, these two remain Xavier’s role models and inspiration for the messages in his music. His music career started with a local group called Shinjuku Gangular, where he learnt to incorporate his bars with making music that people love.  His solo career began in 2020 and since then it has been the street banger singles and cyphers that has led to his mixtape offering, ‘Taste The Cheese’.

After taking 2024 by storm with his hits, Inkinga Manje and Shukela with Flow Jones Jr. & LaCabra, Xavier wrapped up 2024 with this, his 2-year awaited mixtape. The project aims to break internal hip-hop culture borders between the suburbs and the ghetto/kasi. The style of sonics and content is aimed to engage the ‘cool kids’ in town and the ‘streetwise kids’ in the kasi, all under one project in the name of Hip-Hop. 

‘Taste The Cheese’ is structured as a double disc EP, with Disc 1 being new age hip-hop orientated with guest appearances from; UYIHLO, Nino Fresko and the Y-DUB camp. The 2nd disc is guided under the nostalgic wing of Mzansi Kwaito which also features the Y-DUB camp with Philaboi K and Just Jabba. The double disc serves as representation of Xavier’s suburban-ghetto origins which conduct his artistry. 

 

Listen to ‘Taste the Cheese’ here

 

Press release courtesy of YUNG WRLD ORDER

RAH & The Ruffcats release a remix of ‘Rodeo’, by SA’s Kid Fonque

Berlin-based musical powerhouse RAH & The Ruffcats return to the spotlight with a remix of their track ‘Rodeo’, crafted by South African DJ and producer Kid Fonque. Known for his fusion of Afrocentric grooves and deep house textures, Kid Fonque takes the Afrobeat-inspired original to the club, delivering a remix that is dancefloor-ready.

The original track, ‘Rodeo’, from RAH & The Ruffcats’ acclaimed album ‘Orile to Berlin’, is a modern Afrobeat anthem. Its rhythmic foundation pays homage to the genre’s golden era while weaving in RAH’s commanding hip-hop vocals and socially charged lyrics. Drawing a parallel between the chaos of modern life, RAH captures the struggle for balance in an unrelenting world.

With the remix, Kid Fonque amplifies the energy, infusing it with pulsating Afro house beats, driving basslines, and ethereal melodies that elevate ‘Rodeo’ to new heights. The remix maintains the track’s powerful narrative while reimagining it for global dancefloors, blending tradition with contemporary club culture.

 

Listen to Kid Fonque’s remix of ‘Rodeo’ here

 

Press release courtesy of Only Good Stuff

In Honor Of Vulnerability And The New School R&B Bops: A Candid Conversation With Award-Nominated Singer-Songwriter Nanette

A peculiar renaissance has emerged in the algorithmic hellscape of our streaming present, where metrics have replaced meaning, and playlists have usurped the album. The democratisation of industry knowledge has stripped away the mystique of the music business, leaving in its wake a generation of artists who navigate both the creative and commercial with unprecedented savvy. In this liminal space, the notion of “independence” has transformed from industry jargon into a battle cry, with crossover success now less a label-manufactured myth and more a self-determined destiny.

Enter Nanette Mbili, the Durban-born, Johannesburg-based auteur whose trajectory reads like a masterclass in genre-agnostic authenticity. Since emerging from South Africa’s fertile musical soil, Mbili has systematically dismantled preconceptions with a poet’s precision and a futurist’s vision. Her SAMA and Metro FM-nominated debut “Bad Weather” revealed an artist fluent in literary devices and sonic architecture, while her EP “The Waiting Room” – a million-streams-deep exploration of genre boundaries – confirmed her as more than just another voice in the chorus.

Mbili’s collaborative victories read like a tastemaker’s fever dream: her work with Amapiano virtuoso Kelvin Momo on “Fool Me” caught Drake’s discerning ear on OVO Radio, while her latest in a plethora of features, Nasty C’s “Use And Seduce,” demonstrates her ability to traverse the commercial-critical divide with rare grace. But it’s her deliberate subversion of South African R&B’s melancholic conventions that marks her a true iconoclast. While her peers chase the alternative aesthetic that dominates the local scene, Mbili crafts uptempo narratives that feel revolutionary and deeply rooted.

Imagery courtesy of Nanette

Take “Tonight,” a commercial R&B confection that captures the essence of backyard parties and Golf GTIs with boosted systems – cultural touchstones of her hood upbringing that rarely find such precise musical articulation. Meanwhile, “Tonight’s” urban contemporary “Talk To Me” complements the smash hit in dominating radio waves by exploring stylistic territories largely uncharted in South African R&B, creating a new template for local expression.

Beyond the booth, Mbili embodies the modern artist-entrepreneur archetype. Her pivot from law school dropout to industry savant reveals an understanding that artistry in the streaming age requires more than just sonic innovation – it demands business acumen. She’s built a framework where creative control and commercial success aren’t mutually exclusive but complementary forces in her ascent.

On the cusp of concluding “The Waiting Room” era, Nanette launches 2025 with a surreal and introspective single, “Bad.” The track weaves a haunting narrative of vulnerability and suspense, exploring an intimate connection with a woman who seems to embody a modern-day descendant of Hades. Through succulent poetry and foreboding attraction, Nanette blurs the boundaries between friendship and romantic desire, delving into a profound sense of affliction. She provocatively questions her own descent into passion, spawning an uncertainty of whether she’s narrating an external encounter or revealing a fragmented self-portrait. In an online era obsessed with unmasking every hidden truth, “Bad” stands as a tantalizing enigma, inviting interpretation while deliberately obscuring its definitive meaning.

What emerges in conversation with Mbili is a portrait of an artist operating at the intersection of tradition and innovation, where indigenous language meets global sound and where genre constraints dissolve in favour of pure expression. Her story etches beyond breaking boundaries; it entirely redraws the map of artist-entrepreneurial nuance.

For the benefit of our readers, please share with us how you got into music and how growing up in Sydenham shaped the musician you are? 

Nanette:I started singing in church when I was about 8 years old. From singing casually, I became more intentional about my craft when I entered theatre in high school. That’s where I truly discovered my love for music and singing and the idea to pursue music professionally. Developing ideas and themes felt organic when it came to songwriting because I’d been honing my writing skills since I was 10. I had a wealth of experiences I wanted to share through my music.

My professional journey began in 2020 when I moved to Johannesburg to study law at Wits University while balancing my music career. In 2021, I signed with Universal Music, and the following year, I released my debut album, “Bad Weather.” A significant breakthrough came when I collaborated with Kelvin Momo on two songs: “Fool Me” and “Imvula.” “Fool Me” became an international sensation, getting airplay on Drake’s OVO Radio while simultaneously getting a co-sign from Black Coffee, which gave me tremendous exposure.

2023 was a landmark year for me. I received my first SAMA and Metro FM Award nominations and performed at the SAMAs – definitely a career highlight. I then took a significant step by launching my own label, “MBJ Entertainment,” and released my independent EP “, The Waiting Room,” which surpassed a million plays. Another memorable moment was performing my second sold-out one-woman show at Untitled Basement, with support from Nasty C and Tellaman. In August, I was featured in Apple Music’s “Alpha Playlist” for Women’s Month alongside notable artists like Uncle Waffles, Elaine, and Nomfundo Moh. It’s been a hard work, patience, and dedication journey, but I’m steadily moving toward my goals.”

 

The Waiting Room Album, Imagery courtesy of Nanette

“The Waiting Room” has the sounds of R&B, Pop, Amapiano and Caribbean musical nuances. What influenced you to have such a diverse sonic flavour?

Nanette: “After “Fool Me” gained popularity, along with my other Amapiano collaborations, I found myself confused. People around me kept trying to define my sound, suggesting I was selling out if I ventured beyond R&B to experiment with genres like Amapiano. But I realised that I’m an artist, not a genre-specific musician. I’m blessed with versatility and the ability to work across multiple art forms beyond music, so why should I box myself in?

I didn’t want to get caught up in the politics of saying, “I only do this genre of music.” Music should be enjoyed across the board – as long as I feel connected to what I’m creating, I want to make it. Once I reached the point where I could focus on making music without worrying about how it would be categorised, I found a real sense of freedom.

I still wonder about navigating life as a genre-bending artist in an industry that prefers artists to stick to one lane. We have artists who create beautiful music blends, yet they’re often boxed into whatever primary genre they started in. But that’s not who they are – or all they are. That’s why I took a limitless approach when creating “The Waiting Room.” I refused to be confined by genre expectations.”

Watch “I Got It (Visualizer)” here

It’s been said that R&B lost its artistic integrity when sexual innuendo was traded for overtly explicit lyrics. As a songwriter, how do you feel about the current texture of explicit penmanship in R&B?

Nanette: “I hate it, even though I sometimes include explicit content in my music. I’m not a fan of explicit penmanship, but I must adapt because vulgarity has become popular in modern songwriting. Still, you don’t need to be vulgar to get your point across.

The songwriting from earlier eras was beautifully sensual without being overt – you’d only truly understand the subject matter once you were grown up. These days, everything has unfortunately become so perverse, and there’s no charm in that. It feels lazy and crass – where’s the poetry?

Given our expansive vocabulary across our varied languages of expression, we could be doing so much more than repeatedly using the same three swear words to describe intimate interactions. There are so many more creative ways to convey these messages.”

I appreciate songs like “Kuyoze,” “Stake,” and “Call You,” where you incorporate indigenous language into your music. Was that a conscious decision, and if so, why was it so important to sing in your native tongue?

Nanette: “I had to have a serious conversation with myself about my identity as a black Xhosa woman. My language and cultural identity are essential parts of who I am – if I couldn’t make that part of my career, what was I really doing? It comes back to integrity. If I can speak isiXhosa all day, why shouldn’t I incorporate it into my music?

Initially, I was resistant. Sometimes, I felt the Xhosa lyrics sounded cringe, and I’m still working through that discomfort. It’s easy for vernacular lyrics to sound awkward, but I had to remind myself that there’s more than one way to express yourself beyond a non-native language. Even though you might make English sound beautiful, it’s not the complete representation of who you are – there’s so much more diversity to your identity.

I went through an identity crisis at one point because I lived what some might call a racially ambiguous life. People often assumed I was a coloured woman when I’m actually Xhosa, and my identity was constantly being questioned and decoded. I’ve come to believe we need to live beyond the social constructs we’ve created to define and divide each other. I ultimately resolved my identity crisis by embracing who I am – an authentic, outspoken Xhosa girl.”

 

Watch “Stake (Acoustic)” below:

Thank you for joining us for this interview. Before you leave, could you let us know what the future holds for you? What’s on your vision board for 2025?

Nanette: “While I won’t reveal all my secrets, I definitely have exciting plans for the first quarter of the year – new music and music videos are coming. I’m also considering one final release to conclude “The Waiting Room” era. Beyond music, I look forward to my first fashion editorial magazine cover. This year, I want to showcase the fashion enthusiast in me, as I’ve always been passionate about fashion and art in general.

It’s time to let go of fear and show people the complete artist that Nanette is, in all her glory. I’m planning more behind-the-scenes work that people won’t see directly, though they’ll definitely notice the results. I also want to pursue some music-related studies this year to sharpen my craft. 

One of my biggest dreams for 2025 is to travel the world, collaborating with artists from different countries. That’s what’s on my vision board for the year ahead.”

Stream “The Waiting Room” here

 

Connect With Nanette

X (formerly Twitter): @officialnanette

Instagram: @officiallynanette

Facebook: @nanette

Tik Tok: @officiallynanette

YouTube: @NanetteOfficial

 

Written by Cedric Dladla

 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

An Astrological Glimpse at 2025: The Rhythm of Unravelling

Picture this: the year has just begun and things are feeling eerily slow. Mars, who usually sets us alight with a kick to the bootie, is off snoozing in a hammock somewhere, leaving us stewing over how to decide on our goals for the year. And that “New Year, New Me” vibe that’s tattooed across everyone’s faces come Jan 1st, is but a distant dream of former years.

Trust us when we say to embrace this slower pace for a bit because 2025 is going to bring the biggest cosmic shake-up of the decade. We’re not just talking about the usual Eclipse and Mercury Retrograde drama. Life is about to feel a bit like a really intense game of Tetris. Planets dropping into new signs left, right and centre, whilst we try and figure out how the heck it’s all supposed to fit together. It will, it’s just going to take some time to get the full picture and you might be pleasantly surprised by how it all turns out.

Photography by Cristian Rojas via Pexels
Photography by Ksenia via Pexels
Until then, buckle up and sit tight. We’re in the business of transformation this year, both personally and collectively, and with it being the Year of the Snake too, there’s no time for messing around. Loose ends need to be tied up with a big ol’ shiny bow, and shedding old skin might as well become our fave pastime over the next 12 months.

You see, a ‘9’ year doesn’t sit idle. It’s the final chapter, the end of an era, the last year before we start again, afresh. This year the planets are encouraging us to wrap up unfinished business, to let go of our old ghosts, to unravel our lives so we can move forward and all make some positive change, together.

Hopefully, you did your boundaries homework last year and brushed off your people-pleasing doormat, as that’s pretty much a precursor to some of the big lessons that are about to get thrown our way this year. First up is the North & South Nodes changing signs on Jan 11th. It’s time for Pisces and Virgo to shine. So, for the next 18 months these two points in the sky that shift our fate, are asking us to ditch our tendencies that veer towards perfectionism and instead learn to flow and lean into our intuition and spiritual side more, and all of the magic that comes from not trying to control life. 

And in the game of Tetris, or should we say, life, you can’t control things anyway, right? So let’s take a deeper look at what’s being sent our way.

Just as Mars goes direct on Feb 24th and we start to feel that fog of frustration and stagnation slip away, on March 1st Venus Retrograde begins. This is where our relationships go through the ringer and things start to unravel a bit. Venus will begin her Retrograde dance in Aries where we’ll be getting some flashbacks to all our boundaries work of the last couple years. Shout those needs loud and clear! And then when Venus moves back into Pisces, things will soften and we’ll get a glimpse of what real connection means to us and how we can create more of that in 2025.

Hold on for dear life to those dreamy Piscean vibes, because on March 30th, after 14 years of Neptune mermaiding through Pisces- where this planet truly feels at home- it’s moving into Aries. This may be just what we need though to kickstart those dreams into action, to not just imagine a better world for us all, but to actually have the guts to make it happen too. We can’t just sit back and daydream anymore, we need to get out there and fight for what we believe in.

Saturn also wants in on this, which is why on May 24th, the planet of rules and structure is moving into Aries too, to check that Neptune is doing what it said it would (lest we be deceived once more by that dreamy seductress of a planet). And let’s just say Saturn and Aries make an interesting team. Saturn with all its rules, and Aries throwing those rules to the wind and leaping the other way. This transit will have us all looking at how we take responsibility for our actions and how we create real meaning and purpose in our lives. 

Photographed by Miriam Espacio via Pexels 
Photographed by Alex Andrews via Pexels
And while on the subject of creating more meaning, when Jupiter moves into Cancer on June 9th, things start to really sweeten. After a year of Jupiter in Gemini with everything moving really fast, this transit is like a homecoming, literally. And just in time for Winter too. So cosy up, light some candles and invite your friends and fam round for some DMCs. In a year where there are so many changes around every corner, a solid, grounded homebase that feeds your soul will be key.

Carry that groundedness with you because on July 7th, Uranus- planet of change & innovation- is moving into Gemini and this is where we truly start to feel that shake-up that 2025 promised. Uranus loves to rebel and turn things on its head, and Gemini is totally up to the task. Just off the back of Pluto moving into Aquarius, these two transformative planets making shapes in Air signs is definitely one for the books. We’ve already seen leaps and bounds with AI, so what’s next? Maybe we’ll be posting updates from our holiday in Space, onto whatever the next Tik Tok will be…If anything, Uranus’ transit in Gemini over the next 7 years will be anything but dull. Expect the unexpected and keep thinking out of the box. The more eccentric, the better, when it comes to the planet of surprise.

And surprise is no stranger to this year. Especially in the Eclipse seasons. In March we’ve got the Virgo Lunar Eclipse on March 14th, which will hopefully help melt away any old insecurities still lurking, and be a nudge towards chasing and trusting our intuition. And then two weeks later, on March 29th we have the Solar Eclipse in Aries, with doors opening on all sides to a life of more courage.

Fast forward a few months to the next Eclipse party in September, and it’s an emotional one. On Sept 7th we have the Pisces Lunar Eclipse, and then on Sept 21st the Virgo Solar Eclipse. These two Eclipses pack a punch, and really ask us to show up for ourselves and the people we love. 

And that’s really what 2025 is about. Showing up and doing the work. Not just standing on the beach watching the sunset and daydreaming of what could be, but actually getting out there and riding those waves of transformation. Yes, it’s going to be wet and cold at times and definitely a bit uncomfortable, but no-one said change is easy. In fact, if we take anything out of the planetary movements this year, it should be trusting in the flow of it all. Even when the planets get a little sneaky, and the second half of the year sees us right back where we started- with Neptune and Saturn back in Pisces, and Uranus back in Taurus for their annual Retrograde dance- don’t let it throw you. It’s just for a little while, just so we can have some bonus time to unravel those last loose ends, and hey, maybe by the end of the year we’ll be in the rhythm of it all- trusting and flowing and getting ready for the new adventures and surprises coming our way in 2026.

 

Written by: Siobhan Lumsden
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za