The Promise Of Streetwear with S.W.A.N.K Founder Lindelani Nedoboni

Jul 9, 2024 | Interviews, Fashion

2013 was a turning point for streetwear. Previously, the movement was confined to subcultural corners – most notably, hip hop and skateboarding scenes – and with the onset of 2013, Supreme was about to go even more stratospheric than in the late 2000s, along with Palace and the resurgence of Stüssy, to name a few. It’s strange to cast our memories back to this time and realise that streetwear technically hadn’t hit the mainstream; but it was about to unseat even the cult of luxury fashion as the single biggest sector of growth in apparel and culture. In Joburg, in 2013, creative visionary Lindelani Nedoboni was cooking up his own storm, too. 

Drawn from his deeply abiding love for streetwear, Lindelani’s S.W.A.N.K was conceived as his personal footnote, from Jozi and his community, to what he could see as this growing movement. I think it has to be noted that S.W.A.N.K is an OG incarnation of the South African possibilities of streetwear – and to Lindelani and his community, much is owed in the expression of streetwear as we understand it today, in our country’s context.  

Their accolades are many and counting. In November 2021, S.W.A.N.K unveiled their exclusive store at 70 Juta Street in Braamfontein, placing themselves at the epicentre of Jozi’s scene. By April 2023, they expanded their reach by featuring their merchandise in ARCHIVE storefronts across South Africa. With five delivery drops to date and regular DIY ‘Data It Yourself’ sessions at their pop-ups and warehouse sales, S.W.A.N.K has cemented their presence. They’ve launched their own fantasy football jersey, rendered garments in Augmented Reality, hosted sound sessions, and incorporated the street art identity of ‘Who is TAPZ’ into their designs, showcasing their commitment to innovation and cultural relevance.

To celebrate their anniversary, the brand released an incredible film made in collaboration with director Koketso Matabane, charting some of S.W.A.N.K’s lore, distilling the most crucial aspect of the brand’s legacy: community. Now, the brand has launched WORKSHOP* – the revamp of their store, with a new vision for brick and mortar retail – as a place to ‘work, shop and create’. As their press release for the film ‘S.W.A.N.K IS HUGE’ states, “S.W.A.N.K ‘s 10 year anniversary is not something we take lightly. The weeks, months and years of planning, designing, curating drops, perfecting samples and pieces that are yet to be shown, at times, causes creative overdrive. To handle the success S.W.A.N.K has accumulated over the years goes hand in hand with developing the ability to bear the strain of this responsibility – it goes without saying, heavy is the head that wears the crown.”

Director & Writer: @bongiekokie

Producer: @thandeka_mahuma

DOP: @joshlevi.za

1st AD: Kgabiso Van Wyk

Focus Puller: Mari Schultz

DIT / VT: Nhlakanipho Nhlapo

Grips & Gaffer: Thapelo Mvubu & Lesego Letsoalo

Art Director: @whereareyoutalent

Wardrobe Stylist: @bohemian_______

MUA: @monlouw

Photography Team: @king_henry_iiv

MemoPA’s: @directedbydan @___xpest

Catering: Joy Mhlongo

POST PRODUCTION Facility: @postmodernstudios

Editor: @lovewillmono

Colour Grade: @stroobzz

Music: @tigerfightmusic

Tuning in from the entirely monochromatic crimson walls of WORKSHOP* (truly iconic, design-wise), this conversation with Lindelani is reflective of the endurance that is required to bring an idea towards a full decade of existence. On the origin of the brand, all the way back in 2013, Lindelani explains that “In high school, I was driven to create something like S.W.A.N.K – it’s even referenced in the film, where you see the young guy riding out selling caps from his sports bag. That’s a biographical reference, and how it started. The whole idea for us was to create something that at the time, we didn’t think existed. We wanted to see streetwear with a local touch, a local story and a sense of community – while being inspired by the global approach and output at the time. That really informed the inception of SWANK. I think that image of the hustling teenager selling SWANK still encapsulates the spirit of the brand.”

Back then, Instagram was starting to rear its head in a big way, but it wasn’t the single biggest driver for a brand’s presence as it is today. As Lindelani notes, “social media wasn’t really a thing yet, at least not in the way that was back in 2013. We have always operated in real time, even with social media coming through the way it has today. I was pushed to start my own brand after a conversation with a friend, off the back of me selling branded items out of my bag,” and that, “suddenly, the opportunity presented itself to create something that was completely our own. It’s named after my nickname, ‘Swank’, and it’s always been a very instinct driven thing. Even though we moved with the least capacity and resources, we were driven by the highest energy.”

A central inspiration for S.W.A.N.K is the nature of DIY and modification in South Africa, in an education system that is almost entirely reliant on uniforms. For Lindelani, those earliest years selling branded pieces from his backpack were part of his fascination for how kids adapt to reflect themselves in a context that demands sameness, or dullness. Lindelani is quick to make reference to this spirit, “even a decade ago, streetwear was still a ‘concept’ compared to how it is today. The world has kind of figured it out, but ten years ago – it was really an experiment. The reason streetwear was bigger overseas – apart from the scaling and resources – I think is because schools have civvies, and they don’t have the same uniform culture here. So, when I think of S.W.A.N.K, our foundation came from the spirit and energy of school kids here buying bucket hats to wear after school, or choosing grey socks they could get away with, that signalled something about what they wanted to say.”

I asked Lindelani for his cultural references back in 2013, to which he says that “Pharrell and Nigo definitely shaped streetwear in the 2000s, but the way we consume media is completely different. We were understanding the game through magazines and MTV, and piecing the culture together in our own way through the limited access we had. Still, that was enough to spark the desire to create something and make a statement.”

It’s a truly unique vantage point to raise a brand over ten years, while the brand in turns raises you. On whether he feels the brand and he have grown up together, and what that’s been like, Lindelani shares that “it’s so crazy because the brand is actually this vessel that I’ve used to figure things out. From creative, to business – through varsity and early adulthood, and it’s a very interesting thing to be able to introspect at the ten year mark. For our anniversary, I looked at it in two ways: firstly, what the world has achieved in space in terms of streetwear and the culture, and the fact that we’ve been able to continue, too.”

Photography by Henry Hansen
 
 

Streetwear’s success today can be attributed to its ability to blend fashion with cultural expression, in the way that it has given rise to this ‘middle place’ for converging creative disciplines across design, music, art, graffiti, skating, surfing and so on. When we think of Virgil at Louis Vuitton, or Colm Dillane’s KidSuper, streetwear has given the kind of visibility and opportunity to a new generation beyond the confines of expectations that society demands. Non-conformists and rebels, with streetwear, are part of the larger creative conversation – and I’d argue, they’re shaping the conversation today. As Lindelani poignantly states, “streetwear a decade ago was very alternative, and even though it’s become very commercial – I think the promise of streetwear is that it’s one of the few subcultures left, with those principles of community, meaning, purpose and storytelling. It’s this thing that continues to disturb the norm and breaks boundaries, even when it meets commercial success.”

On the codes that Lindelani can impart for future-brand builders, he describes that “building a brand requires you to be as flexible as possible. You have to be willing to figure it out and take your time doing it, and make sure you’re learning and connecting to people and things that you’re interested in. Finish school, do a lot of projects, and discover things outside of streetwear, too. That’s where you’ll find the best references. Be really intentional, above all else.” Lindelani credits S.W.A.N.K’s endurance and endless energy to push forward with the art of ‘interception’. The idea that the shots you take are the ones that you were prepared to take a risk for – “I always say that it comes down to being in the right moment and position to intercept an opportunity. There is a lot of luck involved, but having that vision to intercept something – that is what takes an idea to new levels. I think about this film that we did with Koketso and the guys from Darling TV, and how they were keen to create something outside of the adverts that they were doing.”

As we wrap up our conversation, some people from what sounds like the States come into the store, excitedly asking Lindelani about what the space is, and who the brand is – and I’m reminded of the power of tangible spaces, for our ideas and projects to live in. With WORKSHOP* and S.W.A.N.K a creative and cultural nexus of Jozi – and a shining light for generations to come –  Lindelani’s last words before he’s off to connect with his customers are; “I want S.W.A.N.K to give people opportunities that they can intercept. Yes, we’re about products but we are community first. Streetwear is about taking risks and there aren’t actually any blueprints. I think that’s what makes it so exciting.”

  

Photography by Henry Hansen
 
 

Written by: Holly Beaton

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

The Importance of Intuition and Synergy as told by Set Designer and Conceptual Stylist, Francois Ferreira

Jul 8, 2024 | Interviews, Fashion

I count every conversation that I have with creatives and artists as a deep honour. Perhaps because of my bias, gaining insight into the practices and perspectives of South African creatives evokes a stronger will to believe so deeply in the landscape of our country’s future. So, no conversation I have is concluded with my feeling anything but inspired – yet, there are those conversations which, almost out of nowhere, dig a little deeper into the matrices of emotion and depth of what it means to use one’s creativity as a method for searching, defining and acting out one’s own dreams. This conversation with conceptual stylist and set designer, Francois Ferreira, is one of those dialogues that moved the needle of my belief just that little bit further, on the potency of creativity as a medicine or salve for keeping the human spirit on its course through this strange and complicated reality.  

Francois Ferreira is a wild force; somehow the effortless hybrid of the truest punk attitude – inhabiting the very best of non-conformity and rebellion – mediated by his delicate intuition, and the bleeding heart of someone in love with hope, in love with art and driven by a profound sense of empathy. And, it shows in Francois’s detailed repertoire of work. A world-builder and a magic-maker, Francois is a leader in the world of set design and styling as two components of the highest order when achieving symphonic fashion imagery. Set-building has often been the unsung hero of the difference between fashion and ‘FASHION’ – the latter being the way in which editorials and campaigns can be exalted to the status of fine-art. Whether it’s the etheric edge that Francois fused with vuvuzelas and Zulu-inspired headpieces as a way to portray the sartorial legacy of SA soccer culture for adidas x Orlando Pirates x Thebe Magugu,  or the giant hand gracefully holding a model for The Lavazza Calendar 2024 shot by Aart Verrips, or the pyramid drapery for Amy Zama’s #STYLBEYSA campaign with Woolworths – Francois uses set design and props as a language unto its own, instilling conceptual motifs and depth across the work that he is involved in, with a stunning command. 

On the beginning of his career as stylist, Francois explains that “I studied marketing but I had experiences as an extra in South African telenovelas – and I’d always liked wardrobe. After finishing my degree, I worked for a gallery and then someone asked me why I didn’t become a stylist? Honestly, I didn’t realise it was even a job. I really didn’t think you could get paid for this shit!” It seems to be a universal experience among many of the best stylists – that styling didn’t even seem like a real job, considering previous connotations of the work were rooted in playing with clothes. Though, as styling has become more understood as a role, it’s far more than that. Francois’ earliest focus was menswear, “I started with GQ and became one of the first freelance contributors for the publication in that decade. I helped them launch GQ Style, and I worked for a lady called Charlotte Collins for a long time – she is an amazing stylist and taught me a lot of things, as well as Arthur Malan-Murison, who was at that time the fashion director for GQ. I ended up working for GQ South Africa, GQ UK and GQ Europe.”

Francois Ferreira Set Design for LAVAZZA, Photography by Aart Verrips

Francois Ferreira Set Design for LAVAZZA, Photography by Aart Verrips

With multiple Loeries behind his name and a recognition in 2016 as the top stylist in Africa and Middle East, Francois began to build his vision as a conceptual stylist – with a skillset rooted in narrative storytelling, “I was always known as a fashion stylist because of my background, but I wanted to change the narrative, so I did an exhibition called One Night Stand. That pivoted my career in a more conceptual direction, looking at performance art, set design and concept as a basis for my process.”

Navigating the multitudes of what one wants to say with their work, Francois credits his intuition as a guide in how to manage the discipline of a stylist and set-builder between commercial work and artistic expression, “In the beginning, I only wanted to do menswear. I wanted to change the way people see and interact with menswear and I really did that at GQ, I think, so my goals are always personal in that way. Every time you walk into a room and with whomever you meet, you need to know why you’re there. Sometimes you’re there to make money and you do need to shut up and follow the brief, and sometimes you’re there to be creative and you have to fight for that vision. I have tried to guide my whole life and career to things that are achievable to me personally, so that whatever I do remains personal to me and not determined by society or clout.”

A two year stint as fashion director for Edcon (the now defunct retail home for Edgars) Francois pursued a sabbatical for a year, travelling and searching to return to the source of his inspiration. Creativity has a kind of sentient awareness that needs to be fed and nurtured, and for someone as intellectually curious and driven by poetics in his work – Francois notes that recognising that “we have multiple facets and sides of ourselves, and we can only tell stories of what we’ve allowed ourselves to be put into,” brought him to a place beyond the rail and steamer, and into the world of set design. “I wanted to do set building”, Francois says, “and because of my understanding of wardrobe, I think it’s easier for me to build sets that speak the same language. I think that’s the secret to my success – as well as being very clear that no element should outshine the other, all aspects of a good story or image have to be balanced with each other.”

In the decade and counting that Francois has been building his point of view (and accompanying reputation as a true artist within the fashion space), Francois feels that it’s the team-player nature of working on a set or building a body of work that demands a sacred and sensitive approach, “the beauty of where things are right now is that people I’ve admired and wanted to work with, I’ve had the opportunity to do so. Back in the day, you couldn’t just walk onto set with another stylist – it was a singular job, you know? Set design has given me an ability to collaborate in a really different way with people that I love and channel our creativity together, to tell new stories.”

We talk endlessly about collaboration in the creative space. In fact, it’s become a bit of an oversaturated word – how ‘sustainability’ lost its meaning for our changing understanding of fashion’ so – I’m curious to ask Francois whether he thinks that we have arrived in South Africa as truly being collaborative? To which he says “as far as widespread collaboration goes – I think it’s a theory, and a good one too. I think it definitely happens when you get older and you have your own confidence in your work. I learned this stuff playing team sport, which happened when I turned 30 and started playing touch rugby. I had grown up an isolator, and touch rugby weirdly saved my life. Learning how to truly be in a team is about understanding that it’s not always your turn to shine and it can take a long time to understand what your purpose can be in a team. A lot of us still don’t really understand that because we haven’t made peace with ourselves and our own narratives as creatives. So, we go into spaces asking for everything and when we don’t get it – we get upset, or our ego gets bruised.”

What then, is Francois’ antidote to this? “You must walk into collaboration and allow something without asking for anything in exchange. It’s the notion that even if I get nothing, the experience was worth it.”

‘Barber Boys’ for Fucking Young! Magazine, photographed by Aart Verrips, production design by Francois Ferreira

Gina Jeanz photographed by Aart Verrips, Product Design and Styling by Francois Ferreira

Regarding his process, Francois shares that “for me, styling is a feeling thing. It’s a tangible thing. I’m obsessed with the movement of fabric. You can plan a story to the tee, but on the day is when the work is really revealed. It could be anything from meeting the model – and they give off a certain vibe – and knowing that can’t force them into something that’s not them, so you have to adapt. I think the difference between a good story is how the set was that day and whether everyone was included in creating the work. Having different skills on the day is why a set is a collaborative space; so if you trust the photographer, their moment to take over is important. If you become too stubborn and are too rigid in what you want, there is no space for that openness to come through.”. When all is said and done, showing up with openness to is the difference between stale work and work in which the viewer can truly see the collaboration that came together. I think of the Orlando Pirates x adidas x Thebe Magugu, with Room Studio guiding the process, as a body of work in which the brilliance of many minds came through to give us something so elevated, so meaningful and so indicative of South African ingenuity. Those images will live in my mind forever. As Francois simply says, “you’ve got to give into the freedom of creation on the day – that creates synergy and beautiful work. We have power in what we do and in creativity, there’s so much healing.”

On finding harmony in the process, Francois says that the arrangement of a team is crucial, that “the biggest thing that controls my work is that there’s a captain of the ship. Sometimes that captain is me, sometimes it’s someone else, but there always needs to be someone guiding the work. I’m also very into working with people who balance each other out. I’m eccentric, and if the photographer is eccentric – it’s a carnival, chom! Working with people who have a different viewpoint or ability to balance each other out is so important.”

Set design is a kind of shamanic practice for space-creation and atmosphere-enhancing. All of the greatest feats in fashion and the arts are punctuated by strong sets that work in flow with whoever is situated in the space and I am of the belief that this new era of set design in South African sartorial consciousness, led by minds such as Francois, are keys to unlock even greater heights. “For set design, it’s very much a conversation between me and whoever the stylist is. If we understand the narrative together, we can complement the space between garments and the surrounding set or world,” Francois notes, and “I do costume design, production design – and at the end of the day, I just want to show the world my art. That’s the most important thing to me. With sets, there’s less people that get involved with my work and I can find a lot more freedom, because set design is a specific kind of skill. People really allow you to create a space.” 

Francois’ attitude is one of reverence for the healing power of art. This couldn’t be a more beautiful personal manifesto, especially in the context of our country – a place trying (and achieving) its own storytelling and vision, from the ashes of a traumatised and displaced past. I ask Francois precisely what he hopes his work can say, “I’ve always rooted for the underdog. I try to tell stories to make people feel more at home and from a personal point of view, I didn’t have the best childhood – it was hard – and there’s a way that the work I’ve done and continue to do transformed me. I want to leave work that inspires some kid one day who felt misunderstood, for them to know that there’s a way out, you know? I think that’s what we can do with our work. We create hope and we create stories that can offer that escape from hard situations.”

Finally, I leave you with Francois’ lasting wisdom on why fashion image-making matters – what it says about culture, history, the future and our place in the world, “Language limited. I can say something you and you understand through the lens of your context, background and experiences – with imagery, it’s universal. There’s this beautiful thing in which we see the image and feel it, before we ascribe language to it. I haven’t found anything more powerful than that.” 

 

  

Styling and Production design by Francois Ferreira, photographed by Aart Verrips

THE EDIT for Sunday Times Fashion, shot by Aart Verrips, Set and Prop Design by Francois Ferreira

Written by: Holly Beaton

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

Fashion’s Hidden Architects – The Impact of Stylists from the 1980s until Today

Jul 3, 2024 | Fashion, Community

Picture in your mind’s eye a rail of pristinely steamed garments – preferably colour coded or in ascending order of material composition or by order of outfit changes – neatly perched on a rail. Imagine a table covered in neat rows of jewellery – chunky rings, delicate necklaces, earrings of all different forms. The steamer is ready, the return receipts have been folded into a book somewhere, the China bags have been emptied and the looks have been finalised. The ‘for use’ forms dished out by designers have been signed, and the stylist’s job is only half done. This moment is the halfway point on set or before a client makes their final choices – and in the days leading up, the mind behind this moment has raced from store to store and rack to rack (and from email to email), moodboard in hand (or in the back of their mind), to bring about a synthesis of their point of view in tandem with their brief, provided by the client and (or) the creative director. Stylists are unequivocally Fashion’s (with a capital F) secret weapon. 

Any fashion visual that we see – from campaigns, to editorials, to covers, to red carpets – exist in large part to the guiding hand and eye, born from the mind and vision of a fashion stylist. Today, being a stylist is a coveted role in the fashion industry; from Ib Kamara’s prodigal ascent as an editor-at-large at i-D to the current EIC of Dazed in his mid twenties (made possible through Ib’s effervescent styling and storytelling ability) to Law Roach’s starpower as the mind behind Zendaya’s sartorial expression; to be a stylist today is to be more than just somebody in fashion. 

It’s strange, then, to contemplate that stylists were at one time a dirty secret: so behind the scenes for magazines that their names barely made the credit list, and in Hollywood during the 1980s – celebrities were dressing themselves. For the purpose of this story, we are going to take it decade by decade; uncovering some notable moments from the 1980s until today that may have shaped the way in which we understand the role of a stylist. Fashion lore is difficult to pick apart; it’s widespread and complex, and contextual to the rise of pop culture and fashion through a northern hemispheric lens. This is not to say, though, that these influences touch the surface of movements in sartorial expression around the rest of the world.

Skall Studio Backstage, photographed by Bryndis Thorsteinsdottir for AW24 Copenhagen Fashion Week via CPHFW Image Bank

Styling photographed by Skylar Kang, via Pexels

Styling is a broad term, but it can be distinguished into two categories. Editorial stylists work for brands, magazines and editorials, creating visually compelling and often thematic photo shoots. Their work is rooted in creative conceptulisation, using fashion in a collaborative setting to tell a story or convey a specific mood. Conversely, celebrity stylists focus on dressing individual clients for events like red carpets and award shows, making fashion choices that impact how celebrities are perceived. Think Karla Welch and her clients, Justin and Hailey Bieber, as the definition of a celebrity stylist – and Alastair McKimm of i-D Magazine, as the quintessential editorial stylist. 

Back in the 80s, fashion was coming out of its ethereal, bohemian era as cemented by the previous decade – a time when music had truly become a religion, with bands like Led Zeppelin flamboyantly draped in chiffon shirts and bell bottom jeans (que Jimmy Page’s custom dragon suit by Japanese designer Kobayashi). The 70s saw the late and great Vivienne Westwood start her career as the stylist and dressmaker for the Sex Pistols, and in essence, cementing the articulation of ‘punk’ as an aesthetic. Vivienne’s work in this decade was among the first inklings of ‘creating’ the brand identity of artists through the medium of fashion. 

So, with the sharp turn of the decade, fashion  saw an amplification of this flamboyance with the emergence of pop culture as a full-blown commodity with the launch of MTV. Stars like Madonna and Grace Jones led by stylistic minds like Maripol began to carve out a visual language that was as important as their sound. Cocaine was flowing about as freely as champagne and the world was gearing up for a decade of excess, emblazoned in neon lights, sequins and BIG hair – the bigger, the better. Still, stylists were generally the ‘unseen’ hands of the visual phenomena of the 80s until the very last years of the decade – when icons like New York stylist Patti Wilson and Vogue’s Grace Coddington started to become internationally recognised for their influence on fashion. Grace Coddington is reported to have gone uncredited for ‘years’ at British Vogue, before joining American Vogue as Anna Wintour’s right hand creative director in 1988. 

Enter, the 90s. What must go up, must come down – as the saying goes – and the 90s was a decade that turned its back on the 80s, in square rejection of all its glitz and hedonistic glamour. This decade is touted by fashion-philes as ‘the golden age for publishing’, with magazines like Vogue, Harper’s Bazaar, i-D and Dazed, becoming canonical texts laden with imagery by photographers like Mario Testiono and muses like Kate Moss. The decade was punctuated by moody and grunge sensibilities – and labels like Prada and Jil Sander introduced restrained minimalism, in which stripping away any sense of excess was fashion’s guiding principle. Pop stars like Britney Spears and all the surrounding boy bands were styled by figures like David Thomas, and fashion had truly become a currency between brands and marketing execs, looking to secure fame and fortune for artists. Though there is a clear through-line between each of the decades to this point that stylists have always been present, this is the decade that set the tone for editorial and celebrity stylists to be recognised as the creative visionaries that they truly are.

Archival Fashion photographed by Skylar Kang, via Pexels

Styling photographed by Skylar Kang, via Pexels

Before we enter the millennium, I would like to take this brief intermission to discuss the reason why, despite stylists being so obviously involved in fashion’s evolution, they might have been ‘kept a secret’? It’s called Hollywood, baby. When entertainment was first being conceived, the notion of films, TV and music being a kind of fantastical escape was an entirely new construct. This democratisation of entertainment hinged on the idea that any good production or product must appear to the masses as if made of magic. As Rachel Zoe wrote for The Hollywood Report, “being a stylist used to be a very behind-the-scenes job, not really talked about. Now celebrities are advocates for their team. They post pictures of their stylist, hair and makeup people nearly every time they get ready and credit them on Instagram. That was unheard of a decade ago. I wouldn’t even do an interview about my clients without permission from them. It was much more secretive. If we took pictures on Oscar night or premiere day, it was for our eyes only.” 

This era of secrecy was intended to lend an air of mystery to the exaltation of celebrity culture, Hollywood, and as a consequence – fashion. Though, eventually the road led to the bolstering of a mainstream recognition for fashion image-making as a production; and the charge was in fact, by most accounts, led by Rachel Zoe, who launched her show ‘The Rachel Zoe Project’ to a 2000s audience of fashion-obsessed, initiating one of the first ‘behind the scenes’ into what styling (specifically, celebrity) truly was.

As is true for almost anything in the 21st century, the role of the stylist has been irrevocably shaped by social media. In the 2000s, 2010s and now in the 2020s, social media apps like Instagram and Twitter gave voice to stylists (and all creatives in fashion) to carve their own personas, through phone screens and desktops. There are very few secrets today, and as fashion audiences, we have greater access to details and behind-the-scenes than was ever possible before. Today, we can check the profiles of our favourite stylists to be directly updated with their work – whether it’s red-carpet or editorial, personal or branded. As Karla Welch explains in her episode on The Cutting Room Floor (in my opinion, the greatest fashion podcast that exists), “stylists today are power-brokers”, responsible for shaping and maintaining the public image of their clients, which could lead to deals with brands and greater opportunities. Karla reveals that as a leading stylist, she will cut a percentage from brokering a deal between one of her clients and a brand. For example, Hailey Bieber’s long standing partnership with YSL. This episode is key in understanding some of the ‘process’ involved in this new and lucrative era of styling, along with Law Roach’s episode on CRF, in which he explains that this collaboration with Zendaya was part of elevating her, ultimately leading to advancements in her career and credibility, and in turn, is own career. Image is everything, and to be an image architect is synonymous with the repertoire of a stylist. 

Stylists are indispensable for the fashion’s hand in cultural expression. Locally, we can think of legends like Bee Diamonhead, Amy Zama and Chloe Andrea Welgemoed – who each have carved South Africa’s current sartorial vision, in the context of our industry’s moves and country’s references. Being a stylist is to be a translator between visions held by photographers, designers and directors – that is born into a language understood through our eyes and emotions. Here’s to a fashion future in which the role of the stylist, and the instructable amount of work that goes into the job, is celebrated and respected. 

Fashion doesn’t happen in a vacuum, darling – but you’re definitely going to need a steamer.  

Learn more from fashion podcasts, for your pleasure:

The Cutting Room Floor by Recho Omondi

Articles of Interest by Avery Trufelman 

Written by: Holly Beaton

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

Merchants on Long x Unknwnprojcts launch a collection of upcycled coats and kimonos

Jul 1, 2024 | Lifestyle, Fashion

Known as the home of African fashion and design, Merchants on Long, champion sustainability in a bespoke, one-of-a-kind upcycled collection. 

In collaboration with designer Sash Cebekhulu of Unknwn Projcts – this is an experimental research project that explores design centred around sustainability, a limited edition collection made from already existing designer pieces. 

Part of the core of Merchants on Long as a brand, is showcasing African designers whose work celebrates the spirit of slow fashion and cultural celebration. The Unknwn Projcts x Merchants on Long  upcycled capsule collection of kimonos and coats is the culmination of these principles. 

“We thought it would be great to explore a collection that reimagined deadstock, giving new life to African design fashion pieces that were of great quality, fabric and colour but had aged due to retail having paused over the covid period. When we began thinking about this upcycled capsule collection, Unknwn Projcts was a natural choice to collaborate with,” says Jeanine Benjamin, Merchants on Long COO.

Photography by Dicker and Dane

The collaborators worked together on a unisex approach of kimonos and coats that would be wearable, with flexible sizing, the collection is versatile, inclusive and unique – a colourful selection of 10 kimonos and coats inspired by the Martin Letholo Coat that Unknwn Projcts had created previously are all designed with the same pattern and are one-of-a-kind, made from different textures and cuts of material. The pieces, crafted with meticulous skill and demonstrating Sash’s classical training, reflect the collective’s deeply conceptual approach and intrinsic sense of resourcefulness. 

“Upcycling aligns with the Merchants on Long ethos of supporting and raising awareness of designers across Africa working within a vast range of products, design disciplines and methods. Importantly, it also speaks to our commitment to slow fashion and the promotion of environmental protection by emphasising the longevity and value of garments – we encourage consumers to cherish their clothing for a lifetime,” says Summendra Chetty, buyer at Merchants on Long.

Photography by Dicker and Dane

A fitting complement to Merchants on Long’s existing ranges, Sash Cebekhulu’s collection can also be found in the boutique.

Creative Direction: Dicker and Dane 

Photography: Armand Dicker

Styling: Anthony Dane

 

Press release courtesy of Narrative PR

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

DJ LAG SHARES SOPHOMORE ALBUM ‘THE REBELLION’

Jun 28, 2024 | New Release, Music

Garnering praise from music critics globally, DJ Lag, a King of Gqom, is back with his highly anticipated sophomore album.

“Making this album has been a real journey and I had a lot of fun making it. I wanted to experiment musically but also take the experience from dance floors I play for around the world into the project. I just hope everybody enjoys it as much as I did making it” expresses DJ Lag.

‘The Rebellion’, a 13-track album, solidifies DJ Lag as a pioneering force in Gqom. It masterfully blends innovation with a deep respect for his musical roots, offering a rich and diverse mix that stays true to his unique sound while exploring 3Step, Afro Tech, Amapiano, Hip Hop, and Drill.
 

From acclaimed EPs to high-profile collaborations, DJ Lag has distinguished himself as one of electronic music’s most thrilling creators. Recently awarded Best Gqom Album at the South African Music Awards, his impact on the global music scene is profound. Originating from Durban, DJ Lag pioneered the Gqom sound, crafting original tracks using FruityLoops during his school days. His music quickly gained popularity, with taxi drivers in Durban using his tracks to attract customers as early as 2012. Since then, he has captivated audiences at renowned festivals and venues worldwide through numerous international tours. More recently, DJ Lag completed the USA leg of his world tour and is set to kick off his European leg this weekend with two highly anticipated dates at the prestigious Glastonbury Festival, with his Asia tour kicking off this August.
 

As he continues to push boundaries and connect with audiences globally, DJ Lag remains deeply rooted in his hometown of Clermont, fostering a devoted fan base through events like Something for Clermont. With his world tours, festival appearances, and the release of ‘The Rebellion’, DJ Lag continues to redefine the sonic landscape, further cementing his legacy.

 


Listen to “The Rebellion” Here

Press release courtesy of Good Times Co

Sakawa Boys Release their second album ‘Out of the Dark’

Jun 28, 2024 | New Release, Music

The second album from Cape Town’s Sakawa Boys has been released. Titled Out of the Dark, the album follows a trio of singles released in April and May that have earned the four-piece praise (Texx and the City referred to the album’s title track as a “triumphant return”) and returned one of South Africa’s much-loved acts to centrestage. These singles include “Brain Fog”, a track captures the essence of the modern experience of perpetual distraction and overstimulation, and “Out of the Dark” which co-songwriter John Seth describes as a song about “finding a way out of the dark and over-analysing things”. Both tracks are featured on the eight track album.

“The journey from conceiving these ideas, working them into finished songs, and finally assembling a cohesive record has been a long one,” says the band of the set of songs on their new album. “A whole lot happened in between and, as time passed it wasn’t always certain whether or not this record would see a release.

“It could sometimes be months between working on individual songs, but each time we came back to the recordings, we felt there was something worth working on and, ultimately, worth sharing with the world.”

Sakawa Boys comprises John Seth (vocals and guitar), Peter Scott (drums), Skye MacInnes (guitar) and Keenan Oakes (bass).

 

Listen to “Out of the Dark” Here

Press release courtesy of Good Times Co

Chapter 28 | Ten Essential Winter Wardrobe Pieces from Local Brands

Jun 27, 2024 | Interlude

It’s a humbling thing to realise that you will never know all that there is to know in one given space – I’ve just had this experience in the context of local fashion. South Africa’s landscape is mighty but small, but I’ve sometimes found myself wondering if we were heading for a kind of oversaturation; if you know Interlude, or my writing on SA fashion, this is basically a cardinal sin for me. Thankfully, I realised that I just wasn’t looking hard enough to find new (and established) brands – just in time for our ‘Winter Essentials Guide’, where we give you a sampling of the local smörgåsbord available this season. 

As always, our ‘Essentials Guide”   is a mix of masculine and feminine, and while the emphasis here is on womenswear, there are some menswear pieces to marvel at with most of the brands that are featured, offering pragmatically unisex and gender-fluid garments. Thankfully, fashion is continuing to abandon the rules on gendered approaches – while ensuring that body shapes and curvature are well-designed for.

I was once again struck, while writing Chapter 28, with the realisation at just how brand-identity centric South African designers and founders are; I think in many ways, this sets us apart from the rest of the world. Drawn from a vast creative landscape of graphic designers, web-builders and the likes of; really good art direction appears innate to South African creativity in the last two decades. The concerto of brands featured are each storytellers in their own right: solving a problem, finding a narrative, and building worlds – with clothing as their primary tool. When we invest in local brands, we’re investing in the economy of those we admire, and all the ways in which their brand kindles the flame of our garment manufacturing industry. I know I don’t need to convince you, but I thought I’d just remind you – I think we have a sartorial responsibility to shop locally whenever possible. 

Here we go! 

Thabo Kopele’s Spine Pleat Windbreaker

Thabo Kopele’s eponymous brand has been on the scene for some time – and I want to call for its accolades to increase tenfold. The label holds one of the strongest symphonic understandings of the relationship between fashion, architecture and people that I have seen for some time and Thabo’s vision is highly articulated, rooted in simplicity and elegance. For the brand’s latest collection, ‘Tse Skoon’, there are many pieces I wanted to add to this list – like the Brazilian Sand Ribano Rib knit with a poly-cotton hem, or their long haired melton and cashmere blend scarf. Though,  the spine-pleat coat was the final choice; especially since the spine pleat is a technique innate to Thabo Kopele.  As Thabo shares with me, “from when I showcased my debut collection at SA Fashion Week over 4 years ago, pleats have been a constant detail that helps explain my philosophy around fashion being a mouthpiece that highlights the intricacies of our lives. The spine is no different in this regard. Growing up I had always been told by my father that it’s imperative for a person to have a backbone and know what it is they stand for regardless of external influences.” 

For Thabo, the essence of design is storytelling – whether it’s the curated scenes of his campaigns, or his construction details, the designer explains that “the spine pleat was my way of telling this story in a more tangible way, a way that offers a window into the wearer’s sense of style and essentially, their way of being. From a far it always seems to be a very difficult detail to practically pull off but the closer you get to it, the simpler it becomes to understand it’s formation, this is something I have personally experienced with a lot of human interactions I’ve had so far, some people seem intimidating until you get closer and understand them. The spine pleat detail was not only featured in the windbreaker, but also in our mandarin industrial gilet and our tan woven suits. The detail is a continuous reminder of where we are as a brand and where we are headed in the most positive ways.” Thabo’s view is timelessness, and deriving the luxury from stillness. Perfect.

Thabo Kopele’s Spine Pleat Windbreaker

Stiebeuel’s Kid Mohair and Mulberry Silk Knitwear 

Founded in 2015, Stiebeuel is your favourite’s favourite brand. Masters of the clean-cut, contemporary aesthetic – the label is reminiscent of Teddy Santis’ Aimé Leon Dior, but, through a design-lens for surfers and tastemakers reflective of coastal living in Cape Town. Stiebeuel’s focus on heritage classics like the perfect ‘sweatshirt’ or fitted baseball cap as well as  the brand’s use of colour, always standout. Suffice to say, when they announced the launch of their segue into knitwear – the approach is true to Stiebeuel’s codes of intentionality. Sneak peeks on Instagram have shown that the signature Stiebueul knitwear is a blend of kid mohair and mulberry silk; a luxurious weave, with both fibres being equal in their strength and functionality, and that beautiful lustre that in Stiebeuel’s shades of electric blue and sunshine yellow are set to be the *ones* for this season. With mohair’s insulation properties and mulberry silk’s breathability, these knits will be perfect for transeasonal use; yes please.

Stiebeuel’s Kid-Mohair x Mulbery Silk Jersey

Studio Bananaaa’s Knitted Hats

Simphiwe Khumalo’s Studio Bananaaa is genius. Again, South African creatives know about storytelling – and Studio Bananaaa is as much a site for storytelling, imbued with meaning, as it is for a beautiful crafted product. As a knitwear brand specialising in hats, all of Studio Bananaaa’s hats are handmade by his mom in Soweto, and each are completely one of a kind. In asking Simphiwe about the intention of the brand, and fusing handcrafting with a contemporary vision, he notes that “my mom’s hats and knitwear are a creative expression and celebration of her joyful spirit. Each hat is designed to be fun, colourful, and never serious – a true reflection of her personality. Building a contemporary brand based on handcrafting in 2024 has been an interesting journey. We have learned a lot about how fast-fashion has made things hard for brands like ours that create by hand. We appreciate the people who see the value in handcraft.” Brands like Studio Bananaaa are poignant reminders of why fashion exists and what it can seek to do; it’s a vehicle and vessel to say exactly what one wants to say, and explore ideas. A cosy knitted head from Studio Bananaaa is essential for you, this winter.

Studio Bananaaa’s Knitted Hats

Alaya Studio’s Knitted Jemima Set

Alaya Studio is the recently launched sister brand to the girly’s number one ANTISOCIAL, by Storm Grieve. Alaya is the older sister or rich aunt to ANTISOCIAL’S hot girl summer vibe – and if there’s one thing I love more than anything, it’s a well-made set that is as sexy as it is interesting. Enter, Alaya’s Jemima Knit set in charcoal. With a folder over, off-the-shoulder detail on the top and another fold over detail on the skirt: she is flattering and snug, and just an absolute key set for casual and formal needs. Both ANTISOCIAL and Alaya are what happens when women design for women – magic happens and we are *seen*. As Storm says, “our launch of Alaya Studio was driven by a deep commitment to create a brand that values longevity and timeless fashion. We wanted to create high quality pieces that will never go out of style, that are sophisticated with an edge, as we feel there needs to be a more sustainable and thoughtful approach towards fashion locally. We want to encourage our customers to buy items that they will love for years to come.”

Alaya Studio’s Knitted Jemima Set

Neimil’s Leeto Tailored Trousers

Neimil is the brain-child design duo Keneilwe Mothoa and Lubabalo Mxalisa, each formidable creatives and aesthetes. Neimiil is a one stop vehicle for the marriage between heritage and modernity, in an afro-modernist lens, across fashion, textiles, homeware and objects. Basically, everything Neimil does is with a clear vision for beautiful design and masterful product development. So, when I bought their Leeto Trousers and Pleat Skirt Set in cream – I felt like I had arrived. Neimil is so competitively priced for how incredibly well it is made, and  the Leeto Trousers are available in black, brown and cream – with a fabrication in a strong cotton, and cut to perfection. You’re gonna need a pair in every colour.

Neimil’s Leeto Tailored Trousers

Good Good Good’s Cropped Collared Jacket

We need to talk about Good Good Good’s return to both cyberspace and showcasing a new collection. Daniel Sher, a South African design OG, is always cooking up something – so when the brand ‘went quiet’ for two years, and their website crashed in 2023, Daniel saw the opportunity to incubate his vision through his celebrated concept store, Duck Duck Goose. A cult favourite for the choms, Good Good Good have thankfully returned this winter with a brand new website and a collection titled ‘Roots’. In true GGG fashion, the collection is an ode to the people and sentiments that make up this iconic homegrown brand, and charts the story of the brand’s experience in the last two years. Where else are we going to get this kind of honesty? Read more about the brand’s recent journey, penned by Josquin Du Tot, here. For the purposes of this guide, the Roots Collection brings us the ‘Cropped Collared Jacket’ in moss, rooibos, black and olive – a feat of construction and Daniel’s incisive construction-mind. As with all Good Good Good pieces, they’re ethically and lovingly made in Daniel and Paige Sher’s 28 year old garment factory: a jewel in the crown of our local fashion industry. Yes to Good Good Good’s return, and viva to the future.

Good Good Good’s “Roots” Collection

Gadat’s Chocolate Brown Wrap Skirt and Shirt Set

Okay, so I’m obsessed with sets! Arrest me? But I will not rest – because I can’t shake the utter chicness of a set, and the way it can give way to shoes and accessories through one’s own personal style lens. Nompumelelo Nhlapho’s Gadat House is a Joburg-based brand that understands the soft power of the set, and Nompumelelo is very focused on the art of drapery. As she says, “Gadat’s design vision is to embody a strong ethos of intentionality and community. I have always incorporated a ready to wear model with an emphasis on garments that are unique by design. Our designs embody minimalism, emphasising draping or tailoring with a strong focus on silhouette.” For me, it’s Gadat’s Chocolate Brown and Wrap Skirt and Solomon Shirt set, with each piece being so strong on its own and individually essential. On the future for the label, Nompumelelo says, “looking ahead, we aim to invest into technological advances to create our own unique fabrics and prints. A significant challenge I’ve encountered is bridging the gap between design ideas and the limited resources available to bring them to life. As a storytelling brand, my goal is to articulate a clear voice and aesthetic that reflects the ‘South African’ artist of my generation, one that draws inspiration from local stories, yet having access to global platforms and influence due to the use of social media.”

Gadat’s Chocolate Brown Solomon shirt and wrap skirt set

Papaya Tree Apparel’s Basic Long Sleeve Tees  

I love that this guide is full of women doing the damn thing. Marna Schoeman’s Papaya Tree Apparel is a serious go-to for essentials of all kinds. I’m always look for the perfect basic tee, especially long sleeve – so when I found Papaya’s Basic Long Sleeve Tee and it featured a boatneck (a neckline to defy all necklines, in my opinion) *and* we choose our preferred length? From cropped, to midline and long-line – Papaya’s long sleeve tee is made for the torso proportions we’re aiming for, and for this reason alone – I was sold. I’m writing Interlude as I wear the delicious, form fitting and double-lined Basic Long Sleeve Tee and as soon as I’ve paid my bills this month, I’m stocking up on other colours – and for summer, the short sleeved and sleeveless ones. Thank you, Marna.

The Long Sleeve Tee Buff, by Papaya Tree Apparel

Found Golf’s Bell Sleeve Shirt 

I’m obsessed with a couple duo – and further to this, a duo that sees a gap and dives straight in. Found was launched last year, and it’s the answer we need to the untapped elevation of golf wear that transitions beautifully into streetwear. Look, preppy fashion is perennial, and from the minds of Lance Peach and Ellen Keillar, golfwear becomes a metaphor for interesting design iterations of all our favourites. As Lance explains, “we look to re-interpret classic styles through a modern lens that rejects the necessity for gender specific garments and stuffy old traditions.” So, when CEC’s EIC Candice rocked up to lunch in the most insane bell-sleeved, striped shirt and told me it was Found  – I knew they were onto something. Now, Found have just launched the White Bell Sleeve Shirt. Both feature gorgeous detailing, incredible silhouette and as you well know, having an array of interesting shirts will never not be essential. Street smart yet golf cart! Get it, immediately!

Found Golf’s Bell Slevee Shirt in White and Blue, photography by Kent Andreasen and Jena Hall

Duck Apparel’s Puffer Totes 

I’m self-admittedly not a handbag girly – the ones I want are out of my price-range, and I just don’t resonate with them as an accessory in a way that’s critical. I have used the same handbag for two years and she’s just forced to adapt to any outfit. So, when I came across Duck Apparel’s Puffer Tote; I was intrigued. It’s sporty and generous in its design, and is dynamic enough for practical needs. There’s something about puffers and duck-down that is truly winter-oriented; I think this is a must-have, for all your travel needs this season. Duck Apparel is also a husband-and-wife duo who set out to create the perfect puffer, locally, and are specialists in the craft of building outerwear that is less focused on performance activities, and more on everyday needs. Built on clear intentions, Duck Apparel are now growing their international market  – we love to see it.

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

Vans Wraps Paris Takeover with an Epic Bash

Jun 26, 2024 | News, Lifestyle

Vans’ week-long Paris takeover culminated in a bash, blending the energy of Paris Fashion Week with Go Skateboarding Day and Fête de la Musique—at epic scale. 

Welcoming the skateboarding, streetwear, fashion, art and entertainment communities of Paris and beyond, the OTW by Vans Checkered Future event featured a monumental installation set on the hill of Montmartre below the Sacré-Coeur Basilica.

At the summit of the butte of Montmartre, a checkerboard DJ platform overlooking Paris hosted performances by Kaytranada, Venus X, Busy P and Tatyana Jane, and a headlining DJ set by JUSTICE.

Designed by OTW by Vans in partnership with PLAYLAB, INC. and California Skateparks, the installation’s large-scale skate bowl played host to a live skate exhibition paying tribute to the unconventional art derived from skate culture. Vans Skate Team from around the world including Efron Danzig, Curren Caples, Mami Tezuka, Tania Cruz, Elijah Berle, Diego Todd, Martino Cattaneo, Stafhon Boca, Anthony Van Engelen, Rowan Zorilla, Hugo Westrelin, and Willow Voges Fernandes jammed the installation throughout the evening.

Photography by Atiba Jefferson, Karl Hab and Pierrick Rocher

Alongside Drieke Leenknegt, Global CMO of Vans, and Ian Ginoza, Vice President, Creative Director for OTW by Vans, and Steve Van Doren, Vans Ambassador and Son of the Founder, guests included Emily Ratajkowski, Paloma Elsesser, Dev Hynes, Bella Poarch, Meadow Walker, Omar Apollo, Jonathan Anderson, Danielle Haim, Fai Khadra, Haze Khadra, Christina Paik, Kim Shui, Moses Sumney, Malick Bodian, Haider Ackermann, Ross Lynch, Devyn Garcia, Yumi Nootenboom, Alva Claire, Rocky Xu, Benji B, Pierce Abernathy, Mike Eckhaus, and Sam Richardson.

Bringing to life the disruptive approach of OTW by Vans, one of the most aspirational expression of Vans product design and experiences, the event at Sacré-Coeur builds upon recent OTW experiences; most recently, a skateable installation, designed by PLAYLAB, INC. in collaboration with Sterling Ruby, during Frieze Los Angeles.

In mid-June, Vans hosted a skate jam, honoring skateboarding pioneer Anthony Van Engelen and his impact on footwear design progression with the launch of the AVE 2.0. This was followed by the opening of Vans Brand Curator and legendary photographer, Atiba Jefferson: Skate Photography Exhibition, in partnership with Architecture c/o Virgil Abloh™️. Ending with OTW by Vans Checkered Future, these moments set the stage for a new storytelling approach launching to come.

Press release courtesy of We Are The Bread

Photography by Atiba Jefferson, Karl Hab and Pierrick Rocher

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

Let’s be adults about adult friendships

Jun 25, 2024 | Lifestyle, Navigating Reality

In a social context where we, as zillennials/millennials, grew up right along the sitcom boom, where a ragtag group of friends navigated life and love and far too seldomly, finances (with some poorly aged anecdotes and jokes) we can be forgiven for having a bit of a warped idea of what adult friendships would look like. Unsurprisingly, we bought into the idea that shows like ‘Friends’, ‘How I Met Your Mother’, ‘Will and Grace’ and even ‘Sex and the City’ represented what our lives could look like as adults. It would be filled with witty banter, endless inside jokes, and saucy gossip (thanks to your group chats, Samantha), but most importantly, it would be incredibly intertwined. This chosen group of friends would all be your ride or die, ready at a whim to bang out a brunch and chat about their job, relationship, personal crisis’ etc. Unfortunately, reality has, for the most part, had other ideas. 

As I get older, I start to realise that the most egregious lie Hollywood sells us apart from the false idols of celebrity culture is, in fact, just how badly (for the most part) they portray not only romantic love but also, friendships. In this hyper-idealised version of reality, people become friends seemingly instantly and friendships seem to grow and blossom endlessly. Apart from examples such as 2022’s ‘The Banshees of Inisherin’, which uses the loss of friendship as an allegory to explore a whole different theme, there are very few bits of media that explore reality… that often, and for a multitude of reasons, people just grow apart.

Now, it isn’t all doom and gloom. We don’t just wake up one day alone and utterly devoid of all human contact and connections. I’d hazard a guess that you would actually have to try pretty hard to achieve that level of recluse solitude. That being said, friendships are, at the end of the day, interpersonal relationships; like all interpersonal relationships, they take some level of work to maintain and nurture. Far too often have I heard people complain about how unavailable someone is just to find out they have not even attempted to reach out to the other party. 

This brings me to one of the most important aspects of friendship that we may all, at some point, lose track of; Given the fact that friendship is inherently made up of multiple people, it would stand to reason that a healthy and functioning friendship would have both parties or multiple parties (in the case of a group), invest a similar amount of time and effort into maintaining and growing the relationship. Note that I said similar, not “the same amount”, as within the realities of life as adults, the amount of time and capacity we have as individuals to cultivate our increasingly complex social circles will differ drastically IE: an ebb and flow of pulling back and taking stock of oneself and engaging socially on a more regular basis.

Photography by cottonbro studio

Here’s an excellent little prompt for you to take stock of. How many friends would you say you have? How many new friends have you made? How many of them are really close friends? How many friends have drifted into becoming acquaintances or even drifted out of your life entirely since your late teens and early 20s? As the literature shows, my own internal dive into these questions is nothing out of the ordinary. In most (not all) circumstances, we lose  more friendships than we gain, particularly as we get older. 

As Dr Maitri Chand, a family and marriage therapist, explains, “Paucity of time is one of the main reasons why it is difficult to make friends as an adult. As we grow older, our lives become more and more busy. We have more commitments, work, family, and children, making it really difficult for us to make time to give to a new friendship, invest ourselves, get to know a person, and more importantly, allow them to know us. All of this, along with our inability to be vulnerable and trusting a new person in our lives.” It is here that we depart drastically,  from the fictitious portrayals of friendship we eat up. Our lives are infinitely more complex than the often two-dimensional characters on screen. Life happens and that often means simply not having time, energy or money to be available to everyone all the time.

Although she focuses predominantly on the difficulty of making new friends as we get older, the same applies to maintaining existing friendships within a transitional period in our lives. Simply put, we have less and less time and more responsibilities that take precedence over mustering up the energy to have a 40-minute catchup call. Now, we send a silly little meme which incites a short dialogue before continuing with the 9 million daily tasks that consume our days. We don’t congregate at the pub almost daily like we did in uni because bunking class due to a hangover didn’t mean we would lose our source of income. Drug-filled debauchery has made way for dinner parties where we mostly behave ourselves, dive bars have turned to wine bars, and 4am afters is mostly a thing of the past. Often, I am simply too exhausted and social-spent even to attempt the same level of socialising I did in the past. 

For me, more responsibility and the geographical challenge of living in a different city than many of my mates means missing out on a lot. In this missing out and living past each other, I often find a particular kind of sadness. It’s that feeling you get when you know something is mostly over before it’s even reached that point. Ending friendships brings up a whole host of emotional responses. Feelings of guilt and sadness, grief and loss and sometimes frustrations and anger when it feels like the other party didn’t do their part. Rachel Bonifacio, a wellness and psychological counsellor, explains that many of us experience this grieving period in our mid to late 20s. “Most of our mid- to late 20s can make us encounter a sense of grief: “losing” friends to current life circumstances and because of new and varying beliefs and values. Why is he still the same as he was when we were 12? Or, She’s not perfect after all. The mid-20s is also an interesting time for all of us biologically, because our prefrontal cortex would finally be complete and we will start to learn to manage extreme hormonal emotions past the age of 25. That means we would have better access to free will — i.e. choosing how to respond to circumstances rather than reacting to them. By the end of this decade, we would’ve sobered up a bit from the cocktail of emotions and, hopefully, we have a few, stable friends who are good for us for the time being.”

Photography by Fanette Guilloud via Death to Stock

Photography by cottonbro studio

Another point to be clear on, though: it is not simply time constraints and responsibilities that lead to shifting dynamics within friendships. If we’re all honest, we simply aren’t the same people that we were 10 years ago. We evolve, grow, develop different interests, goals and desires and will naturally develop new relationships – often ones that are needed in order to expand and help cultivate these newfound aspects of ourselves. Sometimes, when we go through growth shifts and expand our conscientiousness, we realise we don’t have much in common with someone anymore; or that the only commonality was that there is history, and if you met that person today – 10 years later – you would likely not choose to have a new found friendship. We tend to spend more time with those who fit into our lifestyles and less with those who unintentionally challenge its fragile structure.  

In Bonifacio’s above-mentioned quote, I think I find the most important aspect of friendship in your adulthood. Unlike when you’re younger and you have more time and energy to invest in friendships, as adults, it’s most certainly quality over quantity that matters. Now, this isn’t an excuse to just cut off half the people in your life. That’s still just you being a dick. Still, I think coming to understand that really nurturing a handful of meaningful relationships is far better than spreading yourself too thin and not being able to be emotionally and physically available to everyone. Dr Frederick Smith explains that four straightforward strategies help us as adults maintain friendships in the chaos of modern adulthood: “healthy boundaries, self-care, clear communication, and actively working to keep the relationship alive.” 

As I transition into my 30s and to those already in their early to mid-30s, I think it’s essential for us to take note, not of those we have lost along the way but instead of those we still have the privilege to have around. That makes it clear what they need and expect, that accept us, warts and all, when we are both the best and the worst friend. That creates space for us to grow and thrive, to change and evolve, that helps us become the utterly best versions of ourselves. And to those we may have lost, those who have drifted into a different phase of their life, thank you for all the memories and I hope you look back on our times as fondly as we do.

Written by: Casey Delport

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

Kim Jones’ Dior collaborates with South African ceramicist Hylton Nel for SS25

Jun 24, 2024 | News, Fashion

There is no ceasing the influence and presence of South Africans on the global fashion stage – least not in the beating of the industry’s fashion capital, Paris. Kim Jones, the lauded designer and current creative director at the helm of Dior Homme, sought out a singular, South African figure to embolden his latest collection for Spring / Summer 2025, with Karoo-raised and based artist Hylton Nel as an influence on both the set design for the show and as a through-line reference in the collection itself. 

Hylton Nel is a notable figure in South Africa’s artistic landscape; his whimsical designs are underpinned by a tongue-in-cheek humour with surrealist motifs, characterised by a narrative quality that sees his work blur the boundary between fantasy and social commentary. Following a more ‘folk art’ tradition, drawn from his life lived in the Karoo, Nel’s work is a departure from the seriousness of fine-art – and it was precisely this that saw Kim Jones travel to Karoo to meet Hylton Nel and invite him to be part of a Dior show. As Kim Jones notes in the label’s show reels, “I was thinking that Hilton’s work could lend itself to a collection – so I went to see him in the Karoo. I wanted to do the set as a very, very large scale of his works. The idea of these ceramic giants that the models walk around, I just wanted a slight fun element.”

The set for Dior Menswear SS25 saw six massive reproductions of Hylton’s signature ‘cats’ dot the runway, marking a flowing obstacle for the models to weave around. Signature to Nel’s cats are their anthropomorphic quality; human-esque, and expressing individual attitude and personality. As Nel explains, “I like to do people but people are so in ‘your face as it were’ so I do it in the form of a cat!” 

Hylton Nel’s inspiration was seen in the collection itself. Kim Jones invited artisan sculptor Blanka Favin to construct a series of ceramic neck pieces pulled from Dior’s archive of collar styles, recreating the ceramic style of Hylton Nel – while tote bag figures some tongue-in-cheek epitaphs, in Nel’s scrawled handwriting, with phrases like “Dior for my real friends” alongside ceramic brooches, also rendered in the style of Hylton Nel. In addition, Cape Town based brand Earth Age, were commissioned by Kim Jones and iconic milliner Stephen Jones to craft a collection of crochet hats; handcrafted by women in Cape Town; how beautiful.   

To be celebrated in this way is such a beautiful honour for an artist like Hylton Nel – who turns 83 this year – and who was seen in the front row of the show and proudly photographed in front of one of his pieces. Nel remarked that “Kim Jones, he took my work as inspiration for a starting point. For me, it was just marvellous to see what he made from it.” For a designer such as Kim Jones to search the world for a reference to embed within his show saw him travelling six hours from Cape Town to the Karoo. This is the power of fashion and collaboration, of art and earnestness – and  anything is possible. Our nation’s creative influence is living proof.

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