Were we collectively brainwashed by the Mean Girl trope?

Feb 27, 2024 | Lifestyle, Community

We know her so well. She’s gorgeous, she’s wealthy, she’s smart, she drives boys crazy, and above all, she’s the absolute worst. She’s the Popular Mean Girl in every teen movie we grew up watching, and she’s completely made up. Despite her not existing, this archetype has stuck around for decades, still being used today in movies, series and reality TV; so implanted in our minds that we’re convinced that her real-life incarnation must be out there somewhere, waiting to pounce and make us feel bad. Despite feminism, pop culture and representation making so many progressive strides, why is the ‘Popular Mean Girl’ so indelible and why the hell was she created in the first place?

What is it that makes this character so quintessentially her? She’s stereotypically beautiful of course, but she’s also really f*cking mean. From one of her first iterations, embodied by Heather Chandler in Heathers to Chanel No.1 in Scream Queens; she’s tall, skinny, white, and she has salon-quality hair styling every day despite being in high school. She’s also always rich –  and not in a ‘quiet luxury’ kind of way. We’ll see ostentatious shots of her family’s massive suburban house, her fancy car – often convertible sports cars (it was the 90s), her huge bedroom and bed, and most obviously, her incredible wardrobe. 

Not only does this character have the most enviable clothes, she also has the style and glamour to match. Sarah Michelle Gellar’s Kathryn in Cruel Intentions was more chic as a high schooler than most 30-somethings (please note, she also wore a rosary that was stashed with cocaine – in what world?!) as were the likes of Blair Waldorf and Regina George who followed in her footsteps.

She’s got a couple of minions who are undyingly loyal – if they aren’t, the consequences are brutal. The purpose of these helpless women with zero self-determination is always to show how powerful or exceptional our Popular Mean Girl is. For some reason, this is also demonstrated through the power walk. Strutting down the school corridor in formation is canon – remember Rose McGowan cat walking down the hallway in Jaw Breaker? This had girls all over the world trying to master the slow motion walk.

(Jawbreaker 1999)

She’s proudly sexually experienced – the highest form of street cred according to American high school movies. The Popular Mean Girl is extremely and openly sexual towards men but never labelled a slut. However, should any other girl reveal their sexual exploits, they are labelled a slut by her. Get it? Lastly – she is violent. In every type of way. This ranges from your regular mean girl stuff like reading you for filth in front of your whole high school, to mid-range evil activities like spreading rumours about you, to physical violence like shoving you out of her way, and hilariously often, it includes literal murder. From Jawbreaker’s Courtney Shayne to Riverdale’s Cheryl Blossom, it’s shocking how often this girl does crime without blinking an eye. 

As much as you root for her downfall at the end of the movie, you also can’t stop watching her. For every scene that makes you understand how selfish and misguided she is, there’s one that makes you covet her hair, or skirt, or boyfriend. 

Somewhere along the way, she wasn’t just a movie character anymore. From quoting her sassiest lines to each other at school breaks to gossiping about which popular girl is our very own version of her, to knowingly or unknowingly adopting some of her characteristics to be summoned from within if or when the social situation calls for it – she became a part of our lives and our understanding of womanhood.  Even though we know logically that these characters are exaggerated and unrealistic and we ourselves can’t be anything like her, we can’t shake the memory that at some point, she was who and what we wanted to be. And if we didn’t want that for ourselves, we knew someone who did.  

To get into the discourse of it all, the Popular Mean Girl trope is a caricature fuelling internalised misogyny in all of us. Ironically, she’s often written by men. As much as we know that she is an exaggerated and unrealistic movie character, she is so ingrained in our minds that it feels like surely some of her must be real – and must be present in real women. Hollywood has pulled this long-con on us over decades, in an act of what we would now call next-level gaslighting. This archetype made us feel bad for not being unrealistically beautiful, rich or thin but more than that, did it encourage an era of bullying that caused more damage than anyone could have expected? These movies told us that being mean is what made you popular – we can’t help but wonder what this did for the psyche of teenagers growing up?

Alamy Licensed Image, Mean Girls 2004, Paramount Pictures film

The ‘mean girl’ character was also almost exclusively played by white women. This is unsurprising, as it’s only in recent years that Hollywood has started to address inclusive and accurate representation. Presenting the The Mean Girl Archetype as exclusively white was particularly harmful in perpetuating distorted and inaccurate beauty standards; it insinuated that to be white and to be horrible – was to be cool or to be worthy. Writing that out feels so insane – the mental gymnastics we had to do to even make that make sense!

For young girls of colour, this portrayal can reinforce incredibly harmful ideals of beauty and race; particularly in the formative years of self-esteem building, such as girlhood and teenhood. It sounds weird to say we deserved more brown Mean Girls in movies – but yes, villains need diversification too.

A lack of representation, especially in a character that felt so vital when we were growing up, is deeply alienating. If there was a pecking order (imaginary or real), it meant that you were at the bottom automatically. For brown girls who went to predominantly white schools, real life and movies could become dangerously conflated.

In 2002, Rosaline Wiseman published her book “Queen Bees and Wannabes”. This book was written for the parents of teenage girls and specifically focuses on the ways in which highschool girls formed cliques and advised parents on how to handle patterns of aggressive behaviour. Though it is hard to measure exactly how influential these characters have been – speak to anyone who may have been a high school girl at one point and they’ll describe a similar experience: of seeking unattainable beauty standards, the fear of gossip and rumours, the fear of social exclusion or ostracization – and finally, competition between girls in the pursuit of the male gaze. Whether these were purported by real people in their school experience or resultant anxiety from pop culture, to say that the mean girl trope was almost a cultural phenomenon is truly an understatement. 

Wiseman’s book is a New York Times bestseller and has since been updated, now on its third edition. The book was also used by Tina Fey as the premise for the 2014 movie, Mean Girls; the movie that we all know and love (and now recently re-released), which was the first time a high school teen flick felt remotely relatable by offering a point of view by the ‘underdogs’. It was the first of its kind that called out and exposed the characters’ tactics through showing a less than glamorous fall from grace, casting the trope – most embodied by Regina George – as a caricature rather than someone to be envied. This brought some kind of redemptive justice for anyone and everyone who has been targeted by the ‘mean girls’ in real life, shattering the grip that this character had on girlhood during the 2000s.  

Since then, we’ve seen more Popular Mean Girls that we can sympathise with, and even root for. In Jennifer’s Body, Jennifer starts out as the typical hot cheerleader who acts as a bully to her Nice Girl best friend Needy. But with its body horror plot, her character is a lesson in how toxic masculinity and male aggression doesn’t discriminate.

Alamy Licensed Image, Cruel Intentions 1999

On TV, mean girls like Glee’s Santana and Euphoria’s Maddy not only represented girls of other races, but also came with back stories and contexts that we could understand if not empathise with.  

Most recently, movies playing in the teen drama genre are blurring the binary of tropes completely. In a hilarious and heartwarming twist, Bottoms makes the good girls the assholes and the hot girls the sweethearts. 

The ‘Popular Mean Girl’ is finally getting the much-needed makeover she’s needed, and her future is looking bright. Do you love her, or do you hate her? 

Editor’s Note: Coincidentally whilst editing this piece, I discovered The New York Times’ ‘Critics at Large’ podcast titled “Why we can’t quit the mean girl” – for a deep delve and brilliantly articulated conversation on the discourse of the mean girl trope, I highly recommend giving this a listen.

Written by: Devaksha Vallabhjee

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

HAN Ceramics on Clay’s Biomorphic Potential for Self-Study

Feb 26, 2024 | Interviews, Art

Ceramics have been having a moment. In the design space, few objects demonstrate as much reciprocity between form and function – design’s golden rule – nor are many objects as accessible for collectors, curators and makers, alike. I am not sure ceramics have ever been irrelevant; perhaps just less central in the mainstream, as society forged ways to mass-produce what we need. As the most enduring craft traced back to our prehistoric origins, the act of shaping and firing clay appears to be fundamental to the artistic expression of human beings. It is no wonder that ceramics and pottery are some of our most important archaeological footnotes of the past; telling the tale of people, places – change, community and community. For Hannah Massey, her pathway into ceramics has been both an extension of her background in interior design and a natural consequence of her creative curiosity. Interestingly, ceramics have entered her life to be both her professional expression – and the site of her deepest healing and self-acceptance. As the ceramicist behind HAN Ceramics and her new studio, Hannah Massey’s journey articulates  the power of clay: and the act of surrendering to something as materially earthen as this substance, as raw and direct that any artist could ever hope to connect with.

In our conversation, Hannah shares that “before ceramics, I was in interiors and had an interior decorating business. During lockdown, it got very quiet and I was searching for ways to fill my time. I started helping a family friend with her ceramics classes. I eventually  started taking the clay home and bringing more and more things back to the studio for her to fire!” I ask Hannah what is is about clay that she found so striking – to point where it has become a central mode of creative expression, to which she notes that “there’s a freedom that I have with clay that I felt I didn’t have with drawing or painting; I would become too perfectionist about it, and there was no ending or sense of completion to it. Whereas, when I’m building a vessel or an object; I know the end product and precisely what I want to achieve. It’s out of my hands when I give my pieces over to the kiln and I just have to trust the outcome,” and that “with clay, there’s something so tactile and I love how it moves and changes shape. I love to see the ‘maker’s marks’ in ceramics; the trace of hands having made pieces, directly and personally. You can’t help but put yourself into it, in some way.”

HAN STUDIO photographed by Anke Loots, Styled by Jeremie Bisimwa

Within a ceramic vessel excavated throughout periods of history; we find many layers of distinctly human expressions. We find utilitarian purposes, decorative development for culture, status-symbology and ritualistic, spiritual purposes. We can track the orientation of people who existed and how they sought materials such as clay to pronounce that they were here, part of this world.  Underpinning all of these uses and extensions is community; that invariably, ceramicists have always worked in union. On this, Hannah comments that “Yes, in my experience, the ceramic community is supportive, because we have this fascination for the shared crafting of clay. When I started working professionally with ceramics, I was working from a studio with other people and it helped so much with figuring out problems and progressing forward.”

On the fluidity of the ceramic process, Hannah explains that “my process starts with pen and paper – I sketched everything out – and invariably, I throw that in the bin once I start making and it completely changes! Overall, it’s the first form, for me. In the beginning, it’s entirely about something that is expressive of oneself. With a business, it becomes a balancing act of creating to serve an audience or customer-base; while maintaining that foundational integrity, and ensuring the pieces have their own mark or personality. I move forward with a piece if that essence is clear and fits into the overall expression of my work.”

On the curious presence of clay as a site to explore her own self – existentially – Hannah shares that her pieces are derived from a confrontation with vulnerability, as if her innerworld requires clay to bring itself about in reality; “there’s an ‘H’ motif that is incorporated a lot throughout my work. All of these forms come from something in my own psyche. Certain vessels look like little aliens to me- though I’m not sure if anyone else would see that – and it works as a symbol of how I have felt alien in my own body. There is a healing in making light of my past, by transferring these feelings and memories into a tangible object. Some other shapes – like the ones with ‘pot bellies’ – are a metaphor for the acceptance I’ve gained for myself. I love that they have marks of the female form; a celebration of the lumps, the cellulite and curves. They’re a love letter immortalised in the clay for women.” I note to Hannah that her expression is an ancient lineage expressed through a contemporary brand; if we think of one of the earliest clay pieces found, the sensuous and voluptuous, Venus of Willendorf; an upper Palaeolithic fertility statue dating some 20,000 years ago. Hannah says,“I think it’s instinctive for people to have this biomorphic, animate object when working with clay. I feel compelled to express these things. I am finding the balance to express the new impulses coming up – while needing to repeat works for the brand.”

HAN STUDIO photographed by Anke Loots, Styled by Jeremie Bisimwa

In just three years, ceramics have brought Hannah to an entirely new chapter in her life. “Last year, I opened HAN Studio in Loop Street. It’s where I work and fire, while serving as a showroom. I am happy to have taken this huge leap! Being visible has introduced me to so many incredible people – and has totally transformed what I am doing now, which is collaborating with local designers and artists.”  

Recently, Hannah launched a ‘Wall Sconce’ in collaboration with NISH Design, released for Cape Town Furniture Week. Hannah reflects that “collaboration has pushed me so much creatively. It puts me out of my comfort zone and I realise what my capabilities are beyond what I thought might be possible. For Han Ceramics, I would really like to focus on bigger, sculptural projects – so hopefully I will find time to put two months aside to work on just one piece!”

As for the future? Hannah still regards the road ahead as full with much to work out; internally and outwardly, with clay as her guiding medium;“I think ceramics can be this amazing portal for people to express their identity and culture. I am really interested to see what we can do for sustainability in the future. Clay is electricity intensive – and although the outcome holds longevity – I think there is a lot of potential around what we can do with clay waste, glaze and plastic waste, too. I have been saving plastic for ages now, hopefully to collaborate with Pia Trascott on something. We will see!”

Written by: Holly Beaton

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

Rising Afrobeats singer Khaid releases latest track ‘Run Away’ ft. Gyakie

Feb 23, 2024 | New Release, Music

Rising Nigerian afro-fusion singer and songwriter Khaid is kicking off 2024 with a bang as he releases a brand-new single titled ‘Run Away’ ft Ghanaian songstress Gyakie.

‘Run Away’, is a track ft afro-fusion artist Gyakie which explores a heartfelt story of love. Khaid is telling his love not to run away and how he can give her the world, whilst Gyakie tells the female perspective of this rollercoaster called love. Diving into themes of love in time for Valentine’s Day, Khaid & Gyakie give us a beautifully written song which they deliver with such passion and full of soulful melodies from both artists you feel like you’re watching a movie. Gyakie says, “Thrilled to be a part of this emotional journey with Khaid! ‘Run Away’ is more than just a song; it’s a raw and authentic expression of love’s imperfect journey. Join us as we unravel the complexities of love, redemption, and the enduring power of heartfelt confessions.”

About Khaid
Fast rising star Khaid made his official entry into the music industry with his hit single ‘With You’ which made Apple Music’s Top 100 Songs of 2022. Khaid started nurturing his music abilities at 12, doing freestyle videos and performing on the streets of Ojo, Lagos State, Nigeria. There he was discovered by Sydney Talker, one of Nigeria’s biggest content creators and founder of Neville Records. With over 80 million streams on all platforms already, Khaid is said to be the ‘Next Big Thing’ considering his discography and achievements at just 18 years of age.

 
Connect with Khaid
Instagram: @Khaidxr
TikTok: @khaidxr
X (formerly Twitter): @khaidxr
YouTube: @badboykhaid
Spotify: Khaid

Connect with GYAKIE
Instagram: @gyakie_
TikTok: @Gyakie
YouTube: @GyakieMusic
X (formerly Twitter): @Gyakie_

Listen to ‘Run Away’ HERE 

Press release courtesy of Sheila Afari PR

Nyota Parker ‘MIDST’, a track showcasing her soulful exploration of resilience

Feb 23, 2024 | New Release, Music

Nyota Parker, the eclectic Hip Hop and Neo-soul artist,  unveils her latest musical endeavor, “MIDST,” a poignant exploration of the enduring connection between an artist and their craft. Produced by the talented Stoic, the emotionally captivating, drumless, and slow-pulling beat provides the perfect backdrop for Nyota’s introspective journey.
In ‘MIDST’ Nyota delves into the profound theme of music always finding its way back to its creator. This soul-stirring track reflects on the challenges of creative blocks and daily life struggles, emphasizing the resilience and unwavering connection between Nyota and her art. The slow-pulling beat creates an immersive sonic experience, drawing listeners into the labyrinth of Nyota’s introspective exploration.
Nyota intricately weaves a narrative that contemplates the often-overlooked reality of posthumous recognition and legendary status. The lyrics subtly name-drop influential artists, seamlessly integrating their names and iconic song titles into the verses. Through poignant storytelling, Nyota emphasizes the guiding force of music, offering solace and understanding in the midst of despair and indifference.
The beat for ‘MIDST’ is masterfully crafted by the renowned producer Stoic beats, known for his ability to create evocative and atmospheric soundscapes. The collaboration between Nyota Parker and Stoic beats promises a musical journey that transcends conventional boundaries, blending introspection with a captivating sonic experience.

About Nyota Parker:
Nyota Parker is a multifaceted artist known for her distinctive blend of Hip Hop and Neo-soul. Her music explores themes of resilience, self-discovery, and the profound connection between an artist and their craft.
 

Listen to ‘MIDST’ HERE

Pre-add the Album ‘INTRUSIVE THOUGHTS’ HERE, out March 28th.

Connect with Nyota Parker:
Instagram: @Nyotaparker
Website: Nyotaparker.com

Press release courtesy of Sheila Afari PR

Project Gemini drops their latest single ‘Colours and Light’

Feb 23, 2024 | New Release, Music

Out via Mr Bongo, Project Gemini’s single ‘Colours and Light’ is the brainchild of producer and journalist Paul Osbourne. Think 60’s psychedelic meets 90’s baggy meets modern psyche funk/jazz with a cinematic overtone; as the first release from their album, also titled ‘Colours and Light’, due to be released in April 2024. 

Paul’s reverberating vocal refrains draw you in from the get-go, with the cauldron of folk-flavoured guitar, earthy bass and ethereal organs providing a ritual of resonance. Jack Sharp of Wolf People/Large Plants fame stands front and centre, leaning into that rock-tinged feeling with an expertly constructed guitar solo. Creating the breakbeat foundation, Sababa 5 drummer Raz Man and percussionist Paul Elliott from Eleven 76/Call Sender work in unison to conjure up a captivating groove. 

‘Colours & Light’ gives an alluring insight into what’s to come on this much-anticipated follow-up LP. Moving deftly between light and shade, through folk, psych and hazy funk, whilst being artfully enveloped in Paul’s signature cinematic style.

If 2022’s ‘The Children Of Scorpio’ was the debut album that turned people on to the world of Project Gemini, sophomore LP ‘Colours & Light’ is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy funk.

Listen to ‘Colours And Light’ HERE

Press release courtesy of Only Good Stuff

3three3 releases deep dub cut titled ‘Psalms’, with a reworking by Liondub and Rob Paine

Feb 23, 2024 | New Release, Music

Philadelphia’s Worship Recordings returns with a deep dub cut titled ‘Psalms’ by 3three3, presented with a dancefloor reworking by Liondub and label boss Rob Paine. 

3three3 is a mystical mystery of dub music. The members of this shadowy trio prefer to keep their identities hidden in fear of the Babylon institutions infiltrating their creative process. We’ve heard various rumours that one could be a direct descendant of King Tubby. Another one may have been Lee Perry’s assistant, somehow emerging from the smoking ashes of the Black Ark studio with a perfectly intact Echoplex tape delay unit. Unfortunately we may never know the truth, so the truth must be sought within the music itself.  

‘Psalms’ is a hypnotic and spiritual electronic dub track, filled with warm fuzzy analog atmospheres and conscious spoken word lyrics, spirits raised in prayer to the most high. Respected New York producer Liondub invited Rob Paine to his Bedford NY studio, where the pair served up a straight-up dancefloor revision of ‘Psalms’, piercing the smoke-filled atmosphere of the original with powerful lo-fi effects and a heavy dubwise bassline.

Liondub & Rob Paine

“This truly was a mystical encounter with the elusive 3three3 producers” says Rob Paine,“As soon as I heard the original I knew it was going to be released on Worship. It represents the deeper dub side we issue every once in a while, weaving in between the house releases. This one is for the die hard Worship dub house/techno enthusiasts.” 

“Liondub has been a longtime friend and inspiration to me” Paine continues. “He is no stranger to the label, with a remix for Heights & Worship’s ’Teach Dem’ release back in 2015. Like me, Liondub doesn’t isolate himself to just reggae music. After years of trying to make our schedules line up we finally got together in the lab and banged out the remix for ‘Psalms’, making it a touch more dancefloor friendly.” 

Liondub notes that “I’ve always loved and respected Worship Recordings, and it’s been an honour to work with the label and alongside Rob Paine for well over two decades now. When I first heard ‘Psalms’, I was immediately inspired by the track and its message. The approach for the remix was simple, and the process of crafting it with Rob in the studio came easily and came naturally. I’m very proud of this record, and know that it’s a great addition to my catalogue and powerful release for Worship’s catalogue of inspiring Dub House music.”

Listen to ‘Psalms’ HERE 

Press release courtesy of Only Good Stuff

TRESOR’S 500 acre luxury farm and creative haven, ‘GOMA’, is his most ambitious project to date

Feb 22, 2024 | Lifestyle, News

Multi-award-winning musician and businessman, TRESOR, announces his most ambitious project to date, GOMA, a 500 acre state of the art luxury farm and creative haven unlike anything seen on the continent.

“I am so blessed to announce the acquisition of a sprawling 500-acre farm nestled in the Cradle of Humankind, a place close to my heart. In homage to my beloved hometown, I’ve christened it GOMA. But this is just the beginning of a grand vision,” shares TRESOR.
With plans to build restaurants, an outdoor amphitheater, a recording studio, an art and exhibition gallery, a designer boutique hotel and few venues for special occasions. GOMA is a place to come and wind down and enjoy slow living. It will also serve as the headquarters of TRESOR’s Jacquel Group.

Tresor’s Farm, GOMA, photographed by Aart Verrips

“GOMA won’t be just another farm; it will be a beacon of luxury and creativity, a sanctuary where dreams in lifestyle, music, fashion, film, visual arts, and emerging technologies converge and flourish. It’s a space crafted by us, for us, where innovation knows no bounds,” shares TRESOR.
He adds: “To bring this vision to fruition, I’ve enlisted the expertise of renowned architect Luis Mira. His portfolio speaks volumes, and I’m confident our collaboration will be nothing short of extraordinary. Together, we’ll breathe life into my architectural dreams for GOMA, creating an iconic masterpiece that stands the test of time.”
Following the announcement of his R100 million Jacquel Ventures investment firm last November, GOMA marks the debut investment under Jacquel Ventures and is set to be a 3-year long project where R30 million will be invested to bring it to life.
With upcoming investments in tech and consumer brands, make sure to connect with TRESOR online for more news on his African business investments.

Open Studios photographed by Sarah Keogh

Connect With TRESOR
Facebook: @tresorofficial
Twitter: @tresorofficial
Instagram: @tresorofficial
Connect with GOMA
Facebook: @Goma.Living
Twitter: @GomaLiving
Instagram: @GomaLiving
Website: www.gomaliving.com
Connect with Jacquel Ventures
Facebook: @JacquelVentures
Twitter: @JacquelVentures
Instagram: @JacquelVentures
Website: www.jacquelventures.com

Press release courtesy of Sheila Afari PR

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

Louis Vuitton launches the Spring 2024 Men’s Capsule Collection in collaboration with Tyler, The Creator

Feb 22, 2024 | News, Fashion

Louis Vuitton launches the Spring 2024 Men’s Capsule Collection in collaboration with Tyler, The Creator. Offering an extension of Pharrell Williams’ vision at Louis Vuitton, the Men’s Creative Director invites his long-time friend and collaborator Tyler, The Creator to conceive a standalone proposal for the Maison. The capsule collection exercises the savoir-faire of Louis Vuitton through the artist’s inimitable creative lens and serves as a demonstration of the LVERS community: a global artistic network connected by an appreciation for the discernment and craftsmanship core to Louis Vuitton. The collaboration builds on the ongoing relationship between the Maison and Tyler, The Creator, who most recently composed the soundtrack for its Fall-Winter 2022 Men’s Show. 

The collection stages an instinctive union between the visual universes of Tyler, The Creator and Louis Vuitton: a fusion of the signature preppy sophistication popularised by the artist with the elegant dandy dressing established by Pharrell Williams at the Maison. It is expressed in trans-seasonal silhouettes founded in the colours and functions of Spring. Melding Tyler, The Creator’s iconography with that of Louis Vuitton, the emblem of the collection is a Craggy Monogram hand-drawn by the artist himself. Rendered in chocolate, vanilla and pastels, it evokes the creamy colours and liquefied textures found in the patisserie. Hidden within LV Flowers are representations of daisies and Airedale Terriers, recurring motifs in the visual universe of the artist. The uneven shapes of the Craggy Monogram are echoed in lines and details throughout the collection.

The Craggy Monogram appears in preppy, elegant iterations such as a chocolate down jacket, a vanilla windbreaker, a denim jacket with matching denim pants and denim dungarees. A custard raincoat integrates details from the Maison’s trunks, while a leather varsity jacket is embroidered with a blooming logo. Collegiate knitwear materialises in a baby blue cable knit jumper with a craggy V-neck and cuff stripes, a preppy blouson, a blouson with a knitted contrast collar, a jacquard logo cardigan, and a pink fair-isle vest. Classic chinos and shorts with pleats and fold-ups appear alongside dandy-esque shirts adorned with graphics. Golf-inspired pieces crafted in Damier with a magnified chaine et trame texture in pink or grass-green take shape in a reversible windbreaker, a technical anorak and a zip cardigan. A green grass-effect fleece jacket features the Craggy Monogram. 

The grass-green Damier pattern is applied to the bag icons of the house embellished with pink floral-shaped leather charms and Airedale Terrier-motif lining. They include a Sac Golf and a mini cross-body golf bag, while a travel chessboard comes with chess pieces hand-sketched by Tyler, The Creator evoking melted chocolate. The Craggy Monogram appears across chocolate- or vanilla-coloured belts and bag icons of the Maison, including a Sac Chien dog carrier and a special-edition Courrier Lozine 110 trunk. The motif further animates five new bag shapes: an Envelope Messenger, an Envelope WW and an Envelope Pouch, as well as a Rush Bumbag and a dog-shaped strap bag. A Keepall and a pocket organiser manifest in light blue Epi XL leather, while accessories include an éclair-shaped pouch with chocolate-brown leather LV logo icing.

Shoes interpret the themes of the collection. The LV Dandy loafer is re-imagined in chocolate or black embossed Monogram leather with craggy seams. The LV Waves derby boot materialises in baby blue or pink embossed Monogram nubuck set on a craggy micro sole, or as a high derby in chocolate leather. The LV Waffle slide mimics the dessert after which it takes its name and comes in chocolate, pistachio or custard leather with an LV leather logo evoking melted butter. The LV Flower sandal in baby blue, cream or chocolate leather is adorned with icing-like Louis Vuitton letters. The LV Palace hotel leather slipper appears in the Craggy Monogram, which also features on an LV Trainer in chocolate, baby blue or pistachio leather. The LV Trainer likewise materializes in embossed Monogram nubuck leather and as a golf sneaker in grass-green Damier.

Caps, bucket hats and scarves adapt the graphics of the collection. Fashion jewellery includes chunky gold-effect high-shine metal chains set with colourful zircons, matching rings, and necklaces and bracelets adorned with Craggy Monogram high-shine metal links. Monogram Tribute sunglasses feature in pink, tortoise shell and black. The collection features a number of unique accessories, from a Craggy Monogram cereal bowl with a matching spoon to golf accessories such as a golf kit, headcovers, a golf box and towels, all rendered in the grass-green Damier pattern.

 “Tyler has been my close friend and collaborator for years and we’ve always connected on music and design. This collaboration is unique to Louis Vuitton because it’s a natural extension of our LVERS philosophy, building on our network of incredible artists and creatives. There are so many elements specific to Tyler built into these pieces and it’s been inspiring to see him hone in on his craft and collaborate with him for this Spring collection.” says Pharrell Williams, while Tyler, The Creator notes that “my main focus was making things I would wear all the time. I dress the same in a meeting as I do a performance or grocery store trip, so hand drawing the monogram felt like the perfect balance to me. The chessboard is one of the greatest things I’ve made and is definitely my favourite thing from the collection. The team was great to work with, it kinda felt like ‘Big’ with Tom Hanks. P has always left a door open for me, but I still can’t believe this one.”

Press release courtesy of avenue​

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

‘Breaking Down Walls’ with Open Studios – a studio showcase presented by RESERVOIR

Feb 22, 2024 | Art, Community

I often tend to think of creative studios as these abstract and mysterious spaces; almost like an ephemeral secret, best kept at a distance between creators and audiences. Processes, in many ways, are extremely private – even more so, sacred. So, when an inconspicuous building on Bree St opened its doors last week in anticipation of last week’s annual Art Fair Week in Cape Town; it felt like breaking the fourth wall, revealing artists, their work and the potential of a collective community. 

Initiated by RESERVOIR – “Open Studios” is a curatorial project and gallery by Heinrich Groenewald and Shona van der Merwe  – each floor of the event brought a different energy to fore. Castle House is home to nine floors of over twenty creative studios; and everyone was welcome to meander up and down the building, peering around corners and up staircases, to immerse oneself into the studio spaces of some of Cape Town’s best loved creatives. The experience felt like a brave new world, indeed.  

Usually, we see the final outcome of artists’ processes; for Investec Cape Town Art Week, this is even more true for an immense showcase, as a culmination of a year’s long journey for its exhibiting artists and participating galleries. Open Studios however, brought something entirely different to the table, by asking audiences and visitors to consider the very beginning of how they  might conceptualise the act of making. As Heinrich explains, “as an exhibitor at the fair, we are encouraged to initiate an event that will form part of the special VIP programme hosted by the Investec Cape Town Art Fair. It always promises to be an incredibly stimulating week, with events scattered all over the city, and beyond! We wanted to do something really special this year. Bree Castle House, where RESERVOIR is located, is home to nine floors of artist and design studios. And in the spirit of our ethos of collaboration, we thought it might be a wonderful opportunity to involve the entire building and open the doors to more than 20 creative studios.”

Open Studios photographed by Sarah Keogh

I found myself involved in speculation throughout the various floors. I wondered whether the different choice of studio space for creatives, whether compact and intimate or open and expansive, might reflect the intricate relationship between their creative process, personality, and artistic practices. I think of the cosy, shared space of multimedia graphic artist Natan Fourie and artist Robert Plotz on the second floor; laid back, like casual alcoves, existing in what might be their respective homes. Or, jewellery design studio OH MY GOSS and artist Madeleine van Manen on the fifth floor;  might these artists developed their process best in the quietude of confined spaces, needing  their work to evolve with a sense of privacy and introspection? 

Then, there was the wide-open first floor of AKJP’s Keith Henning; with AKJP’s newly established bar acting as an anchor while people view the stunning process-and-praxis of Henning’s iconic, totemic sculptures. AKJP is one of the clearest examples I know of the established connection between design and community in the city. Other artists with open-plan studios, who might thrive on collaboration and working methodologies that encompass engagement, were the sixth floor hosts Studio Jana + Koos, and the duoship’s respective solo expressions, as Koooooos and Jana Hamman, along with Ruschka Du Toit’s incredible study in foliage and form, and clay-focused gallery Art Formes. 

On how a concept like Open Studios can inform relationships between artists, designers and audiences, Heinrich explains that “the idea of the VIP programme is to localise attention from the art crowds visiting the fair to the gallery presenting the event. By utilising one’s access to such platforms to also provide opportunity to individual’s who would otherwise not be included in these moments is a way of fostering community, and as a result, adding to the abundance that is already available. There is no purpose in filling yourself with your slice of the pie, and letting the rest go to waste. There is always more to share. In return, we were delighted by the enthusiastic involvement from all the studios. Every space was transformed to welcome visitors and provide a unique offering.” 

For RESERVOIR, the evening formed part of a celebration of their year-long residence on the seventh floor of the building. Having initially begun as a nomadic gallery, their permanent space is currently showcasing Anna van der Ploeg’s ‘Shorter This Time’, accompanied by a dialogue co-authored by Lucienne Bestall, Thulile Gamedze, Zayaan Khan, Bongani Kona, Margie Orford, Karin Schminke, Keely Shinners and Anna van der Ploeg; notes read, “All language is a verb and that verb is a wish and that wish is God. Example: Make me into a breaking thing; break me into a making thing.” and “Language moves like water in the wind, it finds the simplest route while simultaneously turning into vapour and also being thrown off its gravity path. Language bends in ways that light cannot. In the cave, darkness; in the dark, words.”

Open Studios photographed by Sarah Keogh

To descend or ascend upon Open Studios was the question; I heard people deciding to take the elevator to the ninth floor and work their way down – we, instead, worked our way up. On the final and ninth floor, Morné Visagie and Water Dixon’s (Caitlin Warther & Wendy Dixon) space had become a house party – in between Visagie’s preview of his upcoming solo in Antwerp and Dixon’s signature, alchemically mineral pieces – the energy of Open Studios culminated in abandon of trepidation and courteous protocol. A relief – and perhaps the point – for the people and spaces behind the works – and certainly us, as the viewers. Breaking the fourth wall at Open Studios was a study in openness; from viewership to engagement, from distinctions to community. 

Participating studios include:
AKJP Studio, Jana + Koos, Marsi van de Heuvel, Pierre Vermeulen, Morné Visagie, Johno Mellish, Michael Tymbios, Kasia Stefańczyk, Nicholas Hales, Keith Henning, Water Dixon, Natan Fourie, Madeleine van Manen, Robert Plotz, Art Formes, YunYoung Ahn, Natan Fourie, Craig Cameron-Mackintosh, Gabrielle Guy, Ruschka Du Toit, Plan B Design, OH MY GOSS.

Written by: Holly Beaton

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

Everyone Experiences Imposter Syndrome – Here Are Some Tools to Overcome it

Feb 21, 2024 | Lifestyle

I think it’s only fair that I preface this article with an admission, of sorts. Beyond the mod hair, crop tops, tattoos, cowboy boots and endlessly snarky remarks about the state of society – and in the shadow of pretentious love for Paris, Texas, Gaspar Noe and only taking photos on a point-and-shoot – I have not been completely honest with you. See, behind the carefully curated character I have painstakingly cultivated and presented publicly, is a boy who only recently feels like he’s become a man—a man who, more often than not, doesn’t like himself or his work very much. I struggle to find the words to explain the sheer amount of dread I experience when my work gets sent to my editor for review and is published for you all to read. Seldomly, I am pretty proud of what I have produced, proud of the prose used, all musical in its makeup and filled to the brim with anecdotes and tangents that, at least to my mind, make my writing human. This, however, is an exceedingly rare experience as, more often than not, the submission and publishing of an article only conjures up a singular sinking feeling, a sequence of self-talk that goes something like this, “It’s over, they’re all going to see that you a worthless piece of shit that has nothing of value to say. You’re a fraud, and they all know it. How embarrassing.” 

As I said before, I struggle to find the words, so I think I’ll borrow some that maybe some of you can relate to. On a rewatch of The Bear, in a particularly self-pitying state of mind after what I consider to be some of my worst writing, I was greeted by one of the best representations of imposter syndrome within my reading of it. Carmen (Jeremy Allen White) has a flashback of his time at his previous job in New York getting broken down by the Head Chef. The scene shows just how toxic an industry he finds himself in, but I always found the scene to resonate with the kind of self-talk I rather worryingly engage in regularly. 

HC: Why do you hire fucking idiots? Do you like working with fucking idiots?
Carmen: I’ll do better.
HC: Say, “yes, Chef.”
Carmen: Yes, Chef.
HC: Can you not handle this? Is it too much for you? Answer me.
Carmen: I can handle it.
HC: I can handle it, Chef.
Carmen: I can handle it, Chef.
HC: 12! 10! 36! Don’t fuck with my count!
Carmen: Fire 8, 13, 36!
HC: 3! 52! 14!
Carmen: Sorry, Chefs! 8, 13, 29!
HC: Why are you serving broken sauces? Why? I get it. You have a short man’s complex. You can barely reach over this fucking table, right? Is this why you have the tattoos and your cool little scars, and you go out, you take your smoke breaks? It’s fun, isn’t it? But, here’s the thing. You’re terrible at this. You’re no good at it. Go faster, motherfucker. Keep going faster. Why are you so slow? Why are you so fucking slow? Why? You think you’re so tough. Yeah. Why don’t you say this? Say, “yes, Chef, I’m so tough.”
Carmen: Yes, Chef. I’m so tough.
HC: Say, “fucking yes, Chef. I’m so tough.”
Carmen: Yes, Chef. I’m so tough.
HC: You are not tough.
You are bullshit. You are talentless. Say fucking hands.
Carmen: Hands!
HC: You should be dead.

The Bear, Licensed Image Alamy

When I say this scene cut deep, it cut deep (kitchen/chef pun most certainly not intended).

What is this phenomenon of ‘imposter syndrome’? Labelling it as a “syndrome” makes it sound like some sort of disease, but this isn’t really the case. Psychologist Pauline Rose Clance and her colleague Suzanne Imes were the first to study the topic in 1978 and focussed their study on successful women and marginalised groups. Since that first study, it has become apparent that this feeling is practically universal as “the same thing has been established across gender, race, age, and a huge range of occupations… To call it a syndrome is to downplay how universal it is. It’s not a disease or an abnormality, and it isn’t necessarily tied to depression, anxiety, or self-esteem.” I guess there is the first point of solace to be found, we are truly not alone with regard to this feeling. As such, we shouldn’t be so averse to talking about it with others because your peers, colleagues and/or loved ones may be experiencing the same thing more often than not. 

After a particularly bad day, I recently opened up to my partner. I rewatched Barbie alone at 9 am and cried to Billie Eilish and Boygenius singing when the party’s over together. It was a dark day, and I needed some cathartic relief. Essentially, my very open, very honest and very vulnerable conversation with my partner boiled down to me feeling lost, out of touch with my writing, with the culture, with the audience and just generally feeling like an undeserving fraud. Fortunately, she is far more level-headed than I am and pointed out that in this case, as is the case quite often, I was being my own worst enemy. Nobody called me out, chastised me, or even mentioned that they didn’t like my work. It was all me just convincing myself that this made-up reality in my head was, in fact, the undeniable truth. My need to produce perfection had, in turn, produced a very avoidable path to a panic attack.

On the point of perfectionism, there are five subgroups which pertain to Imposter Syndrome, as coined by Dr. Valerie Young: the Perfectionist, the Superhuman, the Natural Genius, the Soloist, and the Expert. These closely follow the original six criteria expressed by Clance, but these are more digestible and convenient, Young has also provided tools to deal with each.

The Perfectionist: Imposter syndrome and perfectionism go hand in hand. It’s hard to feel satisfaction in your success when you constantly believe that you could have done it all better.

Tool: Although it may be easier said than done, we must accept that mistakes and failures are also part of the process. It’s a part of the process that allows us to learn and grow. For the perfectionist, there is often a debilitating amount of planning and overthinking involved, which in turn means we often overthink our way out of pursuing a project or taking a chance. Young suggests just forcing yourself to start something you’ve been planning for months, as realistically, there’ll never be a perfect time.

The Superhuman: Have you ever thought, ‘I just need to work harder and harder to measure up’? Well, this is a common tactic to cover up insecurities relating to our jobs. We want to be invaluable all in pursuit of validation, external validation that I’m sorry to say doesn’t pay the bills but rather just gives us an often false and skewed sense of security. 

Tool: Here, Young recommends focusing your efforts on cultivating positive inner validation rather than focusing on external validation as fuel. This way, we also get to understand that constructive criticism isn’t meant to be personal but rather a set of suggestions to be looked at, reviewed and evaluated. Once we realise that the opinions of others don’t matter nearly as much as we think, we can slowly start to find balance in the workload we take on, morphing our schedules to be far more reasonable. 

The Natural Genius: Young mentions here that often, we set our own internal bars so impossibly high that we are prone to failure and disappointment. We don’t measure our success or aptitude at acquiring a new skill by the effort we put in, able to see that, slowly but surely, we are improving. Unfortunately, we set the bar so high that we believe if we are some prodigy, acquiring a skill with ease at an inhuman rate that, we are inherently a failure.

Tool: We are all simply a work in progress. I have also been of the opinion that I am terrible at learning new languages, but I’ve always been quite proficient in picking up new sports or a hobby if I’m immensely interested in it. I am very slow in new language acquisition, but the polyglot I’m comparing myself to probably couldn’t hold a candle against me in many of my other hobbies. Focus on one small aspect at a time to improve this rather than trying to master something difficult all in one fell swoop. 

The Soloist: This is that ‘I can do it all by myself’ trait. Young identifies this subgroup as those who believe that asking for help inadvertently exposes you as the fraud you picture yourself as, and thus, you turn away help even if it would be beneficial. (I am just saying on a side note that this screams to the plight of modern masculinity and my gender’s endless obsession with dangerous alpha male doctrines.) 

Tool: Realise that there is no shame in asking for help. I, for example, am in the infancy of even learning Korean, so if I don’t know how to read something or say something, I’ll just ask my partner. However, this translates into a wider experience, so for all the macho bravado manne out there, remember real men cry to Barbie and Billie Eilish.

The Expert: Young explains that this subgroup measures their value on how much they know, constantly living in fear that they don’t know enough and will be caught out eventually.

Tool: Listen, there is always more to learn, but we simply do not have to know everything. Just imagine how overwhelming that would be. Young suggests we adopt a method called ‘just-in-time learning’; that is to say that we acquire skills when we need them.

Courtesy of DTS

So why is this a super extensive article about Imposter Syndrome? Well, it isn’t some self-soothing exercise, although the writing of this article has been far more impactful as a vehicle for cathartic relief than I ever could have imagined. Simply put, I am trying to be this comprehensive because the statistics show that 70% of us will experience imposter syndrome at some point in our careers. Now, to my fellow creatives out there, the message is even more bleak. The creative and design industry has the highest reported percentage of people with imposter syndrome, with one survey reporting figures as high as 87% of respondents. There’s this beautiful article on It’s Nice That, which I don’t want to butcher by picking bits and pieces as I think it should be read as a whole, that deals with that immense sense of imposter syndrome experienced by those in the creative field. 

To some extent, we are prisoners of our situation. Our work and its value are kind of decided on by those who engage with it, and that is a fucking terrifying thought. In a modern age, we have become prisoners to trends, TikTok, algorithms and stats. How many click throughs did I get, how many eyes can I attract and keep, and how can I leverage those eyes for financial gain? This is all before we even consider the work we produce or plan to create. So how do we manage? Well, we accept the absurdity of it all. We are all just wandering around, not quite sure what we are doing or if we are doing it in the right way.  Listen, if even one of the greatest minds in the history of our flawed species, Albert Einstein himself, thought he was nothing more than an “involuntary swindler”, we could all be far more kind to ourselves.

Written by: Casey Delport

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