Virgil’s Abloh’s Perennial Legacy For Young Black Creativity

Mar 7, 2022 | Fashion, Community

It’s weird – this think-piece feels overdue, yet not, all at the same time. Where does one even begin attempting to trace back the lasting impact which the late Virgil Abloh, and his creative brainchild, Off-White, have made towards progressing youth fashion culture forward? I guess we start at the beginning. Off-White c/o Virgil Abloh was established in Milan in 2012, founded by creative polymath Abloh under the parent organisation, New Guards Group. By this time, Abloh had already created a name for himself within the global creative field – forming nascent streetwear projects such as Pyrex (which subsequently evolved into Off-White), working for Ye under his creative agency, Donda, and designing a wide range of product, such as the Ye’s “My Beautiful Dark Twisted Fantasy” and “Yeezus” album covers, plus so much more.

This period of time is arguably one of the most important in terms of its lasting impact on Black youth culture, as the collaboration of Donda – which then included the likes of Heron Preston of his self-named brand and Calvin Klein, Matthew Williams of 1017 ALYX 9SM and Givenchy, as well as Virgil Abloh, and more. From designing garments under the creative moniker of Been Trill, which had a massive impact on Black New York fashion culture, this creative crew also operated as a deejaying collective, merging their influences and taking over the nightlife with fashion-centred soirées. This is precisely why I reference this period of time as culture-shifting – as the current local creative climate for young artists seems to be following suit – largely within the Johannesburg and Cape Town cultural scenes. Two poignant examples of local collectives following suit with somewhat similar blueprints are Broke (CPT) and Franasonic (JHB).

The former, BROKE, define themselves as, “a cross-cultural clothing brand that aims to tell the stories of those regarded as misfits, and/or the rebels of society.” This definition encompasses a lot as BROKE have managed to expand and progress into more than just garments; it’s also more than the weekly parties they host in collaboration with Tigers Milk – the infamous BROKE Klubhouse. This is a community – a brotherhood spawned from a mutual appreciation. The latter, Franasonic, is also a youth-focused cross-functional clothing brand that has morphed into a digital multimedia experience. Accompanied by unique editorials inspired by overseas zines and fashion publications, as well as in-person fashion pop-ups slash soirees, it’s pretty clear that the local creative scene is in extremely capable hands.

Many don’t actually know that Abloh was not a fashion designer by education but actually a trained and qualified architect but I personally feel that this is quite evident within his structural codes for Off-White (and later Louis Vuitton) – which were continuously updated throughout his tenure. The late designer was obsessive about so many things – one of them being utilising fashion as an intersection for all other forms of art, music, film, literature, and more. Take a closer look at Off-White’s first posthumous collection without Abloh – titled “Spaceship Earth, an ‘Imaginary Experience’” – a fitting ode to a creative genius of colour who changed the world forever.

The show was characterised by Virgil’s best hits – absurdly oversized straight caps and fluffy bucket hats, paired with colourful bright-lumo patches attached to tailored two-piece suits with the relevant accessories to match. The collection is a classic play on form, function and silhouette – flavoured with the rebellion and bravado which epitomises what Abloh and what the brand has always been. One of my highlights of the entire collection was seeing the white flags printed “Question Everything” – an integral message which Virgil continued to emphasise even during his infamous Harvard lecture. The roster of models who took to the catwalk included many of Virgil’s close friends, compatriots and collaborators, such as Naomi Campbell, Bloody Osiris, Ama Lou, Kendall Jenner, Bella Hadid, and many more.

So in summation, what does the metaphorical handbook which Abloh left inform us as young black creatives? Towards the latter part of his career, he and Off-White had a very clear mission – to support young black creatives within the global fashion industry, by all means and by all costs. For example, his resilient humanitarianism accompanied by strong creative ties within his homeland resulted in a successful collaboration with Daily Paper in order to build a skatepark in Ghana, which was successfully unveiled in December last year. 

Consistently throughout his career, qualities such as these have inspired and informed an entire generation of kids – to try and become their own Virgil’s. He continuously proved to us that anyone can crack it within the industry – as long as they have the right amount of hard work, matched with the necessary talent and enthusiasm. This is a blueprint which Abloh has been cultivating for his whole career – the blueprint for any upcoming young black creative to follow. So with LVMH’s acquisition of Off-White last year, I sincerely hope that Abloh’s legacy continues to remain supreme at the fashion house, just as it does within the hearts of many emerging creatives just like mine.

Written by: Odwa Zamane

Crystal Birch, Milliner Extraordinaire

Mar 2, 2022 | Fashion

Millinery as a profession can be dated to around 16th century England – although hats have had a long relationship with humans across many ages and regions of the world. When my mum married my dad in the early 90s, she had a custom wide-brim hat made layered in silk with a micro-veil – and only until now, with the revival we see around headwear, has the utter brilliance and originality of this make sense to me. Connect Everything Collective founder, Candice Erasmus, and I were invited by the REAL Crystal Birch (a nod to her stance when obtaining her website URL years ago, of which the name Crystal Birch had been taken to promote a novel) to the incredible Hat Factory in Foreshore, Cape Town. It was a fever dream walking the open-plan factory floor; a juxtaposition of shapes and colours in fabric and trim, set against an astounding array of early 20th hydraulic press machines with hundreds of different types of metal hat blocks.

Crystal’s team of artisanal hat-makers rotate different tasks, chatting and enlivening a space that we tend to associate as being ominous; the factory. I certainly always conjure up grim images of our continually mechanized future – or the sweatshop crisis we see unfolding in the fashion industry. The Hat Factory is totally different in this respect; Crystal’s office is barely private, assembled from vintage panels that only have half of it fitted, and a door that only closes for supplier meetings. This open plan space and collaborative energy was not always the case, and Crystal tells us that a year ago, when she bought the factory rights from her mentor Harry Faktor (the company was previously Parisian Milliners, founded in 1936) – the previous building ceased the lease agreement effective immediately, and they had three days to move everything to a new location; “No moving company was interested in helping us – they wouldn’t even quote me. These machines are insanely heavy, and for the average moving company, to even begin to work out how to fit and lift them was probably a nightmare they didn’t need. So I did what I had to do – I called the rigging crew from the film Mad Max, and they didn’t even ask what we were moving. They just showed up with 10-tonne trucks and did it all in a day.” 

If you know Crystal, you will know that her exuberance and impassioned energy is totally infectious – Candice and I sit listening in awe as she recounts the multiple moving parts it takes to go from designer and making hats, to leading the full-scale operation of The Hat Factory; of which The Real Crystal Birch label is a part, but not all of the hats that are made; “It’s been interesting, because the hat revival is taking place now – especially in the sense of fashion, where I have been able to collaborate with incredible designers – but catering to small scale, direct clients who have always bought their hats with our factory has been tricky. They are from a different time, I have the old invoicing books and the total cost of the special-occasion hats cost R30.00 – R35.00 to make. Fast track to 2022, mark-ups for materials have gone up by about 300% – let alone the total sum of all the materials being 30 bucks – so doing costings has been so eye-opening, because I think people assume hats like ours can be made on an assembly line. On the contrary, it is really the hands of the team that ensures our quality and design language is constantly being elevated.”

One of the other positive outcomes of the pandemic has been Crystal’s connection to two other hat factories and South African institutions; Simon & Mary and Carmi Hatters in Johannesburg. “I think I am the special freaky one out of the three of us – and we have been able to start these relationships which previously didn’t exist. So if I cannot do a big order – say a huge church hat order – I will send it to them, and vice-versa if they have a smaller, perhaps more detail-oriented order request. This wouldn’t have happened if it wasn’t for lockdown – but I think a lot of us realised our survival depended on each other, and industries had to find a way to come together to preserve the common goal we all share for local manufacturing.” Crystal’s label has a cult-like following in South Africa – with creatives and fashion insiders alike, but also an often unspoken sartorial audience such as political delegates, church women and the races. The newest market that she is tapping into is dermatology; “Because of the cancer association, it should be part of your beauty routine in the sun! I’m always like you’ve got your SPF and sunnies, but where is the hat? It’s so critical, especially here in Africa – and while my hats are interesting and unique, they are also functional. Hats are critical for sun protection.” 

We are so honoured to have been welcomed into the Hat factory, and to feel the pure love and commitment Crystal has in nurturing this craft and all the experts she has on her team. With events, collections and collaborations ahead; watch this space – The Real Crystal Birch. 

Follow the label’s movements on Instagram at: @therealcrystalbirch 
Or visit their website: https://therealcrystalbirch.com
Better yet, pop into the space – with a front room display – at 1st Floor, 42 Newmarket Street, Cape Town.

Written by: Holly Bell Beaton

Genesis: Life / Death / Force

Feb 28, 2022 | Art

Genesis is the manifestation of two artists and women in their pilgrimage across ancient lands in Southern Africa, told through the story of the rocks that hold both the geological and spiritual history of the planet. This poignant series is the union of both Rochelle Nembhard & Gemma Shepherd‘s visions and private journeys with the Great Mother as told through 35mm and 120mm film, as well as iPhone and drone imagery, a nod to the adaptability and resourcefulness of women, using whatever means they had at any given point. The root of this work, aside from the rock, is inspired by the anti-apartheid freedom song “You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokodo”.

In the visual outcome of Genesis, Rochelle is shown by Gemma’s inimitable eye as symbolizing both Mother & Daughter of sacred land. On this, Rochelle muses; “Artists are those who are able to be the conduit and go before others in harnessing conceptual understandings that come from the ether. To hold the death, the awakenings and the rebirths – I see artists as the seers, those who take the first sacrifice in order to move us all forward. We were anchoring that energy in this pilgrimage through Adam’s Calendar and the Cradle of Humankind. It was a return to the earth; and so it was necessary for me to be nude in the images, to convey that stripped back and bare process that is required for any type of initiation into the mysteries.”

This journey was undertaken by both artists alongside hair stylist and sister, Justine Alexander (justine_nomz) who carried hair with them during kilometers of camping and walking; through the unbridled beauty of the Cradle of Humankind, largely alone in deep contemplation and communion with their own inner-landscapes. The courage of this – to return and answer the call of the Mother – is acknowledged by the artists through the trinity depicted in the images of body / rock / hair : these elements converging to sanctify Rochelle in this space as a representation of the feminine; and is a call for protection of the feminine amidst femicide, particularly the harrowing statistics faced by Black women, and women of colour. 

We are so moved by these images, and by this unfolding process between Gemma & Rochelle. ​

Written by: Holly Bell Beaton

Interlude Chapter 02 | Needle + Stitch

Feb 23, 2022 | Fashion, Interlude

In this month’s edition of Interlude, I thought we would go back to basics and approach fashion from the viewpoint of the stitch. This simple technique launched humanity into a new era of expression and environmental protection, thought to have originated during the Paleolithic era using bone needles and hide. This seemingly simple act that we rely on today has been updated through hyper-advanced sewing machines (my entry level Elna Explore has 22 stitches) alongside the movement of the hand-stitching, and it’s pretty wild to consider how new sewing machines are for us, as their invention and subsequent computerization have only been available since the 19th century. I really believe anyone who is interested in fashion should understand garment construction even in just an introductory way – my basic skills managed to get me through hard lockdown in 2020 when I created my apocalyptic up-cyling project, @hac_ansuz – and while many of the pieces are not very wearable, the idea behind it was to re-imagine my wardrobe as if shopping was a thing of the past, due to the breakdown of society, and what struck me was my previous disbelief in my own sewing skills was thoroughly challenged; surprising myself with the inventiveness of slashed hems and turning pant legs into sleeves. Not everyone who loves fashion is destined to be a designer – which I believe is something we should address in our fashion school system in SA –  but we are definitely all creative, and sewing is as much an exploration of one’s own aesthetic identity as dressing & styling ourselves is. Without the needle piercing and looping through fabric, none of what we see occurring in fashion could take place, and while digitization continues (a chapter for another day), chapter 02 lays out some notable stitching of some South African creators that I believe are preserving the craft of local hand-making.

Sewing the Seams ///

There is a certain kind of patience and delicacy required for small batch runs of clothing or bags; envisioned for a community, and yet made well enough to be bought by said community. I am in awe of  Sheefah Sity’s bags and purses via her page @sakkie.co – particularly the use of faux-fur (that reminds of our-mother-in-fur Lil Kim) and the checkerboard carriers; a technique, by the way, of stitching squares together rather painstakingly. These can be custom ordered and developed with Sheefah based on available fabrics and tones. Alex Kaczmarek is Cape Town’s foremost creator of belt-bags (an updated term in the most recent renaissance of the “fanny

 

pack”) and shows exceptional technical skills in stitching together all the nuanced inserts, zips and straps involved with bags – alongside her signature boiler suits and bucket hats. Recently, psych-student Laylah Sallie was invited to Levi’s Haus of Strauss for a workshop – and made the coolest panelled corset from a pair of 501s. A home-sewer, Laylah reminds me that sewing can very much be a treasured pastime and creative endeavour without it being monetized – although, if she were to drop an up-cycled collection, I’d be there in a heartbeat.

Slip Stitch of Crochet ///

Crochet seems like a magical power to me. I attempted it once, many years ago -and found it really difficult, although at the time I was very impatient about doing anything I would have to practice in order to be good at (oh, youth). As opposed to a production line in which a garment may go through the hands of many people – crochet cannot be done on a machine (unlike knit), as a machine is incapable of replicating the transverse chains attributed to crochet. So, if you see a crochet item in a fast-fashion retailer like Zara; please know it had to have been made in one sitting, by one person, who is definitely being exploited. I don’t like to ascribe dualistic morality to how we purchase in a capitalist society – it’s always a far more nuanced conversation around

 

accessibility and consumption – I do, however, feel strongly that one should always purchase crochet pieces from a local creator. My favourite crochet artists at the moment include Crochet Couture; their deliciously vivid chain-stitch bikinis, patchwork pants and sets are gorgeous and the brand oscillates between the earthy-sentiments often associated with crochet and super bright, maximal pieces. Tenele Zwane’s crochet label, @subtletdesigns, is dedicated to crochet as an act of longevity; each piece is handmade and showcases an incredible ability to create patterns with yarn. Cape Town’s own @wren_and_blue maximizes the width of the crochet hook with her beautifully knotted bags in all different shades; and all these designers do custom orders.

Knitting Nature ///

Last winter, artist Sphiwe Dliwayo (under his moniker @iamkeithvirgo) knitted a series of exaggerated Mbatha scarves – his own, refined iteration of the Lenny Kravitz blanket scarf moment from the early 2010s, along with snug hats in shades of black and stone grey – here’s to hoping Sphiwe will be taking orders in autumn; it feels crucial for AW22 in South Africa. CTFCD graduate Jessica-Ann Sheperd is an emerging designer and her label Oddity is another stitch-defying array of oversized cardigans; among them beautiful, pastel shades and organic browns; I look forward to 

 

watching Jessica-Ann’s unfolding. Last, and certainly not least, @bambi.knits is designer Tarryn Tippens continued conversation using wool & yarn as a means to explore sustainability in her practice; using organic shapes and forms to create balaclavas, cropped jerseys and fairy-esque skirts and bras. Tarryn’s aesthetic makes sustainability feel incredibly thoughtful, particularly through the juxtaposition of her eco-dyed pieces against digital backgrounds depicting Mother Earth’s textures and terrains.

Curated & Written by Holly Bell Beaton

The 9th Edition of the Investec Cape Town Art Fair

Feb 22, 2022 | Art

The 9th edition of the Investec Cape Town Art happened this week – and what a delight it was, particularly after two years of having to wrap our heads around the potential digitization of all of our sensory experiences. The more events that take place this year in 2022, the more we are reminded of our embedded need for connection and tangible moments.

Some of the most compelling pieces included Dudubloom More’s magenta, crimson and citrus hued textural work, made of acrylic yarn delicately woven to create discs, then mounted on canvas relaying outward dimension. Talia Ramkilawan exhibited with What If The World Gallery, showing her signature tapestry technique of wool & cloth, this piece in particular is a commentary on the violence of British Imperialism and the inhuman experiences of Indian people in South Africa – we are always in awe of Talia’s ability to convey incredibly important meaning through woven pastel and bold colour. Continuing our draw towards brightness, Tsoku Maela’s digital and analogue images from the series “guardians of the garden” first appeared as hyper-realism before shifting into being understood as photographic work – we loved this interesting play on meta-realities rooted in the physical world.

We only saw one work left from Mongezi Ncaphayi’s show, Let The Waters Settle – we always adore his attention to detail in fine-line work and his ability to convey moods with watercolours, often contrasting both mediums and meaning simultaneously. TheFourth’s booth at the fair was crowned by Rochelle Nembhard and Gemma Shepherd‘s GENESIS: Life / Death / Force showcase; with incredible images of Rharha in communion with the elements of hair, land and self; in juxtaposition with their continued centering of the rock as a symbol for The Great Mother, womanhood and outcry against femicide. Among the publishing section, we delighted at House and Leisure’s continued rebrand – from an iconic interior magazine, to one of the only print publications left in South Africa that strikes at the heart of the incredible design and artistry occurring here. Their booth was illuminated in pastels and beautiful objects, alongside their most volumes available for purchase. Lastly, we had to show immense restraint at the Clarke’s Bookshop booth with their ever-dazzling array of secondhand and archival reads. 

 

 

There, of course, was so much more – we extend our gratitude and congratulations to all the artists who exhibited, those who curated and created such a special & enlivening weekend for our city.

Visit https://investeccapetownartfair.co.za/ for more.

 
Written by: Holly Bell Beaton

A Balance of Hues and Inner-Home with Talya Galasko

Feb 21, 2022 | Interviews, Creatives

Talya’s story as a film-director is steeped in sensory memory – and once you know this, the incredible colours and sounds that elucidate the suspended and active moments in her films feel all the more personal. I feel this deeply when watching Adi Koen’s character in Interlude grapple with languishing feelings of isolation and nostalgia, contrasted with the juiciness of citrus and subtle shades of lighting – a dreaminess and devastation somehow married together, synchronized through Talya’s ability to portray the delicate nuances that intertwine through the human experience.  Writing was Talya’s first love, and while the written word casts its own spell upon our imaginations – drawing on visual storytelling seems to deepen and broaden one’s own inner languaging. I know this for myself with my dabble in styling and image-making; and I suspect that most writers will tell you this truth; that there are some stories that can only be optically transmitted. 

“One of the biggest things I want to achieve in my work is to bring people to feel an experience that might not belong to them, or an experience that they might recognize. I want to create visibility around an experience, encouraging people to reach out and touch something unfamiliar, or familiar and forgotten. With Interlude, I needed to acknowledge this pervading loneliness I felt in lockdown – post break up, and without romanticizing but rather encapsulate the feelings I had, and perhaps reframe the loneliness into a  reflective solitude. You know when you are in that place – and you think it will never pass, or you will never be happy again – and I think Interlude is the outcome of finding comfort and beauty in that space.” says Talya in our conversation around Interlude, her 2020 film picked by Vimeo staff as a best short-film. Created with art director Adi Koen and cinematographer Deon van Zyl, the film is a poetic musing, and beautiful taste of Tayla’s practice.

It may seem like a clichéd question to ask an artist or creative on how colour informs their process – but I have never, ever received a clichéd answer; because it is such a personal, direct expression of someone’s practice; whether the relationship is maximal, muted or somewhere in between. Talya’s work exudes an impeccable command of colour theory, as if every inch of the frames in her work has been thought of – and on this, Talya says, “colour is emotional for me, and when I put these worlds together – there are certain colours that I know cannot go together. I am extremely sensitive to a balance between warm and cool tones; and I strive for that equilibrium in which the set feels totally held across a spectrum of shades. If there is orange in the frame, there will be green and if there’s blue, I will make sure there is a bit of red or yellow. I love the work to be vibrant but also harmonious, and in being bold I try to consider delicacy. In Interlude, the presence of oranges goes back to my memories as a child. My dad used to buy these big sacks of oranges when we went to the Kruger park, and we would put them on the floor under our feet and roll them, to soften it – and then you bite the top off and squeeze the juice. The colour, the taste – the heat of the day – can all be summed up for me in an orange. It’s symbolism like that which I think makes directing so exciting, because you can say so much without having to explain an entire story; everyone will have their own association.

Sexual liberation and thematic visibility (beyond even sex & gender) are still incredibly archaic – an almost regression from even antiquated times all over the world – and especially in South African advertising, there is still a very conservative approach to building commercial content. We can speculate with accuracy that this is a post-apartheid, patriarchal hangover – in an industry that is very, very male dominated and by white men specifically. In our conversation, we discuss the under-representation of women – “I think there is an intrinsic aspect to femininity that I have seen in women and femme-identified beings around me, of this expression of abundance. I realised that some of my pursuits in my work is a desire to recreate a time and place in which there was safety – enough food, or enough pleasure. Personally, there is a huge crossover for me with food and sexuality; the idea of either being nourishing, and giving us creative energy to exist. While that comes through in a feminine aspect, I also view this intersection as going back to my childhood – having to be an independent child from a young age – and that dichotomy between growing up and saying goodbye to one’s inner child. There is this desire to be seen as an independent human-adult; not a female human-adult, or director. It is assumed that the director is a white man – and as women in this industry, I don’t think we necessarily want our femininity to be a selling point.” Talya goes on to explain that women need to be taking up space on set almost inorganically and calculatedly so – as it’s so entrenched. It reminds me of something my partner often says about equality from the viewpoint of the patriarchy or white supremacy – that lack mentality has been so aggressively embedded in everyone, that the idea of equality for someone is a threat to the rights of another. This is an intensely distorted symptom of the system in this world; that the cogs on the wheels could collapse at any moment without the fixation on a hierarchical structure. I agree with Talya, that one has to assert its eventual collapse with almost a discretion, to draw gender and racial representation into a state of normalcy.

Lastly, Talya astounds with a statement that hits home for both CEC founder Candice and I – “Creating for free, in hopes of exposure, is dead.” This is said in reference to a sidetrack conversation, but an important one at that – when I express that the creative industry is one of the only in the world in which intellectual and creative property is exclusively demanded, for free – in order to “create” one’s career. I could talk for ages about this – and we did – but I think it’s a great epitaph to remind our creative community of their value. An important distinction one should make on this subject, Talya says, is to understand if the work you want to produce is for you or for a brand – passion projects can be made resourcefully, shot on an iPhone, because it elicits joy and refines your craft – and that same spirit can be explored when working with collaborators and brands, except there needs to be mutual exchange. I think this idea of value is a big theme for 2022; 2 symbolizing relationships and duality in numerology – and god, it’s so good speaking to women. To more. 

View Tayla’s work here:

Interlude (short film)
Voicenote (short film)
Milliways (commercial)
HAUS (commercial)
HUSH (GBV short film)
And more on talyagalasko.com

Written by: Holly Bell Beaton

Luxury as Integrity with Imran Mohamed

Feb 17, 2022 | Interviews, Fashion

If you have had the pleasure of coming across ASA SADAN’s IG feed – you will know their epitaph is “luxury.heritage.tradition.modernity” – and these four words encapsulate the conversation I am grateful to have had with the label’s founder, Imran Mohamed. This conversation is one of those times when I really wish this was a podcast; because conveying the depth of the threads we discussed in written almost feels reductive – but I hope, as always, that I will do it justice.

Imran is a fascinating creative director – in the truest sense of what that title has come to mean in fashion today. We tend to create this mystique around the role of a creative director – imagining somehow that it is this person entirely who cut, sew and dress the garments – that they act alone, mysteriously so. I have often wondered if this is not a symptom of individualistic thinking in the west; that in order for something to be profound, it has to have originated from the mind and hands of one person – that we cannot, possibly, acknowledge the very truth of our nature as human beings; an existence that is wholly dependent on one another, no matter how compartmentalized the society is in which we operate. A creative director, in the way that I consider it, is someone from where the vision originates – or is grasped and put forth into tangible motion. It is the person entrusted to lead and draw out from those around them the very best aspects, for the momentum of an entire viewpoint. When the citrus-hued arabic-style monogram of ASA SADAN popped up on my feed through Duck Duck Goose – I was thrilled. I briefly discussed ASA in chapter 01 of Interlude – in which I said, ASA SADAN  makes the case for “why sartorial lineages between cultures and communities will always be the original blueprint for everything we might see on the runway or in windows.” I stand by this sentiment particularly in the context of Imran’s work, especially after our conversation.

“I have always had an affinity for fashion and design – I was born into a family in which fashion was our bread and butter. My grandparents and mother and extended family were in the industry all in different roles – from managing factories, to my grandfather being a couturier and my mom had her own brand, and then became a senior brand for big retail groups in South Africa. My dad’s father moved from Joburg to Cape Town, I think in his forties, and reinvented his pathway – settling on men’s retail. He founded Skipper Bar, which brought trends and labels to South Africa during apartheid, where it was almost impossible to bring anything in. I think that time was around the 1970s/80s, when Grasshoppers came out locally, and internationally it was Lee Jeans.” Imran says, and the last line is a subtle gesture that makes me realize how deeply nostalgic fashion can be in Cape Town; its this juxtaposition of local heritage intermixed with global aesthetics; something which ASA SADAN has conveyed beautifully with the single pleat trouser – a nod to Cape Malay, Muslim tailors that are so embedded in the garment culture of the city – alongside the tech-wear tactical vest. 

“After I finished my honours at UCT, beginning in engineering and then moving into real estate, I started to see all these disciplines and practices as truly being varying models of design. I think fashion is just another medium to convey one’s perspective on how to build products and re-shape systems, and for me it’s always for the benefit of people. My fashion journey in the industry began at Corner Store alongside Two-Bop, Sol Sol and Young&Lazy – working with I and I as an intern. That was still a time when I think a lot of other places were not willing to share their knowledge or contacts, so Corner Store was pretty pivotal in that way. Shukrie Joel, the owner of I and I, was my mentor for six months, and he comes from a tailoring background, so his different take to traditional streetwear that we were seeing at the time influenced me a lot.” 

This journey between design and commercial product would eventually lead Imran to applying at Central Saint Martins for a masters program in Business Administration, merging artistic and creative practice with contemporary business principles – the school is somewhat of an enigma in the realm of fashion education, intensely difficult to get into, and has produced some of fashion’s most beloved designers and creatives from Lee McQueen, to Phoebe Philo and most recently creatives like Ib Kamara and Grace Wales Bonner. It is an institution that is built on fostering the most bold of fashion creatives. I think what makes CSM so unique is the array of pathways it offers; it is one of the few schools I know that encourages careers beyond just design. Imran’s initial drop for ASA SADAN “Dissertation Studies” is the evolution of his presented project at CSM; and is a commentary and inquiry into self-identity, cultural identity and how luxury can be reframed.

“I was in lockdown alone for four months, in London, only interacting with the cashier at the local Sainsbury’s every now and then. That time allowed for some deep reflection. I read a lot of books on South African history in tandem with strategic and psychological prescribed texts, and from that understood that there are so many stories that have not been told – or that we have barely begun to archive. In my own schooling background, SACS and UCT were both founded by Cecil John Rhodes, and we were taught that this man was a hero. When you do your own research; the truth is incredibly different. Uncovering the reality of how our country came to be made me realize how important South Africa actually is – the Dutch East India Trading Company would be valued at around $7-8 trillion in today’s terms. That’s around four times the value of Apple. That level of wealth was generated through oppressive systems and structures, in the advancement of colonization, and then we had apartheid; so I think it cannot be overstated how very new the idea of liberation in this country is. So when I was conceptualizing the label, and looking at my own heritage as being a Muslim, coloured man in South Africa, I wanted to address the stereotypes of how we have been boxed in stylistically – as ‘street’ culture. So on one hand I wore G-star and Nikes as a representation of our culture, and then on civvies day at a traditional white boys’ school – I am getting mocked and made fun of for doing so. My practice is therefore centered around breaking those narratives and boundaries, embodying our culture and heritage in the luxury it so deserves to be portrayed in, and I think when we understand fashion as the manifestation of identity and personality, we can see how powerful it is not just aesthetically, but also culturally and socio- politically.”

This sentiment shared by Imran, among many other moments in our conversation, is what informed my opening statement about him as a creative director. When we talk about intelligent design, we are not talking about design that is academically certified – or validated by any traditional models – rather, intelligent design is that which is created from the ability to view the multi-dimensional function of design to literally shape the world. It is the ability to understand how it has shaped the world until now – and then to reflect on how it should be done going forward. Good design advocates for equity through the prioritization of quality – good design, or true luxury, is the stripping back of everything we believe about materiality and novelty; and instead allowing fabrication, or construction, to serve as a symbol for the inner lives of oneself and one’s culture. This is the kind of design that fascinates me – that we see from other designers in South Africa such as Lukhanyo Mdingi, Thebe Magugu, Sindiso Khumalo and Rich Mnisi – among many others, established and emerging. In talking about whether he will build a collection or continue with drops, Imran says, “I think because we are really emerging as a luxury market in this country, it’s assumed that one can easily make 10 or 15 units of a garment. Factories here are looking at hundreds of units to pay their staff, maintain the facility etc – I am more interested in moving away from the model and timelines of excessive amounts of clothing made. I want ASA SADAN to show design that is relevant over time – to have pieces we make available to our community over two or more years rather than seasonal offerings. a work in progress, but I think  the small process changes we can do in-house as one example, can hopefully contribute to shifting our  ideas of quantity of product equating to quality.”

“To be able to be a creative director, you need to be able to understand every process. But you always need to be able to look around you, and see the value, skill and essence of the people that can create with you. All these hands are essential in building a brand. I am adept in technical understanding and articulating details, but can’t sew or cut a pattern at all! ASA has taught me to be incredibly diverse in the way I wear many hats – and I reference Lukhanyo (Mdingi) when I say this: ‘the power of the collective is greater than that of the individual’.” Imran says on this concept of creative direction. Speaking to Imran, I am affirmed at how much more we need in the way of educational spaces. We discuss institutional education, and the lack of infrastructure in South Africa; “Aside from institutional education, there is the grass-roots, on the ground education. One has to be connected and have their ear to the ground – there is a knowledge that just cannot be taught. It’s up to us as a collective to come together and create a library of resources.” With the pandemic, I have felt a sense of isolation even within the spaces that I have worked in and with the many incredible people I have come to know and talk to. I really feel enlivened by this conversation with Imran – there is a wisdom with which he speaks, and conveys critically the kind of conversations we need to be having in South African fashion, and honestly, I am thinking about podcasts, archives and the rallying of people together after this. We talk more about that, but I think that part of the conversation will have to have an ellipsis of intrigue…

Written by: Holly Bell Beaton

SBX Releases Her New Album “These Songs Are About You Too”

Feb 14, 2022 | New Release, Music

“Music is the great water. An incredible force. (It’s) Something that people who differ on everything and anything else can have in common”.

The talented South African R&B singer & songwriter Sibahle Xulu, a.k.a. SBX, grew up in a family heavily influenced by music. Throughout school she had a passion for the arts, participating in concerts and the choir. Her early musical influences; Lionel Richie, Whitney Houston, Mariah Carey and Beyonce, are now heard in the foundations of her musicality. SBX’s songwriting and relatable music come from her own experiences and those that most of her peers face daily.

In 2018, Sibahle began her studies in a Bachelor of Arts in Dramatic Arts at the University of Witwatersrand in Johannesburg; with the plan in mind to transition from acting and writing poetry, to writing songs and finally taking the big stage. In 2019, SBX recorded and released her first song, ‘Libra’s Interlude’, which prompted her to begin writing and recording a full project. A year later, she released her debut EP titled ‘These Songs Are About You’ catapulting her music career. With over 43 700 organic streams on Spotify and 31 200 on Apple Music, SBX has become an enviable force in the SA R&B music scene. To date, SBX has been featured on Iqhawe Magazine, Freshmen Magazine, SlikouronLife, Creators Live, YoMzansi and Zkhiphani as South Africa’s New R&B Sensation, Artist of The Month and Hot On The Streets.

In May of 2021, SBX released her first official music video for her radio single “4 U”, debuting at No.3 on Trace Urban’s Top 30 Charts and later on to MTV BASE and Channel O. To celebrate her debut’s success and to thank her supporters, she released two surprise songs; “Leo’s Exit” & “Midrand Drive” on Soundcloud; both which were featured on US-platinum producer Ye Ali‘s Twitch show. In 2021 ‘The SBX Story’ featured as the cover for Big Bang Magazine, with SBX dubbed as ‘R&B’s New Fearless Visionary’. SBX is now preparing for what looks to be an illustrious year for her. She has started 2022 with an 8-track audio sequel titled “These Songs Are About You Too” that was released on January 14th, debuting on Apple Music’s ‘New in R&B’ playlist.

Keep a lookout for SBX in the music scene, as she is set to drop a new radio single and music video with a surprise collaboration in the first quarter of this year.

/// Listen to “These Songs Are About You Too” on:

Spotify
Apple Music
Soundcloud
Tidal
YouTube Music

The Motions of Film + Travel with Josiah Suskin

Feb 11, 2022 | Interviews, Creatives

Travelling is a privilege, and yet it is one of the truest forms of education I have known in my life – something handed to me from my own mum, who made it her mission as a single parent to afford me experiences in the world from a young age. It’s part of the reason I ended up in Vietnam in 2018 – and it was here, 10 000km from our own home city of Cape Town, that I ended up meeting Josiah. If you’ve ever hung out with homies from South Africa in another part of the world – you’ll know how all the more surreal it makes the experience. Although that was only four years ago, it feels like forever – and I think I speak for both Josiah and I when I say life has changed immeasurably, particularly in light of the pandemic. Even then, Josiah was immersed in film and photographing – and since then, he has gone to refine his career as a cinematographer and photographer, now calling Disco Creatives his agency home. Josiah is a visual story-teller; deeply curious, and is most inspired by Nature, and his partner & muse Chloe; I am grateful for this insight into how he got started, and the immeasurable value in creating a liberated life.

“I always wondered where video had emerged in my life that made me so enamoured with it. When I was studying at SAE in Woodstock, I recalled what it was; it started with stop-frame animations. I had this tiny Logitech webcam that came with this software, and I’d use plasticine to make the craziest animations. I even used my mom’s little steamer that she had for sewing to create mist and fog. So this group of stills was sort of the origin point at a young age, which later became my total fascination with film. I went to a Waldorf school, and the Class 12 project is a six month process where students are encouraged to focus on building or creating – so some people build cars, or houses – pretty much anything that ignites their passion – and I shot a down-hill skating documentary. That solidified my love and passion, waking up every single day to sunrise, skate and shoot.” Josiah says, on finding the freedom to do what he loved even in school. It’s interesting, because I have had a lot of conversations around education recently in the context of creative careers; and it is such a balance between the right environment or infrastructure, and then the nurturing of self-direction in young people. More and more we are realizing the necessity of following a path that affords a life worth living – and while this cannot be said without the acknowledgement of the privilege that provides the access to this, I have utopic sentiments that it will become the rule rather than the exception. 

“I think film is the perfect accompaniment to my love for being active – for being out in nature, or surfing, skating – it’s being able to document that, but then also learn as I went into working on production sets and collaborating with commercial partners. It never gets old, being out and shooting and thinking you have a concept – and then being totally surprised when editing, and this initial narrative you tried to shape during filming can be totally transformed.” Josiah states, and on traveling he goes onto say, “I first started traveling with just a camera, and saved up some cash – South East Asia in countries like Thailand, Vietnam and Sri Lanka – they are so nuanced, so rich in culture and such a juxtaposition between heavy urban settings and unbridled tropical landscapes. I think I had always favoured natural scenes – like it’s somehow good, and urban is bad – but that duality and contrast became less distinct after I traveled.”

There is an honesty in Josiah’s work; a sense that he is approaching the world with an earnest love for all that it is comprised of – and I think as we accelerate digitally, the conversations around content and media tend to be incredibly ominous; and it’s not that they shouldn’t be – there are some huge ethical implications involved in our warped-speed momentum into the digital age – but when speaking to a creative like Josiah, I am reminded of how most of our evolution as a species begins as a wonderment for our surroundings. On the power of media, Josiah relays; “I think being able to create narratives that can change someone’s perspective is exceptionally important. In 2018 I shot my first feature film which was Cut Out Girls by Nicole Hanekom. It’s a film about rape and rape-culture, and to be a part of something like this which is such an important subject for South Africa but also the entire world has made me go deeper into what film means. I think film and media have to look to create awareness around issues such as femicide.”

Written by: Holly Bell Beaton

Feminine Forces with Gina Jeanz

Feb 4, 2022 | Interviews, Music

As I write this piece, Gina’s recently released LP, Lucid Theory, is playing in the background. I rarely listen to electronic music while I write, but there is a quality to how each track is woven that makes the sound of this album adaptable and joyful for any occasion – each song has a reference to both Gina and the influences around her, from the jazz-deep house synths and percussions of Amapiano, to the beautiful vocals intertwined with electro breakbeats. As both a DJ and music producer originally from Namibia, Gina Jeanz has been living and creating predominantly in South Africa for the last 11 years – and we are seriously blessed to have her sound and essence paving the way for women on the continent. With everyone I get to speak to and write about around creativity, I have a deep admiration; but there is something really special about knowing you are getting to talk to someone who might be established already, but for whom things are going to blow up in a massive way. This is the feeling I get with Gina – maybe it’s my witchy-senses when I speak to women who own their divine feminine magic – that there is a wellspring of ideas rooting to take shape in the world, and that the embodiment of one’s purpose is occurring, in real time.

“I grew up in an academic household – my late mum had a PHD, my dad too and my sister is a doctor – so I always felt like I needed that thing that was mine; that I was naturally good at. I think being creative in that environment motivated me to take up the violin, because it gave me a classical anchor around composing – and then refining my understanding through theory and pitch. That formative training has been invaluable, because going into production with some fundamentals to draw on encouraged a deeper dive in me.” Gina says in our conversation. The language of music is something I have very little understanding around; I find it almost like this magical power that people possess, but as with many things, there is having initial talent – and then there is refining that talent through discipline. Another anecdote that needs to be addressed is the idea of being an “instant or overnight” success – around regarding her career, Gina says, “My career took off in 2017, but I had been experimenting and developing my sound for a while before that. Electronic music, and the software one uses, is a whole system itself – and in order to create a seamless workflow, it requires a deep understanding of how to blend and mix. It’s definitely about experimentation and testing for every artist, and it was very much only a secondary hobby until 2017.”

So what happened in 2017 that course-shifted Gina’s trajectory? ‘’I grew up not having representation in spaces like music beyond vocalists, so it didn’t really dawn on me until 2017 that this was a viable career – a thriving career and purpose that I could have – I needed to know it was possible that one could buy a house or eat off doing this! Red-Bull put me up for Rocking The Daisies, which was my very first gig – at the Electro Dome. I have the line-up framed and there I am alongside all the big dogs like Flume and Black Coffee. What is this Namibian girl doing here??” Gina reminisces; and I think this is what I mean about my introductory comment, in which you can feel the alignment that is laid out for Gina on her path, and without downplaying it into a cliché trope, self-belief and trust is a big part of anchoring that energy. 

“I had to say yes, I had to keep imposter syndrome at bay. I quit my job as a graphic designer, and I knew I had to put time and effort into seeing if making music would work. In Namibia, there is a huge need for support and infrastructure around music and art. I don’t think it is seen as a priority; that creativity can change lives. I want to contribute to this change, as an African, but also as a woman. I feel like a big part of me doing this is not just to perform or to create, it’s to be a part of a conversation. Africa has been the blueprint! I want to show other African women that our seat at the table is not something we need to gain permission to have; it is already ours.’’ Gina says, and I am affirmed in my feeling that it is Africa’s time; and that every facet, industry and space needs to be forged with the array of incredible minds of this continent. In response to this, Gina says, “I think with what we have seen regarding the international success and interest in Gqom and Amapiano that eyes are on us. For my own musical practice, it’s important to remember how nuanced and diverse Africa is though – and that music is one of the threads that runs through the whole continent. I am excited about the role electronic music has in translating traditional sounds from indigenous instruments into a contemporary framework, for example. I feel as though I am a part of the growing community and femme sisterhood who are stepping into these roles.”

Another aspect of Gina’s artistry is the visually compelling expression that she relays to the world. To me, it is a testament of the feminine energy so long forgotten in the world, that when it arises – in both Gina’s images and sounds with effortless beauty – it feels quite startling, and elicits such reverence. My last question to Gina is what sounds are inspiring her at the moment, and who in Namibia should we be listening to?  “I’m really enjoying the new age sound of Afrohouse and Afrotech, and even more so exploring the genre more throughout my own production, artists who are also pushing this sound in Namibia. People should get to know are Lioness, DJ Castro, DJ Dreas and Waters.”

At the time of writing, Gina is releasing two new tracks on Bandcamp on Friday the 3rd of February. The tracks, Kae Beach and Paje Paje, are part of a project called Sounds of Zanzi; written in Zanzibar, as a sonic love-letter to her experience there. Imagine we all created gifts in our own mediums as an ode for the lands we encounter and love that we experience? Gina does so, and it is incredible.

We invite you to listen here;  https://ginajeanz.bandcamp.com/

Album Photography Credits ///

Photographer Aart Verrips
Production design and styling: Francois Ferreira
Makeup: Alexandra J Botha
Hair: Saadique Ryklief
Photo assist: Rebecca Smale
Sets built by: Mduduzi Mthethwa
Styling assistant: Kutlwano Hlomuka

Written by: Holly Bell Beaton