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 | Lifestyle, News

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

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.

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

CHIMI eyewear announces the limited edition launch of ‘Anticipation’, a custom collaboration with footballer Paul Pogba

Jun 24, 2024 | News, Fashion

CHIMI, the Swedish contemporary eyewear brand, announces the launch of ‘Anticipation’: a custom collaboration with World Cup winner and professional footballer Paul Pogba.

Inspired by Pogba’s current state-of-mind as he awaits life-changing verdicts, the capsule drop is about honouring the journey of life; the highs and lows, victories and setbacks.

The campaign is rooted in the feeling of moving between darkness and light, gloom and joy, failure and success – and a readiness to experience whatever is next. It features the only filmed first-hand account from Pogba about the February 2024 ruling.

Charlie Lindström, co-founder and Creative Director at CHIMI comments: “It has been an entirely unique experience working closely with such a lovely spirit like Paul on the Anticipation collection. CHIMI represents characters of all kinds and the duality within them. This includes the people who have stumbled and those on a journey to reclaim their narrative. We are really proud of how the campaign captures the highs and lows of life – and a readiness to experience whatever is next.”

Paul Pogba comments: “It’s been fantastic to work with CHIMI and Charlie on making our vision come to life with Anticipation. While I’m currently laser focused on my ongoing off-field challenges, getting this opportunity to keep my mind busy and express myself creatively has been a welcomed addition to my current day to day.”

Made from bio-based plastic with nylon lenses, Anticipation takes inspiration from Pogba’s expressive style with metal trims giving nod to his signature hairstyles. The glasses are available in black and yellow and come with a customized hard case. The Anticipation capsule collection is priced from R4 299 and sold in a limited edition quantity exclusively via CHIMI’s website.

Named the most expensive player ever in 2016 and hailed the best midfielder in the world, Pogba is one of the most famous footballers of his era. He denies all accusations and has appealed the recent ruling to the Court of Arbitration for Sport.

Press release courtesy of Avenue PR

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

Morena Leraba release their remix album ‘Fela Sa Ha Mojela’

Jun 24, 2024 | New Release, Music

With a psychedelic fusion of sounds, Morena Leraba is a musician and band from Lesotho. Released by The Good Times Co. Morena Leraba’s acclaimed EP “Fela sa Ha Mojela” gets a vibrant makeover with fresh remixes spanning a range of genres. Collaborating with artists, their aim is to expand their reach and build Morena Leraba’s fanbase. The deluxe edition combines the EP and remixes, featuring a cover design that seamlessly blends the original EP with the remixes. 

The recording artist and sound theorist Warrick Swinney (Sony), who doubles as a fictional music collective known as the Kalahari Surfers, brings beats and bass to his remix of “Ho Sama Sama”, the opening track on the 2023 release.

Listen to ‘Fela sa Ha Mojela’ Here

Connect with Morena Leraba: Instagram, Spotify, Facebook

Press release courtesy of Good Times Co.

South African art collective, Kutti, on centering connection above all else

Jun 24, 2024 | Interviews, Art

Reflecting the tensions and harmonies of what it means to be ‘between-worlds’ – and in turn, inhabiting one’s own world – renders the experience of being in a diasporic community a kind of living revelation of cultural hybridity. South Africans of South Asian and Indian heritage are an expression of this dynamic interplay – and it’s precisely this nexus point, the place of negotiation and articulation of a multi-faceted expression, that Kutti Collective was born. A group of six artists living between Cape Town, Durban and Johannesburg, Kutti is a home for each artist who, by virtue of their relationality with one another, demonstrate what it can be to exist outside the confines of prescriptive identities in any one society – and honestly, they’re just have fun doing it. 

The collective’s name ‘kutti’ is simultaneously a derogatory slang word in Hindi and Punjabi translating to ‘bitch’ and in other dialects, a term that means ‘darling’ – and the members, each abide by the reclamation of their individual and collective identities through the use of this word, as a symbol for their collective intentions, and the dualities that a single word can hold varying meanings in varied contexts. As the group previously shared in their portrayal for Document Journal, lensed by Caroline MacKintosh, “we are simultaneously reflecting and engaging with our identities through our past and present experiences and traumas. But we are also ultimately transcending what that expected ‘Indian’ experience is, or what it should look like, through our art and our lives.” 

Kutti is composed of nightlife creator, writer and club kid, Tazmé Pillay, artist and painter Akshar Maganbeharie, interdisciplinary artist Saaiqa, writer, collage and zine-maker Youlendree Appasamy, and artists Tyra Naidoo and Alka Dass. As Saaiqa explains, “I’m an interdisciplinary artist, and I draw from different aspects of my knowledge base. I studied journalism and then branched into photography, which led me to the art scene, firstly through conceptual photography until I pushed myself to work with other mediums. My thematic focus is around mental health and the psychological landscape we traverse as human beings, intersecting with identity politics.” Akshar notes that, “I’m an artist and a painter. My work is very abstract – I draw inspiration from pop culture, and autobiographical experiences, and how those two interlink. My work is more of a visual experience than it is a verbal experience.” Just this contrast between Akshar and Saaiqa cuts away at any notion that there might be similarities in the group’s work, and it is precisely the nuance of each member’s individual practice that informs the full measure of Kutti.

 

Artwork by Tyra Naidoo, “Untitled XI Medium”, Henna on Fabriano Rosaspina (575 x 425 mm), 2023

Artwork by Youlendree Appasamy, “Archive Failure Medium”, mix media collage, 2024.

On the formation of the collective – and like any good, modern-day origin story goes – Akshar explains that Kutti was born when, “I woke up one morning and I was added to a Whatsapp group. It started as a network of South African Indian artists and creatives. Alka and Tyra started the Whatsapp group, and it ebbed and flowed from there. We started doing projects together towards the end of 2019. We weren’t planning on making anything together – the space really started as a support system, because we had found that there wasn’t a lot representation of South African Indian artists in the creative and art industries in South Africa. It was really nice to have that point of connection and relation to each other.” What strikes me in our conversation is the realisation that the collective is first-and-foremost a refuge for each of its members. In collectivisation, each artist has found a way to navigate the complexities (and often, the perplexities) of being artists in an creative landscape that so often demands our personal legitimation through the altar of personal branding and individualistic sacrifices.

The collective has become a foundational part of each member’s lives, as Saaiqa shares, “we didn’t really know what we were doing at the beginning. We did Document Journal in 2019. Once COVID happened, we actually all had the time to regularly meet on Zoom and discuss both our personal experiences, and ideating what it was that we could do as a collective. A few opportunities came our way that year and it started the flow of how we could present and work together. It’s amazing, actually, that it was a Whatsapp group to begin with, and now we’re able to engage in different collaborations and works.”

There are two unifying threads between each Kutti member – their diasporic and queer experiences. Each member holds the vast multitudes of these threads, in deeply varied ways, and as Tazmé shares, their group dynamics has offered a liberation among each other, to share in the profound and complex experience of being South Africans of South Asian descent; “I think the idea of South Asian heritage is something we have explored or thought more about since coming together. Personally, it wasn’t something that I was majorly influenced by or in conversation with – I was acting a lot in drama school and performing a lot of South Asian characters but I hadn’t really yet recognised how important my culture was to my work. The collective has been a space that was safe enough for us to explore what a major and inherent part of who we are, and our South Asian heritage, especially in terms of our practices. I mean now, I DJ Bollywood music in a sari! That freedom, to explore my culture without compromising my identity or myself, is drawn from the safety and connection of our collective.” 

Artwork by Alka Dass, “Flame flower Medium”, Cyanotype, thread & wool drawing (51 x 37cm), 2023.

Artwork by Saaiqa, ” ڈائن  Witch”, Fake Birkin Bag, Acrylic, 2020.

Akshar goes on to explain that Kutti has evolved in response to their knowledge-sharing and contemplations, saying that “initially, we had thought of using ‘Desi’ as a way to describe ourselves. It’s kind of uncommon to use in a South African Indian context. I’m more South African than I am Indian, my ancestors are South African, and we are from a culture that’s very unique to the context of being in this country. We are more reflective of our own thing, than a clear link to India.” while Saaiqa notes that, “we learn a lot about ourselves through each other. It’s quite an emotional and special thing. We might be all South African Indians, but we come from a variety of social and class dynamics, and our experiences are so nuanced.”

Gayatri Gopinath, preeminent scholar in feminist, queer and diasporic studies, uses the term ‘queer aesthetic practice’ in her book ‘Unruly Visions’ to explore how such expressions of art by the hands of diasporic artists, like those within Kutti, share in a unique positionality that can subvert dominant cultural narratives and challenge normative constructions of identity and belonging through a very, very specific ‘queer optic’, born from the materia of the cultural hybridity as experienced by said diasporic community. It is perhaps why, when viewing Kutti’s archive on IG — and anything the collective does – it is difficult to articulate its brilliance and originality. This is because the group’s dynamics, and individual work, is a vision of something entirely new. It is an optic being born before our eyes – and we are among the first to witness it as an articulation of 21st century, South African Indian creative expression. As Tazmé says, “I definitely compared the experience of being part of a diaspora to the experience of queerness, in the sense that it’s this strange thing where you exist in a liminal space of existence. It’s neither here nor there. It’s living beyond the present. Diasporic identity is interesting. I grew up with elders that held very tightly onto tradition, and as you grow you start to learn that these things aren’t actually the things that are happening today in the place that we originate from. Some traditions are carried on in diasporic contexts as a way to community-build and hold onto a memory of something. It’s almost like practising a queer form of tradition.”

I ask Tazmé, Akshar and Saaiqa how their queerness has informed Kutti as a group – to which Tazmé counters that, “it just so happens that we all are queer!” while Saaiqa  notes that, “it wasn’t something we discussed in the beginning. There’s no pressure to make these kinds of declarations – we just get to be who we are, whether it’s quite explicitly and whether it’s not. That happened quite naturally. We don’t have to always speak on it, we can just exist as people containing the multiplicity of our identities,” and Tazmé explains that, “we’ve definitely all shared a frustration of ‘living our labels’ within the creative world. With each other, we’re just artists.” 

Members of Kutti Collective: Akshar Maganbeharie photographed by Caroline McKintosh, Alka Dass Photographed by Caroline McKintosh, Portrait of Saaiqa Ebrahim by Hanna Thrul, portrait of Tazme Pillay, portrait of Tyra Naidoo and portrait of Youlendree Appasamy.

Whether its their showcase as a collective at RMB Latitudes art-fair earlier earlier this year, or Kutti’s upcoming collaboration in November with Joburg’s coolest Indian restaurant, Mother-In-Law, the collective are not bound by any particular vision ahead. Instead, they embrace the natural flow of connectivity as it comes their way. Regarding the event with Mother-In-Law – set to be their biggest collaboration to date – the Kuttis will be collaborating with MIL and chef & food creator, Yoraya Nydoo, conceptualising and curating a three day festival in which music, party, food and art all intersect. The events will take place in Johannesburg in November and will be infused by themes of nostalgia and community, and announcements will be made soon. 

Kutti’s connection as a group remains their guiding compass – and when opportunities arise, they decide whether it’s a fit, “there’s no plan or strategy to what we do. We each have such intense individual practices, so it’s great that the collective functions in a flow that changes – it waxes and wanes, some people have capacity to take more on for a certain project, and others for another project. We respect what each of us needs as human beings and individuals, ” says Tazmé and Saaiqa notes, “and we approach everything in a very DIY way!” How freeing, then, to be a community that embraces spontaneity and collective synergy, above all else?

Kutti Collective collage by Youlendree Appasamy

Written by: Holly Beaton

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

Jaz Karis releases her Single “Tequila” featuring Reekado Banks

Jun 21, 2024 | New Release, Music

South London R&B artist Jaz Karis has released her new single “Tequila” featuring Reekado Banks – taken from her first full length album, SAFE FLIGHT, which will drop on September 20th. 

With a sultry island beat and complimentary influences of amapiano and afrobeats backing Jaz’s vocals, “Tequila” showcases the singer’s versatility and powerful vocal range. Over the refrain of “No distance from my baby, don’t you complicate it,” Jaz and Reekado sing to the beginnings of a relationship which is set to withstand time zones and miles.  

Of the track, Jaz shared, “This song is for honeymoon stage lovers. I wanted to make a song that felt as good as I did inside, something warm & exciting that describes the feeling of when you first realize you’re falling for someone. I was so happy to have Reekado Banks join me for this, as I was already such a huge fan of his work and he just added perfectly to it. We shot the music video in beautiful Barbados & being from the Caribbean myself, that really felt like home to me. We wanted the visual to match the warm, sultry vibes of the song hence why we went for a tropical setup. I hope this song brings you the butterflies and smiles I had whilst writing it.”

Listen to “Tequila” Here

Press release courtesy of Be Music