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14 Jul 2022 ///
Interviews /// Art /// Community

Hyper-Nostalgic Expression with Franadilla

Attempting to encapsulate any creative is difficult – the very nature of expressive artistry is best left undefined, particularly when someone dedicates their entire life to its unfolding. Francesco Mbele is one such creative that continuously defies any description as an artist, creative director, DJ, designer – model, photographer, culture archivist and so on – and in all these varying roles, Franadilla (a perfect nickname) has created a visual world that evolves in colour, texture and expression; while this aesthetic is abundant and rich, it also is very difficult to pin down – herein lies, then, its brilliance; Frandilla’s world is digital yet organic, vivid yet simplistic – hyper-realistic, hyper-nostalgic and able to be dismantled at any moment Francesco decides. In a few short years, Francesco has become one of the leading cultural and creative instigators in South Africa, from his contribution to StiffPap’s Jakinda and AyemaProblem’s iconic event space, Ebumnandini, to his work with Rich Mnisi, Thebe Magugu, or features for Bombay Sapphire and Stimorol – to installations like that one he did for Shelflife Joburg earlier this year (and so much more) and then – Franasonic, the home that probably comes closest to a framework for Francesco to weave all these threads together. Franasconic’s digital portal is an ode to Windows ‘95; well, a version of this, distilled through Francesco’s intimiable lens, one that captures Y2K nostalgia perfectly – that sense that was felt as the onset of the millennium brought humanity towards a totally new frontier of global, cultural and aesthetic exchange with the rise of the internet. The design aspect of Franasonic, as a co-occurring brand and multi-media project, brought netted trucker caps back, alongside graphic tees incisively relaying truth to its audience – “Black Women Fighting Apartheid Were The First Punks”.
“My mother used to work for United Colours of Benetton in the 90s and 80s in Johannesburg, and that’s where my parents actually met. I’ve had this obsession with United Colours from a young age – a lot of the earliest clothes I wore had the green tag. It’s probably my number one inspiration for Franasonic; their marketing was doing representation before that whole idea took hold culturally. Their campaigns were really against the grain and putting out messages that were controversial, in the weirdest ways, and yet their offering was colour-blocking and essentials; that contrast between a seemingly “normal” brand, yet with this deep ability to subvert their actual intention in the mainstream, was and is so authentic. With Franasonic, I try to relay that same kind of energy.” Francesco says in our conversation – and it’s a wildly direct anchor for the entire Franasonic landscape; United Colours of Benetton were taking names in a way that we don’t really even see anymore, read here for some of their most iconic ones. Regarding his origin as an artist, which began with photography, Francesco says, “My parents have always been my biggest supporters, even when they didn’t really understand. They always just allowed me to be. My sister is a big influence for me – she was a photographer during Fees Must Fall, and I was just getting into highschool. I was seeing this cultural resistance and social revolution, and that influenced me to document what I saw; the importance of capturing this energy that bubbles under the surface of our lives, and emerges and explodes to re-shape the world as we know it. I think documenting has become a very integral part of everyone’s lives, and I love that. We are able to share our viewpoints with each other in a way that we never have before.”
In the digitisation and hybridisation of artistic expression – Franasonic has found its unique position as a crowning jewel linking temporal references from the 80s, 90s through to Y2K, right up until this moment in the second decade of the century. Speaking to the intentionality of this, Francesco says, “I find the cycles of ‘cool’ and ‘uncool’ that seem to interchange is so interesting. My generation were too young to experience the true low-rise jeans, Britney thing – so now we are reinterpreting in this very extreme manner. I think the mediums and subject matter were changing so fast, that in a lot of ways they weren’t really fleshed out or taken to their limits. So being able to use those forms of expressions from different eras, and make them both new and nostalgic, is really fun to do. It’s a major force in my work, and with the way things change so fast – I aim for Franasonic to be able to draw on intersections of cyber-culture, or punk, or the depth that African-centric aestheticism has across the continent. With the last drop, the Evil-Eye, I didn’t want it to just be a momentary release – so I’ve let it sit and allow the collection to remain relevant, because I think for any artist or designer it’s important not to feel rushed by the endless cycles of creating and abandoning.” 

Historically, entire decades were defined and tempered by subcultures – today, we see an incredible wellspring of subcultures available to be chosen, played with and then moved on from – from the “cores” like gorpcore, cottagecore – one doesn’t really have to commit anymore, with the same kind of dedication, than before. Commenting on this, Francesco says, “I read somewhere that subcultures are dead. I think that’s true, in a way – because it’s so easy for someone to hop in and hop out. But I don’t think that necessarily dilutes it, because it’s more valuable for people to experiment with what they like, or don’t like – what feels true for them. I don’t think subcultures should be demanding of people, it’s contrary to their function – they should be a refuge from the demands and confines of society.” In a subtle way, some of Francesco’s expression is reminiscent of FRUiTS Magazine, the iconic publication by Japanese photographer Shoichi Aoiki – street style from Tokyo that showed young people in their liberated form of sartorial freedom, to this Franseco says, ‘’FRUiTS was a direct reference I used when I shot for Sonic Magazine. It was a different wavelength. Japanese culture, especially in fashion, is expansive in a way that western culture isn’t. In that respect, Japanese fashion is much faster and more daring – intermixed with cultural rules and norms. We wanted to get that essence for Sonic, and we went to the middle of the CBD in Joburg. The one shot, on Small St, there were a few seconds I could take an image in a matter of seconds before cars and people descended again – my dad was my bodyguard, and the process had to happen quickly. An empty road in the CBD is a wild notion on its own. It’s one of my favourite images I’ve ever made.”

Francesco’s ability to reference with originality is a gift – in a time where the dialogue is so centred on regurgitating ideas, his work reminds one that our collective consciousness is a sacred place, and all ideas can be reshaped and reworked, totally anew. We can’t wait to see more – and apparently, there’s a new Franasonic coming soon. To more, always, from Franadilla.
Written by: Holly Bell Beaton

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