Photographer Matt Ginsburg on Emphasising the Practice over Outcomes

Apr 26, 2022 | Interviews, Creatives

Matt Ginsburg’s images feel reminiscent of time before everyone was a photographer – and although the analog revival has been well under way for a while and everyone is a photographer through their phone, Matt’s work makes the case for craft and curiosity as integral for creating archives. The 21st century is a hashed out accumulation of everything, with a strong focus on nostalgia as we struggle to depart with the last century and the wildness of its latter decades – we want to hold onto a sense of authenticity that we have placed in the past as opposed to the present reality of things. When I view Matt’s images, the intimacy of his images are illuminated by an intense understanding of colour and composition, and strangely high-res for the often grainy feel of 35mm – yet the nostalgia is there, and the feeling of the moment remains alive despite it living on in static, but these are moments that are occurring now; the people and places he captures are not bygones. Matt is not referencing anything but that which stands before him; transfixed on his subject beyond temporal limitations.

“I think we were the first generation that actually learned photography on a phone – so it’s quite interesting to see many people return to analog but informed by a digital understanding. I remember my older brother got a Sony Ericsson that had a camera, which was wild, and we were on a road trip when he first let me play around with it. I was amazed. My first project was at 13, I had convinced my mom to get me a disposable camera, and we went to the Natural History Museum – and I was just running around going mad but also trying to be selective. I loved that I had a finite number of pictures; that changed the game for me. Later on, once I got my first camera, I learned through the books of Ansel Adams. He is a maestro particularly on exposure, and I owe a lot to him in how to build a unique thought process as a photographer.” Matt reminisces in our conversation on where the love for photography, and particularly film, began for him. 

Matt is a concept photographer, deriving a lot from his initial idea – but remains unwavered by a deterministic fixation; “Like most creatives I am a storyteller – and my medium is a camera. I went to film school and thought I’d be a director and writer, and learning both of those roles has definitely contributed to how I practice. With regards to people – I love human beings – and their stories, who they are and the energy they bring into spaces. Shooting people is not about treating someone as a human clothing hanger or even as a character in your own story, it’s very participatory and it’s not even about liking the way someone looks – I’ll always ask for a conversation beforehand on their hopes, fears and what motivates them. It’s either that or just in the moment – and I think this allows me to let go of my preconceived notions. It’s the collaboration of my impression of them and how we arrive at that point, together, that is really exciting. The biggest compliment I ever get is if someone makes my photo their profile picture – it sounds strange – but then it feels like I have accurately captured them, in the way they want to be seen. Not necessarily the way I think they should be seen.” This earnest remark is profound; a sort of wisdom of the times. In a world usually marred by the hyper-perceptive and curatorial nature of social media, it is beautiful to think that the essence of what we do in this digital landscapes is tell our stories – whether it’s through our personal feeds or profiles – that what lies at the core of these “illusory” formats is our innate desire as human beings to be seen, either as we are or as we wish to be. In this regard, Matt is a brilliant visual diarist – and working as a casting director for many years paved the way for being able to cut through to the core of people in front of cameras. These fleeting moments of people in and out during casting influenced Matt’s relationship to people as a story-teller, “Models and actors will come into a casting space and be wholly concerned with what the director wants from them. I realised in that process that there should be a space between that – that instead of telling someone how to do something, rather one should ask them how they would do it. Even something as simple as telling someone how to pick up a glass of water becomes a very different motion when you just ask them to do it themselves. Once someone is themselves in that moment, then they can morph into a character.  I think there’s a skill in that; drawing out someone’s confidence in their own abilities, in their way of being totally themselves, and having that as the root for whatever comes next in a scene or still.”

At the moment, Matt is not releasing much of his work – having recently taken up a full time position with. This shift from freelancing into working with new equipment and for a different purpose – namely, for the metaverse – which has provided him with a chance to step back into himself. “My practice has changed and although I am shooting a lot of stuff, I am keeping it intentionally in the shadows. I’m trying not to focus on the exhibition – the showcase and outcome – and go back to the process, and let that be the guiding force. When I am concerned about the presentation, I become concerned about what other people think, and that can be murky waters for the inner-critic. It’s important for staying true to one’s own vision to dial back on the outcome.” With Matt’s process, there has been a quietness in how he approaches references and inspiration; preferring to avert his awareness from too much external influence. This has fared well with his ability to arrive to his work with as much of his own vision, on this he says “I’m the kind of person who doesn’t want to know anything before I watch a film – I don’t want to know the characters, or even the context further than the brief synopsis tagline. Translating that into my creative work, I try to dial back on Instagram for example. I find we are in these echo chambers and it’s the algorithm drawing us into this particular way of expressing ourselves or being. With the current work I am doing, I go out to remote places and image the land – I can’t speak too much on more than that – but it’s ignited this deep interest in me about the people and land. How people are situated and related to the land, and it’s a new concept for me – it’s not studio work, or anything staged, it’s as unabridged as possible.”

This conversation held many moments in which my own joy for interviewing creatives came through – a reminder that there is so much intentionality and voice behind the work that we see. South Africa is brimming with creative potential, and I look forward to witnessing Matt’s growth along new thematic substances.

Written by: Holly Bell Beaton

SPRMRKT: Expanding Streetwear in South Africa

Apr 26, 2022 | Fashion

If you have been to The Stockroom Show,  you will know SPRMRKT as the unofficial home for Stüssy and Palace in Cape Town; among other cult-like streetwear brands. Founders and partners, Sheree Vida Tigre (AKA DJ Rishi Love) and Ryan Sexton are unequivocal tastemakers in the hype-beast, pop cultural realm – bound together in their pursuit of the fashion, sneakers and art – led by their love for the aestheticism (and humour) of KAWS to Braindead, with music being the thread that binds it altogether. While the term “hype-beast” has had a rap for conveying a style that is totally trend focused; it’s original meaning was an umbrella term for the influence of streetwear and street culture on fashion – in its purest form, hype-beast sentiments express that which is cool – and in the case of SPRMRKT, coolness is underpinned by community.

With a market as relatively young as ours in South Africa, we are yet to have the full-scale exposure that the global north has to limited drops, coveted releases and the generally colossal choice of brands – and while this can leave us wanting, in a way it has allowed for a certain reverence in South Africa for the discipline that is thrifting and curating one’s wardrobe with the vision possessed here. We see this with the homies at Broke, and the breakout of streetwear brands like Socioculture or the longtime success of SolSol. This local resourcefulness is the crucible of desire in which SPRMRKT was forged; led by Sheree and Ryan’s conversations with industry peers and friends on questions of accessibility and opportunity. Illustrated by their own process with their streetwear brands, RAION, the vision has always been to create a space in which local brands can live alongside international labels – and that the two function synergistically in quality and creativity, not as oppositions. In a dualistic fashion landscape in which we are tempted to pick solely local, or possibly pretend to deny the influence of the global north, instead Sheree and Ryan remain concerned with one question; why not have it all? SPRMRKT answers this question as a conduit for international brands for a local audience – one that is most likely setting out to grow our own local scene whether through music, producing, art, fashion or design.

SPRMRKT is growing their offering, with their newest store having opened on the 23rd April at We Are EGG Cavendish – a space that speaks to their values as a hub of local brands, beauty, accessories intermixed with notable labels from around the world. This kind of communal retail experience is fast becoming the norm; a nostalgic nod to the era of department stores, yet catered to the contemporary audience and next generation. “We have knowledge and genuine passion for this space. We want streetwear to bring the community together – to us, SPRMRKT stands out for authentication as well as dedication.” – Sheree and Ryan state, as they prepare to bring SPRMRKT to Joburg in the coming weeks. Hype never sleeps. 

Shop SPRMRKT’S latest offering at We Are EGG, Cavendish Square, and look out for their online launch and JHB launch dates here.

Written by: Holly Bell Beaton

Joburg’s Current Art Scene & It’s Parallels with New York SOHO in the 1970s

Apr 21, 2022 | Community

“Art is the birthplace of innovation and creativity. It’s with this sentiment that a need arose to provide consumers and overall art enthusiasts with the opportunity to consume art in a space that deviates from the traditional template of four white walls.” 

– Lebo Kekana (‘FEDE’ Arthouse Curator’s Note)

After recently completing the ‘Andy Warhol Diaries’ on Netflix, I couldn’t help but notice so many striking similarities between the underground art scene in 1970s SoHo (New York) and Johannesburg and Cape Town right now. These similarities prompted me to look for answers to questions which had swarmed my subconscious for quite some time, as well as uncover an entire local burgeoning art scene which is brimming with talent and excitement. This is the exact same youthful exuberance which I witnessed on the Netflix show – way back in 70s New York nestled with stardom and intertwined with celebrity culture.

Sometimes I feel as if the days of chasing the quintessential ‘American Dream’ have now dawned upon us. In a city like Johannesburg, that really shouldn’t come across as a shock, considering the vast similarities in infrastructure between the two capitals. But also, rather within the inherent geological makeup of inhabitants of both megacities; everyone is chasing somewhat of a dream, a greater perhaps, and the ever-present hustle-and-bustle of both areas makes them prime destinations for artists to set up shop.

What also draws me to this comparison is the sheer quality of art that we are witnessing nowadays. This is further elevated by the standard of art curation in South Africa, which I personally feel has the potential to be a cut above the rest of the world – especially the current cohort of Black art curators that this country has. From the more experienced and established art curators such as Anelisa Mangcu, to the emerging Gen Z art curators like Lebo Kekana, and more.

A couple of prime examples of local contemporary art-infused events which are reminiscent of when Hollywood used to congregate at Studio 54 are, the Siyabangena22 unofficial Art Fair afterparty and the GSPT x Puma Group Exhibition. Both recent events hosted in Cape Town and Johannesburg respectfully, organised by Siwa Mgoboza and Tamryn ‘Rarri’ Arends, these events embody this intersection between art, fashion, music and nightlife. Amogeland Maledu of News24 writes:

“Siyabangena22 is an afterparty that pertinently considers South Africa’s relationship of political discourse and collective organising as shaped in the shebeens of Black townships during apartheid. It considers how the existence of ball culture was founded underground by African-American and Latin American LGBTQ+ communities – “Houses” – in New York City in the late 19th century, resisting queerphobia. These disco sites serve as robust incubators of radical discourse about questions of the Human, where a reading of sound, performance, and collective organising are grammars of certain philosophical positions of being.”

A key element that drove the success of the “party scene” during this era of 70s New York was the thriving queer Black community. Now fast forward over fifty years from then and analyse Johannesburg – has much really changed from then? I think not. Topical queer and femme-forward events such as Vogue Nights, by Lelowhatsgood, further reinforce my point.

Fede Arthouse, founded by artist and curator Lebo Kekana, hosts their first group gallery exhibition for the year at the ‘Ghost’ in Loop Street, Cape Town. The group show includes an exciting roster of emerging multidisciplinary artists, namely Lebo Kekana, Yonela Doda, Tiffany Joy Schouw, Francesco Mbele, Neha Hajee, Reef Sithole and Nkhensani Mkhari. In anticipation of the event, I find myself reverting back to the Fede Arthouse curator’s note, which writes:

“This idea is meant not to criticise, but perhaps interrogate the way in which art is presented in contemporary art spaces – to consider how welcoming and inclusive these spaces can be made to feel. The idea is to offer the experience of an intimate and fulfilling art-filled environment, with an atmosphere that allows for a deeper connection with the art, and with the artists who share parts of themselves when creating it.”

This exhibition will open on Friday, 22 April 2022 and run until May 12.

So if you ask me, the similarities between both past and present eras are more than striking – they’re somewhat astounding. And if you actually think about it – the New York art scene in the 1970s is still regarded as its peak era – so can you imagine how good what is currently happening locally must be? The talent bears testament.

This is why it becomes even more critical for us to support our own burgeoning art scene, in all ways possible. In a country looking for solutions to exponential economic growth, internally investing in our art scene is one of the most financially viable options for jumpstarting our own economy.

Written by: Odwa Zamane

The Sensational Money Badoo

Apr 13, 2022 | Interviews, Music

I recently found out Money Badoo (Jade Alves) is a Libra – and it all made absolute sense. Ruled by the planet of beauty and pleasure, Venus, many Libran’s pursue a path of total devotion to the ecstasy of the senses; driven by aestheticism and expression, all while balancing the scales of their conceptions of justice. Money is a Lady Libra in every sense of the term; wildly creative in her style, and fully committed to her highest manifestation as an artist, and with her recent participation in the GSPT (curated by Rarri to highlight and represent femmes in music), there is a purpose to her vision as a musician in South Africa. The magnetism on Money’s IG alone gives one the sense that she is always working – putting the visual aspects of her work equal to her music – offering her community and audience consistent doses of her kaleidoscopic relationship to fashion. Musically, Money writes her own lyrics and raps effortlessly over beats – and with her debut project PORN$TAR coming out soon, it seems to only be the initial chapters of her career – after a halt following the pandemic, Money has emerged strong and more determined than ever to reach for exactly what she wants. In speaking to Money, based in Johannesburg, I feel hopeful for a strong feminine presence in music and expression.

I know you have been writing music since you were 12 years old – when and how did you realise this was your purpose, and that it could become the career that you are creating today?

Only when I was 20 years old, a freak accident happened to me in 2015 and I couldn’t walk for almost a year, it changed my perspective on life and I vowed to go after every single thing that I wanted in life and in that process of becoming who I knew I was always meant to be, music sort of found me. 

 

You have been making waves in the music and fashion scene for a number of years now – how has your sound and style in both these spaces evolved, and do they influence each other?

Yes, fashion found me first, I knew it was going to be a part of my life forever because I was always so passionate about it, so I think anything I do, fashion will be a part of it. It’s really just who I am. I love dressing up, I love being able to express myself, I feel like it’s my armour. Music & fashion are like sisters, they’ve always co-existed with one another & for me, it’s been really exciting to be able to creatively let both my love for fashion and music become sort of a vessel for the way I tell the story of who I am and who I want to be to the world. 

 

How has the last few years of the pandemic affected your process as an artist?

It was really difficult to not feel like my entire plan and career wasn’t ruined by the pandemic, to feel like it would take years before I could, if ever get onto a stage and perform again. The uncertainty was horrible but I kept going, we all did. Music is my happy place, where I can just spew what’s on my mind & heart without feeling judged or taking in any opinions of the world. Once I got past the reality of the pandemic and focused on the art, focused on just making my art. It helped me a lot. I got back to where it all started for me; just a pure love for making music & so in a way, I’m grateful that I’ve faced obstacles that in return made me stronger & I know now I can face anything that comes my way. 

 

It feels like self-expression is the cornerstone of what you do under the moniker “Money Badoo” – where does the name originate from, and is Money Badoo an extension of who you are or is she a character you can step into to differentiate from yourself? 

I mean the name Money was something my friends started calling me before the music, and Badoo I added as a way to pay homage to one of my favourite musicians, Erykah Badu.. obviously with a twist! I like to think of myself as sort of Peter Parker & Spiderman. So I guess it’s both an extension of who I am and a character that I step into.

Can you talk a bit about your relationship to colour? It’s so compelling in all you do – from your looks, to your productions and editorials. It feels personal and so vivid.

I love textures, shapes and colours, I sometimes find myself going through phases of colours like with my hair which I think we all do, in a way textures, shapes and colours make up how I see fashion, and maybe in some ways, I can say that colour makes me feel safe and seen. 

 

How are you feeling about the music industry in South Africa? 

I am excited! I see so much more female representation happening, and I feel like there’s a new industry of noisemakers unfolding and it’s very exciting to witness and be a part of. 

 

What is the year ahead looking for you in 2022?

Crazy! Finally dropping a catalog of work, my debut project called PORN$TAR & it really feels like the beginning of an era for me. So I’m feeling like this year is going to be a good one. I’ve put in so much hard work & I’ve not only been resilient but very patient with my craft, I’m ready to reap what I’ve sown.

Written by: Holly Bell Beaton

GSPT X Puma: Curating an All-Star Femme Group Exhibition

Apr 12, 2022 | Community

“The three of pentacles reveal a successful beginning towards achieving your goals. It teaches us to not ignore the talents of others that surround us. We need the collaboration of others, with diverse viewpoints, experiences and expertise to accomplish something more than we could have ever dreamed of. GSPT welcomes you. We’re stronger together.” – GSPT

I found this statement to be such a poignant introduction to the latest ‘GSPT’ event which I managed to attend, on First Thursdays last week, hosted at Hallmark House in Johannesburg, in collaboration with Puma. Founded by Deejay and creative entrepreneur, Tamryn Arends, more commonly known as ‘Rarri’, GSPT is primarily concerned with providing opportunities to young femme creatives of colour within the music and events industry.

As we all (hopefully) understand just how much of a problem it is for marginalised creatives of colour to land opportunities within these industries, especially for reasons outside of their control, GSPT are providing a solution through creating a gateway of fresh opportunities in which these local creatives can be supported through their craft.

The GSPT event which took place was centred around an all-star femme group exhibition, including: Bambi, Kahlo Greed, Nailed Ntswembu, Ndivhu and Tamia Saunders. This multimedia exhibition was an exhilarating success, followed by a host of DJs and live performances from Doowap, Money Badoo, and Rarri, just to name a few.

An essential principle which I feel as if we (myself included) need to constantly exercise is to pay Black femmes for their art – whatever kind of art it is; that’s entirely subjective. But the underlying concept which remains and requires constant reiteration is to pay femmes for their art, pay them for their work, welcome and value their artistic contributions just as much as we do for their male counterparts. This is integral in attempting to blossom a healthy and balanced local industry, fair of opportunity and free of the shackles of gender-based favouritisms or exclusions.

I had the honour and privilege of virtually engaging Rarri and sneaking in a few post event questions to gauge her feelings towards how the event went, ask for more details surrounding the femme artists which exhibited, understand GSPT’s dedication towards uplifting young POC femmes within the industry, and so much more.

 

Would you mind introducing a short description of what GSPT is and what your organisation does?

Rarri: GSPT (Pronounced G-SPOT) looks to provide an entry point and space for young POC women in the music and events industry in South Africa. We aim to challenge pre-existing structures from within by providing access to equipment and knowledge about the industry best practices and infrastructure. By partnering with brands and producers with a similar vision, GSPT facilitates femme focused DJ workshops and events. The line-up consists of a combination of up and coming live local acts, producers, musicians and established local mainstay DJs.

 

Which femme artists took part in the exhibition? Why this mix?

Rarri: Please see the list of femme artists below:

I selected these artists such as Bambi, Kahlo Greed, Nailed Ntswembu, Ndivhu and Tamia Saunders because we were looking to create a nice diverse exhibition which showcased a variation of art mediums. This allowed the audience to focus on each piece individually. I felt that it was important to provide these talented young artists with a platform, as they are often overlooked.

What is the role which Puma played within the whole event?

Rarri: Puma came on board as a headline sponsor which provided me with the resource and opportunity to put this all together.

 

 How was the process of planning the event? And how was seeing it turn out as such a success?

Rarri: As anyone in the industry will tell you, eventing can be extremely stressful as it is a high-pressure environment. However, to be quite honest I really enjoyed this process. Working tirelessly on a project and then seeing it come to life is pretty rewarding. Seeing people feel comfortable enough in your space to really enjoy themselves is a great feeling. The highlight for me was being able to build new relationships with other creatives as well as culturally relevant companies, such as Puma and Beefeater. 

 

This event was the perfect intersection between art, fashion, music and really nightlife, inviting such a wide spectrum of people. Will you be looking to do more in the future or maybe something different?

Rarri: GSPT is a concept that will live forever. The idea is to recreate the experience based around the selected femme artists or collaborators. It is something that is constantly evolving and I am so excited to see what the future holds. We are looking at hosting the experience every first Thursday of the month. Stay tuned for more details!

 

/// Photography credits to Sherwen Diamond

Written by: Odwa Zamane

Welcome Back, Blunt Magazine!

Apr 11, 2022 | Interviews, Community

I can’t remember how Blunt Magazine came up on my feed a few weeks ago – but I can tell you that I did a huge double take. Suddenly, I was transported to my childhood – and while I was a kid and tween during the 2000s, Blunt Magazine is a vivid association I have with my older brother Warren, and the older brothers of my best friends – the rebellion and freedom that skateboarding, and all its intersections, has long been as an imprint in our collective consciousness. Scrolling through their feed, as part of their relaunch under founder Miles Masteron, all I can hear is Tom DeLonge’s So-Cal drawl chanting in my head, tempered by memories of Warren donning his trusty gig blazer (emblazoned with pins and badges, some of them being Blunt merch) to head to Wynberg Sports Club. Blunt was the Mecca of South African subculture between 1997 and 2008 – and its closing was one of many sombre tales in the slowly dissolving arena of South African print publishing. Unfortunately, within the constraints of capitalist society, passion and devotion don’t always turn a profit – and in the late 2000s, digital information ramped up to bring us to where we are now; the point of no return. Fourteen years after Blunt’s exit stage left, Miles Masterson has returned to Cape Town after years of toiling corporate fields, and somewhat encouraged by his son’s own growing interest in skating, Miles is determined to bring Blunt back – a necessary task in the 25th year since it was founded, and for a poignant moment in which skateboarding enters a new cycle of importance in Africa.

Honestly, I could talk to Miles for hours – in our conversation, he is a wellspring of wisdom and a guardian of a particularly special time in South Africa. Post-1994, our country began to open up to the world – and suddenly, we were able to engage directly with the global occurrences in adrenaline sports, music, clothing and the acceleration of design and art, both digitally and on the streets. Yet, there is a decidedly South African way in which this zeitgeist was being met here – and skating had always been the craft of the misfits. Miles remincises on the earliest conception of Blunt, “I was living in the UK during winter and traveling to surf in the summer. After a long trip to Sumbawa, this beautifully remote island in Indonesia, I came back and felt like I needed a change of some kind. It was the mid-90s, and the internet had made a huge impression on me – especially being in the UK, it was already established – people had websites, email addresses. It was fully happening. It was at this point, late ‘96, where I was on my way to book a surf trip to the Canary Islands, which I had saved up for working 12 hours a day, 7 days a week on building sites and living in a pretty infamous semi-squat house in Lily Road, Hammersmith. On my way there, I saw an advert for a Canon camera – and the next thing I knew, I had bought the camera and was booking a ticket home at SAA. That was the camera I used throughout the early days of Blunt. That was the beginning of it – that decision to come home. I kind of knew things were going to take off here in the scene – a skate and surf scene that had a renewed sense of autonomy, freedom and a democratic vision.”

When the first issue of Blunt was born, July 1997, it had been precipitated by Mile’s working with legendary surf photographer Lance Slabbert – who himself was stepping into shooting fashion. It was this multi-thematic interest that would foreshadow the vision of Blunt. Skating, in many ways, is a conduit for punk, hip-hop, graffiti, streetwear – gigs, dive bars, the beach, festivals – it’s the physical arm of a much larger entity largely defined by an innate resilience among young people against all manner of the manipulation (subtle and overt) of human beings by a rigid, oppressive society. This was Miles’ “aha!” moment – he wanted to make a magazine that captured all of it; the sounds, the movement, the energy of this attitude; for himself and his own lived experience growing up skating in Hout Bay, and for those around him too – but particularly so, for the kids who he knew would need the respite skating and its community can offer. In reflecting on the self-expression of subcultural spaces, a clear indicator of Blunt Magazine’s presence in South Africa, and stickers were one such way Miles knew they were on course, “In our first year of launching, we had R2000 available for marketing. That’s it. I spent the entire budget on stickers – and this became a synonymous part of our magazine. Our first year was quite slow, we sold about 4000 copies, and then the second year it blew up to 10000 – and then we became one of the fastest growing magazines in the country, and by the fifth year we were in the top fifty magazines in the country. All the while, I could kind of track this through our stickers – if they were on boards and lamp-posts city to city – but the craziest part was when we went on roadtrips, arrive in small dorpies and find Blunt stickers emblazoned like a coded message, a reminder that the thread we were putting out was really running through the country.” Miles expresses a deeply emotive recall of this – telling me that the magazine was exactly for those kids without access, of all races and backgrounds. In Cape Town, Durban and Joburg the culture and scene was alive and well with events, gigs and comps growing steadily, where people could gather and connect – but further out, in the many parts of our country home to small towns, skating was still a reprieve from that isolation that often is often the drawcard for those who find the sport.

“I don’t think we would have been Blunt, the way we were, without the music component. We gave a tangible bridge between skating and the sounds that inform this passion. By the third year, half the magazine was dedicated to music – and it’s always been the glue that has held these subcultures together. Alongside this the tattooists, the spray-can artists and those dabbling in graphic design found a home I think – you know, I don’t know anyone really who skates that isn’t intrinsically creative. I think the outlawed nature of skating draws in naturally rebellious people – because skating is difficult, too. It takes a lot of practice, discipline and you sign up to get hurt and be in serious physical pain at certain points. We could reach the kids who weren’t jocks, who listened to alternative music and wore strange clothes, and I think Blunt showed them that hey, this spirit is forever – you can grow up, and still be different, and that’s a beautiful thing. Skating, music and creativity is our escape and remedy.” Miles muses about the intention and impact Blunt grew to have, and the voice he felt Blunt was able to give South African kids in those years. I ask Miles why now, for Blunt’s return? “We used to get letters about the way Blunt made kids feel back then, and I feel that there is a need for that now. Especially as we are seeing skating opening up to girls and women, and more so across racial lines too – and I think magazines, whether digital or print, are powerful for telling these stories, by the people for the people. I still skate, even today at 50 years old, and I think both the industry needs it, but we need it too. I am sort of an elder now, and I want to pass down what Blunt was and still is – especially now that I am watching my son get into skating, and be so curious about this thing we started before he was even born.”

Since the Dogtown era of the 70s (Emile Hirsch as Jay Adams in Lords of Dogtown was my first crush, aside from Kurt Cobain) and the invention of the polyurethane wheel – skateboarding remains a pulsing refuge. From the rise of skateboarding among girls in Bangladesh to the work of Skateistan from Afghanistan to Cambodia, and even here in South Africa – what was once a wayward activity for outcasts is now a powerful tool for education and support throughout the world. Virgil’s legacy lives on in Ghana through the opening of the Off-White skate park, and we have many initiatives in South Africa such as the skate park at Thanda’s Community Centre in Mtwalume, KZN. It’s with this dedication to the next generation of skateboarders and creatives across the world that Miles, and us at CEC, believe wholeheartedly in Blunt’s comeback. Viva.   

Written by: Holly Bell Beaton

Fashion as Experimental Play with Stylist Erin Simon

Apr 6, 2022 | Interviews, Fashion

I think most people who choose a career in fashion knew it was meant for them from a young age – and although the industry is very different from the art of fashion expression, creativity always finds a way to burst through even in the most commercial or modular briefs. While celebrating designers is hugely important, working in the periphery of this space has shown me that design and garment construction are truly one aspect of how fashion is born – and that the teams behind our most beloved editorials and inspiring shows are equal to bringing a sartorial vision into being. We have an incredible, burgeoning array of sartorial talent in South African, and Erin Simon is a stylist I believe constantly invites us into her own viewpoint and essence in her work. Kaleidoscopic colours, textures and style dart between her work and her own personal style, and there is a joy in both that remains congruent; a clear example of how one’s own personality as a creative has immense power to direct a vision.

In our conversation, I ask about the very beginning of it all – and Erin reflects far back to when she was a kid, apt as she has moved back to her family home and is speaking to me from her childhood bedroom. “My career story is definitely like many artists and creatives in that it was a balance of right time, right place and then my ability to show up and respond to those moments. But further back than that, I always used to look at the mannequins in the windows and think someone must be dressing them – and who is doing that? Is that their job? My mom really encouraged that curiosity, because I always loved clothes and from a young age selected clothes that made a statement, I always stood out, even like wearing weird red sneakers to match my red bike. It was always an important aspect of showing who I am.” I can relate to this – I am told from the age of 3 or 4, I would ask my god-mother if I could try on her “klip-klop” shoes – high heels – and with Erin, that fascination seems to be completely inborn; a part of who she is, too. How then, did styling happen for her? “When I matriculated, I was convinced I needed to go to design school. That seemed like the only avenue to get into this world. My mom, luckily, suggested I think more practically and we ended up finding this pamphlet for a course at CPUT. Although it was about becoming a buyer, the pamphlet had a few potential job outcomes from this qualification – and I saw the word “stylist”, and I was in the back of the car, the sun beaming through the window and shining on that word. I think that is probably the single, quite poetic moment that I refer back to even today.” I am reminded of my own experience with fashion education in South Africa being very singularly focused on design – and even the array of schools we do have tend to be quite inaccessible. In this way, fashion is one of those industries that does require working as experience – shadowing, learning and adapting.

“I was spending more time in town and ended up meeting Fani Segerman – and it was before the days of IG and I messaged her on Facebook, asking if I could shadow her. It was Fani who connected me with Crystal Birch, before she became a milliner, and for whom I assisted and learned so much from.” Erins tells me in this really wonderful, cross-connecting piece of 2010’s Cape Town fashion history. “Styling is one of those practices that is learned through working with others. Having an eye is a great start, but I think it was Bee Diamondhead who said in an article that I read, that test shoots are so critical for experimenting, playing and honing in on your own aesthetic language. I stand by that today, and I think a lot of the most successful stylists are those who have been able to make it happen, even with limited resources and one or two friends, to just get that creative energy out and unleashed in the world. ideas can’t be stagnant, and they don’t have to always wait for the “right” moment to come out. Building a good book is a dance between proving yourself, while getting the recognition from your peers for jobs at the same time.”

Erin’s personal IG feed is a sublime curation of creative power – and the feeling of fun is so necessary in an all-too-often stiff industry. In bring her styling practice firmly into her sphere of self-expression as an artist and performer, Erin teases an exciting new venture for her own artistry – an alter ego, soon to be released alongside an EP; “I have always really loved rock music, the punk scene and the aesthetics that go with those spaces – it’s a huge way my older brother and I have always bonded, through metal! One day I was at work and I was writing this punk song in my head, and by the end of the day I was like – woah, I like this…and my brother is a musician, so we decided to make an EP. So ED was born, the character I become who creates this music, and is able to dress and say all the things I might be too reluctant to as Erin. It’s an extension of myself – of course – but she is also this whole new part of me that I am bringing into being, and it’s been quite incredible.” This astounds me – as stylists are expected to be the unseen hands, the Elven hands that magically make things happen behind the scenes. Erin is making herself her own muse – and that, I believe, makes her ability as a stylist and image-maker all the more authentic. Challenging how we think people or society want to perceive us or our work is beautiful and brave, and Erin is doing this, instead tapping into the innate wellspring of inspiration we all have within us. 

Where does Erin see the potential or pitfalls in South African fashion, right now? “We absolutely need far more people of colour in production teams. A lot of the work is still quite centered around a white-viewpoint – and while there is space for everyone, it just doesn’t speak to the reality of our country. I would love to see more HOD’s (Head of Department), production companies and agencies prioritizing this – and giving people the ability to have trainees. Mentorship is critical, and it was how I and many of my peers got started.” 

/// Keep a look out on Erin’s Instagram for upcoming releases of her punk persona, EEEDDEEE!

Written by: Holly Bell Beaton

Cross-Continental Kamohelo Khoaripe

Apr 5, 2022 | Interviews, Music

Destiny is a funny thing – we tend to believe it is a pre-conceivable, logical array of variables that just unfold before us – and we, in many ways, are just the participating observer along for the ride. For Kamohelo Khoaripe, his destiny surely began in Johannesburg – but it has since come to be realized nearly 10 000 km away in the city of Stockholm, Sweden. With an impressive career behind and ahead of him, Kamo is the frontman for electro quartet Off The Meds alongside Adrian Lux, Carli Löf, and Måns Glaeser, and as well as a notable solo musician and performer. A relationship led Kamo to move to Stockholm around 2014, and while he may have had some inner murmurings about music – it certainly hadn’t manifested outwardly yet – and not until a recording of Kamo freestyling was played in the early hours of a messy house party. Adrian, Carli and Måns couldn’t believe the flow coming from their friends’ being – and soon after, Kamo was in the studio (specifically, Studio Barnhus) with them, bringing Off The Meds into being. What makes their arrangement so spectacular is certainly the contrasted drowsiness and acceleration of sonic sound-scapes in their tracks, but perhaps more so intriguing is Kamo’s lyricism; verses written almost entirely in an amalgamated Zulu-Tsotsitaal-English – a kind of cultural experimental with little intent other than to harness the most expression from each member of the band.

Kamo is currently at home in Joburg, honing in on his own set of collaborations while preparing to release Off The Meds’ next EP – the first in two years since their debut, self-titled album in November 2020. In asking Kamo about finding music halfway across the world, he says; “Yeah, I was speaking to a friend of mine the other day about that. I think it was meant to happen this way, and that maybe being in a city that wasn’t my home allowed me to take more of a risk – I really got to venture into this with friends, through relationships made in each other’s homes post-rave or post-party – and I think when you move away from home, you already have to channel a lot of courage to make it happen.” A strange alchemy came out of the pandemic, in which our world was shocked to its core – but in a slightly “positive” way, it has meant a lot of personal re-assessment for creatives regarding their output, and on this Kamo adds, “I am in no rush, really. I have been able to make so much music in the last few years, and now being at home in Joburg, I am with family, friends – taking my time, and being able to relax.  I am in a zen-state here in South Africa, because even though Joburg is wildly fast-paced – like the New York of Africa – it’s also my home of origin, so I can approach my time here however I want. I have two cities defining me and my style, Stockholm and Joburg, and I think both places serve different purposes, beyond comparison to each other.” I am curious to know the pace though – it seems quite unusual to spend the success of their album relatively quiet on the production front – and Kamo explains, “The industry in South Africa is modeled after the USA or UK, in which hype is maintained through constant output and pushing out work. It’s totally different in Sweden and most of Europe; we could take two years to go off on our individual paths, and yet work on the upcoming EP within a very comfortable timeline.’’When it comes to holding together a cross-continental music collaboration, Kamo says their experience as Off The Meds has been decidedly seamless, “I think our friendships are only really tested when it comes to choosing song names. It’s such a draw factor, and sort of like the crown you place on top of this snippet of work – so I think that’s when tensions rise, which is ironic as it appears as the easiest part.”

A crazy turn of events occurred last year during the Swedish Grammy’s – known simply as Grammis – in which they walked away with the award for the Electro/Dance category – Kamo says, “I couldn’t believe it. We won the award and yet nearly all the songs are in Zulu / Tsotsitaal – it’s so beautiful, because it is a reminder that music transcends boundaries. When we play live, people are singing along to my lyrics – and my language – and it’s as if they know what every word means. I think this is cultural sharing in the way it’s meant to be.” 

For now, Kamo is in that liminal space of creating and releasing. Working on his DJ persona, Michael Dangerous, the pursuit is to ride this wave and share all the parts of himself that he can – no boxing in or reducing to one single thread of who he is – here at home, and beyond. 

We are super honoured to offer a special playlist curated by Kamo for Connect Everything Collective – a mixture of his current state and taste, from South Africa to around the world. Put it on and kick back at this link here.

Written by: Holly Bell Beaton

Interlude Chapter 03 | A Beginner’s Guide to Digital Fashion

Mar 29, 2022 | Fashion, Interlude

I have grown increasingly suspicious of our acceleration towards the ever-narrowing distance between ourselves and the advancements in technology. Growing up, I was at the late stage of cell phones as commonplace tools for kids – receiving a bright yellow Nokia 5110 when I was 12 handed down by my grandfather, used strictly for playing Snake and contacting my mom. Even in the years ensuing, rapid acceleration took place and in high school everyone had Blackberrys – and here we are now, smartphones and social media lives in full swing. It’s almost incomprehensible to imagine our lives without technology; bouts of load-shedding in South Africa are a regular reminder of this, and thinking of the world continuing to push on without the internet or Zoom during the pandemic is difficult. When Zuck rebranded Facebook as “Meta” in 2021 – I was struck by how much fear overcame me, and how many preconceived notions I had built up around our integration with technology. In the case of fashion, imagining it existing beyond a tactical and tangible sense seemed strange; and I found myself at a cross-road. Either, I could continue to run this story that digital fashion is just an aesthetic pull from the coded void, or I could surrender to the fact that in order to engage with human reality in its pursuit, I would need to at least critically investigate and prioritize learning about this movement in order for my opinions to hold any weight.

This brings us to Chapter 03 of Interlude – a quarterly, equinoctial benchmark that is intended as a beginner’s guide to digital fashion. In presenting both the motivations for digital fashion, and the criticisms – I encourage anyone reading this to form their own stance. Mine is yet to be fully formed – and the beauty of stances or opinions is that they are fluid, and should continue to develop and shift along with one’s own experiential understandings. We need not abide by one fixed idea if that idea stands to flow along with us in a meaningful way. The emphasis of this edition is the term “beginner” – as I am a beginner in the realm of digital fashion, and thus can only offer a rough roadmap of some things to consider and research, should you wish.

Digital fashion is any visual representation or rendering of clothing/style or sartorial expression that has been produced using 3D software or computer tech. In many ways – digital fashion is not new, it is an inherent aspect of the gaming community and even my own obsession with dressing my Sims (1, 2 and 3 versions) as a kid was a kind of digital fashion. I see Final Fantasy – the Japanese science-fantasy role-playing video game – as an original example of the kind of expressive possibilities there are with 3D garment fashion, with designer Ayumi Namae’s particular ability to synthesize cultural, mythical and functional dress for characters that enrich the game’s overall play for users. For anyone in fashion school, CAD is a very familiar transition that has been implemented into the taught design process – the computerization of flat sketching using software programs that incorporate both the creative and technical requirements for drawing clothing intended for production.

Digital fashion within a 3D sense furthers this computerization by offering a virtual “fitting” – and programs such as Marvelous Designer allow users to take a  2D flat pattern and figure it out on screen, which can then be draped, shaded and textured onto a 3D body. While fashion students around the world compromise collections and even mock-up patterns due to a lack of access or funds to certain fabrics, this frontier of design offers a solution to retaining unbridled creativity within the digital realm while minimizing fabric waste. Purists could argue that this is the very nature of the initiation process for a designer; brilliance tested by resource constraints or the simple trial error that mock-ups offer in refining silhouettes and form. While the latter is tentatively true, fashion as an industry may have to forgo its traditional expectations given the exceeding ecological and social damage it perpetuates, top to bottom – from couture to fast fashion.

This brings us to another, newer aspect of digital fashion – its rising economic component, driven by a popularization of crypto-currency, NFTs and virtual reality. Most of us, with the access needed to engage (a conversation entirely on its own), have a virtual extension of ourselves in the form of social media. Starting with my Facebook account, to my Tumblr blog as a teenager, to my Instagram – I have spent years both exploring and curating my aesthetic interests and personality. These online spaces serve as a representation of who we are, and who we wish to be – and the truth of both being somewhere in the middle. One of the leading platforms in digital fashion is The Fabricant, the first professed “Digital Fashion House” that creates and sells exclusively virtual clothing – partnering with brands such as Puma and Buffalo London to conceptual pieces entirely for digital use. Part of their manifesto states, “Our work exists beyond

the current concepts of catwalks, photographers, studios and sample sizes. For The Fabricant, imagination is our only atelier, and our fashion stories are free from the constraints of the material world.” This is a compelling case for digital fashion – yet all too often material constraints are emphasized, and I wonder that given its infancy, perhaps digital fashion could serve to shift some of the violent ways in which physical fashion is created, distributed and marketed. If we could build worlds that were totally imagined – a playground for expression – surely we need to ensure that there are ethical considerations to be had and implemented, such as inclusivity and accessibility for race, gender and socio-economic diversity? With the gap inextricable between the rich and poor growing with immense force, it feels imperative that our viewpoints and perspectives in the global south are forged – in all things, but in this case the digitization of reality.

Evelyn Mora is the founder of Helsinki Fashion Week – the most sustainable fashion week recorded to date – and after realising a fashion show could never be truly sustainable, she ventured into creating a digitized fashion world, Digital Village, that serves as a virtual community centre in the pursuit of knowledge sharing around tech intermixed with sartorial expression and celebration. Evelyn enlisted Normative to create a report analyzing the measured sustainability of the two – and it was shown that the carbon footprint of Helsinki Fashion Week per visitor dropped from 137 kg to 0.66 kg carbon dioxide equivalent after switching to a purely digital format in 2020. While this does not mean digital fashion shows are better – remember, powering technology such as blockchain and computers extract 

immense amounts of energy – this does offer some insight into what we might expect going forward. The pandemic saw almost the entire fashion season of 2020 and the beginning of 2021 go fully online – with many of us around the world being privy to a real-time view of the runways, previously afforded to us either afterwards or even in the form of stills only. Recently, designer Rich Mnisi showed us what is possible for campaigns and editorials with his recent collection, JAMES, employing 3D artist Scumboy to build both a virtual landscape and render a Rich Mnisi dress into a virtual format. What resulted was an exceptional and visceral world unique to Rich Mnisi – and this plays deeply into the shift we have seen in fashion for brands to truly tell a story while creating products.

I am both excited and trepid about the future – we have a lot to iron out, or cast out entirely, in the physical world; let alone experimenting digitally. With this being said, I truly believe South Africa (and Africa at large) have an immense contribution to make to this realm – always with critical thinking, and an understanding that there tends to not be any magical solution – least not when it comes to currencies like crypto, secrecy as

actual money. But there is hope – and the kind of hope that is rooted in awareness, and a strong pursuit towards a fashion industry (local and global) that speaks closer to who we really are as human beings than the smoke and mirrors of capitalism’s illusions. I think there will need to be a beginner’s guide 2.0 in time – for now, see below for a cute resource list to further your thinking on digital fash-un. 

RESOURCE LIST:

Watch this recent talk by SHOWstudio on digital fashion as the future of the industry.

Read this as an example of 3D technology used by designer Hannah Jewett for jewellery making.

Analyze the report by Normative on sustainability between Helsinki Fashion Week and its subsequent digitization.

Listen to this and learn how late fashion really is to the digital party, and why representation is the only way forward.

 

 

Curated & Written by Holly Bell Beaton

Dutch Producer, Writer, and Artist Goldkimono Releases His Magnetic New Single “What I Got”

Mar 27, 2022 | New Release, Music

Dutch producer, writer, and artist Goldkimono releases his magnetic new single “What I Got,” via Camp Kimono Records ahead of his debut album and headlining tour.

Music captured Goldkimono, aka Tienus Konijnenburg’s, imagination from before he can remember. His mom tells the story of the first time his family visited their neighbor’s house who owned a piano. At three years old, Tienus headed straight for the instrument totally enamoured with curiosity and when the woman of the house passed away her husband gifted the piano to Tienus and his family and he began classical piano lessons at age five. Switching gears upon hearing Freddy Mercury from a friend’s tape deck. “I rebelled against classical music which took me to blues and blues improvisation. I followed my joy.” Inspired by acts like Queen and later Wutang Clan, groups who created entire worlds within a single song.

Tienus is Inspired by unity and the need for more of it, which makes the Goldkimono project driven by his desire to spread positive intention. “It goes further than music. Music is the vehicle. We share everything, we share the air, the trees, the same molecules, the same atoms, we are all connected,” says Tienus. “Behind every piece of music is a person and an intention. To me it’s all about grabbing that intention and my own personal experience and using my vehicle to uplift people. The frequency of that intention will come through the speakers. I want to be in service of that – in service to people through music.”

Goldkimono (credits include Tai Verdes “AOK” and Kygo “Firestone”) was inspired by his time living in Venice Beach, California, and “What I Got” sounds just like the slow break of a SoCal wave at golden hour. The irresistible hook swims carefree through a warm, 90s hip hop meets reggae influenced beat while its lyrical earworm feels like the peace and love version of a middle finger to the conditions of societal pressures. “What I Got” is about believing in yourself,” says Goldkimono. “Living your own truth. And accepting yourself in times where other people may not. To keep strong and rooted in your own journey and direction. Even if it’s the road less traveled, or less approved. “What I Got” is about the strength to sing your own song. The one that plays inside your heart. Instead of conforming to the melodies of other people’s expectations.” A tailor made soundtrack for the free spirited, “What I Got It” is sure to bring good vibrations all spring and summer.

Goldkimono is set to release his 14-track debut album ‘The Legend of Goldkimono’ on April 15, which includes “To Tomorrow,” Goldkimono’s RIAA Certified Gold top 20 charting debut single produced by Crada (Drake, Kid Cudi, Kendrick Lamar), as well as “Electric Swing” that was prominently featured in the #1 Netflix film ‘Army Of Thieves.’

 

Stream and download “What I Got” here:

Spotify

Apple Music

iTunes

deezer

Amazon music

YouTube

Tidal

 

/// Pre-save ‘The Legend of Goldkimono’ album here.

 

‘THE LEGEND OF GOLDKIMONO’ 2022 NL ALBUM TOUR

April 28 Rotown Rotterdam

April 29 Paradiso Amsterdam – Extra Show

April 30 Paradiso Amsterdam – SOLD OUT

May 5 Bevrijdingsfestival Nijmegen

July 5 Simplon Groningen / Simplon Groningen

August 5 Paradox Tilburg

/// Tickets available here.