At Home With Dada Khanyisa

Jun 19, 2025 | Editorial, Interviews, Art

Dada Khanyisa has integrated their workshop and home space into one. For them, there are few boundaries required; as a ‘maker of things’ for whom making is truly, and earnestly, their life’s greatest pleasure. Tucked away, out of view, on a busy street in Woodstock—Dada’s home is a sanctuary, with a direct view to the external, chaotic world that so informs their thematic focus. Social scenes, human interactions, rituals of everyday life and cityscape mythologies; Dada has situated themselves where they feel most comfortable. With a slight distance, and privacy, and proximity to the pulse of the city, they maintain both observation and immersion. 

Dada’s home is a feat of their ingenuity and self-initiated fate as a tinkerer of anything and everything—“I was six when I started apprenticing with my older cousins. They were always working with their hands—woodwork, tools, fixing things. I was assigned the task of sorting the nails and handing over tools. Through that I learnt how to use hammers, pinchers and a leather sewing awl” they tell me. “They never doubted I could do it, and because of that, I never doubted myself either.”

Dada’s pathway as an artist is the result of many things: raw talent, a hunger for experimentation, and a deep respect for process—but perhaps most significantly, they are a testament to what being raised to nurture one’s creativity can do. For Dada, there was only the possibility of how far they wanted to go. “My grandmother would show me off at family gatherings—she’d hand me a piece of paper and a pencil and ask me to sketch someone on the spot,” Dada muses, “that kind of encouragement made it feel natural to pick up a hammer, to paint, to build. No one was surprised when I pursued this path.”

Dada Khanyisa, Photographed by Cris Fragkou, Produced for and by CEC

Dada’s space is both living and working. Their kitchen—and almost all their furniture—was forged in the workshop just off the living room. They had tasked themselves with the carpentry of the kitchen units and the TV console I’d mistaken for a rare mid-century find. The space is imbued with the colours of Dada’s world: mustard, ochre, hints of green and brown—a rich, autumnal palette that tempers so much of their work and, clearly, reflects their personal taste. As Dada tells me, they were pleased when they tackled the kitchen cupboards— and realised they could actually make almost anything they wanted. This is a rare kind of power and skill in a world that demands our allegiance to consumption, and outsourcing all of our desires and needs.

Dada’s artistic practice is multi-disciplinary in the truest sense of the word. Their works can, quite literally, involve numerous processes and skill sets—layering technique and materials to build the sculpture-meets-painting-meets-installation that has become their signature. Each piece is a convergence of elements: carved wood, hand-painted surfaces, and found objects, often unified within a single composition. There’s a tactile complexity to their work—one that invites the viewer to consider the labour, intuition, and experimentation embedded in its making. It’s a practice that feels alive, ever-evolving, and deeply personal. “I tried to do the ‘practical’ thing and study animation,” Dada notes on their formative years, “the narrative was that there was no money in art. Animation gave me something valuable—it helped me form a visual language. As part of the animation programme, we did storyboarding and that taught me how to pose figures, how to communicate through the body.”

Dada Khanyisa, Photographed by Cris Fragkou, Produced for and by CEC

Dada Khanyisa, Photographed by Cris Fragkou, Produced for and by CEC

Surprisingly, Dada’s understanding of the so-called ‘efficiency’ of digital art was completely subverted, leading them to find their practice as it stands today. “At Michaelis, we had an elective that involved digital fabrication—CNC routers, laser cutters. Because I could model in 3D, I leaned into that. I sculpted a figure digitally, but the process was so long—over six hours of modelling and rendering time. Then I tried carving it by hand and finished in 30 minutes. That changed everything.”

“We’re told digital is quicker, more efficient—but that experience flipped the script,” they explain. “I realised that working with my hands is more true to how I want to create.”

Candice, CEC’s editor in chief and founder, points out that when shooting this cover with photographer Cris Fragkou, Dada’s sculpting of wood was like witnessing a choreographed meditation; so mesmerising and focused. It is a hard-earned process, harkening back to Dada’s earliest memories as an apprentice to her cousins, and that “In art school, there was a lot of direct referencing, I think it’s because we were all studying the same artists, the same techniques. It was important for me to establish a visual language, I didn’t want to replicate anyone. I wanted to push it so far that copying me would be pointless. You’d have to just go and make your own thing.”

Dada’s style is instantly recognisable—playful yet poignant, grounded in lived experience yet elevated through formal experimentation. Their use of 3D forms has become a way to collapse boundaries between painting, sculpture, and design, and their portraiture of figures emerge in low relief, sometimes fully sculpted, often embedded into flat surfaces or architectural structures. These forms, of snapshots into Dada’s mind and memory as they observe South African youth culture, feel tactile and bodily, inviting attention and emotional proximity. You are with the work itself, rather than viewing into a flat painting or scene, and this dimensionality gives their work a visceral presence—one that anchors narrative and form in the same physical space. Of this, “I arrived at this very three-dimensional, layered way of working,” Dada explains. “It was selfish in a way—I didn’t want anyone to  easily do what I do. My use of materials, my technical processes, even my visual language is designed to stretch beyond imitation.”

Dada thinks of themselves first and foremost as a maker of things—but also, more quietly, as a student of human patterns. Their work is deeply observational, a way of mapping energy in urban spaces, tracking how people connect, and uncovering what drives them. “I believe you have to live in order to make meaningful work,” they tell me. “I go out, I experience, I overlive—and then I retreat and make work to process it. Sometimes the work is healing. Sometimes I’m wounded when I start.”

Dada Khanyisa, Photographed by Cris Fragkou, Produced for and by CEC

For Dada, making is a survival mechanism. “There’s a link between my spirals and my productivity. When I’m spiralling, it means I’m not working. But when I’m not working, I start to spiral. So my practice keeps me tethered. It’s how I stay grounded.” They reflect that their need to be in motion is constant—“I think I’m one of those people—maybe it’s ADHD—who has to be doing something. I can’t really go on vacation. Sitting still doesn’t work for me. I become a better person when I’m working with my hands.”

This rhythm—of outward immersion and inward reflection—runs through all of Dada’s work. “My practice is rooted in documentation,” they explain. “Observing, noticing, absorbing youth culture, people, environments. It’s not always about direct portraiture.” Instead, their pieces function like condensed social encounters—layered, vivid, and vibrational, offering glimpses of life as it’s lived and felt, “sometimes it’s just a visual that sticks with me. Sometimes it’s a moment that unsettles me.”

Most recently, Dada has found their work becoming a vessel to process and reconcile with history. While they never set out to be overtly political, they’ve come to feel that, “being a Black artist in South Africa, I think your work is inherently political”—and embracing this has opened up new thematic terrain. One such thread began with a photograph pulled from apartheid-era archives, showing a moment during the prohibition of alcohol for Black South Africans. “I learned about the prohibition of alcohol to the natives,” Dada explains. “There was a prohibition in the 1950s, and people were brewing their own alcohol, which created this huge demand. So when the ban was lifted, people got drunk for seven years.” They describe the period as one of calculated chaos, “it was a way to disarm people, by restricting alcohol and then lifting the restriction.”

Dada draws a parallel between this and contemporary marketing strategies, pointing to the ways major corporations like SAB used cultural influencers, even back then. “They were working with Alf Kumalo, a photographer for Drum, and they’d use these figures to promote alcohol—just like today’s influencers.” This historical thread, rooted in control and trauma, became a lens through which Dada began to view their own fascination with club culture. “Growing up in Joburg, it’s like we’re groomed to spend time outside drinking,” they reflect. “I only really became aware of it when I moved to Cape Town—it’s slightly different here.”

Alcohol, in their eyes, is both social currency and a survival mechanism. “It was a lubricant for the conversations they were having—a meeting point—and a medicine for trauma.” They point to the 2020 alcohol ban during lockdown, where domestic violence and trauma-related hospital admissions dropped significantly. “The direct link was quite distinct,” they say. And yet, despite the glaring public health consequences, accountability is elusive. “I’m so curious why SAB hasn’t been held accountable. Tobacco companies fund research into lung cancer—but SAB? Nothing.” They note how SAB quietly relocated their head office to London after lobbying to change a four-year restriction. “If we wanted to protest, we wouldn’t even know where to go anymore.”

Still, Dada insists this isn’t a crusade. “I’m not saying alcohol is bad—I’m just questioning the relationship we have with it as a nation.” It’s this tension—between historical harm and cultural ritual—that Dada continues to unpack through their work, holding space for discomfort and curious reflection.

Part of what makes Dada’s practice so magnetic is their refusal to be boxed in—by medium, expectation, or market logic. “Part of my fate, I think, is to tell stories—my own, and those of others,” they explain. “That’s why I don’t confine myself to a single medium. My style is the throughline. The hands, the stories—they’re what drive the work.”

Dada Khanyisa, Photographed by Cris Fragkou, Produced for and by CEC

Their hands are deeply intentional, pushing against the sleekness of mass production, imbued with their own intelligence that Dada often surrenders to. Dada lights up describing their obsession with handmade objects and ‘third-world’ ingenuity: “I was going through my timeline and I’m noticing that people are drawn to handmade items or objects from supposed third world countries. I was obsessed with those—the teapots, the people who build houses with bamboo sticks. Building pools. A whole setup on a time loop.” 

For Dada, making by hand is a kind of affirmation—a way to stay human in an accelerating world. “It’s such a fulfilling process to actually do it by hand. I’ve had to remind myself that I’m a person—I’m not chasing a machine finish. There must be something that reminds you that, oh, this is handmade. There’s a mistake or it’s what the hand intends.”

Dada is grown-up now. Signed to a gallery in London and incredibly accomplished, they reflect on the visibility of their journey, aware that they’ve grown in front of an audience; “It’s interesting now because I feel like I was a child star. My career is unfolding in real time, in full view. People have seen me from my early days as an animation student. I used to make these small miniature shoes because I was obsessed with sneakers.” 

Back then, they weren’t out to change the world—they were simply making. “I hadn’t studied a BA so I didn’t have the ‘change the world’ approach. I could make things, ‘let me just make this!’” This spirit, of simply making, is continual, yet, “It feels like I’m an adult now. I feel established. Now I understand my language. Sometimes it’s just muscle memory—I can zone out and my body will make and carve. My hands definitely have their own intelligence. It’s like when you’re driving and you can zone out—you don’t think about it. You just drive.”

This confidence shows up in how they speak about decision-making. “Now it’s easier to trust my decisions. I just say, ‘This is what I’m working on.’ I do not motivate for it.” It’s a far cry from the early days, “when I started my BA, I decided I would never put my destiny in someone else’s hands. I have to be certain about my ideas and present them from a place of certainty—not asking, ‘Is this okay?’”

While many artists expand into teams or studios, Dada is clear that their solitary process is central to their integrity. “For me, the whole thing is personal. That’s why I don’t work with people—not from a place of hoarding skills. I’m an only child. That was an escape for me—being in my room, drawing, on the computer. There was no one else interfering.” That childhood solitude has become their adulthood respite in this world, as Dada notes that “you embody all the skills you need. Some artists need assistance or technical hands to execute an idea, but I’m in a unique position where I can do it all.” 

Dada smiles, “I think I’ll always be the sole artist creating my works, because if not, I’ll be a very horrible person!” Their deeply personal, fiercely independent approach is exactly what gives their work its power. Within each carved surface and layered form, Dada invites us into a world that is entirely theirs, and Dada’s process reminds us that creativity is, in truth, about knowing precisely who one is at their core; and respecting this every step of the way.

I leave Dada’s home looking down at my own hands, questioning whether I’ve allowed them the space to actually make — this, I think, is what Dada’s work really teaches; alongside observation and the art of playfulness. 

Creative Credits

Dada Khanyisa

Photographed by Cris Fragkou 

Produced for and by CEC 

Editor in Chief: Candice Erasmus

MUA: Xola Makoba

First assist: Alex Birns

Production assistant: Grace Crooks

Written by Holly Beaton

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

Artclub and Friends release their AW25 Collection ‘Crescendo’ in collaboration with Kujenga

Jun 17, 2025 | Fashion, Community

Artclub and Friends has announced the launch of their latest Autumn/Winter collection: Crescendo. A term most commonly found in the world of music, “crescendo” means a gradual increase in intensity. A concept that captures not just the tone of this collection, but the very moment that Artclub finds itself in now – in its 9th year, the independent design studio steps confidently into their next act. 

Born from a conversation inside the studio and amplified through a collaboration with Cape Town jazz ensemble Kujenga, Crescendo is both a metaphor and a mission. Like the steady build-up in a musical composition, this collection represents a climactic chapter in Artclub’s journey and Kujenga’s, intertwining sound and style in celebration of creative momentum. Crescendo is for artists, thinkers, and celebrators. It’s for gallery nights, last songs, performances and pause-worthy everyday moments. Designed to be worn and lived in, the collection embodies anticipation, joy, and a deep sense of self.

All imagery courtesy of Artclub and Friends

Unlike traditional fashion houses, Artclub operates more like a jazz session than a boardroom. Crescendo was shaped in studios, on balconies, during rehearsals and everyday moments with its creative community. Director Royd Ringdahl, photographer Tseliso Monaheng, Kujenga, as well as local manufacturers all brought their unique voices into the room. The result is a collection that feels deeply communal. 

The collection features 30 original pieces, each designed with intention, wearability, and movement in mind. From soft tailoring to expressive silhouettes, Crescendo is a full expression of the studio’s evolving creative language. Garments reference the structure of instruments, with brushstroke motifs, soundwave-inspired pleats, and textures that mimic tempo. Think midnight blues, brass, and deep embers. Silhouettes are built for motion, just like the people they’re made for. 

Inspired by jazz, improvisation, repetition, and rhythm, the collection is also shaped by the visual poetry of Santu Mofokeng, the structural storytelling of Kofi Ofosu-Yeboah, and cultural moments like Tyla’s rise on the global stage. Crescendo is less commentary and more celebratory.

Every collection supports more than just aesthetics. This season, Artclub supported Kujenga in recording and releasing previously unreleased music. Garments were created in close collaboration with local manufacturers, many of whom have partnered with the brand for years. Each is considered part of the studio’s extended artistic ecosystem.

Following their successful collaboration with Mr Price, Artclub proved that scale need not dilute purpose. Crescendo continues this ethos: design without compromise, access without erasure. With full creative control, the team reaffirmed their mission to uplift African artistry at every level. 

From humble beginnings in 2016 to now, Crescendo marks Artclub’s most expansive creative leap. No longer just surviving, they are composing. The studio is clearer than ever on its mission: to grow, stay rooted, and serve as a platform for global, intentional design from Africa.

 

All imagery courtesy of Artclub and Friends

Shop Crescendo here

Follow Artclub and Friends on Instagram here

 

Creative Credits:

Photography by Tseliso Monaheng (@melanateyourmood)

Director: Royd Ringdahl (@roydr_)⁠

⁠DOP: Vahid Davids (@vahiddavids)⁠

⁠Editor: Luke Veysie (@luke_veysie )⁠

⁠Grade: Daniel de Villiers (@danielde.villiers)⁠

⁠Sound: Concept Records (@concept_records)

 

Press release courtesy of Artclub and Friends 

 

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

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June is Men’s Mental Health Month in South Africa

Jun 13, 2025 | News, Community

June marks Men’s Mental Health Month, a critical time to examine the emotional landscape of men in South Africa with compassion and care. Instead of diminishing the needs of women or queer communities—whose mental health concerns remain critically important—this awareness drive is designed to understand how patriarchal systems harm everyone, including men, and how redefining masculinity in a way that allows for vulnerability, connection, and emotional honesty can lead to better outcomes for all citizens; especially in a country such as ours, which is so deeply plagued by Gender-Based Violence. 

In South Africa, mental illness is widespread and men are far less likely to seek help. According to the South African Stress and Health Survey, only 6.6% of men with mood disorders sought treatment in the past 12 months, compared to 18.5% of women. Suicide statistics reveal a grim pattern internationally; where it is reported by the World Health Organisation that nearly 80% of suicides world-wide are by men. Plagued by social stigma, the pressures to ‘man up,’ and the persistent myth that strength equals silence all contribute to this devastating reality. 

South African society often associates masculinity with emotional stoicism, resilience without support, and the pressure to provide at all costs. These outdated norms isolate men from one another and from themselves. For Black and Coloured men, the situation is often compounded by economic pressures, systemic inequality, and intergenerational trauma, while for Queer and Trans men, the path is complicated further by homophobia, marginalisation, and lack of tailored mental health resources.

What if masculinity could mean something different? What if being a man didn’t mean suppressing fear or sadness but instead, it meant learning how to move through those feelings with integrity and support? Healthy masculinity centres empathy and accountability; it honours relationships, acknowledges pain, and allows men to be fully human.

Mental health support that is tailored for men is a crucial part of this shift. PHOLA, founded by internationally renowned Narrative Therapist and Psychosocial Specialist Ncazelo Ncube-Mlilo, is a South African non-profit organisation dedicated to community-based healing and mental health support. Their Narrative Therapeutic methodologies are culturally sensitive and have been adopted in over 30 countries worldwide, and their flagship programme, PHOLA BABA, focuses on supporting men—both adults and young men—as they address the psychological impact of violence, abuse, and crime in their lives. The programme creates safe, structured spaces for men, and “the programme provides opportunities for conversations with men that deconstruct harmful constructs about masculinity and manhood and forces men to be silent about their psychological and emotional pain born out of experiences of violence and abuse.”

The organisation notes that unresolved anger in men and boys is a key driver of violence and abuse, and the programme actively addresses this root cause. Through individual and group counselling, community dialogues, therapeutic camps, and a dedicated men’s shelter. These grassroots initiatives are powerful reminders that healing can begin in the community, and PHOLA demonstrates the importance of culturally relevant, peer-led approaches that build trust and safety.

Emotional literacy must be normalised in schools, workplaces, and homes. Boys should be taught that there’s no shame in crying, that there is no weakness in therapy, and there is no failure in asking for help. Role models—whether public figures or fathers and uncles—play an essential role here; when men see other men embracing emotional wellbeing, it opens the door for them to do the same.

We desperately need our public health infrastructure to rise to meet the challenge. Currently, mental health care in South Africa receives only about 5% of the national health budget, and most of that is spent on hospital-based care rather than community or preventative services. To truly support men, we need mental health resources integrated into everyday life: accessible, affordable counselling; support groups in townships and rural areas; mobile clinics; and digital platforms that reduce the stigma of walking into a therapist’s office.

Reimagining masculinity also means listening—to the experiences of queer men, men living with disabilities, working-class men, and those whose traumas are often invisible. It means holding space for grief and rage, for healing and growth, for softness and strength. When men move toward fuller, more emotionally available versions of themselves, the entire fabric of society can be strengthened.

If you or someone you know is struggling, there are many places to turn. The South African Depression and Anxiety Group (SADAG) offers 24/7 support, while organisations like PHOLA and the South African Federation for Mental Health provide community-based interventions and education. The LGBT+ Health Division at Groote Schuur Hospital in Cape Town is a leading space in public health advocacy and high-level care services, and offers a comprehensive range of services tailored to meet the unique health needs of gay, bisexual, transgender, and queer men, alongside its overall focus on all people across the gender identity and sexuality spectrum. Psychiatric facilities such as Akeso Netcare offer private mental health support, with most health care insurances in South Africa covering a portion of inpatient and outpatient mental health services, depending on your specific plan and benefits structure. 

For public mental health care services, Valkenberg Hospital in Cape Town, Tara Hospital (H Moross Centre) in Johannesburg and Addington Hospital Psychiatric Unit in Durban are some of the key tertiary psychiatric facilities serving their respective regions, offering inpatient and outpatient support for individuals with serious mental health conditions. Here is a guide from National Government for the process on how to admit yourself to a government hospital, and there are multiple region-specific programs and non-profits that are seeking to bridge the gap in psycho-social education and support in South Africa. 

This June, we hope to see a continued, progressive shift towards greater mental health awareness. 

 

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

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Durban native Nasty C releases hip-hop single ‘Soft’

Jun 13, 2025 | New Release, Music

With his latest single “Soft”, South African hip-hop star Nasty C steps into full creative control handling both production and performance. Entirely self-produced, the track is a bold, sharply executed statement that fuses hard-hitting beats with lyrical swagger. It’s a declaration of growth, confidence, and self-made excellence.
Joining him on “Soft” is fellow Durban native Usimamane, whose presence adds weight and raw authenticity to the track. His verse is gritty, unapologetic, and deeply rooted in the come-up bringing a fresh voice that complements Nasty C’s polished delivery. Together, the two artists represent different shades of Durban’s hip-hop energy: refined and rugged, global and grounded.
“Soft” weaves street-rooted bravado with aspirational luxury. It’s a soundtrack for the grind and the glow-up, mirroring the journey from hungry beginnings to hard-earned comfort.
Thematically, the track resonates with Gen Z and young hustlers across the world: those who live in the tension between struggle and success, dreaming big while staying real. “Soft” is about showing what’s possible, flexing without apology, and celebrating the payoff of relentless ambition.
With “Soft”, Nasty C and Usimamane deliver an anthem for the present moment where authenticity, artistry, and ambition meet in perfect sync.
Listen to ‘Soft’ here

Connect with Nasty C:
Facebook: @nastyczzle
X: @nasty_csa
Instagram: @nasty_csa
TikTok: @nasty_csa
YouTube: @NastyC

Press release courtesy of Sheila Afari PR

Sounds Human and Christian Lena release a remix of ‘Kea Leboha’

Jun 13, 2025 | New Release, Music

The remix of Sibu Manzini and Zola Marcelle‘s single “Kea Leboha” by Sounds Human (US) and Christian Lena maintains the emotional depth of the original. The original track, a lush, understated production evokes a heartfelt, emotional response as it’s dedicated to Sibu’s late mother, Grace. 

In their remix, Sounds Human (US) and Christian Lena pay homage to this by preserving the same energy and mood, while adding a dynamic drum drive that injects a fresh, rhythmic pulse into the song.

Listen to ‘Kea Leboha’ remix here 

Press release courtesy of Antidote Music

Mr Doris and D-Funk release ‘You’ feat. Cantaloop

Jun 13, 2025 | New Release, Music

Mr Doris & D-Funk, renowned for their eclectic and genre-bending collaborations, join forces once again with the captivating Cantaloop for their highly anticipated 2025 release, ‘You’. This is their first original release on Grits N Gravy, and trust us, it’s worth the wait.

These guys are no strangers to killer collaborations. Their diverse musical palette has garnered support from figures like Fatboy Slim, Nightmares On Wax, Nickodemus, Craig Charles & Don Letts. A testament to their innovative approach.

‘You’ represents a soulful evolution for the artists, building upon their previous hip-hop infused collaborations with Cantaloop on tracks like ‘Feel Good’ (Jalapeno Records) and ‘All Down’ (BombStrikes). Dannie from Cantaloop delivers the vocal performance, weaving effortlessly through a soundscape anchored by a seductive live bass-line and a laid-back groove. This track blends neo-soul sensibilities with live instrumentation, striking a perfect balance between organic warmth and modern sonic precision.

Listen to ‘You’ here

Press release courtesy of Only Good Stuff

GOOD GOOD GOOD presents their AW25 Collection, ‘SPROUTS’

Jun 12, 2025 | Fashion, Community

Good Good Good’s AW25 Sprouts collection sees the Cape Town brand developing in various aspects of its identity, sourcing African materials from outside its home-country’s borders and making full use of its in-house manufacturing capabilities. This collection builds on the foundations of the SS25 Roots collection, in which Good Good Good’s founder and creative director Daniel Sher revisited and strengthened the brand’s core offering. For AW25, Sprouts introduces a handful of new silhouettes to the brand’s core collection, alongside more unique garments made from textiles originating from across the African continent.

For the first time, the brand explored materials from greater Africa, having previously worked exclusively with textile mills and designers within the brand’s native country. While the collection still features textiles sourced from prominent South African homeware textile mill Mungo, the other standout garments in the collection are cut from cloth made in Uganda and Côte d’Ivoire. Using a material created by Mekeka Designs, a textile house based in Uganda, the Cropped Collared Jacket and Balloon Trousers in Lubugo Obutono Cloth feature strips of barkcloth, sourced from the Matuba tree. Barkcloth is a renewable material, harvested from these trees annually for up to 80 years with no impact on their lifespan. The Ivorian Baule cloth used to make up the Collector’s Jacket and Crescent Trousers was sourced from various African traders on Long Street, a rich cultural hub of Cape Town’s city centre. Primarily, the team dealt with a trader named Manan, who Daniel met through taking his two sons to participate in a weekly drum circle hosted at Manan’s Long Street shop. Building on the foundations of Roots, these textiles are cut into the brand’s strengthened contemporary ready-to-wear silhouettes, recontextualising them and giving them new life for the AW25 Sprouts Collection.

All imagery courtesy of Good Good Good

Sprouts is also the brand’s first collection to be shown at an international fashion event since Milan Spring/Summer Fashion Week in 2021. Since then, Good Good Good has focused on its relationship with its community through its Cape Town-based flagship store Duck Duck Goose and honed in on the capabilities of its 30-year-old heritage cut, make and trim (CMT) manufacturing facility, Together MFG, which has completed jobs for both local and international clients, most notably Thebe Magugu and Christian Dior. The T-shirt is Good Good Good’s core product, having settled on 5 different silhouettes in 10 sizes in its core offering after more than a decade’s worth of development. Since its beginning, the brand has used the graphic T-shirt as a vehicle for collaboration, often with prominent South African illustrators, artists and fellow independent businesses. Included in the Sprouts collection is Good Good Good’s Heritage Day T-Shirt Capsule, consisting of 3 graphic tees depicting what it means to be South African according to illustrators Amy-Lee Tak, Russel Abrahams (AKA Yay Abe) and Shaun Hill. These stand alongside more subtly branded T-shirts in various colourways, made in 3 of the brand’s core silhouettes.

Through the creative experimentation that an in-house CMT factory affords the brand, Good Good Good also introduces an innovative initiative to curb fabric waste in the Sprouts Collection. The Strip-Stripe T-Shirt is an example of the sustainable method that the brand has developed to use the cotton single-jersey offcuts and deadstock T-shirts left over from Together MFG’s regular production runs. Through rigorous sampling to produce an enduring patchwork garment using waste material, the Strip-Stripe T-Shirt represents a new step in the brand’s continuous and innovative effort to produce the best possible T-shirt. With meticulous attention to detail, offcuts are selected by hand and cut down to strips. The strips are sewn together individually to create a large enough piece of fabric from which to cut the panels of the tee, and finally, the T-shirts are cut, made and trimmed in the shape of the brand’s Heavy T-Shirt silhouette. Other Strip-Stripe garments in the collection include the Strip-Stripe Hoodie and Strip-Stripe Balloon Trousers, which are made from offcuts of fleece. Each of these garments is completely unique, due to their handmade nature and depending on what excess material is available. This process would not be feasible if the brand didn’t have its own manufacturing facility at its disposal.

About the editorial shoot in Paris, the Good Good Good team shared, “While we were in Paris in January 2025 to showcase the Sprouts Collection, we thought it would be remiss not to take the opportunity to shoot with the collection out there. We had brought the clothes with us all the way from Cape Town, so we wanted to make the most of the effort we already put in. We also found ourselves in a very photogenic city with some of the most photogenic people on the planet, and we had access to talented photographers who were all in Paris for fashion week. We started speaking to Elie Benistant, who grew up in Cape Town but lives in Paris, and whose work we had been admiring for some time, to shoot the editorial. 

We’ve always gravitated to working with South Africans, since we’re often already familiar with each other’s work, which lays a solid foundation for a comfortable working relationship. Elie also knows Paris very well, so we felt like we were in safe hands. He drew on his network to organise the crew for the shoot, while we got in touch with stylist Chloe Andrea Welgemoed, who we had worked with on the collection’s lookbook, to style the looks in new and even more creative ways than the lookbook allowed us to.

Shooting in Paris also felt important for the collection because it was the first time that Good Good Good had participated in an international fashion event since Milan Fashion Week in 2021, which happened online due to COVID. The Sprouts collection dealt thematically with a new phase of growth for our brand especially in relation to sourcing fabric from outside of South Africa for the first time, and we thought that shooting in Paris also spoke to that growth for Good Good Good, which was making a return to the international fashion stage again. The brand is getting back into the rhythm of producing new collections every season, and we’ll be going back to Paris later this month to showcase our latest work.”

Good Good Good’s roots and ambitions lie in high manufacturing standards and the discovery and recontextualisation of interesting and innovative African textiles which uplift the continent’s fashion economy. Coming into its 9th year of existence since Good Good Good’s establishment in 2016, the AW25 Sprouts collection sees the brand enter a new phase of growth, both internally through its manufacturing proficiency and externally through its explorative sourcing philosophy and global community-building aims.

 

All imagery courtesy of Good Good Good

ABOUT GOOD GOOD GOOD

Good Good Good is a Cape Town-based fashion brand that creates trans-seasonal garments for every body.

Founded in 2016, our garments are manufactured in our 28-year-old heritage manufacturing facility, Together MFG, in Cape Town, South Africa. Our core product is the T-Shirt, which aligns with founder and creative director Daniel Sher’s initial purpose when he started the brand in 2016: to create functional basics for people of all sizes and genders.

Since 2016, however, the brand has produced unique garments cut from fabrics sourced from some of South Africa’s most distinguished textile mills & designers, and released meticulously crafted contemporary silhouettes that are as focused on longevity and utility as they are on aesthetics.

Good Good Good is as much a community-oriented brand as Daniel is a community-oriented person, embracing collaboration with and support for local creatives and businesses in the country’s cultural sphere. This is facilitated particularly through the brand’s flagship store, Duck Duck Goose, positioned in the heart of Cape Town at 120 Bree Street, where Good Good Good acts as an anchor brand surrounded by a rotating curation of other independently-owned South African fashion and lifestyle brands.

Good Good Good, for every body.

Follow Good Good Good on Instagram @goodgoodgoodstore

Visit their website goodgoodgood.co.za

Press release courtesy of Good Good Good

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

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Sex in Crisis: OnlyFans, Hollywood and Hypocrisy

Jun 11, 2025 | Lifestyle, Community

While entertainers get into the industry for varied reasons, two points of motivation are consistent. 1) Sex work provides an income even during times of instability and 2) it presents an opportunity for self-exploration and bodily autonomy. Pornographic content has historically been available to us only in the archives of Playboy or the dark corners of Pornhub. That was until, platforms like OnlyFans offered a chance to interact with sex workers more directly, granting access to a more nuanced human interaction and more varied entertainment styles. The services are diverse, and so are their creators. Customers can purchase either explicit pornographic content or modest lingerie media. 

Cosplayers, polyamorous performers, solo amateurs and hardcore entertainers exist alongside each other as easily accessible thumbnails for the wandering eye. And your horny loyalty towards them could end up paying their bills during the toughest periods. Many entertainers joined OF during COVID-19 – hardcore professionals moved onto the site to maintain an income when touch wasn’t possible in-studio, and everyday people in need of insulation from shocks such as retrenchment turned to the site to begin budding amateur careers. Many have since found a home there, and now OnlyFans is one of the most popular sites for explicit content creation. In 2023, it had approximately 305 million fans, and 4.1 million creator accounts, with certain stars able to rake in millions of dollars. And yet, despite the high demand for this content, censorship and stigma remain the most effective blockade to adult entertainment. 

While films like Anora rake in firm applause at the Academy Awards for their mere representation of sex services, actual porn stars are clapping back at censorship and the banning of pornography in more than a third of U.S. states. Age verification laws are attempting to protect underage viewers, and simultaneously causing major losses in viewership. In defense, pornstars like Asa Akira argue that as a mother of two, she doesn’t want her kids watching porn either – but better sex education is the better solution, and more likely to keep children from their site. At their annual pornhub event and red carpet, WIRED reported, “The stars in attendance discussed how social media censorship and Pornhub’s greatly reduced footprint are impacting their bottom lines, the pros and cons of shooting “mainstream” studio porn versus self-publishing their own videos, the struggles of online dating, and celebrating transgender porn—a category that’s been steadily rising in popularity—under a presidential administration that is openly hostile to trans bodies.” 

Even with losses in Pornhub’s rebranding and (frankly much-needed) regulatory reviews, pornstars are reverting to platforms like OnlyFans to continue earning their living in a world that sexualises them anyway.

 

Imagery courtesy of Alamy

These regulatory controversies are not limited to the sex entertainment industry. Even in Hollywood, red carpets are being policed by nudity bans and dress codes, likely attributed to outrage caused by Bianca Censori’s nude dress. These regulations re-emphasise old-school notions of ‘decency’, ‘modesty’ and ‘morality’ (read: conservatism) that seem well-aligned with the right-wing swing under Trump. In response, stars have reigned it in, but their films still display the same progressive sexual ideals, as if making a case for more open-mindedness. 

After all, film has notoriously aided the acknowledgement of desire outside of conventional bounds, and used display to facilitate discussion. Kazmierczak notes that movies like The Graduate are known for their impact on Feminist Theory, and Midnight Cowboy for its impact on LGBTQ rights movements. Just like the miniskirt serves as a recession indicator, horny media can be correlated with rising political and social turmoil. It’s no coincidence then that OF had its biggest spike in popularity during COVID-19, and films like Pilion, BabyGirl and various other milfy Nicole Kidman movies aired during some of humanity’s most volatile months. When in doubt, we turn to that which unites us all: desire. 

The popularity of entertainment that edges sexuality, kink and commerce brings into question our openness, as a society, towards sex work and the people who partake. High demand indicates increased acceptance, right? Cosplayer and OF professional, Spookykins, says in an interview with us, “I think the only shift that has happened is people have become more open about these things. Overall they have always existed and always been there, now people are just a bit more willing to talk about it.” Yet, she adds, “but it has also definitely amplified the hate in some communities as well. As more people come to accept and embrace it, there are equal numbers of people who hate and reject it.” 

We saw this divide in the uproar over OnlyFans models Bonnie Blue and Lily Phillips, whose attention-maxxing stunts have left the comments section overflowing with questions regarding the actresses’ mental health, agency, and impact on feminist progress. These questions reflect an obsession with the moral quandaries surrounding sex and sexuality, particularly when it affects everyday middle-class people, as it did the educated, bouncy blondes that are Philips and Blue. 

In the past, we’ve been comfortable leaving sex workers embodied on-screen by the tragedy of Les Miserable’s Fantine, or the redemption of Pretty Woman’s Vivian. In such big-budget productions, where there is an incentive to moderate moral messaging, the narrative of sex work must be laid out neatly. But the widespread availability of OnlyFans content shows us that sex work motivations or meanings are not always so clear-cut. Is this why some still lash out at OF creators, because they do not fit the moulds of promiscuity, ie. fragility, brokenness or moral bankruptcy? 

To be clear, coerced sex work and non-consensual pornography are very real problems. But then, why do we project this onto OF creators who choose this? Surprise surprise, they have in fact chosen their livelihoods, made good money, and lived whole, healthy experiences. As Spookykins says, among the many expectations and / or misconceptions about sex workers, “I think the biggest one I always see is just that adult entertainers must be promiscuous or have multiple sexual partners, which couldn’t be further from the truth. In fact many of the creators I know are in some of the most committed, stable and healthy relationships I’ve ever seen. I think it’s hard for people to wrap their heads around the idea that seeing pictures or videos of someone online does not equate to them being with multiple people… A digital image is not reality.” And even if that person has been with 100 people, the truth is that you still don’t know who they are or what they need. “I think everyone is very quick to jump to conclusions and assume people who use the site all create the same content, when this is not the case at all.”

Imagery courtesy of Alamy

Imagery courtesy of Spookykins

The difference between Hollywood and OnlyFans is that one is a character, the other is real. Sure, some have personas. But for many, they are simply themselves – as Spookykins says, “My online presence is very much just me in every form.” So why is it then that we are so much more comfortable applauding Hollywood for its promiscuous displays, and so disturbed by the reality of sex work for everyday people? Is it the glamour we want? Is it the glorification or the moral messaging we are drawn to? Why can’t we show the same curiosity to the living creators who provide us with a service much the same as their parallel Hollywood stars? 

Obviously because anonymity and privacy remain incredibly important for most creators. Because despite the perceived access we may have to them, they still face risk in the form of cyberhate, content misuse, leaks and misrepresentation. Perhaps that’s why this piece was not easy to write either. With numerous creators declining to speak and limited resources to learn more about the industry titans who get us off, it became clear that the media, the tabloids and the audience must not be so progressive if OF creators still aren’t willing to open up. Although we may be ready to buy what they’re selling, until sex workers are offered the same protections as our beloved Hollywood darlings, it’s safe to say that we have a long way to go.

 

Written by Drew Haller

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

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African Textile Talks Returns for its Fifth Iteration this July

Jun 9, 2025 | Fashion, Community

Sustainability and fashion platform, Twyg, has announced the fifth edition of the Africa Textile Talks, taking place from 29 July to 31 July 2025 in Cape Town, South Africa. This three-day gathering, presented by Twyg (South Africa) and Imiloa Collective (Mauritius), brings together practitioners, manufacturers, designers and visionaries from across the African textile ecosystem to explore and advance sustainable, circular, and regenerative practices.

Tuesday 29 July: CIRCULARITY IN CLOTHING AND TEXTILES

Opening the week, they’ll be hosting experts and practitioners of circular solutions. This day of talks, discussions and networking is designed for professionals, researchers, academics, and others who work in clothing and textile manufacturing and who have (and seek) solutions to the end-of-life of the items they produce, and of production waste.

This first day explores how circular design, recycling systems, and extended producer responsibility (EPR) policies could shape the future of fashion and textiles in South Africa.

Confirmed speakers are Dr Linus Naik (managing director of Green Gap Consulting), Jesse Naidoo (Clothes2Good), Gary Erasmus (MD of full-scale textile recycling company Connacher), David Torr (co-founder and co-CEO of Faro), Dr Philippa Notten (Pippa, a principal consultant at The Green House), and Roan Snyman (circular economy analyst at Green Cape)

All imagery courtesy of Twyg, Photography by The Dollie House

Wednesday 30 July: WOOLCYCLE

The WoolCycle event, co-hosted with Cape Wools SA, brings together key stakeholders from across South Africa, and beyond, to engage in discussions about the challenges and opportunities in the wool value chain. The purpose of these discussions is to explore the wool industry in South Africa and to promote sustainability, inclusivity, ethical practices, and to meet the demands of responsible consumers.

This day unpacks the full story of wool—from farm to fashion —through the voices of farmers, processors, designers, and retailers. African Textile Talks will examine opportunities for greater traceability, the role of regenerative grazing, and how designers are rethinking wool’s role in circular fashion.

Deon Saayman (CEO at Cape Wools SA), Matthew van Lingen (Karoo regenerative sheep farmer), Gugu Peteni  (luxury fashion designer), Stefan Gerber (founder of Gerber and Co), Leandi Mulder (head of department at Design Academy of Fashion), Ronel Jordaan (textile artist) 

Thursday 31 July: THREAD WITH CARE

Finally, Thread with Care, a full day of inspiring and informative talks, will appeal to industry insiders, designers, makers and consumers. In times of uncertainty, we seek comfort in what is closest to us—our second skin. Cloth, more than a mere covering, is a protective layer that soothes, shields, and connects us to the world. We will explore the healing power of fibre and textiles at a time when the world feels unnerving and unsettled. The textiles we wear and surround ourselves with should not harm us, nor should they add to the destruction of our planet. Instead, they should be free of toxins, imbued with care, and capable of regenerating the earth and communities that create them.

The final day celebrates the diverse worlds of textiles in Africa—from slow making to high-tech innovation. The day will hear from artists, designers, manufacturers and visionaries who are weaving new narratives of sustainability, heritage, and bold material experimentation.

Dr Aaniyah Martin (South African environmentalist and social designer), Osione Itegboje (co-founder of This Is US), Danayi Madondo (creative director of Haus of Stone), and Sessi K (Fashion entrepreneur and multidisciplinary visual artist)

Key Takeaways:

Be inspired by ideas at the intersection of fashion, culture, sustainability and the circular economy. The speakers are innovators, artisans, researchers, and designers from across Africa. They bring deep expertise and fresh vision to the urgent questions of our time. Gain insights to move beyond incremental action and join this growing community of changemakers. 

Build powerful connections with changemakers and collaborators. Africa Textile Talks is more than a conference—it’s a gathering of minds and hands, where cross-sector dialogue sparks partnerships, creative solutions, and long-term impact. Whether you’re a maker, thinker, or funder, this is a space for collective growth.

Shape the future of African textiles and circular design. Join the conversation, share your insights, and help reframe what is possible for regenerative fashion and sustainable systems on the continent.

 

Book tickets to African Textile Talks here

 

Press release courtesy of Twyg

 

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

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French producer, KX9000, releases ‘Dream Log’ EP

Jun 6, 2025 | New Release, Music

KX9000 is a French electronic music producer. With ‘Dream Log’, he delivers a sonic journey that blends electro-funk, space disco, Chicago house, and broken-beat. This project explores new musical paths while highlighting the richness of his influences and artistic collaborations. 

“Dream Log is a journey through different atmospheres, a reflection on how music can capture emotions and specific moments. Each track on this EP tells a story, with collaborations that enriched this project and made it even more alive. I really wanted to translate into music all the artistic excitement I felt when meeting all the artists I had the chance to work with on each track.” KX9000.

The journey begins with “Tonight’s Ride”, an invitation to a nocturnal adventure tinged with disco and dub. On this powerful and captivating track, KX9000 invited American singer Nic Hanson, based in Paris, to add his unique voice. “We met through Tour-Maubourg, who had recorded some tracks with Nic. Listening to his voice, it was clear: I absolutely wanted to work with him on this track. He came to the studio a few weeks later, and the chemistry was immediate,” says KX9000. This first track of the EP, both energetic and sensual, opens the door to KX9000’s universe.

KX9000 embodies the richness of the French electronic scene, drawing inspiration from a multitude of genres such as electro-funk, space disco, Chicago house, broken-beat, and city pop. Praised by Mixmag as “one of the most remarkable producers of his generation” KX9000 skillfully weaves together all the elements that matter to him, creating music that is as complex as it is satisfying. For years, he has defended this music in the best clubs, from the Rex Club to the IBOAT, Sisyphos, Goya, and festivals such as Marvellous Island, Madame Loyal, or Insula. After several EPs across Europe (Pont Neuf, OATH, Disco Express, Apparel Wax, theBasement), he is back in 2025 with Dream Log, his most accomplished project to date, featuring numerous talented artists.

Listen to ‘Dream Log’ here

 

Press release courtesy of Only Good Stuff