The Quest of Learning with Rising Film-Maker Masedi Ranyane

May 2, 2024 | Interviews, Creatives

The future of film-making rests in innovative hands. Masedi Ranyane is an emerging film-director and cinematographer, already endowed with an instinctive vision that reaches into the heart of story-telling; though, this is just Masedi’s beginning.

Motivated by the rich storytelling as told by filmmakers such as Melina Matsoukas’ ‘Queen & Slim’ or Barry Jenkins’ seminal work, ‘Moonlight’, Masedi’s focus is punctuated by emotively charged narrative-building brought forth by lighting, movement and characters that depict the very truth of feeling and being – in which each single shot is as a powerful and deliberate as the entire swathe of moving imagery. Being informed by this lineage is most evident in Masedi’s impressive mastery of the music video format, as an expert in deriving the essence of a story from the framework of soundscape. As one of the most important visual formats for engaging with the current paradigm of creative expression – cutting one’s teeth with music videos can be an unmatched terrain for creative tutorship. 

For young creatives, there is an intuitive ability to find what is real in a world that so often demands only our surface-level attention; it is the defiance of a film-maker like Masedi that showcases a different path forward. Now, under the auspices of award-winning production company, ‘And.’, Masedi is headed towards an impactful future in film-making guided by its founder Rob dos Santos. The time for South African directors is precisely right now.

Masedi Ranyane – Showreel

The creative process is always part of how Masedi engages with the world around him and in fact, he reckons that the process rather than any medium, predates his love for film-making, as Masedi explains that “my journey to film-making started really early. I was creative from a really young age. As a kid, I was obsessed with customisation. When I would be given a toy, I would spend the day disassembling it and putting it back together in a new way, in a way that felt more like it was my own. My parents still joke about it today – that I was just breaking toys, but there was a purpose to it! Film-making is a consequence of wanting to make things in the way that I see them. I began shooting my friends skateboarding, off our phones, and then taking those videos and customising them, so we could have these works that were our own.” 

Initially encouraged by his parents to follow the initial plan to become a software engineer, Masedi’s creative path soon beckoned. This decision to leave his hometown of Bloemfontein for film school in Cape Town has been guided by his parent’s championed support – and Masedi shares that film school provided him with an invaluable breadth of exposure, “when I started with mapping out my process, I was more interested in photography, and telling a story with a single image. That evolved into videos and editing, and it was really being at film-school that my mind was opened. Being exposed to different kinds of film theory taught me how much variation is involved in telling a story with moving images; whether it’s through colour, angles and lighting techniques, each element contributes to the narrative.”

As evidenced by the body of work that won Masedi the award for best music video at the South African Independent Film Festival in 2023 – Dali’s ‘Ahhh’ is a portrait of Masedi’s emotionally driven focus as a director. Swift movements and angles, undivided attention to lighting and a singular focus on defining the mood of the video – Masedi shepherd’s the song’s trajectory through every feeling on the spectrum. It is a high-art to have a song and its accompanying visual appear to be born so synergistically. As Masedi notes on how he has come to find his own language, “I think my evolution has come out of shooting as much as I can. The more I’ve shot, the more I’ve figured out what I like and what I don’t like. I think experimentation is really important. My style of shooting is rooted in realism – I want to tell stories that feel natural, so that viewers can connect to what I’m trying to relay. My style of directing is also very technical and I work very closely with the camera because I’m also a director of photography, so my initial love for photography remains involved in my process –  as image is vital to me and is where I excel.”

The future is a process of changing hands between generations. For Masedi, the creative landscape of South Africa is predicated on the point of view of young visionaries – guided, as he is, by leaders of the space such as And. – Masedi shares that “I think there is something really unique and powerful about the point of view of young directors and creatives. We have an instinct for communicating with a younger audience, and that we are equipped to tap into expressing the current culture. I’ve witnessed our generation learning at such rapid rates, and I think that is a unique kind of experience that lends itself to the creative process.” and that “And. has been really supportive – they’ve seen a light inside of me that they want to help bring out. It’s unmatched to have people in your corner that want to nurture young talent in South Africa to be the best that they can be.”

The production of art, culture and creativity can be a competitive landscape, but more than this; its successes hinges on collaboration. I ask Masedi what inspires him, and I couldn’t anticipate a more pointed, singular focus on his part as to what fuels his creative drive, “I’m inspired by collaboration. The idea of customisation is still exciting to me, and when mixed with collaboration – all these perspectives converge from different people and come together, to bring about something completely new; an end product that bears the mark of each person involved. I think having multiple personalities and characteristics infused in a body of work is really inspiring.” This understanding, of the inherent community-drive in creative production, marks South Africa’s landscape as especially ripe for fruition. ‘Ubuntu’ is etched into the foundations of the nation’s visionaries –  ‘we are because of each other’.

Rob comments on And.’s focus for film-makers in South Africa, “our eyes are international. The work we are concerned about is not in servicing international clients, but in having South African directors make incredible international work in South Africa, for overseas brands.” So what is it, from Masedi’s perspective, that informs such boundary-pushing storytellers such as that we are seeing emerging from South Africa? To which he says, “we are such a diverse nation. We have different cultures, different environments – and I think this uniqueness is already a kind of living art form, because of our diversity of approaches in life. I think this sets us apart, and that this strengthens our ability to tell original and interesting stories. I want to see South Africans push more to tell our stories; we have the resources and capability to define our own kind of creative culture, whether it’s film-making or any other discipline.”

Masedi photographed by Callaghn Robertson

Masedi photographed by Kea Dituanyane

As far as Masedi goes – well, it’s as far the hunger of being an autodidact trailblazer will take him. This, I think, will be stratospheric. It’s in his willingness to be shaped by the teachers and lessons surrounding that marks Masedi for greatness – finally, as he shares that “I’m focused on having my voice heard in the industry – and to be involved in whatever can teach me or shape me, in this ever-learning process. Every project shows and teaches me something new, and I want to keep using that to develop and build my voice.”

Follow Masedi Ranyane’s work HERE
Follow And. HERE

Written by: Holly Beaton

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

Chapter 26 | Reflections on South Africa’s Fashion Manufacturing Legacy and Future

Apr 30, 2024 | Fashion, Interlude

When thinking of  South Africa’s fashion landscape, arises the overarching question of our nation’s storied garment manufacturing industry. This conversation is deep and complex and one that we will not claim to cover even a fraction of the nuances involved. In looking at any industrial mechanism, we are always in essence looking at a single thing: the historical struggle of labour. The question of human labour is political, economic and social – and as South Africa’s fashion industry continues to grapple with the influences of each of these stratas, this chapter of Interlude is intended to peel back the veneer beyond design, or fashion image-making, or commerce. If I can hope that anything is derived from this piece, it is the remembrance that every single piece of clothing that we come into contact with, originated from the influence and skill of human hands, and the spaces (factories) in which these garments take shape.  

South Africa’s garment industry pre-1994 was a reflection of apartheid policy – and like all industries in which human labour could be exploited, garment workers tended to be Black or Coloured South Africans, who were marginalised and restricted to low-paying, labour-intensive jobs in the manufacturing sector. The garment industry throughout the country reflected political and social resistance, as one of the spaces in which workers organised labour unions and engaged in strikes and protests to demand better wages, working conditions and an end to discriminatory practices. These efforts contributed to the gradual improvement of labour rights within the industry, though it wouldn’t be until the abolishment of apartheid that unionising truly began to shape any state of equity – for more on this, Shane Godfrey’s work ‘Cutting The Cloth to Fit the Coat’ paints a historical picture of labour unions in the garment industry, and how attempts for collective bargaining for better working conditions were established. 

With the achievement of a democratic nation from 1994 onwards, came the dismantling of previously imposed sanctions on our economy. For the first time, in a meaningful and tangible way, South Africa’s garment and textile industries could operate without restrictive trade embargoes. The 1990s was the decade of a new dawn – one in which the emergence of a domestic market for locally manufactured goods, accessible by everyone, became possible – coupled with new opportunities for international trade and collaboration.

Thread Options by Cottonbro, via Pexels

When we think of our country’s current state of being, it is always in terms of the contrast between apartheid and democracy, yet – our vantage point does not operate outside of the global context. Paradoxically, while we were finding our feet at the precipice of new opportunities and a new hope for freedom – so too, globalisation was taking shape in ways that had never been seen before. Globalisation, afforded by technology, saw an increased interdependence between countries and economies; the exchange of goods, services, ideas and connection took shape as the way in which we interact with the world. Today, globalisation is the status quo; then, in the 1990s, it begged a radically new way of participating in the world. 

It can’t be overstated the paradoxical nature of such a tension in South Africa’s garment industry from the 1990s until today. On one hand, we are building a new fashion future – from the ashes of a hard-won freedom, alongside a changing world that requires a constant reshifting of perspectives. So, when countries such as China and Bangladesh came to the fore as production economies that were unable to be matched; South Africa began to experience a loss of competitiveness in terms of cost and scale.

What do we do with this, and what have we done with this? Well, some South African fashion manufacturers are increasingly focusing on quality, craftsmanship, and design aesthetics to carve out niches in the global market. Interlude seeks to track precisely this – and it’s clear that in our ‘infancy’ as an emerging market, the growing global demand for ethically produced and sustainable fashion presents an opportunity for South Africa to leverage its commitment to fair labour practices and environmental stewardship as a competitive advantage. While the tension between global economic forces and local contexts persists, it also holds the potential to fuel the dynamic evolution of South Africa’s fashion manufacturing sector.

All this to say, there are designers and creative wayshowers that are actively engaged with the revival and reassertion of South Africa’s fashion manufacturing landscape. With gratitude, I share their incredibly thoughtful perspectives; Daniel Sher, founder of fashion brand Good Good Good & concept store Duck Duck Goose, is also a factory-owner. His brand, that he shares with his wife Paige, was born from his introduction to the garment industry by Paige’s family. Daniel explains that, “my wife’s mom Jacqui, who recently retired, has been a CMT factory owner for the past 30 years and has been producing womenswear for some of South Africa’s biggest department stores. In total, Jacqui has been in clothing production management for a total of 53 years. In 2011, 2 years after I met my wife, Paige, she started producing some of my first garments for our first clothing brand, me.plus.one. After a career in financial accounting, I joined Jacqui & Paige’s factory full time in 2016, and we started our fashion brand Good Good Good, and simultaneously started producing for a selection of South African fashion brands and designers. In 2022, the demand for our services grew to the point where the space that we were renting from Jacqui became too small for us and we were forced to look for a bigger space for our manufacturing operation. After finding a space, we decided to register a separate entity which we called Together MFG.” Daniel and Paige’s commitment to providing a fully serviced manufacturing offering in Cape Town reflects a shifted focus that many in our country’s design industry are adapting towards, “We view Together MFG as a boutique luxury manufacturing service, where we hold the hand of our clients throughout the design and production process to achieve a final product that is of the highest possible standard. We are proud to count brands such as Christian Dior, Thebe Magugu, Wanda Lephoto, Rich Mnisi and various other distinguished brands as our clients. The core product of our factory is a high quality, 100% Southern African made T-Shirt as well as high quality fleece items such as hoodies, sweaters and track pants.”

Daniel & Paige Sher’s Factory, photographed by Johno Mellish for Courier Magazine

Founder of Cape Town-based streetwear brand Socioculture, Naeelah Jamut is a rare designer – in that she painstakingly makes almost all of the pieces for each of her collections, sometimes with the assistance of her mom – a veteran of Cape Town’s historical garment district of Salt River. Socioculture was born out of the fashion production lineage that Naeelah originates from, and the label is a love-letter to the inherent craftsmanship born out of the city. In asking about her family ties to Cape Town’s manufacturing history, Naeelah shares some of the reflection passed onto her by Fatima, her mom – “my mom started in fashion production when she was 15, working as a garment packer – this was in the 1960s and 1970s. This was at Burtish in Salt River, and everything they did back then was manual – until they brought machines in from German. Later, my mom became sample-hand, which meant she was the main seamstress with seven women in her team, who each had allocated tasks – one would do the collar, the other sleeve and so on. At this time, a lot of things were locally produced. Cape Town had its own fabric mills, factories that made zips, threads and trims.” The shift from local production to international sourcing came as a devastation to the industry, Naeelah’s explains – “the company that she worked for was eventually bought out and they produced for brands such as Diesel and Levis, with a specialisation in workwear. My mom says that the noticeable shift began with the introduction of Mr Price in the 1990s –   which caused a lot of  boycotts, because they were importing things and not producing locally. This was unheard of. I know that Mr Price have since returned to producing locally.”

Started as a self-funded venture by a mother-daughter team, The Joburg CMT is led by Silver, co-owner and production manager. Before launching the CMT, Silver ran a successful business focused on pattern making and sampling for local designers and retailers. Expanding their services, Joburg CMT now assists smaller designers with limited production runs, filling a gap not commonly addressed by other CMT providers. It is a common experience of emerging designers to be rejected by CMTs, who generally accept a minimum of 50 units to be made per garment; it is an intense undertaking, to amass such a large amount of stock, that also requires a start-up capital not generally afforded by designers. When asking Silver what some of the challenges are from the perspective of a bespoke CMT in Johannesburg, Silver notes that “we experience a limited supply of materials and equipment such as trimmings, machine attachments and fabrics. Cost price of manufacturing in South Africa is quite high compared to manufacturing in other countries such as Mauritius, China, so often clients or potential clients state that our pricing can be quite high – but our expenses are very high and in order to keep the business sustainable. We cannot compete with international manufacturing prices. Then, there are issues such as load-shedding and water shortages, generator fuel costs, delays on deliveries, staff may be sitting with no work or sent home.” Alongside this, are the micro-market variances in customer behaviour, with Silver explaining that  “We believe consumers in Gauteng on average are not as supportive of locally made clothing brands as Cape Town consumers are. This lack of regional support has led to skills shortages, and it is a struggle to find staff with skills such as cutting, pattern making and sewing, while we do not have the capacity to train people at this time.”

Echoing the concerning lack of skilled artisans, Daniel says that “the biggest challenge that we are currently facing in the industry is the lack of training for young factory workers. There are no opportunities for formal training in the South African industry, and while small CMTs such as ourselves use the little time, resources and capital we have to train young factory staff members, the professionally skilled workers are getting aged out of the industry. South Africa is continuously losing its larger CMTs which had the capacity and staff to train young people, resulting in a growing death of professionally trained workers. At our CMT, we lost our sample-hand to retirement last year and we are yet to find a replacement. In the past, we have also had to ask cutters to come out of retirement and work in our factory while we use the little time we have to train one of our younger staff members to take their place. This is a seriously tenuous situation, as it takes about 2.5 years of training to be fully equipped to work in the cutting room unsupervised.

Patterns by Collab Media, via Pexels

Thread Options by Cottonbro, via Pexels

Imran Mohamed, founder of luxury label ASA SADAN, traces a significant heritage in South Africa’s fashion production history, as he explains that “my background within the garment & textiles industry spans three generations. On my father’s side, my grandfather brought Joburg-based outfitter ‘Skipper Bar’ to the Western Cape. He began with one store, eventually growing the family business to 22 stores in the province. Every member of the family worked within this business in some capacity, in high school I worked in sales at the Belstar Junction branch. From my mother’s side, my grandfather was a dressmaker, my grandmother worked within garment production, my mother was a model, designer and business owner (at one stage even supplying Urban Outfitters in the UK), my late aunt worked in various aspects of the business, most notably teaching textiles and construction in Malawi, and my late uncle was a master pattern maker, who helped develop some of the earlier styles at ASA SADAN, as well as having previously trained our Head of Production, Mussa, when he worked for my uncle.” Imran’s vision for ASA SADAN was cultivated through a myriad of experience – styling his luxury pieces for independent editorial projects, and  a postgraduate part-time fashion studies at Elizabeth Galloway, and crucially, his tutorship under i&i by Shukri Joel at the iconic Corner Store, who he notes as “the Mister Miyagi, AKA Master Roshi to my design development. I then went on to join a bags and accessories company, where I learnt the craft of leather goods and travel accessories, as well as developing the brand’s first apparel offering, before departing for the UK in 2019 to pursue my MBA at Central Saint Martins.”

Now, with ASA SADAN as a fully-fledged luxury offering, Imran’s perspective on Cape Town’s garment manufacturing industry forms a foundational story for the label – which is rooted in honouring the influential provenance of Muslim and Coloured South Africans on the city’s sartorial heritage. Imran notes that “I think our relationship with garment in Cape Town is so unique. From a historical perspective, garment was one of the only mediums our people had to elevate themselves above the oppression experienced under apartheid. Being at the intersection of Eastern, Western and Indigenous cultures also allowed for cross-pollination of styles, such as pairing the Eastern fez hat with tailored suits, a theme which I’ve referenced quite a bit at ASA SADAN. I also think that it’s important to acknowledge how significant the industry was for the livelihoods of people, providing jobs for so many communities. The Group Areas Act removed many people from work opportunities, perhaps most notably for me, the removal of the people of District 6, where many of them worked within the trade in areas such as Woodstock & Salt River for major manufacturing companies like Rex Truform.”

Imran’s passion for localised, community-focus is reflected in the intentionality of ASA SADAN. As Imran comments, “from a more contemporary perspective, our industry has undergone significant change and growth. For me, the brands who made up the Corner Store Collective, prior to the Corner Store itself, were the real trailblazers of the movement, along with the teams Shelflife and Smith & Abrahams (which became the Corner Store after), which were really the entities that created the spaces for youth culture in fashion. We have since seen our community grow, with the inception of retailers such as Duck Duck Goose and Pot Plant Club, with AKJP Studio definitely consolidating the luxury offering of local brands in Cape Town. Of course we are also home to industry greats such as Sindiso Khumalo and Lukhanyo Mdingi. I think looking at the overall trajectory of our industry over the past 10 years, we have expanded and formalised the sector without any help, aside from the communities themselves. Though we still have a long way to go, we are a strong, closely knit community that is being recognised the world over.”

As for Imran’s vision, ASA SADAN serves as a vessel for unlocking a variety of future endeavours for the brand and its wider context- levelled together through Imran’s clear interplay between entrepreneurial grit and creative design-thinking, “reviving the industry has always been a key component of the ASA SADAN manifesto. Of course, this isn’t possible with any one person or company. We have learnt from those who came before us, and will rely on those who come after us. But from our perspective, we need to redefine the way the industry operates, specifically from a production point of view. Factories here are still geared towards mass manufacture. We have found it incredibly challenging to find production partners that are able and willing to effectively execute on small batch, highly complex garments. As a result, we’ve had to build our own manufacturing capabilities, investing in machinery and equipment, as well as production staff in order to produce our garments. We will look to expand on this, and at some point open this up to other brands who face similar challenges.” and that “I believe the social and cultural networks within the sector are strong, and it’s predominantly the economic component that we need to re-establish, especially from a luxury perspective.”

Studio by Ksenia Chernaya, via Pexels

Thread Options by Cottonbro, via Pexels

There are many minds squarely focused on this revival; and many more who operate at every level of our fashion value chain. Together, they embody a collective dedication to reshaping the industry landscape. To be South African, is to make a plan and to allow the kindling of hope to remain a guiding compass in all that we create and build. To end, each of our invaluable commentators share their hope for the future of our garment industry;

Imran: “I think we’re in the midst of a creative renaissance in South Africa, not only within fashion, but within the creative arts in general. We see innovation from major cities and smaller towns alike, from people and communities from all backgrounds and walks of life. It’s an exciting time, and we’re honoured at ASA SADAN to contribute alongside incredibly inspiring Capetonian and South African talent.”

Naeelah: “I really want to be part of bringing back production. We need to find a way to get around the resource challenges, and if we do it together as brands – I think it’s possible. I really hope we can see more CMTs being opened, we have such a massive shortage in Cape Town. There are many experienced CMTs that have lost their jobs, so hopefully the creative industry needs to reshift out focus back to the producing power that is possible here.”

Silver: “We hope that larger retailers and or the government invest in smaller designers which would have a direct impact on us. There should be an investment in CMTs and designers to be sent to international buyer expos around the world so that there is more export of South African clothing. We would like Technicon training to become central for people, in order to upskill them and ensure more job opportunities without the burden being on small businesses to train people. More marketing needs to be done to the general consumer highlighting the importance of buying fashion locally rather than cheap imports from companies like Shein.”

Daniel: “As a small CMT, we hope for more high quality textiles to become available locally, and for the minimal quantities for ordering them to become more flexible. This is crucial in the context of the competition that China and other manufacturing powerhouse countries are bringing to the table. The next best thing, although it would do nothing to reduce the industry’s carbon emissions, would be the reduction of import duties on textiles, making for better financial feasibility for manufacturing locally and bolstering the local industry. To prevent this, manufacturers must be committed to supporting local textile mills, in order to challenge them to improve their quality and financial flexibility for the garment industry. 

Otherwise, we need government support to finance the training of young factory workers to become skilled and ensure the health and longevity of the industry at large. As CMTs ourselves, we can try our best to challenge ourselves in our services in order to provide clients with a more multifaceted offering.”

 

 

Follow and Support: 
Good Good Good
Socioculture
ASA SADAN
The Joburg CMT 

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

Porky Hefer’s latest solo opens with Southern Guild and Galerie56 in New York

Apr 29, 2024 | News, Art

Southern Guild Cape Town partners with Galerie56 (Tribeca, NYC) to present “no bats, no chocolate”, a solo exhibition of handcrafted seated forms by South African Porky Hefer, from 30 April – 26 August 2024. 

No different to the works spanning his impressive artistic career, his 4th solo show with Southern Guild is composed of contemporary craft and designed to awaken a sense of play and wonder. In “no bats, no chocolate” at Galerie56 in Tribeca, Hefer’s new collection is a “toy box” of inhabitable, animal-inspired sculptures that celebrate the intelligence and ingenuity of wild creatures. Each of the nine larger-than-life forms appeals directly to our imaginations, inviting a physical and emotional connection that places humans in communion with – rather than dominion over – the animal kingdom. 

Hefer celebrates the “weird talents’ and distinctive adaptations of a menagerie of animals, including a walrus, ladybird beetle, zebra, wildebeest/gnu, bat, bushbaby, beaver and crocodile. He points to the swarm intelligence of migrating wildebeest, which democratically decide where and how to cross rivers and traverse ground, and the mutualism between zebras and the bacteria that live in their gut, which help digest their food but transform into protein during times of scarcity.

Porky Hefer, Warren, 2024. Photography by Hayden Phipps and Southern Guild

Porky Hefer, Crocodylus Freddy (Previously Crocodylus Eugenie), 2015. Photography by Hayden Phipps and Southern Guild

While beavers are often seen as a menace, Hefer notes, they create vital ecosystems when they make dams, giving little fish a chance to grow and attracting frogs and other species. Their teeth contain high amounts of iron, which turns them orange and enables them to withstand the mechanical stress of gnawing through wood – including trees more than 10 feet tall. Their incisors never stop growing, so they do not become too worn despite years of chewing through hardwoods. Bats also have endearing characteristics: they all have belly buttons and in two species of Old World bats, the males can produce milk to feed their young. The flying mammals are responsible for pollinating many plants that we use for medicinal, cultural and economic purposes, including bananas, avocados, mangoes, agave and cacao – so you can give a little thanks when indulging in chocolatey sweetness. 

With an eco-activist mindset, Hefer is a designer deeply immersed in animal behaviours, natural phenomena, organic forms and ecosystems. His iconic human-sized nests, woven in Kooboo cane, arose from his fascination with the nest-making skills of the sociable weaver bird, while major projects like Endangered (2018) explored sustainability in an African context through craft and the use of upcycled materials, and foregrounded vulnerable species to raise significant funds for the Leonardo DiCaprio Foundation’s conservation programmes. Plastocene (2020), commissioned by the National Gallery of Victoria in Australia for the NGV Triennial, speculated about the mutant life-forms our plastic-filled oceans would give rise to after the Anthropocene era and presented amongst others, cup-fish, straw-fish, netfish and a 50 foot-wide octopus made from handwoven woollen ‘cigarette butts’. 

Despite its use of humour and fantasy, no bats, no chocolate is a serious plea for greater tolerance of and reverence towards wild species, whose numbers are being outpaced by the proliferation of domesticated animals. 

“So many kids growing up in big cities don’t have positive relationships with wild animals. Their default response is one of fear and hostility,” Hefer notes. “But you have to love animals to protect them, and the less contact children have with animals, the less desire they will have to safeguard them.” 

 Growing up on farms in South Africa immersed the artist in a culture of interacting with animals. “I learnt to understand animals and see the difference in their personalities. Animals adapt to their environment, while humans predominate over nature to suit our needs. We’ve been taught we are higher up in the pecking order and that animals don’t have souls, but they so obviously do,” he says.

Hefer’s message of constructive coexistence with nature is borne out in his design methodology too. Referring to this collection as “a new kind of animal architecture”, he approaches it as a series of prompts inviting various ways to interact with the works: the audience can crawl inside the wildebeest or climb up onto its back, stretch out on or sit astride the walrus chaise, ride the pull-toy zebra and wheel it to another location, perch on the beavers or lie upon the quilted leather pads that are their tails. 

This dance of exchange between the user’s body and the work is at the crux of Hefer’s project, rooted in the disruptive power of play as a means to ignite a more creative, connected and humane way of relating to our environment and each other.

Porky Hefer, Victor, Portrait, 2024. Cr.Hayden Phipps & Southern Guild

Porky Hefer, Paul, Portrait, 2024. Cr. Hayden Phipps & Southern Guild

In this regard, Hefer’s forebears are the Radical Design Group of thinkers, architects and designers for whom the idea of play was paramount in opening up new types of social interactions. The work of Ettore Sottsass, Gae Aulenti, Superstudio, Gaetano Pesce and others posited that change ripples outwards from the domestic nucleus of the home. Hefer’s soft rebellion takes this even further with his embrace of local materials and craftsmanship, creating a system of collaborative manufacturing that spotlights the artisanal talents around him. The works in no bats, no chocolate were made with contributions by longtime collaborators including felt artist Ronel Jordaan, welder Wellington Moyo and leatherwork studio Leather Walls. Cradled within their plush interiors or energised by their unconventional forms, we rediscover the child within, emerging with a renewed sense of curiosity and connection with the natural world. 

Learn more about this exhibition on view at Galerie56 at 240 Church Street, New York, NY 10013 from 30 April – 26 August 2024 by visiting Southern Guild’s website.

 Press release courtesy of Southern Guild

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

adidas Originals presents Sonic Sessions with South Africa’s Princess of Rap, Dee Koala

Apr 26, 2024 | Creatives, Music, Community

Sonic Sessions is a collision of sound and style, brought to you by adidas Originals and presented by Connect Everything Collective. Together, we’re uncovering the cultural forces that define the sonic prowess of South Africa, as leaders on the world stage. Whether it’s the poetics of hip hop stories, or the outpouring of love-laden lyrics into melodic recipes or the development of entirely new genres; South Africa is on one. Sonic Sessions brings you straight into the heart of these artists, their current playlists and how being an original can never be just an act – it’s a way of being. 

Dee Koala is South Africa’s Princess of Rap. With bars that remain unbeatable, Dee’s lyricism is punctuated by her distinctive voice and unmatched energy. Straight out of Khayelitsha, Cape Town – Dee is a pioneer of feminine forces entering the game, and the pride in rapping in vernac that has gone on to inspire the newest generation of hip hop artists. With a storied history together with adidas, this is an artist who pushes her originality to the very borders – inspiring a generation and sparking a movement. Dee and adidas embody the possibilities for building family bonds across brands and personas, all in pursuit of evolving South Africa’s formidable creative landscape.  

“One of my favourite things to do is perform. I love seeing people happy and seeing them relate, and I loved hearing that people felt my performance was memorable. I love interacting with the crowd and I’m always looking at the crowd, straight in the eyes! I make them feel like we’re all one.” says Dee. Known for her iconic, energetic performances, we ask Dee how she prepares for a live show? To which she explains, “for preparation, the most important thing is to protect my voice. During the day, leading up to a show, I will continually drink warm water with lemon, honey and ginger. I already have a husky voice and it has a short life span! So I have to be quiet during the day and I try to get to a show an hour or so before my set, because if I get there way too early – I’ll overuse my voice, I’ll be chatting away and greeting everyone!”

The physical endurance required to perform at Dee’s level, cannot be underestimated. For Dee, it requires a conscious approach of self-care, saying that “during the week, I’m at the gym. When you’re rapping, jumping up and down on the stage and expressing so much energy, you’re tryna hit the lyrics and the beats – that is a lot of breathing involved. So, becoming a runner has helped so much with my chest and how I’m able to project my voice on stage.”

Dee Koala photographed by Tshepo Marcus Mgadule

Dee’s choice to rap isiXhosa is rooted in her commitment to being the most authentic expression of herself. We ask Dee what this decision has meant for her and her career, with Dee sharing that “when I started, I thought everyone had to rap in english – I thought it was quicker, that it was the only way to be successful. Of course, I had inspiration from other rappers that I looked up to, but I still had this misconception that there were limitations to rapping in your mother tongue. I tried to rap in English and even though I can articulate really well, I just didn’t connect to it. The stories that I’m telling don’t land the same way in English – if I’m speaking about my life in Khayelitsha, there’s no one who speaks English that still understands the meaning.” Dissolving the perceived constraints around the limitations to her success, Dee credits rapping in vernac as the root of her growth in the industry, saying that “I realised that I have a voice to do whatever I want to do, once I had a foot in the industry. I wanted to rap the way I talk to my friends, the way I greet my neighbours – the way I chill in the hood. That way, I’m connecting to every Black child or person who grew up in the hood. It has been more meaningful for me to be able to share our stories, because there’s so little music available that reflects where I come from and where everyone I grew up with, comes from.”

On the matter of personal style – Dee explains that it’s been a matter of discovery and experimentation, “I’ve always had a boyish look. I took longer to discover my girly side – the only time I would wear dresses was at church. Now, I’m so into the dresses, and the heels and long hair – and especially with nails, I realised I could be so creative with them.” and that “I’ve experimented a lot with my personal style. With adidas as a supporter of my style and career, I’ve really gained the ability to make sure whatever I wear is always a combination of their pieces, with my own take on it. Now that I’m getting into training gear, I can have adidas involved in every part of my day.”

As for Dee’s favourite adidas iteration? She remains a connoisseur of classics, “My favourite adidas shoe right now is the Gazelle – it’s between the Gazelle and the Spezial, for me. I’m very into adidas Originals and their classics, that’s my number one.”  

Dee Koala pulses at the nexus of creativity and culture, sound and style – an icon already made and in the making. Dee’s originality? Take notes. 

Head here for Dee Koala’s exclusive playlist, ‘KHALTSHA FLOWS’

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

France Approves An Anti-Fast Fashion Bill

Apr 25, 2024 | News, Fashion

A first of its kind bill has been approved in France, on 14 March 2024, which aims to reduce fast fashion practices. France’s lower parliament decided to unanimously approve a bill calling for penalties on fast fashion (widely considered low-quality apparel) products from online retail giants like Shein (China), Temu (China) and H&M (Spain). France is aiming to offset their impact on the environment with the carbon emissions caused by clothing production, shipping and textile waste.

France’s environmental minister Christophe Bechu stated that “A big step has been taken to reduce the textile sector’s environmental footprint.” 

The bill states that textile climate offenders will have to face an annual ascending penalty, leading to up to 30 euros per garment. It also advocates for a ban on advertising liberties due to an excessively high marketing spend from these corporations which dominates web searches across the board. In addition, the bill details that it will be mandatory to have these items’ environmental impact level placed next to the price in the hope of forcing consumers to assess the products’ carbon footprint. The bill has been formed in conjunction with France’s AGEC law to encourage a circular economy and mitigate waste.

Rio Lecatompessy, Unsplash

France’s current corporate sustainability due diligence directive offers to reimburse shoppers up to 25 euros for each garment they repair – according to their repair scheme. 

“This evolution of the apparel sector towards ephemeral fashion, combining increased volumes and low prices, is influencing consumer buying habits by creating buying impulses and a constant need for renewal, which is not without environmental, social and economic consequences” the bill said.

This is a developing story.

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

The Insatiable Curiosity of Mikhailia Petersen’s Multidisciplinarian Image-Making

Apr 25, 2024 | Interviews, Creatives

To be a multi-disciplinarian is to be insatiably curious – it means, at its root, that one’s creative process is always up for re-assertion and is never finalised or concluded. I know of Mikhailia Petersen’s work through her viewpoint of styling and creative direction in fashion; with a signature ability to fuse contemporary sensibilities, while resurrecting a sense of nostalgia – the latter, being a facet of Mikhailia’s photographic work, in both mood and meaning. Whether it’s her work for publications such as The Face, Vogue Italia or NATAAL, or showcases such as The Manor curated by Trevor Stuurman, or participating with galleries such as The Reservoir and with Church at FNB Joburg Art Fair – Mikhailia’s ability to create visual stories is one far-reaching and profound. As Mikhailia tells me in our conversation, shooting was always her primary goal and it took engaging with multiple parts of the image-making process in order to get there.

As Mikhailia explains, “I’ve always wanted to shoot. I didn’t have the money for gear initially, so one way that I could be part of the image-making process was to style. That was a little bit more accessible – I had contacts in the fashion industry, and so that was my start in the space. It naturally progressed to creative directing and producing, and then I had the opportunity to borrow my friend’s camera. I started practising photography, officially.” Mikhailia’s engagement with photography arose out of a deep search in making meaning of a landscape in which the narratives of those around her – whether communities or individuals – shone more clearly as the materia for the kind of narrative-building that she was pulled towards. As Mikhailia notes – fashion was the first point of entry in this process, but it has become so much more; “fashion is an extremely important tool. Though I found that it was limiting, as a stylist, to say exactly what I wanted to say or share the stories that I wanted to – and I got to the point where I had set up the whole scene for an image, I should just shoot it, too? I realised I can do it myself, and for the work to be made by a person of colour is really important, too.” With a particular emphasis on shooting stories of POC and LGBTQIA+ people, Mikhailia’s instinct for storytelling is grounded from behind the camera lens. Though, this does not mean a conclusion of her artistic focus – it means, as she tells me, that next stop is to become a director and work with moving images and film. Mikhailia embodies that precious and insatiable curiosity.

JUST THE TWO OF US & YOUTH FOR HANOVER MINSTRELS

SUMMER

LEVIS 501 FOR VOGUE ITALIA

I ask Mikhailia whether there is a definition to what she is currently making, and how the intersection of her multiple disciplines might unfold during the creative process? To which she says, “my focus is fine-art photography right now, while working towards becoming a director. With all these intersecting roles, I’m constantly jumping between them in whichever process I’m engaged in. I still see myself as a practising artist, just with more expanded skill-sets to step into, depending on the body of work or brief at hand. I think when I’m building a story, it’s become instinctive for me to know which areas of the process need my attention or focus – from photographing, to styling, creative directing and so on.”

Though Mikhailia remains engaged in the realm of fashion, it is her fine-art photography that is bringing her the deepest sense of nourishment. I am struck by her portrayal of the Hanover Minstrels, the procession leaders of Tweede Nuwe Jaar and the annual Cape Minstrel Carnival. Capturing that inarticulable joy, energy and co-creation of this historical and cultural celebration, Mikhailia’s series statement explains thatTweede Nuwe Jaar is  “rooted in the city’s history of colonisation and struggle, it marks the one day off a year the city’s slaves were traditionally allowed, which they used to come together through music, costumes and dance. After emancipation in 1838, local communities formed bands, choirs and troupes and by the early 1900s new year processions became commonplace. Tweede Nuwe Jaar went on to survive Apartheid and has embedded itself into South African popular culture, becoming a celebration of togetherness.”

CAMISSA FOR ITC

Mikhailia shares that “I’m deeply inspired by the Hanover Minstrels. They’re the first minstrels from District Six, and they’ve led the whole procession throughout all these years. I really admire everything that they stand for in terms of community upliftment and their focus on encouraging kids to find their expression,” and that this project is one that will continue to form part of a long and open-ended body of work, “I actually didn’t know much about my own culture. Working with the Hanover Minstrels has been this incredibly enlightening way to engage with my culture – to see other coloured people engage in this precious and unique creative outlet. I’m hoping to shoot them for eight more years, so I can do a ten-year anniversary story series. Being able to build long-form, documentarian-style work with communities is something very special and dear to me.”

As a creative, Mikhailia’s notes that the act of collaboration is as simple as it is powerful, saying that “I believe in integrity as the foundation for any collaboration. With integrity, an intuitive process always seems to unfold between collaborators – and this has always led to the most beautiful work.” and that this moment, of Mikhailia’s creative expression, is perhaps her most attuned, “I have never felt so comfortable and so confused, in my entire life! I am so comfortable with myself at the moment and what I’m trying to say, and hopefully what I am going to leave behind one day as a legacy, and what my impact is creatively. It’s this really interesting tension of knowing that what I’m doing is precisely what I need to be doing, but not having the full knowledge of where it’s going. I think that’s the confusing part, but I’m trusting the process.”

WE ARE LOVED FOR LITTLE LIONS

Mikhailia, photographed by Alice Mann

As for the future? Mikhailia’s sights are set on film-making – an organic consequence of mastery in the art of still imagery. Now, Mikhailiia is pursuing the art of movement; “My vision is to make more community work. I’m also going to make my own films – which is a really exciting, new frontier for me.” With a final anecdote for those called to a practice rooted in a multitude of disciplines and articulations, Mikhailia’s encouragement is that “when you feel like you want to quit – that’s when you have to keep going. To be able to tap into creativity is so special, but your story matters.”

WOODSTOCK

DISTRICT SIX

Written by: Holly Beaton

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

Unpacking the loneliness epidemic – Does being alone mean that you’re lonely?

Apr 24, 2024 | Lifestyle, Navigating Reality

Over the years, I’ve found that one of life’s great displeasures is that whenever you are single, it feels like people can’t fathom the idea that maybe it is actually by choice. “What are you looking for?”, “Have you ever met X? I think you’d get along”, “You should go on more dates”, “You need to give people a chance”, or the most dreaded of all, when your grandma asks when you’re going to “settle down”. 

See, here’s the thing: I think that in the noise of it all, in the chaos of the individual trying to navigate the collective, we have lost track of the fact that loneliness and being alone are factually very different things. It is so different; in fact, that for this article, I need to take a somewhat two-pronged approach. First, we need to talk about the very serious matter of loneliness before we resume our regularly scheduled broadcasting of funny little anecdotes and hard-hitting one-liners.

Why do I want to separate these terms so starkly, you ask? Well, in truth, the two do not correlate. Whereas being alone is a physical state, loneliness impacts us on an emotional level. We might be surrounded by amazing people, but still feel like we are the only person on the planet. Prisoners to our minds, detached and dejected from the wonder happening around us, caught in a feeling that we are misunderstood or not understood at all, without care, a partner or a community. The statistics regarding loneliness are a rather big cause for concern, with one in four adults across the world reporting that they feel very or fairly lonely. The highest rates of reported loneliness were from respondents between the ages of 19-29 at a staggering 27%. Statistics like these forced the US General Surgeon Dr Vivek H. Murthy to declare loneliness as a US epidemic, but the statistics show that it is by no means contained in the US.

Lonely Plastic Bag DTS

Now, some may say everyone feels a bit lonely at different periods, that it is just “life”, but I’m here to report that it is actually happening at such an unprecedented scale and in such prolonged periods of time that the emotional turmoil of the loneliness epidemic is having a severe impact on our physical well being. It is reported that people between the ages of 15-24 are seeing their friends 70% less than two decades ago. 20 years ago always sounds like the 1980s, but we’re actually talking about the mid-2000s here, the same year Mean Girls was released. The stats get even more troubling: there is a  29% increased risk of heart disease; a 32% increased risk of stroke; and a 50% increased risk of developing dementia for older adults. Dr Murthy even went to the lengths of saying that the health risks simulate smoking 15 cigarettes a day and have a more profound impact on your health than obesity or physical inactivity. 

This may explain why people are so apprehensive towards those of us who choose to be alone or are simply content with being alone for extended periods, especially given that humans are inherently creatures of community. As Dr. Eglantine Julle-Daniere puts it, “All our lives are built around a certain amount of social interaction and physical proximity. Even the most introverted of us could enjoy a limited amount of social contact.” Choosing to be alone and being okay with being alone, however, is fundamentally a very healthy state of being. We need to be able to take a step back from the endless drag that modern dating often presents, and we need to be able to take time to be with ourselves and only with ourselves. We all know that friend who is a serial dater. Every story is a messy collection of fights, breakups, and makeup sex, all predicated by a pretty surface-level connection, evident by the fact that they always refer to their partner as simply “this one” online. So we let the serial daters go about their lives, but the ones who choose to be single are the weird ones, apparently?

It’s important to admit that regardless of having a partner, there will always be room for loneliness. According to a study by Harvard, it was reported that around 16% of people in committed relationships still report feeling chronically lonely for a plethora of reasons, including attachment insecurities, amongst the other challenges that love and affection bring. I am no different. Despite super strong support structures, I often feel lonely. That being said, I still think we should defend and protect our individual need for “aloneness”. Even with a partner that I love and a supportive set of friends, family, and colleagues, I often have an inherent need to be alone, quiet, and still. This may also be why the transition from city rat to mountain man has hit like a truck in the last few years. What’s that meme about the pills to hills pipeline?

In my opinion, there isn’t a set path that needs to be followed, no matter how hard society tries to push the “two kids, a pet and the white picket fence” idea. We are all individuals working on our own timelines, which are subject to change at any moment. Two years ago, I was single, very single and living my best life as a proudly self-proclaimed manwhore. I was having fun, meeting people and not taking anything seriously with regard to relationships. I was planning a move to Cape Town and had sort of made up my mind that seeing anyone seriously would only lead to heartbreak. Well, not even a week before my move, my mind shifted utterly when I met my now fiance and soon to be wife. This was most certainly not according to the plan. Before meeting her, I was very content on staying single, and marriage wasn’t even a thought that had ever crossed my mind, but hey, who the fuck are we to question what is meant to be. I was single and thriving, a term that, in conversations with peers, seems almost to bring a sense of resentment from married couples (I’ll be able to report to you all on that in November).

Lonely Boy Dan Humphrey Gossip Girl licensed Alamy

Sex and The City: Season 5, 2002, HBO licensed via Alamy

I think this paragraph by Dr Frank John Ninivaggi beautifully summarises the importance of mindful aloneness: “Viewing aloneness positively during certain life stages is crucial. Solitude holds significant value in both Eastern and Western traditions. Unlike loneliness, which implies deprivation, aloneness is empowering—a concept rich in meaning and practical application. Whether alone or with others, aloneness is viewed positively. Aloneness used wisely is a mindful growth mindset.” He goes on to state that we can reflect on the healthy aspects of social participation within these periods of mindful aloneness. At that moment, we see the bigger picture as if we were a bit too close to it before to appreciate and realise just how special it is. 

It is the time to internalise those feelings of gratitude, love and care, to plant the seeds that you are loved and seen and that you yourself strive to fill the same role in the lives of others. That you don’t need someone else but that you choose to spend time with others because you want to not because you’re forced to. You might be in bed, in a dimly lit room, awake later than you should be, and yes, you may be alone, but you can be alone and absolutely thriving. 

I want to end with this extract from Dr. Julle-Daniere, as it is something that I preach a lot in these pieces. 

”We are surrounded by noise, all day long. Our senses are stimulated at all times. Even during our sleep, our ears are still perceiving the sounds around us, which in turn can affect the quality of our sleep. Creating silence around us, acoustic silence, but also attentional silence (when we stop looking for stimulation and shut ourselves from the world) and finally, physical silence (by the absence of movement, remaining still or walking slowly), can be extremely beneficial. Our brain does not shut down in those silent times, on the contrary: our thoughts wander, we daydream and listen to our inner thoughts, and our brain uses this time to remove all the waste created during the day. This form of silence is about shifting your attention from the outside world towards the inside of your body and your mind. This silent state brings a calmness that allows your body and your mind to recharge. Meditating is not about (or not only about) anchoring yourself in the present time; it should be about creating the headspace for your thoughts to drift away, focus on your breathing as a way to stimulate the wander. Which in turn can make you more creative and develop your instincts.”

Written by: Casey Delport

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

South African Vocal Group, The Joy, Performed with Doja Cat During Her Coachella Headline Set

Apr 23, 2024 | News, Music

South Africa’s success under international spotlight is growing from strength to strength. Last week, we witnessed an even deeper musical tradition than pop music thrust into view; Zulu acapella, which under the auspices of South African vocal group, The Joy, took centre stage at Coachella in collaboration with Doja Cat.  

Hand-selected by Doja Cat as her headlining guest, The Joy provided lead vocals alongside the American rapper on two of her tracks; recent single, ‘Acknowledge Me’ and ‘Shutcho’, the latter which was reimagined to incorporate lyrics in Zulu. Doja Cat, whose real name is Amala Ratna Zandile Dlamini was born in California, USA – though she has South African heritage through her father, Dumisani Dlamini, famed ‘Sarafina!’ actor and producer. A collision of Mzansi-ism across continents and contexts; this performance not only brought South Africans to the stage, but Zulu as a lyrical language for global recognition.

The Joy are a five-piece vocal group that rely on no instrumental influence and purely their vocal abilities and harmonisation to shape their sound. With members – Pastor (Ntokozo Bright Magcaba), Duzie (Melokuhle Mkhungo), Guduza (Sphelele Hlophe), Sthombe (Phelelani Sithole) and Marcus (Sanele Ngcobo) – now internationally lauded for their transcendent vocal talent. The group shared on their IG, “it’s been so hard to keep this a secret! Tonight we performed with the amazing Doja Cat on Coachella main stage in front of 100 000 people. Thank you A mala, or rather Zandile.Thank you to the incredible team that made this moment happen. You made us feel very welcome! And thank you to everyone who reached out after watching the stream from all around the world.”

Drawing on the rich tradition of ‘isicathamiya’ and ‘mbube’ vocal techniques, the group’s music is informed by “Growing up in a part of South Africa, where the Zulu tradition of a cappella singing is central to the cultural identity of its people and Ladysmith Black Mambazo have been worshipped for decades – their Grammy-winning success an authentication of the fact that the magic of isicathamiya music isn’t restricted to the townships where it flourished – The Joy’s harmonies hark back to yet another vocal tradition. Mbube means ‘lion’, which gives some indication of the elemental power its practitioners summon when bursting into song. This seems to be the lineage into which lead vocalist Duzie seems to be tapping when he cuts loose from the intonations of his co-travellers, as if compelled to commune with the ancestral spirits whose music he invokes.” 

We couldn’t be more proud of the strides and standards being set by South African musicians – onwards and upwards.

Listen to The Joy’s latest single ‘You Complete Me’ HERE
Instagram: @thejoyofficialmusic
Facebook: The Joy
Tik Tok: @thejoyofficialmusic
Spotify: The Joy

Press release information derived from Sheila Afari PR

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

Echoes of Transformation in ‘THE FALL BEFORE THE CLIMB: an ODE to AFROGRUNGE’

Apr 23, 2024 | Fashion

In the bustling nexus of creativity that is Connect Everything Collective, we often receive submissions that spark curiosity, ignite inspiration, and challenge conventional boundaries.

Today, we find ourselves captivated by Luxolo’s submission, titled “THE FALL BEFORE THE CLIMB: an ODE to AFROGRUNGE.”

Penned by Tando ‘Blue’ Skunana, this piece begins with the line, “I’m a crack in the skies before the Break of dawn,” evoking anticipation and transformation.

Luxolo’s submission delves into fleeting moments and collective strength, reflecting the spirit of Connect Everything Collective. Let’s journey into “THE FALL BEFORE THE CLIMB,” where words form an anthem, celebrating the boundless creativity of the human spirit.

 THE FALL BEFORE THE CLIMB. 
an ODE to AFROGRUNGE 
“I’m a crack in the skies before the Break of dawn 
I am a dream captured in a fleeting moment, a solar eclipse. I am the first spec of dust and with time there’ll be a mountain of us. This is the fall before the climb.”

Editorial Credits: 
Creative direction + photography: Luxolo Witvoet 
Model: Loabilwe Morale 
Head tattoo cameo: Kutlwano Kadesh Masisi 
Stylist: Akash Dayal 
Art Direction: Koketso ‘Coco’ Maruping 
MUA: Loabilwe Morake 
Set Assist: Kutlwano Kadesh Masisi 
Text: Tando ‘Blue; Skunana 

Style Notes:
Loa wears Afrogrunge Re-Imagined Newness customized jackets. Jackets available www.afrogrunge.co.za 

Images photographed on location in Observatory, Cape Town. 
Filmed on KODAK Ultra Max 400.

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

Focalistic Unveils ‘Pressure’ – A Groundbreaking Anthem in Collaboration with adidas

Apr 19, 2024 | Music, Community

Performance is an artform – one that forges the very best of human ingenuity. In a celebration of the brilliance, determination and discipline that make up South Africa’s cast of cultural changemakers, distinguished by artists and athletes alike, amaPiano star Focalistic has teamed up with adidas to portray the pressure of reaching the zenith of success. As part of adidas Originals’ continued campaign highlighting the role that brands cultural heritage has played in harmonising cultural waves locally, especially through the communities that have embraced classics like the Samba, Gazelle, and Handball Spezial silhouettes. 

Titled ‘Pressure’, the track is “inspired by the attitude to dismantle pressure, Foca has crafted a unique anthem blending elements of football heritage with the vibrant flair of amapiano music—a genre that resonates deeply with audiences worldwide. This collaboration marks a significant milestone, merging both cultural and sporting icons to create a distinctly South African music video to celebrate sport and the culture born from it.”

The music video brilliantly charts the synergy between athletes and artists, as they come together to reflect their experience of conquering pressure. Highlighting South African men’s football team captain Ronwen Williams, football legend Lucas Radebe, two-time rugby World Cup champion Damian Willemse, Olympians Akani Simbini and Boipelo Awuah, along with world-renowned fashion designer Rich Mnisi, musician Shekhinah, and numerous others, to name a few; this collaboration is reflective of adidas’ brand story of alleviating pressure for all who part of the brand family. 

As Foca describes on the vision for ‘Pressure’ , “growing up in the dusty streets of Garankuwa, Pretoria all I did was play soccer and score goals, I was Messi, I showed no mercy. Fast forward to today and I am not the best football player but I have used the same disciplines I learned from the game to score more hits and build a record label whose name was inspired by soccer “18 Area”. I am also blessed that my love for music has granted me the opportunity to work with brands such adidas, so when the opportunity to fuse sports and fashion through music came about, we created “Becha” , a celebration of sports and culture. I hope this song will inspire and bring hope to those who are under pressure.” 

Rooted in their brand code, Adidas understands that their role in nurturing the cultural continuation of South Africa involves encouraging athletes and partners to tap into the joy that initially fueled their talents –  so that they can continue to express themselves freely, while reaching new levels of notoriety and achievement.

CREDITS /// 
Creative Director – Ashley Benn
Senior Strategist – Eden Toohey-Ogle
Concept Lead – Dune Tilley
Director – Monde Gumede
Producer – Chris Coetsee
Production Assistant – Lesiba Maleta
1st Assistant Director – De Villiers Fourie
DOP – Fabian Vettiger
Art Director – Sandile Mhlongo
Props Master – Papi Konopi
Props Assistant – Sizwe Mhlongo
Wardrobe Stylist – Amy Zama
Stylist Assistant – Nadia Omar
Stylist Assistant – Lesedi Mpotsang
Make-Up – Lungile Ngema
Make-Up Assistant – Nthabi Tshabalala
Hair Stylist – Mimi Duma
Written by: Holly Beaton
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za