June is Men’s Mental Health Month in South Africa

Jun 13, 2025 | News, Community

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

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

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 These outdated norms isolate men from one another and from themselves.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

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

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

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

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

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

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

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

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

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

 

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

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

Jun 13, 2025 | New Release, Music

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

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

Press release courtesy of Sheila Afari PR

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

Jun 13, 2025 | New Release, Music

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

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

Listen to ‘Kea Leboha’ remix here 

Press release courtesy of Antidote Music

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

Jun 13, 2025 | New Release, Music

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

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

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

Listen to ‘You’ here

Press release courtesy of Only Good Stuff

GOOD GOOD GOOD presents their AW25 Collection, ‘SPROUTS’

Jun 12, 2025 | Fashion, Community

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

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

All imagery courtesy of Good Good Good

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

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

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

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

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

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

 

All imagery courtesy of Good Good Good

ABOUT GOOD GOOD GOOD

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

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

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

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

Good Good Good, for every body.

Follow Good Good Good on Instagram @goodgoodgoodstore

Visit their website goodgoodgood.co.za

Press release courtesy of Good Good Good

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

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Sex in Crisis: OnlyFans, Hollywood and Hypocrisy

Jun 11, 2025 | Lifestyle, Community

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

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

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

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

 

Imagery courtesy of Alamy

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

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

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

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

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

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

Imagery courtesy of Alamy

Imagery courtesy of Spookykins

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

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

 

Written by Drew Haller

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

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African Textile Talks Returns for its Fifth Iteration this July

Jun 9, 2025 | Fashion, Community

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

Tuesday 29 July: CIRCULARITY IN CLOTHING AND TEXTILES

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

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

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

All imagery courtesy of Twyg, Photography by The Dollie House

Wednesday 30 July: WOOLCYCLE

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

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

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

Thursday 31 July: THREAD WITH CARE

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

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

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

Key Takeaways:

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

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

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

 

Book tickets to African Textile Talks here

 

Press release courtesy of Twyg

 

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

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French producer, KX9000, releases ‘Dream Log’ EP

Jun 6, 2025 | New Release, Music

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

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

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

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

Listen to ‘Dream Log’ here

 

Press release courtesy of Only Good Stuff 

 

Farhot releases ‘HOOYOO’ with Siriusmo from his upcoming EP

Jun 6, 2025 | New Release, Music

On ‘HOOYOO’, the second single taken from his upcoming EP ‘RAQS (105-118BPM’, Farhot teams up with electronic maverick Siriusmo for a dancefloor track.

Rooted in Somali grooves and flipping a sample from 4 Mars’ “Dhulka Hooyo”, the track fuses East African rhythms with bold synths, chopped vocals, and raw percussive energy. It’s wild, playful, and unmistakably Farhot—bridging cultures through sound with style and intent.

Afghanistan born, Hamburg based producer, artist and founder of Kabul Fire Records, Farhot has been on the scene for over a decade now. He began his career working and touring with singer Nneka also producing most of her albums to date. Farhot productions – and more so his own releases as an artist – carry his personal signature sound, while not limiting himself to a certain genre or style. Still, it’s safe to say that he’s firmly rooted in hip-hop culture. Farhot is one half of producer duo “Die Achse” alongside longtime-friend and collaborator Bazzazian. His impressive body of work includes productions for artists like Giggs, Kano, Isaiah Rashad, Talib Kweli, Selah Sue, 113, LOC, Haftbefehl, Xatar – and at last his own releases of Kabul Fire Vol. 1 & 2 – from which the later of the two has been honored by The Guardian as their album of the month.

Listen to ‘HOOYOO’ here

Press release courtesy of Only Good Stuff

Batundi releases ‘Naliya’ a Debut with Collaborators Msaki and TRESOR

Jun 6, 2025 | New Release, Music

Batundi, the Congolese-born, South African-based artist shaping a fresh wave of African dance music, arrives with intention on his new single “Naliya”, a love song featuring two of the continent’s most revered musical forces, Msaki and TRESOR.

“Naliya” marks a major milestone as the debut single released under Jacquel Dance, the newly launched dance imprint by TRESOR’s Jacquel Entertainment Group. A fusion of African pop, electronic house, and soul-stirring songwriting, “Naliya” signals the emergence of a bold new voice on the global music stage: one rooted in rhythm, culture, and fearless experimentation. 

For Batundi, whose journey has taken him from Goma in the DRC to Nairobi, Kampala and now Johannesburg, “Naliya” is a deeply felt exploration of heartbreak, memory and healing. “We spent many days building this track slowly and beautifully,” says Batundi. “We focused on crafting melodies and placing words with intention. It was a patient, emotional process, and one that truly reflects my spirit as an artist.”

Anchored by Batundi’s electronic production sensibility and elevated by the unmistakable voices of Msaki and TRESOR, “Naliya” moves with elegance and energy. A sonic tribute to love’s highs, lows, and enduring imprint. It builds on the legacy of “Sondela”, his earlier collaboration with TRESOR, while pushing the boundaries of African dance music toward new emotional and sonic territory.

With a growing list of accomplishments including co-producing “Fountains” by Drake ft. Tems and “We Caa Done” by Popcaan ft. Drake; Batundi is no stranger to global studios. But with “Naliya”, he steps forward not just as a producer, but as a full-fledged artist with a story to tell and a sound of his own.

Signed to TRESOR’s Jacquel Entertainment Group and serving as an in-house producer and engineer, Batundi brings a singular vision to the future of African pop. His production on TRESOR’s Nostalgia album, which won Best Pop Album at the 2019 South African Music Awards, laid the foundation. Now, with Jacquel Dance, that vision has room to thrive.

“This song is a celebration of love, healing, and lifetime connections despite the obstacles,” says Batundi. “It’s my honour to have created it alongside two of Africa’s greatest musical minds. This is just the beginning.”

Listen to ‘Naliya’ here

Connect with Batundi:

X: @batundimusic

Instagram: @batundimusic

TikTok: @batundimusic

 

Press release courtesy of Only Good Stuff