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Confused about what’s happening with TikTok? Here’s what we know about the complex web of geopolitics and data privacy so far

If you’re on TikTok, you’ll know it has been a weird couple of weeks for our American counterparts. The social platform is used by 170 million users in the United States —  approximately 51.36% of the country’s estimated 331 million population. The short-video format is a home for comedy, education, influencers, crafts and serves as a platform for many brands and businesses. TikTok’s ‘creator fund’ has been an incredibly effective form of economic empowerment for many American users, while also being a refuge of connection for others. The platform  has also served as a direct-response site for real-time news by citizens and continuously  proliferates ideas and ideologies in the current zeitgeist. 

Last year, the U.S. House of Representatives advanced legislation aimed at addressing national security risks they believed were tied to TikTok, as the app is owned by Chinese company ByteDance—however, this narrative oversimplifies the app’s ownership structure, as ByteDance actually has a variety of shareholders, including significant stakes held by international investors, U.S. firms, and its founder, Zhang Yiming. This nuanced ownership structure complicates the argument that TikTok is solely under Chinese government influence. Notably, China and the U.S. have been locked in a geopolitically tense rivalry since the early 2010s, marked by disputes over trade, technology and the US’ military presence in the Asia-Pacific region. 

Image by Cottobro Studios, via Pexels

Imagery courtesy of Unsplash

Lawmakers expressed concerns that TikTok could allow the Chinese government access to sensitive data from American users or be used to influence public discourse. Critics have pointed out that America has some of the least stringent regulations protecting data privacy from its own corporations, and have argued that the focus on TikTok highlights a double standard, emphasising foreign threats while overlooking the lack of comprehensive domestic legislation to safeguard user data against misuse by U.S.-based tech companies.

The proposed legislation, part of broader efforts to regulate foreign-controlled technology, called for TikTok’s U.S. operations to be divested from ByteDance — and ultimately be sold to a US company. Supporters of the move argued it was necessary to protect citizens’ data and limit potential surveillance, while critics also  raised questions about free speech and the law’s broader implications. 

The legislation leading to the TikTok ban in the United States was signed into law by President Joe Biden on April 24, 2024. This law, known as the ‘Protecting Americans from Foreign Adversary Controlled Applications Act’, required ByteDance, TikTok’s Chinese parent company, to divest its U.S. operations by January 19, 2025. 

Yesterday, that day came and went. But— before we get into the weirdness of it all in the last 24 hours— it must be noted that American users took to protesting the ban in a hilarious way; entirely counterproductive to the alleged aims of the US government. Many US app users began downloading “Red Note,” an app *actually* and directly owned by the Chinese Communist Party, in what appeared to be a mix of satire and defiance. Suddenly, cross-cultural exchange began to occur between US users and Chinese users, reaching beyond the tensions of their respective governments, to share differences in their ways of living. Oh, the beautiful and strange irony. 

In the lead-up to the ban, little was known about how it would be enforced, fueling speculation about the motivations behind it, with many suspecting a political agenda at play. The app’s CEO, Shou Zi Chew, posted a  message over the weekend, expressing his disappointment and emphasising TikTok’s continued commitment to its users. American users, uncertain about the platform’s future, posted their ‘goodbyes,’ sharing emotional farewell videos and reflecting on their time spent on the app. Meanwhile, the rest of us were left imagining an algorithm that, for once, departed from its innate focus on matters in the U.S… and for just twelve hours, this was the case. The app went dark for US users, with seemingly no way to access their accounts. 

Then, out of nowhere, the app was restored, with a cryptic message that ‘thanked President Trump’ (thought he was not yet the president at the time of posting), with Tik Tok further elaborating via X that “in agreement with our service providers, TikTok is in the process of restoring service. We thank President Trump for providing the necessary clarity and assurance to our service providers that they will face no penalties providing TikTok to over 170 million Americans and allowing over 7 million small businesses to thrive.”

American users have returned in what BoF termed as “purgatory” — with uncertainty and the eerily feeling that a political negotiation had taken place, presumably in order to bring favour to the Trump presidency among many other things.  This situation is further complicated by the apparent financial lobbying from U.S. tech giants, such as Mark Zuckerberg’s Meta and Elon Musk’s X, both of which have long been in competition with TikTok. Many suspect that their lobbying efforts played a significant role in the political drama surrounding TikTok, as these companies would benefit from the removal of a growing rival. 

With such a complex web of interests, the return of TikTok to American screens feels more like a brief respite in a larger, ongoing battle for influence and market share in the ever-evolving tech landscape — and this episode leaves us questioning the true motivations behind the TikTok saga, and what it means for the future of global tech regulation in a very fraught and divided world. We’re considering this a developing story. 

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

Levi’s® x UNDERCOVER launch a New Collaborative Collection featuring FLEA

Levi’s® and UNDERCOVER have joined forces for the second time, combining UNDERCOVER’s Tokyo subculture aesthetic with timeless Levi’s design to celebrate the 35th anniversary of Jun Takahashi’s epochal brand. 

UNDERCOVER is a Japanese brand known for its subversive yet elevated designs which began in the Tokyo underground scene 30 years ago. Combining UNDERCOVER’s rich archival references with Levi’s® core and tradition, this collection introduces 9 pieces that reflect a commitment to creativity, innovation and personal style. The campaign features Flea, bassist of the Red Hot Chili Peppers, photographed in his Malibu home by his daughter, Clara Balzary. Beloved for his simultaneously light and dark music, iconic personal style, and unfiltered creativity, Flea embodies the spirit of the collection. 

The Pinnacle Type II Trucker Jackets feature detachable zip detailing on the sleeves, collar, and side seams, allowing wearers to diversify components for a customisable look, referencing UNDERCOVER’s “Exchange” program from their AW1998 collection. This AW1998 collection became so popular because of it’s ability to be combined with other garments to recreate a whole new piece, using this zipping and unzipping technique. The jackets are crafted from indigo selvedge denim and black corduroy respectively, finished with a co-branded jacron patch and ‘Small Parts’ neck label as a nod to UNDERCOVER’s original concept.

Photography by Clara Balzary

Levi’s® x UNDERCOVER Type I Trucker Jacket

The collection’s Type I Trucker Jacket is crafted from black & white 12 oz. denim with an embroidered zigzag pattern on the sleeves & bottom hem, referencing archival UNDERCOVER graphics from 2003. The Type III Trucker Jacket, delivered with similar construction, features a newly developed artwork inspired by the interconnected concept of yin-yang, adorned with a dual chest embroidery of ‘light’ and ‘darkness’ on the front, plus a mix of screen-printed and embroidered graphics on the back. 

The collection includes two pairs of denim – a 501® Jean and Baggy Jean – which mirror the composition, wash, and design details of the Trucker Jackets. The 501® Jean retains its classic silhouette with an embroidered zigzag pattern down the side seams and co-branded back patch to match the Type I Trucker Jacket. The Baggy Jean offers a looser, relaxed fit and features a mix of screen-print & embroidery techniques to match the Type III Trucker Jacket. 

Levi’s® x UNDERCOVER 501® Jean

Photography by Clara Balzary

Rounding off the collection are three T-shirts depicting the same visual language, each developed from cotton jersey fabrics. The long-sleeve T-shirt is offered in white and completed with a printed zigzag pattern on the neck and sleeves. The short-sleeve T-shirts come in black and white and feature a combination of printed & embroidered graphic techniques. From archival references to distinct graphic direction, the comprehensive range reflects Levi’s® and UNDERCOVER’s dedication to quality, craftsmanship, and versatility. 

 

The Levi’s® x UNDERCOVER collection launches worldwide on January 18th and will be available for purchase on Levi.co.za, V&A Waterfront, Shelflife, undercoverism.com, and select UNDERCOVER Stores.

Press release courtesy of The Bread

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

FiNE team up with Fraser Jones and Idd Aziz for ‘Twende’ on their label, Sippy Time

Sippy Time begins 2025 with ‘Twende’, a standout release from FiNE, Fraser Jones, and Idd Aziz. ‘Twende’, which means “let’s go” in Swahili, features an instantly memorable hook that will stay with you long after the music ends.

‘Twende’ brings together a rich blend of deep basslines, infectious melodies, and crisp percussion that captures listeners from the very first beat. At the heart of the track is Idd Aziz’s distinctive falsetto, whose timbral brilliance is nothing short of mesmerizing.

This exciting collaboration between FiNE, Fraser Jones, and Idd Aziz pushes Afro House into new and unchartered territory. The production is world-class, blending the best elements of traditional African sounds with contemporary global influences.

Twende is a bold declaration of what’s to come in 2025 – an early glimpse of the musical innovation and excellence that Sippy Time continues to deliver.

Listen to ‘Twende’ here

 

Press release courtesy of Sippy Time

Lewis Daniel ft. Jay Phelps and Nathaniel Cross release ‘Find your Tribe’

Find Your Tribe” and “Ships Do Sail” are the first singles to be taken from South London-based saxophonist and composer Lewis Daniel’s forthcoming conceptual jazz album, “Defective Disk,” due for release in May 2025.

“Find Your Tribe” underscores the vital role of community and kinship, blending rich afrobeat rhythms with futuristic, video game-inspired sounds. This single evokes a meeting point between the vibrant, cultural pulse of Wakanda and the revolutionary spirit of Fela Kuti, taking listeners on a captivating sonic journey with a distinct South London vibe. The track is more than just music; it’s a warm embrace—a celebration of the support and strength found in those who feel like family. Produced by acclaimed DJ Harrsn (whose remix of “God Is Trying” by House Gospel Choir was crowned Hottest Record on Annie Mac’s show), “Find Your Tribe” showcases Lewis’s experimental production, leading up to a lush string section and a powerful voice note from renowned gospel choir director Daniel Thomas. Thomas delivers an uplifting and sometimes humorous message, urging us to “align with souls on your path” and to “never allow anyone in your life who doesn’t add to it.” Reflecting on the theme, Lewis Daniel shares: “Finding your tribe was pivotal for me in my 20s. I needed people who saw me for who I really am and pushed me to grow. It took a lot of trial and error, but I’m grateful for all the tribes that helped me reach where I am today.”

Second single “Ships Do Sail” is a powerful blend of drum and bass, electronic, and experimental jazz that marks a pivotal point in his upcoming album. This drum-and-bass-driven track, layered with glitchy electronic textures, industrial sounds, takes listeners on an emotional voyage through turbulent waters. Drawing on powerful water metaphors, “Ships Do Sail” symbolises the process of drifting apart and learning to release relationships that no longer serve us. “Ships Do Sail” dives deep into the emotional process of learning to let go—whether it’s a friendship, a job, or a relationship breakdown. With pulsating rhythms and innovative production inspired by Radiohead and Hudson Mohawke, this track captures the confusion and pain that comes with navigating loss. It speaks to the harsh reality of how two close friends can suddenly feel like strangers in an instant. Produced by acclaimed DJ Harrsn (whose remix of “God Is Trying” by House Gospel Choir was crowned Hottest Record on Annie Mac’s show), the track marries haunting strings, ambient vocals, robotic synth textures, and voice notes that offer poignant reflections on endings. A key moment comes from Rachel Kerry, who says: “Things coming to a natural end because people drift apart is totally fine… it doesn’t necessarily have to be dramatic”—though it often is. Reflecting on the track, Lewis Daniel shares: “This was the first song I wrote for the album, and it was the seed for everything that followed. I was going through a friendship break-up that really tore me apart, and writing this song became a form of therapy. We don’t often talk about friendship break-ups, so it’s hard to know how to deal with them. This track helped me process those feelings and build the cyberpunk world that the album now lives in, blending my love for video games with music that carries deeply personal messages.”

 

Listen to ‘Find Your Tribe’ here

 

Press Release courtesy of Only Good Stuff

Munich-based trio, Prepared, release their debut album ‘Module’

Unique and sonically interesting, ‘Module’ is the new album by free-spirited Munich-based acoustic trio Prepared, released on Compost Records. The project features prepared piano, bass clarinet and drums in a chamber music line-up that is highly energetic.

These three Munich jazz musicians are united in their contrasts. Where one plays Argentinian tango with Quadro Nuevo, the other plays “folklore-free folk music” with Dreiviertelblut and the third plays German hip-hop with Moop Mama. In their new project Prepared merge cyclical motifs and cleverly layered patterns in minimalist yet highly virtuoso compositions creating mesmerizing ‘Gesamtkunstwerk’ (a work of art that makes use of all or many art forms or strives to do so). It’s as if Steve Reich, Jonny Greenwood, Nik Bärtsch, and Dawn of Midi had been combined for this project.

 

Listen to ‘Module’ here

 

Press release courtesy of Only Good Stuff

SARS Introduces Customs Taxes on Low-Value E-Commerce Purchases

Few institutions are as robust in South Africa as SARS – the South African Revenue Service, responsible for managing the country’s tax collection, enforcing customs duties and ensuring each of our compliance with national tax laws. 

As our world continues to shift, and the growth of e-commerce advances at an exponential rate, SARS have had to reassess tax obligations for e-commerce transactions, particularly for low-value imports from global retail giants like Shein and Temu. As we all know, the emergence of Temu on the retail scene has left any and all online search for any product with their offerings front and centre— and at wildly low prices. For an economic base such as South Africa, faced with low income rates and high unemployment, platforms like Shein and Temu serve as the perfect storm to satisfy the collective demand for both basic material needs and excessive consumption. These international e-commerce giants offer affordable goods that are often significantly cheaper than locally available products, making them attractive to cash-strapped consumers.

The question, then, has become the broader impact on South Africa’s local economy. With many South African retailers unable to compete on price, the flood of inexpensive imports threatens to undermine local businesses and in particular industries such as fashion, where product pricing is sensitive to production costs. Our ability to manufacture fashion locally has significantly diminished in recent decades — a topic we looked at more closely on South Africa’s manufacturing legacy for Interlude Chapter 26, last year.

Landfill by Twiggy Jia, via Pexels

Image by Natalia Voitkevich, via Pexels

As of September 2024, SARS took steps to ensure an even playing field could be levelled between local retail and the allure of international accessibility. With the introduction of a 45% Value-Added Tax (VAT) on all imported goods, including those valued below R500 — a price point previously exempt from import tax — shoppers of giants like Shein and Temu can now experience significant additions to their total order amount than simply the check-out amount and shipping fees. 

Along with VAT, the South African government has also restructured customs duties. Low-value consignments, previously exempt or taxed lightly, now fall under stricter duty categories, with this restructuring aligning with global standards set by the World Customs Organization, ultimately ensuring fair competition is experienced by  local manufacturers and retailers. Now, a consumer purchasing from Shein might find that their R1,000 order incurs an additional customs fee, making their total purchase much more expensive than anticipated.

Local retailers have largely welcomed the new tax measures, with the understanding that they are necessary to protect South Africa’s retail sector and to address the imbalance caused by cheaper international imports. In an interview with Fibre2Fashion, Michael Lawrence of the National Clothing Retail Federation  emphasised that these tax changes are essential for ensuring fair competition and supporting local jobs, saying that by enforcing the 45 per cent VAT on packages under R500, we anticipate a more level playing field, which will simplify the competitive landscape for all market players. This measure is expected to support the local manufacturing sector by reducing the unfair advantage previously enjoyed by some offshore retailers, thereby fostering a more equitable and sustainable market environment.” In addition, Michael noted that this is part of an ongoing effort to protect our consumer legislation, and that such “measures will ensure that South African consumers are protected by the country’s robust consumer protection legislation. There is a concern about offshore operators without a local presence, as they do not provide the same level of consumer protection and recourse that local South African-based operators, whether locally or internationally owned, are required to offer. This move aims to enhance consumer safety and ensure fair competition within the market.”

While these tax changes aim to create a more level playing field for local businesses, they come at a cost for consumers who now face higher prices on low-value imports. From a privileged perspective, one would argue that challenging any material excess coming in at the cost of our own local, economic future is a non-negotiable— however, this stance doesn’t fully reconcile with the economic nuances within South Africa, in which issues like pervasive inequality are at play. 

As the saying goes— nothing in life comes for free; not even the deliriously low cost products on Temu and Shein. 

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

Trevor Stuurman and His Influential Role In Africa’s Creative Renaissance

It is well felt and known on the continent that Africa is undergoing a renaissance — one in which the expression, and multiplicity, of African identities regionally, locally and in relation to the rest of the world, is flourishing. The idea of an African Renaissance and its importance was first coined in the 1950s by Cheikh Anta Diop, a Senegalese historian, anthropologist, and physicist, who wrote extensively about this idea, which was central to his vision for the future of the continent. He believed that Africa could experience a cultural, scientific, and political revival by reconnecting with its precolonial heritage, embracing its rich history, and harnessing its intellectual and creative potential. We’re happy to report, as CEC, that we witness this harnessing each and every day as a platform.

Imagery courtesy of Trevor Stuurman

When I think of the visual narrative surrounding this renaissance, photographer and multimedia artist Trevor Stuurman stands out as an emblematic arbiter of contemporary African creativity; a wayshower, effortlessly so, on the brilliance of Blackness and its titanic place in the 21st century. It was always the reference, as we know. As Trevor so succinctly points out in our conversation, “my point of view only stems from where I come from, and that’s the basis of everything I create. Had I been born elsewhere, my context and outlet would be different. I always reference what Nina Simone once said, that ‘it’s the artist’s duty to reflect the times’ and all I do is reflect the times that we are currently living in. My work is my attempt at writing history in real time,” and that Trevor’s afro-centric creative philosophy, “is really simple in that way, I don’t have to think of anything else outside of being African. It simplified my mission and my work because it’s solely based on my point of view as an African.”

Trevor Stuurman is somewhat of a veteran, having entered the creative space very soon into adulthood. In the last decade, he has cultivated a stylistic focus that has become definitional in much of the way contemporary African culture and fashion is visually represented on a global scale. He has been recognised by Forbes ‘30 under 30’ list and listed by TIME Magazine as a ‘Next Generation Leader’. Whether it was his collaboration with Gucci to infuse Zulu sartorial expression with the Italian fashion giant’s ‘house codes’, and offer a vision of African luxury, or being hand-picked by Beyoncé for various projects in her ongoing celebration of African heritage and Black history through a contemporary lens — Trevor is a trailblazer in bridging African identity with global creative narratives. Trevor notes that, “I believe that art chose me – I didn’t have to really find myself, it was always a part of my journey.”

When we embark on the creative path, this energy requires us to make clear choices in what we want to create and what we will ultimately do with our work. I ask Trevor whether he feels the term ‘fine-art’ photography is a way he’d describe his work, as it has soared far above and beyond the prescriptions of simply fashion photography, to which he explains that the only terms that matter are those that are self-defining, “as creatives it’s up to us to decide how far we can take our craft or gift. You are the one who decides to call yourself whatever – it’s not up to galleries or the industry to define you or what you do. When we make the decision to be what we want to be, and live a creative life that feels aligned, we get closer to whatever it is that we’ve dreamed of. It’s like a method acting in a way; living in your purpose.”

Imagery courtesy of Trevor Stuurman

On the subject of this moment in Africa and his place as a leader of this wave, Trevor shares that “It feels like a reawakening on the continent,” and “I think it’s about the historic nature of Africa’s perception by the rest of the world. We have never been able to tell our story – even as we have been so fluent and articulate in telling ourselves to ourselves. If we think of the oral traditions that have been relayed from one generation to the next, without them being manipulated or changed. Africans have always been great storytellers, but our stories have always been told on behalf of us by the world. We’re living in a golden era in which we are able to tell our stories, in our voices, on our own time.”

Trevor’s notable works are exhaustive and ever-growing, and while difficult to whittle it down, Trevor notes that some of biggest ‘pinch me’ moments was, “being able to work with Beyonce on different projects. Every opportunity or call was a pinch me moment! I look up to her so much based on her commitment to her craft and her commitment to building different universes. For Beyonce, every chapter of her life is reflected in a certain world — and the world she creates meets her where she is. I’ve always admired that,” and that, “when I got to shoot former US president Barack Obama, it was quite a special moment for my mother. It was the first time I photographed someone that she idolised.”

This year, Trevor launched The Manor; a storytelling platform, creative universe and cultural archive, that sees Trevor stepping into a curatorial role and extending his vision to shape broader narratives beyond his own voice. In its first year of launch, The Manor was awarded a place in National Geographic’s Best Cultural Spots in their ‘Best of The World’ series. As Trevor explains, it’s been a deep process and that, “starting The Manor has given me a new burst of energy in terms of being able to exercise my creative muscle in a different way. I’m not necessarily pressured to create work myself, but I’m able to create space for others to share their work. At the same time, I get to figure myself out right now. It’s almost like a productive way to take a hiatus! I’m off the radar but still present, so to speak.”

Imagery courtesy of Trevor Stuurman

“I think building this has been the most challenging thing that I’ve done,” Trevor muses, “not necessarily professionally, rather that it was a true experiment. Often, we refer to our work as experimenting; but we’re doing things we have done before, just expressed in a different way.” For someone with as broad a repertoire, a foundational archive is a natural culmination in Trevor’s path, and as he puts it, “The Manor has been about institutionalising a lot of my efforts that might go unnoticed. Now, they’re able to be packaged in a way that is archival and recognisable. I’ve always been in practice in service of The Manor.” 

Curiously, I ask Trevor about the name itself, “the name comes from the fact that my friends have always called my different homes, ‘a manor’. My friends have always been first collaborators, and many of them are in the creative space, and it stemmed from the idea of an actual home. It’s always been about taking up space and creating space. As a business structure, it’s a home with many different rooms in which we do many different things. The Manor means we can exist in many different dimensions but still be one, without dividing oneself in the process.” This anecdote, of Trevor’s homes being reflective of a manor, denote the impeccability and meticulousness that encompasses all aspects of his inner and outer life, “it makes life really special when you are really specific and intentional. Even just the way you can romanticise your daily routines — from having a signature scent, or look — having things placed and curated, it makes life more interesting for me.”

Is The Manor an effort in building a legacy, I ask? “Yes, The Manor is a legacy project. The work is more valued when it no longer exists, and it’s so special to see how each story can touch a different life and have an impact that is yet to be realised. I remember growing up in Kimberley and magazines being so important to me; those were my first passports into the world. They allowed me to escape and see other ways of living,” and that “archiving is such an important labour of love. It goes into building generations and futures.”

For Trevor, his point of view has always been innate and instinctive, though constantly evolving as he has grown, explored, and deepened his practice. He emphasises the importance of expressing authentically, noting that “building your own point of view is just an extension of living your best life. If you happen to document it, in whatever way that is, you’ll find what that is.” Reflecting on his work, Trevor sees the continuity, acknowledging that “it’s only seasonal updates, or when I travel and learn new ways to package things and style things, these are just new layers that I add to my existing framework.”

To Trevor, the creative process is deeply personal. As he puts it, “self always sells. It doesn’t have to be a complicated process, but it does take time. Most importantly, you need to value yourself. You’ll be able to pour more into whatever you’re doing if you see yourself. The pressure is never from external forces. It’s always me, pushing myself. All the standards are set by ourselves; we have to adhere and uphold our own standards.”

Where to, next, for one of Africa’s most prolific creative forces? “Right now, I’m catching my breath. It’s been a crazy year — and in order to have sustainable business, it’s important to find time to take it slow. We’ve managed to build the identity of The Manor and take up space within the storytelling space in South Africa, and I think now it’s about ensuring it becomes a long-lasting, sustainable effort.” It is always within rest and reflection, that creative energy is remedied, redirected and renewed for the chapter — as Trevor, whose life demands boundless energy and focus, “my intention for the rest of the year is to arrive at a more peaceful and calmer place. I want to find a home in that feeling.” May Trevor’s rest within The Manor, his creative haven and cultural sanctuary, and all the other moments that lie ahead — encourage others to explore their authentic selves and contribute meaningfully to the world in which they wish to live in. Sublime. 

 

Written by: Holly Beaton

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

The Aesthetic Dualities and Cultural Undercurrents Defining 2025’s Trend Cycle

Since CEC’s inception, we have taken care to understand trends rather than simply regurgitating them. We love a microtrend moment, but what we love even more is knowing precisely why our fave microtrends have occurred. It’s our firm view that trends are powerful ways to test the cultural temperature—serving as frameworks for understanding the deeper tensions shaping how we dress, shop, and express ourselves. This year is no different, with this current trend cycle underpinned by three distinct dimensions worth looking at; namely, aesthetic dualities, consumer behaviors, and cultural undercurrents, as a means to understand the why and how of this moment in time. 

It’s a big year. 2025 marks the halfway point of a decade, one that began with a thrusting jolt to each of our realities. We are firmly in the 21st century (no matter how much nostalgia continues to reign supreme in our collective consciousness) and amid a post-pandemic landscape and the intensifying role of technology in our lives, the trend cycle reflects the many complexities that this decade has brought. This year’s fashion landscape feels akin to a mirror, reflecting both the chaos and clarity of our times. The tension between excess and restraint is palpable, as we oscillate between stripping back to essentials and leaning into audacious self-expression. Neither maximalism nor minimalism will define this year; instead, the swirling tension of both showcases the many ways in which we, as consumers, are responding to the cultural climate around us, and how we are choosing to signal our participation within it. Consumer behavour’s seem to underscores this dichotomy right now, and an example of this is the rise of capsule wardrobes and sustainable practices existing alongside the relentless churn of microtrends. Meanwhile, cultural undercurrents—ranging from climate anxiety to a yearning for joy and escapism— are fueling the many aesthetic contradictions that we’re seeing. At the heart of it all, 2025 stands as a moment to rethink how we define identity and intention through fashion. As TikTok’s favourite fashion analyst, Mandy Lee, so aptly noted in her 2025 trend prediction analysis, “if you’re not considering the impacts of politics, the economy, society and culture impacts fashion, you’re missing a key variable that dictates the way fashion moves forward.”

@eartheater photographed in their Sea Witch embodiment, photographed by @hannahkhymych, via Instagram

The Face of A Solar Punk future, @not_another_hanna self-portrait, via Instagram

Aesthetic dualities in 2025 define the push and pull between nostalgia and innovation, opulence and simplicity, all set against a backdrop of hyper-personalisation. Pinterest, everybody’s favorite curation tool, have released their annual and highly anticipated ‘Pinterest Predicts 2025’ as a forecasting analysis, with their findings modelled into ‘sub-categories’. This information is gathered from the immense metrics that users generate through pinned images, searches, and interactions. For 2025, the site’s forecasting prowess is showcased across a variety of ‘archetypes’ and ‘cores’. Here are a few to take note of;

Cherry Coded ‘Tasting notes: Dark, sweet and such a vibe. Gen Z and Millennials will infuse cherries into their makeup, menus and mood boards this year. One thing’s for sure—tart will have your heart in 2025.’ 

Aura Beauty ‘2025 will be the year of the makeup mood ring. Gen Z and Boomers are driving this high hue look that’s all about honing in on a color aesthetic and flaunting it from chin to cheek. Find your aura, wear it with confidence and consider yourself dipped in vibes all day long.’ 

Rococo Revival ‘All frills, no chill. This year, weddings, parties and aesthetics will draw inspiration from the Rococo era—a Late Baroque period that was both opulent and ultra-feminine. Gen Z and Boomers are driving this trend toward classic corset gowns, luxe accessories and ornate tablescapes.’

Sea Witchery ‘You’re in your sea witch era. And it’s so much more than seashells and starfish. In 2025, Gen Z and Millennials will dive head first into sultry siren makeup, wet wavy hair and moody mermaid manicures from sun up ’til moonlight.’ 

Castlecore ‘Medieval is having a major moment. In 2025, Gen Z and Millennials will take home decor inspiration from ancient castles, while fashion and accessories will be gothic inspired. It’s a comeback of the highest order.’

Moto Boho ‘So long, hippie aesthetic. Moto Boho has entered the chat. In 2025, Gen Z and Boomers will take to the streets with chunky leather handbags, flowy skirts, moto boots and just enough fringe. It’s not just a look—it’s a lifestyle.’ 

Player One ‘Your avatar aesthetic. This year, Gen Z and Gen X will customize their digital personas, designing their avatar’s hair, outfits and even accessories. Head to your keyboards—it’s time to level up.’ 

Terra Futura ‘Meet the rebels with a cause. In 2025, Boomers and Gen X will revolutionize sustainable living with recyclable fashion, self-sufficient gardens and community spaces. The best part? This eco-living aesthetic will bring some seriously cool sci-fi vibes.’

 

Consumer Behaviour in 2025 is set to be particularly interesting, as we continue to navigate the tension between indulgence and restraint, with ever-more limitless (Temu-encouraged) choices and a growing environmental urgency as we head towards the ‘2030’ mark. It’s the “Use What I Have Era 

 

Ann Demeulemeester Fall 2024 is Moto Boho! Photographed by Filippo Fior, via Gorunway.com

Ann Demeulemeester Fall 2024 is Moto Boho! Photographed by Filippo Fior, via Gorunway.com

The phrase, as coined by Olivia Sara, reflects a burgeoning mindset shift towards underconsumption, with people reimagining their existing wardrobes rather than succumbing to the allure of fast fashion. This dovetails with the rise of deinfluencing, which made waves across social media in 2024 as a form of resistance against influencer culture and the relentless placements of ads. In 2025, despite the aesthetic emphasis on maximalism, it appears minimalist values will become more prevalent in counteracting hyper-consumption culture, as each of us finds ourself encouraged to be more thoughtful and need-based in our purchasing habits over fleeting trends. Basically, we’re buying wilder and more bold pieces but with a more careful eye and mindset. 

The craving for individuality is fueling one of the year’s most predicted trends for consumer behaviour, with ‘Chaotic Customisation’ as discussed and defined by Vogue, demonstrating that consumers will seek one-of-a-kind pieces and DIY aesthetics to stand out in both physical and digital spaces. Additionally, the popularity of rental services, resale platforms, and upcycling workshops suggests that even indulgent behaviours are being reshaped by sustainability. This juxtaposition of consumption styles signals a deeper cultural reckoning: as consumers, we are finding ourselves caught between the desire for self-expression and the responsibility of mindful living. Personally, I’m excited to see what is made from aesthetics guided by the centering of ethics. 

Last but certainly not least, the cultural undercurrents shaping 2025’s fashion trends is the foundation of how we can understand the birthing of trends. There are many (especially in the political context) and last year, we discussed how fashion’s playful revival could be traced to the experience of a global recession — and how the experience of hardship often leads to a desire for celebration and connection that fuels maximalist aesthetics, as people embrace opulence and fantasy after years of uncertainty. Simultaneously, our pressing climate anxiety underpins the underconsumption movements that are emerging, as we realise that the more we have access to, might not necessarily equate to a better experience of life. Material excess might not fill that proverbial hole within; especially contrasted against the intense political and ecological issues facing our planet. Then, nostalgia remains a powerful force, as it offers us comfort and familiarity through aesthetics that reimagine past eras, providing both escapism and grounding in an increasingly unpredictable world.

Amid these shifts, individuality is suggested to reign supreme. There is a growing desire for self-expression, with DIY aesthetics thriving as more people reject mass consumerism. These cultural forces highlight the complexities of 2025: this is a year caught between collective challenges and personal agency. If I could sum up what 2025 is defined as; it would be the pursuit of personal responsibility and self-expression, across the three dimensions of aesthetics, behaviours and cultural undercurrents. In fashion, these tensions will manifest in stores, across runways and online. It’s going to be a wild ride. What are you hoping to see? 

Written by: Holly Beaton

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

Boogie Vice, N-You-Up feat MX Blouse give us a modern rendition of Jungle Brothers’ ‘I’ll House You’

Boogie Vice, N-You-Up featuring Mx Blouse drop a cover version of an iconic Jungle Brothers tune. ‘I’ll House You’ is an enduring anthem that gets a modern update with three different mixes.

The Jungle Brothers dropped their legendary hip-house hit single ‘I’ll House You’ in 1988, and it became an instant classic, with their music paving the way for artists such as A Tribe Called Quest and De La Soul. Now, it has been reworked by South African musician and performing artist Mx Blouse, Parisian Boogie Vice and French electronic music producer N-You-Up for contemporary dance floors.

This innovative rework keeps the original Jungle Brothers vocals, which are full of house-funk attitude, but layers in a wonky melody line which slows the beats down and builds them into a low-slung groove. By listening, one can certainly hear how it seemingly fits into a nu-disco fusion genre. Raw percussive synths all help make this a notable rework that, with the standout vocals, may become an anthem in its own right. The tracklist includes a drumapella (acAPELLA with DRUM accents) version as well as a Dub Mix until finally, the Hope Street At Night mix is stripped right back to a shuffling and minimal groove.

Listen to ‘I’ll House You’ via Get Physical Music here

 

Tracklist

01 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You

02 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You (Drumapella)

03 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You (Dub Mix)

04 Boogie Vice, N-You-Up Feat. Mx Blouse – I’ll House You (Hope Street At Night Mix)

 

About Mx Blouse 

No stranger to the CEC family, Mx Blouse is a genre-defying South African recording and performing artist. This is an artist who explores her creativity through music, spoken word, written word, and art direction. Read more about Mx Blouse here.

 

About Boogie Vice

Boogie Vice hails from Paris, and since debuting a decade ago, he has lit up Beatport charts, combining fresh nu-disco and house styles in unique ways and has released on the likes of Busy P’s Ed Banger Records, Amine Edge & DANCE’s Cuff and Miguel Campbell’s Outcross Records. He has previously released on this label alongside

Sensual Sounds head honcho Deep Aztec but now works with South of Fracas star N-You-Up. He has been DJing since 1996, first as hip-house artist The Beatangers, but with this alias returns to his roots and blends jazz, funk and disco on labels like Nervous Records as well as Get Physical Music.

 

About N-You-Up

Southern France native, Nick aka N-YOU-UP is an electronic music producer. Nick’s love story with the dance floor served as the catalyst to jumpstart his DJ Career in 1996. His curated sets always aim to build a strong synergy with the crowd, while delivering his passion for music.

 

Follow Mx Blouse here

Follow Boogie Vice here

Follow N-You-Up here

 

Press release courtesy of Get Physical Music

Sibu Manzini feat. Velemseni deliver Afro House track, ‘Indlela’

Sibu Manzini and Velemseni reunite to deliver “Indlela,” an Afro House masterpiece capturing the soulful essence of finding one’s path. “Indlela,” meaning “the way,” is a rhythmic fusion of Afro House and electronic elements, where Velemseni’s powerful vocals channel a heartfelt prayer for the divine Creator’s guidance.

Her lyrics convey a deep hope for dreams fulfilled and a future illuminated. This inspiring and uplifting track, filled with spirit and energy, is set to be a summer anthem that resonates with everyone pursuing their destiny.

 

Listen to ‘Indlelahere

 

Press release courtesy of Antidote Music