‘Smoking Kills’: An ode to the Club Bathroom shot at the namesake Melville Bar

Jul 7, 2025 | Creatives, Community

Johannesburg and Pretoria-based creatives and friends, Cebo Mtshemla, Liso Ceza and Langelihle Bulose present their editorial project, Smoking Kills – a photographic love letter to Johannesburg’s third places, specifically the now-threatened bar of the same name.

About two weeks after they shot the story at Smoking Kills in Melville, the venue was asked to close due to residential neighbourhood noise complaints, even after efforts were made to soundproof, remove speakers and stop outdoor events. This sparked uproar amongst the local patrons and as a result a petition, which can be viewed here, started to circulate among queer artists, musicians, and regulars who’ve long considered it a home. “The timing lends the project a quality that we didn’t anticipate, but one that now feels necessary to share as a story of Johannesburg’s disappearing third place. The work sits at the intersection of fashion, urban memory, and resistance”, they share. 

Cebo Mtshemla goes on, “These images were shot in the Smoking Kills bathroom as it was a very obvious story for us to tell. We wanted to document traditional third place activities in our actual third place. Chris, the owner, and his amazing team let us in there the whole day and now, two weeks after shooting, we are signing petitions to keep this space open. 

When asked about the primary inspiration behind this photographic editorial, they shared, “We’re friends that happen to be creative and naturally wanted to create together. We are young creatives working for other people and wanted a second to make something of our own. In admiration of Johannesburg party culture, the story leads with an editorial shoot, captured entirely on film, focusing on South African streetwear, styling, and subcultures. Casting real party people. The Club Bathroom is the Real Main Stage, a love letter to femmes, queers, girlhood, partying.”

Art Direction and Styling by Cebo Mtshemla and Liso Ceza, Photography by Langelihle Bulose
This project was born from a sentimental connection to the space and is a visual representation of this. Traditionally, third spaces are those that are neither your home nor work but a public, often free area that acts for community building and connection such as a park or library.

Liso shares, “Third spaces are where connections are formed. Film club is one of those spaces, although going to a cinema has gotten expensive. It’s nice to meet up with people or friends who care about films and discuss them over dinner.”

Cebo adds, “The idea of this shoot was to put traditional third place activities in our actual third place. I listen to stories of ice cream dates my parents went on at Marcel’s or movie weekends. And while Bioscope with friends and hikes is still on itineraries for many young people, parties are just as much and oftentimes feels the most intimate. Even more so, when you have a moment of quiet. Which will most likely be in the bathroom.”

The Club Bathroom is the Real Main Stage is a fashion editorial celebrating Johannesburg’s party culture, femininity, queerness, and youth expression through the lens of the club bathroom. The piece is being developed alongside a short film titled ‘These Things Happen (in a Club Bathroom at 2AM)’. Each project lives independently but speaks to a shared visual and cultural universe.

Bathrooms are not just transitional spaces. They are often, especially in nightlife scenes, spaces of softness, true intimacy, transformation, confession, reconnection.

In their words, “This piece is a love letter to that experience.”

Art Direction and Styling by Cebo Mtshemla and Liso Ceza, Photography by Langelihle Bulose

Photographer, Langa, continues: “We put this project together to try to amplify the importance of bringing people together and amplify these somewhat intimate moments we share with each other. Smoking Kills is important. Joburg party culture is important. And often these left of field spaces, which are slightly obscure, don’t get enough attention. We need the next generation to keep these spaces alive.”

“As a queer person, I appreciate SK how this establishment fosters a judgment-free zone, allowing people to let loose and be themselves. The bathroom, in particular, became a spot where I’d catch up with old friends and make new ones, adding to the venue’s charm.” – Liso

When asked about some of the key visual inspirations behind the making of the imagery, Liso says, “Scanned ad campaigns from old magazines, specifically from the beginning of the 21st century and the dawn of the indie scene of the early 2010s.” 

The film treats the club bathroom as a third place where people are briefly allowed to be fully themselves. In this room, people fix their makeup, tell secrets, cry, flirt, breathe, fall apart and come back together. It’s where connection happens in the middle of loudness and where relationships can be fostered. 

 

Art Direction and Styling by Cebo Mtshemla and Liso Ceza, Photography by Langelihle Bulose

CREDITS

Art Direction and Styling: Cebo Mtshemla and Liso Ceza

Photographer: Langelihle Bulose

Lighting and Photographer Assistant: TK

Muses: Thatohatsi Kuwane, Kim Huysamer, Madison Day, Sisipho Madubela, Nathan Brand, Kiran Singh

Fashion: Viviers, Diesel South Africa, Levi Strauss, Kiran Singh

Accessories: Broke, Lab Grown Studio

Location: Smoking Kills Bar, Johannesburg, South Africa

Special Thanks: Chris and SK Team

 

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Cold Chinese Food releases their new single ‘Ethiopian Coffee’

Jul 4, 2025 | New Release, Music

South African musicians Cold Chinese Food return with a new single, “Ethiopian Coffee”, the first single from their forthcoming album. The track is now available on all major streaming platforms, accompanied by a cinematic music video on YouTube.

Rooted in experimental hip-hop, soaked in jazz, and laced with cultural introspection, “Ethiopian Coffee” reflects the duo’s journey from Johannesburg’s melting pot to the world stage. Cold Chinese Food duo consisted of Sam Turpin and ILLA N. “This project has been in the works for quite a while,” says musician-producer Sam Turpin. “Growing up around global cultures and musical families, hip-hop became the language through which we could speak. There’s a lot of jazz and coming-of-age themes in the lyrics, but also a real openness to what music can be.”

The single draws inspiration from life’s pauses — the quiet, grounding ritual of making and drinking coffee. Its visuals (shot between Joburg and Cape Town) are a passport into the duo’s multi-sensory universe.

 

“If this project had a visual identity,” Turpin explains, “it would look like a multi-coloured travel brochure with stamps, food tips, some bling ads — and a few surprises along the way.”

While originally formed by Sam Turpin and ILLA N, the upcoming album includes the broader Charles Géne Suite collective.

“Ethiopian Coffee” is a signal of what Cold Chinese Food stands for: independent artistry, cross-cultural collaboration, and music that lives outside of labels.

Listen & Watch Ethiopian Coffee

Watch the video on YouTube

Stream the single on: Spotify | Apple |Soundcloud | Bandcamp

Connect with Cold Chinese Food on social media

Instagram 

Twitter

Facebook

 

Press release courtesy of Cold Chinese Food

Nanette releases her single ‘I’m Not Psycho’ ahead of her EP ‘Painfully Happy’

Jul 4, 2025 | New Release, Music

Hot off her electrifying performance opening for UK R&B star, Sasha Keable, rising South African sensation Nanette releases her captivating new single “I’m Not Psycho” on all streaming platforms. 

Produced with cinematic tension and lyrical precision, “I’m Not Psycho” dismantles the “crazy ex” narrative by exposing the manipulator’s ultimate fear – losing control of the monster they created. Nanette’s lyrics “Look what you’ve made me… You don’t get to leave me!” capture the thrilling metamorphosis of a woman who refuses to let her perpetrator walk away unscathed from the monster they created.

Like Harley Quinn the protagonist isn’t insane, she’s a PhD holder branded a ‘crazy ex’ by the very lover who demanded her transformation, then fled the consequences. The haunting chorus, “I’m not psycho, I’m in love, I’m on drugs…” reveals that the true addiction is not to the man but to the warped reflection he engineered.

“When someone tries to define your sanity, sometimes the most radical act is to lean into their accusations – but on your own terms,” says Nanette.

More of a psychological thriller than a break-up ballad, “I’m Not Psycho” celebrates the terrifying beauty of a woman who weaponizes the same narrative meant to silence her.

Connect with Nanette:

TikTok: @officialnanette

Instagram: @officiallynanette

X: @officialnanette

YouTube: @nanetteofficial

 

Listen to “I’m Not Psycho” here

 

Press release courtesy of Sheila Afari PR

Bree Street Picnic: Reimagining the Streets

Jul 3, 2025 | Lifestyle, Community

The Bree Street Picnic is part of an ongoing research and public art project that explores collective-making as a tool to grow community and activate public space. Over the course of 2 months, volunteers joined public sewing workshops and donated fabric to complete giant picnic blankets. Each blanket contributes to a growing collection of ‘soft public infrastructures’ that are prompting questions around how to make cities more human-centered, welcoming, comfortable and fun.

“For cities to evolve, they require programming that helps people think differently about how we define and use public space. The Bree Street Picnic Blanket meets this brief and is a good example of how to unlock the public potential of our streets.” Shares Roland Postma, of Young Urbanists. 

 

Imagery courtesy of Picnic and The Maak

Initiated as part of Young Urbanists’ car-free street experiment, The MAAK and Faith Shields (‘Picnic’) hosted public sewing workshops in the middle of Bree Street every Sunday for two months. Along with hundreds of volunteers, donated materials were stitched into community-scale picnic blankets, reimagining the street as a shared, people-oriented space. Rooted in spatial typologies (kitchen, lounge, garden etc), and inspired by public prompts/input, different blankets were created to suggest unique urban activities. Some are stitched together with details to prompt movement or a specific action, while others invite reflection, pause or rest. In this way, the blankets are conceived as rooms without walls: an evolving floor plan that offers a new reading of the City’s surface—a coded landscape that encourages curiosity, interaction, and use.

“As strangers sat side-by-side, sewing and chatting, they slowly helped transform one of Cape Town’s busiest roads into a soft, shared community space. It was amazing to see fabric as both the material and the method to dream of a more welcoming, more human City for all.”– Max Melvill (The MAAK)

To celebrate the first phase of the project, the blankets were rolled out across the length of Bree Street for a giant public picnic, reclaiming the road as a fully pedestrian space. Local creatives were invited to activate each blanket in response to its spatial logic. Studio H co-created a 20-meter street sandwich with public participants from the ‘kitchen blanket’. The Jazz Cult performed live jazz from the ‘stage’, while modular seating and decor in the ‘living room’ was provided by artist Lebo Kekana x furniture designer N I S H and LOOKBOOK respectively.

“My experience of the project was that people felt safe and at ease breaking down any barriers for interaction and inviting people to step outside of the familiar and engage with broader community action. The different blankets helped facilitate this by providing unique and unexpected tools for public interaction: be it a dance floor, collective salad making or communal reading space.” – Faith Shields (Picnic)

Imagery courtesy of Picnic and The Maak

The softness and scale of the picnic blankets challenge the hard, exclusionary nature of car-centric urban environments and offer a more welcoming, human-centred alternative. In a country where access to quality public space remains deeply uneven and heavily policed, the act of being comfortable together in public becomes a powerful civic gesture. With this in mind, as the project—and the collection of blankets—continues to grow, like-minded collaborators are invited to use them to host further public events and community gatherings. Each new blanket activation serves as a simple yet radical proposition: that comfort, collectivity, and public joy matter.

About The MAAK

The MAAK is an award-winning architecture practice based in Cape Town, South Africa. Driven by process, people and materials the studio specialises in community, cultural and public-oriented projects. The MAAK was co-founded by Ashleigh Killa and Max Melvill in 2016.

Visit their website: www.themaak.co.za 

Follow The Maak on Instagram: @the.maak 

 

Press release courtesy of The Maak

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Fashion Brand Bone Koboyi on Doing It For Kigali, For Rwanda and For Africa

Jul 2, 2025 | Interviews, Fashion

The age-old adage “necessity is the mother of invention” never rings more true than when we cast our eyes across the continent. African designers face the tall order and defining task of pursuing their artistic visions against the odds—limited resources, infrastructural constraints, and global underrepresentation. There are ways of creating that necessitate invention, and Ras Maurice’s Kigali-born brand, Bone Koboyi, is no exception.

Founded in 2020 during the initiatory rite of the pandemic—a time when many creatives took the plunge to pursue their dreams—Ras began seriously translating his technical skill, learned through the tutelage of an elder tailor in his neighbourhood, into the foundation of the brand. As he explains, Bone Koboyi is a vessel, and Ras is a multidisciplinary artist whose collections always gesture toward a broader, mixed-media world.

“Bone Koboyi is my mission,” he notes. “I want to show that we can make something from nothing, that we can use our own hands, our own stories. The dream is to take what people call waste and turn it into a new kind of future. To prove that Kigali can speak fashion just as loud as anywhere else in the world.”

Imagery courtesy of Bone Koboyi, Photography by Umberto Santoro

Ras explains that the idea of upcycling, though now a flex worldwide, was his only option to create. “I started making clothes using what I had — my dad’s old shirts, my mom’s dresses, even my own worn T-shirts. That was in 2018, just after high school. There was a grandpa in my hood who made suits, and he is the one who taught me how to sew. We worked from a small space, mostly tailoring suits for other people, but every evening I would collect the leftover fabric and use it to create my own designs.” He shares that in Kigali, access to fabrics, trims, and capital can be limited, though Ras didn’t wait for perfect conditions—instead, his creativity became the only condition. Upcycling is his  refusal to let material scarcity dictate his imaginative reach, and what began as a means of expression through necessity soon developed into a signature approach: turning fragments of the past into wild, forward-facing silhouettes. Bone Koboyi’s aesthetic is rooted in this resourcefulness, with each garment telling a story of reinvention and movement.

Kigali as a city is a living palimpsest, with Rwanda’s painful history in the 1990s, and its colonial history prior, to reforming as a layered imprint to build upon. Today, the city is buzzing with ambition, orderly and visionary, as it nurtures a new generation of creatives who carry both memory and momentum in their work. “We’re still preaching, you know? It’s like being a pastor — telling people this is streetwear, this is art, this is ours,” Ras explains, on building a contemporary creative movement in his country, “a lot of people here still don’t fully understand what we’re doing or what streetwear even means. But slowly, they’re getting it. When they see a finished piece, they’re always shocked. They ask, ‘You made this?’ And I tell them yes, my clothes from recycled fabric, from what was thrown away. We’re showing people in Rwanda that this too is fashion, this too is valid, and it comes from here.” Africa’s creative youth face an interesting challenge, in that there is a tension between our view of the world outside the continent, and yet a profound knowing of the ingenuity rooted here. Still, the need to decentralise ourselves and others from Western hegemony—or the inherited gaze that often defines value through Eurocentric standards—is a long-term, generational unlearning.

Aesthetically, Bone Koboyi is a wonderland of fabrication, silhouette, and deep, deep coolness as a guiding sensibility. With tie-dye and painting, indigenous fabrics, and upcycling, the brand is experimental and unmistakably rooted.

On his start, Ras explains that, “In 2021, I had about 20 garments that I’d made from leftover fabrics, and I wanted to do something different — to introduce my vision through film. So I shot my first fashion film, Step — or Inambe in Kinyarwanda — because it was my first real step. I directed and styled it myself, just trying to tell a story visually about who we are. Then in 2023, that same film got selected for Fashion Clash Festival in the Netherlands and ranked in the top five fashion films. That moment was big for me — to go from my hood, from making clothes late at night in someone else’s workshop, to an international stage. It gave me the courage to keep building.”

With experience as an assistant designer at Rwanda’s most notable luxury fashion house, MOSHIONS, Ras describes the opportunity as formative: “That space meant a lot. It was where I was working with other creatives too, we shared a studio and a vision for Rwandan design.” Now, as Bone Koboyi evolves, Ras is in search of a new home for the brand, one that holds space for collaboration and cultural expression. “People suggest putting my clothes in boutiques,” he says, “but I always tell them — they don’t really understand what I’m doing. What I’m creating is art and culture, and a different frequency.” 

The question of commercial viability is fashion’s biggest hurdle around the world — often the very reason investors tend to shy away from London Fashion Week’s most radical and iconoclastic talent, as an example, as creativity without compromise rarely fits into clean margins or retail rack systems; especially when it challenges the dominant narratives around value and ownership. Still, it is worth the fight: as I’ve often said, the beauty in the infancy of our local fashion industries is the flexibility to map out our own terms. 

Ras’ latest collection is titled Exodus, and it’s his most personal yet. Shot by Umberto Santoro in the streets of Kigali, the collection is weighted by the search for belonging. There’s an intensity to the garments — a spiritual depth and presence that feels both ancestral and futuristic. “I started working on Exodus in 2023, but really, it’s been building for years,” Ras explains, “this collection is something deeper — it’s research, painting, storytelling, emotion. I hand-painted some of the fabrics because I needed my own marks, my own energy, inside the clothes. Every piece has a kind of memory embedded in it. I’ve worked on other collections before, but Exodus is my most spiritual and powerful one so far.”

Imagery courtesy of Bone Koboyi, Photography by Umberto Santoro

Ras tells me that fashion is growing in Kigali and in East Africa. He showed at Nairobi Fashion Week in January, and the response was everything he had hoped for. “Bone Koboyi is for all of us. It’s the community, the continent — it’s Africa. It’s something that’s growing every day. We’re making clothes, we’re telling stories, building the lifestyles we always wanted. When people wear our work, I want them to feel that; to feel like they’re wearing something powerful, something that carries love, energy, struggle, and hope.”

There’s something undeniably sacred about the way Ras approaches his work, as a conduit for collective spirit. “I do almost 80% of the work myself — research, sketching, pattern manipulation, sewing. But I also work with tailors and other artists, because when we create something, I can include the spirit of them within the brand too.” In a world obsessed with individuality, Bone Koboyi stands apart by honouring collaboration as a kind of communion. “Every piece carries many people’s love, smile, and energy. That’s why it feels alive and that’s why it moves people. You can feel the power when you touch it.” Shot among the unfiltered rhythms of Kigali life, Exodus is an ongoing artefact — a collection breathing with the spirit of place and intention.

Ras doesn’t shy away from the vulnerability it takes to stay true to one’s vision, especially in a market that often misunderstands experimentation. “It’s risky, you know, to just keep creating from your vision — especially here. Sometimes you feel like maybe you should just make what the market wants, just to survive.” Instead of compromise, Ras chooses courage, as he notes that “I want to build a safe space through my clothes, something you can wear and feel protected, seen, loved.” In a time when so much fashion feels hollow or performative, Bone Koboyi reminds us of what it means to create from the soul: unwaveringly so. 

May the world return this blessing to him, tenfold. 

Written by Holly Beaton

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

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Your SS26 Menswear Runway Round-Up

Jul 1, 2025 | News, Fashion

Menswear is still wildly underrated. Season after season, it’s where some of the most boundary-pushing and emotionally resonant work happens. The best designers know that to design for men is to engage with codes—masculine, feminine, functional, performative—and then to rewrite them, and SS26 was no exception. Manhood as a gendered construct is totally up for debate in the zeitgeist, and my overall feeling from this season is that manhood can be rewritten to express utter delight; what a funny and welcome feeling to hold, under the patriarchy. From landmark anniversaries to debut collections, the men’s shows this season were steeped in nostalgia (fashion’s favourite sentiment) while gazing forward with radical clarity. Below is a round-up of some of our notable collections that have just taken flight. 

Jonathan Anderson’s Dior Debut

First thing’s first, the most anticipated show of the season; and one thing about Jonathan William Anderson? He’s going to mix playfulness and reverence in one seismic swoop. In his debut at Dior, where he now leads the house across menswear, womenswear, accessories, and more, a perfect precision of tradition and subversion was underway. Referencing Christian Dior’s enduring love for the tailored silhouette—rooted in the late designer’s post-war New Look revolution—Anderson brought in his signature irreverence: oversized, deconstructed cargo shorts, smoking jackets, lithe waistcoats, layered pieces, and even puffer jackets. Despite the range of sensibilities at play, the collection maintained a deep cohesion, and this appears to already be the recalibration that the previously siloed house had so desperately needed. JW is a creative director in the truest sense; showing once again that he has the mastery and thoughtfulness to carve out precisely what a brand needs to say and do, now. Anderson—lauded for his eponymous label and for the now-legendary reinvigoration of Loewe (arguably one of fashion’s most profound acts of resurrection) has long balanced the line between sculpture and wearability, humour and thoughtfulness. With this collection, JW dressed a new Dior Homme: intellectually sharp, emotionally textured, and delightfully unafraid. 

I’ve not been this excited for Dior since darling John Galliano’s exit in 2011.

All imagery via Gorunway.com

Julian Klausner Debuts at Dries Van Noten

This season marked Julian Klausner’s highly anticipated debut at Dries Van Noten, following the founder’s departure. Menswear has always been foundational to the house—Dries launched his menswear line in 1986, seven years before branching into womenswear. Klausner demonstrated a cerebral yet tactile approach to tailoring, and brought a sense of rooted continuity while reawakening the archival elegance and sensuality Dries was loved for. His approach nodded to the brand’s romanticism, but injected it with a new clarity; across the myriad of patterns and prints key to the Van Noten empire, the injections of crimson red and the feminine silhouettes sent me into a state of revelry. What a debut, executed with such exuberant joy. 

All imagery via Gorunway.com

Jacquemus’ Emotional Family Tribute

I’ll be the first to admit that I’ve tended to view Simon Porte Jacquemus as a master of advertising and experiential design, rather than as a very serious designer. This might be because of the run the label has been on in creating virality and hype, often leaving me wanting more in terms of technical finesse and depth of silhouette. Well, I stand corrected — his La Paysan collection is perhaps one of the best shows I’ve seen in a long time, with so many pieces I personally covet. Then, there’s the incredible story behind it; beyond artful, the collection is a heartfelt homage to his Provençal roots. Born and raised in the south of France, Jacquemus drew from the sensory memories of his childhood — the sun-drenched landscapes, the textures of rural life, the utter chicness embodied by the women who raised him and the boys he looked up to, with a unisex show that encompassed his roots. I just adored the iterative take on ‘hoop skirts,’ inspired by his grandmother (who, by the way, has never missed a single one of his shows, and stood tearfully in awe afterwards). There was something deeply touching in the way he reimagined rural femininity and masculinity through sun-washed linens, crisp shirting, pops of bold colours, and silhouettes that spoke of both structure and softness; it all felt grounded and incredibly poetic. In this instance, Jacquemus didn’t require spectacle to speak; the collection and story were irrevocably powerful. More Simone, please. 

All imagery via Gorunway.com

Ziggy Chen’s Subversive Naturalism

China remains hugely underrated in global fashion discourse, despite its deep aesthetic traditions and growing contemporary visionaries. Shanghai, in particular, is rising as a cultural force from the East. Shanghai-based designer Ziggy Chen’s latest collection is a masterclass in this synthesis. Remaining true to his established codes, Ziggy creates his own fabrics — often in wool, linen, hemp, and cotton — with an emphasis on comfort, texture, and the kind of subversive, slouched naturalism that I want to envelop myself in. His silhouettes are loose and softly tailored, eschewing rigidity in favour of a lived-in, emotional presence. The anti-fashion sentiment is noted in the understated detailing, in-house fabrication and the refusal of flashy trends; as a designer, Ziggy knows who he is and what he wants to say. This is natural, organic — almost spiritual — armoury. CEC’s very own Candice Erasmus was in attendance at the show representing South African media, and suffice to say, we’re obsessed. 

Imagery via @ziggychen IG and CEC’s EIC Candice Erasmus

Wales Bonner’s ‘Jewel’ and a Decade in Paris

Celebrating 10 years of her namesake label, Grace Wales Bonner staged her SS26 show in Paris with a collection titled Jewel—an exploration of heritage, as always. Wales Bonner’s tender, intellectual take on diasporic identity and Black masculinity, and as the star of this year’s Met Gala; she is still in an immaculate place, a decade later. This season included the label’s continued footwear collaboration with Y-3, blending Adidas’ sportswear codes with her signature tailoring and embellishment. It was a restrained show, a decade of reshaping the men’s fashion canon.

All imagery via Gorunway.com

Rick Owens’s ‘Temple of Love’ at Palais de Tokyo


Rick Owens is a prophet of theatrical decay, and SS26 was among his most emotionally charged spectacles. As devotees of the Owenscorp tribe filed in (it’s perhaps the only show in which most of the guests are head-to-toe in their own archival Rick) and titled Temple of Love, the show was staged at the Palais de Tokyo, where models descended into a literal baptism via the Seine-facing fountain. Rick’s dedication to doing precisely what he wants is always an intense joy to see. A master of industrial romance, he sent out silhouettes sliced, slashed, and soaked. Glam as ever, sexy as hell.There were deep V vests printed with his birth star chart, urinal-photo hoodies, and all manner of pieces rendered void of practicality. Leather cloaks hung like scorched wings, biker jackets were dissected to reveal flesh, and fringed fabrics moved like shadows in water. Rick offered myth and messiah—ritual and ruin, and exalting the male-form as his offering to the gods; muscles, muscles and more muscles. At a time when our world feels flung toward fascism and the chokehold of oppressing liberties are so horrifying commonplace, Rick always reminds us that the outcasts and keepers of the shadow realms are our eternal safety net; and weirdness and freedom will always, always win. 

All imagery via Gorunway.com

Acne Studios Celebrates 30 Years and Counting

For their 30th anniversary, Acne Studios revisited its origins. Creative Director Jonny Johansson looked to the archives—specifically his 1998 sketchbooks. The result was a seventies-adjacent take on modern utility: denim jeans (Acne began with denim, so its deep lore), bomber-nylon cuttings, and slouchy silhouettes that paid homage to the brand’s late-90s underground roots. The collection was a clean and clear articulation of androgyny and decadence; referentially seventies, with a louche confidence and silhouettes and an ease to the tight proportions—slouchy, but deliberate—cut through with Scandinavian precision.

All imagery via Gorunway.com

 Junya Watanabe’s Precision and Power in Restraint

In stark contrast to the maximalism of other shows, Junya Watanabe presented a tightly edited 12-look collection focused on the perfect blazer. Watanabe, long known for his deep technical innovation and cultish following, used restraint as a statement. The looks channelled a kind of ’70s rock aristocracy—blazers that felt pulled from a Led Zeppelin tour wardrobe, reworked through a Tokyo lens. Understated but razor-sharp, the archives of rock ‘n roll, punk and grunge continue to be Junya’s deepest source of edification. 

All imagery via Gorunway.com

Prada Kinda Misses The Mark 

This was the first Prada menswear show since relocating to its vast Fondazione Prada. Men’s bloomers? Oh my god, yes please, alongside other bold colours and tracksuit style moments. Raf Simons and Miuccia Prada’s creative duoship has always been about tension and contrast: Raf’s subcultural severity meeting Miuccia’s conceptual irony. But overall, across 57 looks, the show felt slightly lacklustre—visually refined, yes, but emotionally misplaced, in my humble opinion. As Diet Paratha pointed out—the British South Asian media platform and witty offshoot of Diet Prada— the ‘puri-style’ leather sandals that walked the runway bore a striking resemblance to traditional styles made by leather artisans in Rajasthan, India. Yet, no credit or context was offered? In a house known for intellectual rigour and self-awareness, the oversight feels very disappointing and out of touch.

All imagery via Gorunway.com

Louis Vuitton’s From Paris to India

Fashion has a long-standing love affair with India, and with good reason. The subcontinental country is replete with some of the world’s richest textile histories, masterful craftsmanship, and layered cultural codes. To understand India is to invoke opulence, so, it’s no wonder that Pharrell Williams’ Spring-Summer 2026 Men’s Collection for Louis Vuitton charted a course from Paris to India, fusing dandyism with the sun-drenched textures and sensibilities of Indian sartorialism.

Where Prada flirted with cultural appropriation this season, Pharrell’s Louis Vuitton leaned into cultural appreciation, through actual collaboration and reverence. Set against a life-sized Snakes and Ladders board designed by Studio Mumbai, the show unfolded as a meditation on tradition and nature. Garments in faded silks, bouclé checks, and sun-bleached tones echoed wanderlust; a sentiment that reverberated with stunning effect this season. The collection revived The Darjeeling Limited motif across embroidery, luggage, and accessories. Footwear and bags were rich with patina, while handcrafted details—lace, beadwork, metal yarn—celebrated artisanal savoir-faire. From check-woven shell suits to gem-encrusted Speedy bags and marble chess sets, the spirit was tactile and time-worn; and oh so delicious. 

All imagery via Gorunway.com

Bluemarble’s Heavenly Grunge, but Make it Côte d’Azur

Anthony Alvarez continues to hone Bluemarble’s signature mix of global nostalgia and coastal exuberance. This season’s collection was inspired by the cable car that connects Toulon to Mont Faron in the South of France; mignon! Known for merging streetwear ease with couture-level detail, Alvarez delivered a collection full of sun-drenched, mountain-breeze duality. Grungey silhouettes were worn by beautiful boys with godlike bone structures and blasé expressions, who you’d love to smoke a joint with—effortless and luminous, their deadpan expressions gave way to their adornment in all manner of colour and drapery. Alvarez’s Bluemarble is definitionally cool. 

All imagery via Gorunway.com

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

Humanity Breathing In Colors: The Pride Behind MOONGA K.’s ‘OUTLAW’

Jul 1, 2025 | Interviews, Music

One of my favourite universal love languages is acts of service and there is nothing I find more riddled with unconditional love than the act of rebellion with a cause. The bravery to love something or someone with such purity that you are willing to lay your life on the line to be able to create lifelong memories with them. There is no community that yields this undying love quite like the LGBQTIA+ community, in the face of social pressure for conformity, violent outcasting, historical erasure for their contribution to social progress and being stripped of fundamental human rights, queer folk have loved and lived despite the obstacles thrown at them. 

Similarly, we can also draw a correlation of love and resilience to black history. From colonisation, slavery, the Sharpeville Massacre, Soweto Uprising and everything in between there are countless examples of how the black body strived for the right to exist, build family, love freely and heal and one of our most spiritual anchors for navigating adversity is the chants, prayers, tears, fears, apologies and joy we embed in our music. We took on the responsibility to advocate, champion, protest and use our voices to build a society where acceptance and peaceful co-existence is a possibility. Though the road to acceptance is still marred by thorns, engagement, conversation, and continued legislative rallying continues to shape our collective history with considerable progress. You can imagine then, the weight of not only being a black body, but a queer body and still having to define love on your own terms and express it justly.

Embodying the relentlessness to shape discourse to the ever-evolving cluster of identities we can navigate life with is MOONGA K. – a singer, songwriter, activist, creative director, producer, poet, educator, black radical and sociologist. Defined as “an artist and activist from the future sent here to disrupt the status quo,” the Zambian-born, Botswana-raised, and South African-based artist actively rebels from being tied to genre because he believes in order to grow as a songwriter you need to be able to exist in different musical worlds. With a sonic and lyrical approach that is as fluid as his identity, MOONGA provides the soundtrack to our collective journeys of self-acceptance through his poignant lyricism, emotive melodies, textured interiority, and authentic social activism while speaking openly about toxic masculinity, racial injustice, love, community and mental well-being.

Imagery courtesy of MOONGA K, Photography by @neobaepi, Art Direction by @pukkalish 

Thrusting himself a step closer to reclamation is his latest record, “OUTLAW”, – a collection of musical expressions carried by the campfire storytelling culture of Country music. From instruments like the Banjo, which is of West African origin, to Country music, which was historically created by black folk, “OUTLAW” represents the history and reclamation of the marginalised. From 19th-century cowboys who were labelled outlaws despite their contribution to American farming and industry to the under-represented rights of women, trans folk, queer folk and the mentally afflicted, the country-rooted but Funk, Soul, Hip-Hop, Opera, Folk, and Pop encompassing album champions resistance and being a trailblazer, in the face of social convention and being silenced.

Take the second single of the album, a sci-fi queer cowboy love story called “stole my heart”, for example. It was the first time as a queer man that MOONGA embedded pronouns into a song which, at some point, was unheard of in the conservative space of contemporary Country culture. Through the guise of inspiring discourse and fostering understanding and acceptance, MOONGA’s mission with the record is to pass the baton of representation and create a safe space for more young queer Black country artists to write similar stories in their music, expanding the layers of storytelling in Country music. 

For MOONGA K., the truth is a joy to listen to, and as a prolific songwriter, one of the most essential functions of his penmanship is to serve the community, something he is passionate about. “I’m adamant that we can’t do this life thing alone, whether we’re talking about work, industry, or our personal lives. When I listen back to the music I make, I’m reminded that musically, my intention was to help listeners heal and feel like they’re not alone through whatever challenges get thrown at them. For me, understanding that this is a gift—being able to write something that people can resonate with and sing with such passion—that’s everything.”

Honoured to document the critical point in his continued journey of becoming, I shared an intimate conversation getting to know him, reflecting on some of the standout songs from the album and his future plans. 

For our readers who may not be familiar with you, please introduce yourself. How did life growing up lead to your journey with music?

MOONGA K.: “My name is MOONGA K. I’m a singer, songwriter, social activist, creative director, producer, sociologist, black radical, and just a very all-around hot person. I’ve grown up all over the SADC region – born in Zambia, raised in Botswana, and moved to South Africa for university when I was 18 or 19.

Music has been part of my life since I was six years old, and I’ve been doing it professionally since I was nine. But it’s been far from a straight path. I went through significant mental health challenges, being diagnosed with depression and anxiety at 14. The struggle became so intense that I actually quit music at 17, just before graduating high school. I had plans to move to London to study investigative journalism, but life had other plans.

Instead, I ended up in Johannesburg studying criminology – which I failed in the first semester. I switched my majors to journalism and sociology, graduated summa cum laude from undergrad, and then completed my post-grad in social justice, also graduating summa cum laude.

When I moved to Johannesburg, I found my way back to music. I’ve been doing it full-time as a songwriter since 2020, and it’s been transformative. The journey has become not only about finding my voice as a solo artist but also about helping facilitate other artists’ journeys – helping them discover their sound and figure out who they want to be in the world as musicians and songwriters.

It’s been an interesting ebb and flow of ups and downs, loving and resenting this industry and finding ways to fit in as independently as possible. That independence has become crucial to maintaining my authenticity in this space.”

 

Imagery courtesy of MOONGA K, Photography by @neobaepi, Art Direction by @pukkalish 

What I like about “hold on!” is how it’s an active rebellion from being in a low-vibration state. What did the songwriting process of that song help you overcome?

MOONGA K.: “This interesting thing happens with my songwriting process, especially when I’m writing for myself. My intention is always just to write a good song. It’s only later, when I listen back, that I realise, “Whoa, that was actually a really important thing to write, and I needed that right now.”

That’s exactly what happened with “hold on!” I wrote it from a place of wanting to encourage joy and hope. But when we approached the release, and I found myself listening to it constantly while mixing, I realised it had become something more profound. Yes, it’s a political song, but it also speaks to community—which I’m very passionate about. I’m adamant that we can’t do this life thing alone, whether we’re talking about work, industry, or our personal lives.

When I listen back now, I’m reminded that musically, I intend to help listeners heal and feel like they’re not alone through whatever challenges get thrown at them. For me, understanding that this is a gift—being able to write something that people can resonate with and sing with such passion—that’s everything.

I wrote “Hold On” from a place of complete joy and motivation, with the perspective that whatever we go through, whatever we see every day, as long as we’re holding on, we’re going to make it to the other side. And as long as we have the gift of breath in our lungs, we’re going to see the brighter side of tomorrow.”

Watch “hold on!” here

 

“one of those days” tackles the struggle of liberating yourself from trauma, ultimately seeking better for yourself. What do you think tethers us so much to identifying and bonding with our past Traumas?

MOONGA K.: “Wow, I think we’re constantly trying to find meaning in the traumas and trials and tribulations we go through. I write through them because I just want to make them make sense—for me and this journey of being alive. Like I said, it’s this constant ebb and flow of beauty and tragedy, joy and immense depression.

“one of those days” came from that space of depression where I was just trying to get through what I was going through at the time. Singing through the heavy as a healer. For folks who write through it, it releases tension within our hearts and minds. It’s like journaling, right? Many people feel a sense of relief when they just sit down, concentrate on whatever words come flowing, and then feel like they’ve let go of a bit of that pain and heartache.

Step by step, as you continue to pursue that, you’re moving towards a sense of healing. And you know what? Sometimes, you’re not moving towards healing, and that’s okay, too. I think that’s what the ethos of “One of Those Days” was about.

Sometimes we have beautiful days, and sometimes we have really bad days. That’s just how life goes. I hate saying that because I love understanding why life goes like that. But sometimes, man, it’s just one of those days.”

Thank you for joining us for this interview. Before you leave, let us know what’s next for MOONGA K. What does 2025 look like for you?

MOONGA K.: “I’m still hoping to tour—I’ve never toured, and that’s been my biggest dream. I want to go to the US and Europe to perform my music at festivals and on big stages. I mean, I’ve said this about the last record and the record before that, but I’m hoping to tour this record and explore and share the music I released before with newer audiences.

There are many collaborations with some great artists coming out after this project. I’ve been doing a lot of songwriting for beautiful, wonderful artists over the past year, and they will release that music in their own time. I plan to keep building my songwriting catalogue.

But ultimately, I really want to perform this music. I want to tour and go with my band to see the world. And visuals—visuals are dropping, but that’s just a teaser. Something is coming quite soon, just before the project drops. So y’all will get that.”

Pre-save/Stream “OUTLAW” here

Connect With MOONGA K.

X (formerly Twitter): @moongak_

Facebook: @moongak

Instagram: @moongak_

Tik Tok: @moongak_

YouTube: @moongak_

 

Creative Credits

Photography by @neobaepi

Art Direction by @pukkalish

Styling & Make-Up @thatgirlmotso

Visual Production by @discovrtvsa

 

Written by Cedric Dladla

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

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Our Annual Winter Essentials Guide

Jun 30, 2025 | Fashion, Interlude

We’re back with our Winter Essentials guide — one thing about South Africans? We’ll act surprised every year when the cold sets in. It’s as though our sun-drenched summers give us collective amnesia, and suddenly the crisp autumn air turns into bone-chilling mornings and wind that cuts right through you. It shocks us every time, and staying dressed and chic; we must. 

Winter is one of the most exciting times for fashion: we get to layer, play with texture, and lean into those cosy silhouettes. The best part is that local brands continue to show up with pieces that are as functional as they are beautiful. In a country where terrain and climate shift from one province to the next, these pieces embrace versatility, offering trans-seasonal staples that shift with you, wherever you are.

Puff, knit, leather, wool; take your pick and stack textures with chaotic abandon. We love to see sleeves get longer, collars get higher, and layering take centre stage. In winter, your outfit is your whole attitude, and even a little delusion (we know you will wear that mesh top under a trench like it makes sense, in case the sun comes out).

Selfi Boxy Big Cuff Shirt

The oversized shirt that does it all — and then some

Celeste Arendse’s label Selfi always keeps us nourished, and this one’s for the lovers of easy tailoring and big, dramatic cuffs. Selfi’s Boxy Big Cuff Shirt takes the classic button-up and gives it a sculptural twist (as is the brand’s principle design code) with curved sleeves, a roomy boxy fit, and extra-long cuffs that are perennially theatrical. It’s made from 100% cotton, so it’s breathable, comfy and totally biodegradable. Wear it buttoned-up with tailored trousers or loose over denim; either way, it’s an essential that’ll carry you through the season (and way beyond).

Selfi Boxy Big Cuff Shirt photographed by Katinka Bester

Rethread Issey Knit

For the layering girlies who love options

Rethread’s Issey Knit is an update on last year’s wildly successful hit, The Saturn Knit— this time, with an update to its functionality. It comes with a removable scarf that buttons on and off, letting you wear it your way. We love the structured fit and the curve at the hip (yes, she’s flattering), and the fact that it’s made in Cape Town from 100% South African cotton. The knit itself mimics pleats, hence its namesake (Issey Miyake, the Father of Pleating). Sculptural, and endlessly remixable, this one is for the archive. 

Rethread’s Issey Knit

Broke Windrunner

Protection For These Chilly Streets

Back by demand—Broke’s community-favourite Windrunner is about to be restocked. Designed with movement and mood in mind, it features elastic hems, adjustable toggles, a two-way zip, and a peach-skin finish that feels as good as it looks. Finished with a signature rubber badge, the jacket comes in black or blue and works as a lightweight layer that plays well across seasons. 

 

Broke’s Windrunner

Float Apparel Frontier Jacket

Your “throw it on and have your life together” jacket

Float Apparel are masters of the utilitarian and the genderless, and their Frontier Jacket is a definite essential. This is the kind of piece that makes you feel pulled together, no matter the mood. It’s boxy in all the right ways, with a clean zip and snap overlay, a rich chocolate tone or black. Plus, the adjustable hem lets you cinch or swing. Ideal for layering; this is the jacket you’ll reach for every single chilly morning.

Float Apparel’s Frontier Jacket photographed by Kent Andreasen

The Shopaholic Boat Neck Basic Long Sleeves

The underrated icon of winter layering

We didn’t expect to fall this hard for a basic, but here we are. The Shopaholic’s Boat Neck Long Sleeve Top is that rare combo of ultra-comfortable and properly sculpted — thanks to its double-lined stretch fabric and curved hemline. It hugs in the right places, comes in multiple colours (you will want more than one), and pairs well with literally anything in your wardrobe. Also, props for a detailed size guide — they really thought of everything.

The Shopaholic’s Boat Neck Basic with Long Sleeves

Research Unit Eleven Tech Jacket

A functional piece for the futuristic minimalist

This one’s for the ones who like their fits smart and sleek. Research Unit’s Eleven Tech Jacket feels like a crossover between utility wear and something out of a sci-fi wardrobe (in the best way). The water-repellent, body-temperature adjusting fabric is kind of magical, and the adjustable waist and zippered kimono sleeves let you play with proportion. It’s equal parts professional and relaxed — ideal for city days, light rain, and the kind of wind that messes with your hair.

Research Unit’s Eleven Tech Jacket in Black and Mint

Long Season Hug Bomber, Silverzip Trouser & Wrap

Your cool older cousin who lives in Joburg 

The Hug Bomber does exactly what it says on the tin — it wraps you up with six (!) pockets, a built-in hood and scarf situation, and an attitude that is unmatched. Honestly, I haven’t seen anything cooler in a long time. Paired with the clean Silverzip trousers and the cargo-style wrap, this set is modular dressing at its best. You can wear them together or apart — but trust us, they’re strongest as a full look. Functional, distinctive, and totally modular — it’s giving more than we deserve. 

Long Season’s Hug Bomber and Silverzip Trouser and Wrap

Tshepo Knitted Polo

The kind of knit to make you dapper

If winter were a gentleman, he’d wear this. Tshepo’s Knitted Polo is simple and elegant— with a half zip that adds a little edge and the signature red crown puller that nods to the brand’s attention to detail. Made from mercerised cotton (read: soft but structured), it works for layering or solo wear and is just dressy enough to handle dinner plans. A proper essential for stylish guys, or anyone who loves a good menswear moment. 

Tshepo’s Knitted Polo

Socioculture Urban Creative Denim Set

Canadian Tuxedo, but actually cool 

Dark denim, raw hems, and a heavy hit of ‘90s nostalgia, this set from Socioculture is major. Designed by Naeelah Jamut, one of SA’s rising forces in streetwear, the Urban Creative denim set channels Y2K energy with a gender-sharp edge. It’s boxy, bold, and built for city movement. We love that it’s available at select Archive stores; showing corporate buy-in for local brands that is so critical for our retail landscape. 

 

Socioculture’s Denim Set

Mi, Thata Studios Snug Hat

The knit hat for artists 

Not all beanies are created equal. Mi, Thata Studios’ Snug Hat is hand-knitted from 100% wool by Cape Town artist Keith Virgo and his crew. Soft, warm, and perfectly shaped, it adds that final touch to your winter outfit without trying too hard. Whether you’re heading to brunch or staying in, this one delivers cosy energy with steez baked in. Currently, the only one available is the black version at Duck Duck Duck Goose – but watch this space. 

Mi, Thatha Studio’s Snug Hat

Sweet Pea City Boots

The perfect minimalist boot — from Ballito, no less

We didn’t expect a coastal town to birth our new favourite winter boot, but here we are. Sweet Pea’s City Boot is sleek, ankle-height, and made from buttery leather or suede that just gets better with age. Reminiscent of The Row, the silhouette is clean and architectural with a seamless front and a low-profile sole; and you can have them made in a variety of colours. Also, Sweet Pea has a ton of other options for all your footwear needs. Local shoe brands are few and far between, so we love to see a brand growing as much as Sweet Pea is. These are handmade to order, which makes them feel even more special — a true local gem in the shoe space.

Duck Apparel’s Puffer Tote Bag in Black and Stone

Written by: Holly Beaton

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

Congolese artist, Reinel Bakole, releases ‘Humble Me’

Jun 27, 2025 | New Release, Music

Following an 18 month gap between releases and an introspective start to the year in Brazil, multidisciplinary artist Reinel Bakole presents soulful new track ‘Humble Me‘, just in time for the summer weather.

Reinel Bakole has returned from two month-long writing, performing trips, wandering between Rio de Janeiro and São Paulo. From this Brazilian creative immersion have emerged new sounds, blending Brazilian influences and collaborations with Brussels musicians – mainly with Helocim, her album’s producer, with whom she completed all the production work back in Brussels. ‘Humble Me’ is another element of Reinel’s art – what she describes as a sonic growing tree taking root in soulful sounds and instruments.

Following the release of her debut album ‘Healing Exhaustion’, Reinel continues her journey, stepping into an evolved, more open, vulnerable, and tender state. Five years of touring alongside various releases have led Reinel to share the elements composing her art with audiences around the world – each element bringing them closer to knowing who Reinel is. This time, she lets you see her in a raw, touching state – with less artifice. Free of any judgment, she sings how precious, loving, gracious, shy, soft, fun, and smart she is. She unveils character and heartfelt presence, with the intention to connect closer.

 

Listen to ‘Humble Me’ here

Press release courtesy of Only Good Stuff

DJ Lag, Sir Trill and Sykes release a 3-Step Single, ‘Woza’

Jun 27, 2025 | New Release, Music

Adding to his ever-evolving sonic palette, DJ Lag returns with ‘Woza’, a new release featuring collaborators Sykes and Sir Trill. The track dives into the fast-rising sound of 3-Step, a genre he’s been actively exploring, most notably with his collaborative work alongside 3-Step pioneer Thakzin. 

“I started making the beat for ‘Woza’ around the time I was playing some b2b sets with Thakzin end of last year, trying to imagine my take on the sound, while also drawing inspiration from Afro-Tech joints I’ve been incorporating in my live sets in the last couple of years. It flowed naturally from there and we were blessed with Sir Trill and Sykes landing their magic on vocals,” shares DJ Lag. “When I took it back to the booth I could immediately tell I was able to create something new, which at the same time merged perfectly with the hard hitting style I’ve been known for, and it just felt right.”

Sir Trill adds: “With the lyrics I was just reminding people who fathered the style! And how sometimes you can’t take things personally, just pour a drink and let things be, and know that what you might do for people they will not do for you. A reminder for others, and myself that when I was fighting for everyone, most people were scared to stand and fight with me, but I’m still right here.”

‘Woza’ is a pulsating, high energy single that blends DJ Lag’s signature rhythmic groove with a flowing, Afro Tech-inspired bassline. Sir Trill’s raw, emotional delivery collides with Sykes’s airy, almost haunting vocals, creating a contrast that’s both visceral and transportive.

While rooted in the hard-hitting DNA of Gqom, ‘Woza’ opens new doors, signaling DJ Lag’s continued evolution and dedication to innovation.

Lag continues to represent South Africa’s music on the global stage with shows on some of the most prolific stages in the coming months, such as DC10 (Ibiza), Rush Festival (France), Open Ground (Germany), Glastonbury and Fabric (UK).

 

Connect with DJ Lag:

X: @RealDJLag

Instagram: @realdjlag

Facebook: @realdjlag

TikTok: @realdjlag

YouTube: @DJLAG

Listen to ‘Woza’ here

 

Press release courtesy of Sheila Afari