What is gaslighting, actually?

Feb 14, 2023 | Navigating Reality, Lifestyle

As summer celebrations satiate our bodies with bursts of serotonin, and we are left with sun-kissed skin, slightly sticky from sunblock and spilt seltzer strewn across the streets of South Africa – with love and lust reaching a summer- fling fever pitch…is there potentially, a feeling of doubt? A grey cloud just starting to loom ominously over the summer romance? One of the hardest questions we may ever have to ask ourselves suddenly visits quicker than a Cape Town gust of wind; Am I being gaslit? 

Ahh, I hear you asking, “that seems so harsh. Not everyone is a narcissistic piece of shit?”, and I actually agree. Still, questions have to be raised when the dictionary-magnates at  Merriam-Webster declared “gaslighting” as their official word of the year in 2022, after searches for the term spiked by 1740%. Take a look at that again. Not 100%, a full 1740% increase in people searching for a phrase that has become alarmingly casual by now, particularly amongst a younger generation. So what is gaslighting, actually? 

A good starting point is to define what is meant when someone refers to gaslighting. Merriam-Webster themselves define the term as “psychological manipulation of a person usually over an extended period of time that causes the victim to question the validity of their own thoughts, perception of reality, or memories and typically leads to confusion, loss of confidence and self-esteem, uncertainty of one’s emotional or mental stability, and a dependency on the perpetrator”. This definition in of itself sheds a pretty clear light on just how damaging gaslighting can be. It is not simply the art of white lies and deceit but rather a form of emotional abuse.

Images: Sune, Adam Shek. 2019. Hong Kong.

A form of abuse that doesn’t leave physical scars and wounds but should not for a second be discredited as somehow being less valid – ironically, if anyone tries to convince you that it is less painful, less traumatic, less valid, they are, in fact, gaslighting you – Here’s the thing: although the dictionary entry serves as a good point of departure and does summarise what gaslighting is all about, it lacks the nuances necessary when discussing topics such as these. Who could be the perpetrator? How do you spot gaslighting, and most importantly, how do you deal with being gaslit? 

Although our minds are immediately cast to gaslighting scenarios within romantic relationships, it’s important to note that it can take place on a broad spectrum. Perpetrators could be anyone, including friends, family, colleagues, politicians, medical professionals and, depressingly ourselves. So what are some signs to look out for when it comes to gaslighting? Different platforms will give you different answers simply because it is rather difficult to condense down the broad scope of gaslighting behaviours that people exhibit. Clinical psychologist Dr Becky Spelman lists five common gaslighting techniques that are often used.

Image: I should have pulled away sooner but you had me stuck. 2021. Hong Kong.

/// Withholding 
Here the gaslighter either refuses to listen to the victim’s concerns or simply pretends that they do not understand. (You’re not making any sense, what you’re saying is crazy.)

 

/// Countering 
Here the gaslighter not only questions the victim’s memory but often introduces new information that never happened as a means to protect themselves. (I did tell you, you just can’t remember.) 

 

/// Forgetting/Denial
The gaslighter claims that an event simply didn’t happen or that they forgot about it. (That never happened, I would remember something like that.)

 

/// Diverting
The gaslighter completely changes the course of a conversation by bringing up often overly dramatic stories that may or may not be true in an attempt to completely derail the train of thought of the victim, leaving them extremely confused. (You know, when I was your age, I couldn’t complain about my feelings because we were too poor to afford any food)

 

/// Trivialising
The gaslighter makes the feelings and emotions of the victim feel insignificant. (I don’t think it’s as bad as you think. Remember, there are starving children all across the world, so pull yourself together)

Carousel: Put me back together b. 2022. Self portrait.
Sticky fingers. 2022. Self portrait.
Image: Anyway. Jan Bond. 2022.

Gaslighting is a narcissist manipulation tactic, and although gaslighting isn’t only perpetrated by narcissists, practically all narcissists gaslight as an attempt to be in the absolute control they need to protect their unbelievably fragile sense of self. So to all those Patrick Bateman-loving “sigma males”, you’re not so sigma. I think the more accurate term is socially inept, as pointed out by Dr Ramani Durvasula, a clinical psychologist whose work primarily revolves around narcissism. As a side note, I know it’s hookup season, so I’m going to leave this link here to Dr Spelman’s description of how to tell if you’re sleeping with a narcissist, you can’t be too safe out in these scary streets. 

Now that we can spot some of the common tactics used by gaslighters, what do we do when we realise that we are, in fact, being gaslit? Well, when it comes to dealing with a gaslighter, Dr Durvasula has some suggestions. Now, this may seem harsh, but one piece of advice that she hammers home is the need to simply end the conversation. Simply put, the narcissist will under no circumstances actually take on board the information you are so carefully, so painstakingly trying to curate for them. She mentions that it is critical here to take a step back and to really evaluate what you would like from the relationship going forward. 

Image 1: Am I being clear enough_ 2021. Self portrait.
Image 2: You’ve got a pretty mouth but I can see through you. 2021. Self portrait.

In the beautifully written 2018 Vox piece by Robin Stern, I think we find the most comprehensive list of steps to take to protect yourself within a gaslighting situation.

1) Identify the problem. 
2) Sort out truth from distortion.
3) Figure out if you are in a power struggle with your partner. 
4) Engage in a mental exercise to encourage a mindset shift: Visualise yourself without the relationship or continuing it at much more of a distance.
5) Give yourself permission to feel all your feelings. 
6) Give yourself the okay to give something up. 
7) Talk to your close friends. 
8) Focus on feelings instead of right and wrong. 
9) Remember that you can’t control anyone’s opinion, even if you are right.
10) Have compassion for yourself.

I think Stern also brings up a beautiful point with which I’d love to conclude this article. “People aren’t born gaslighters like they are born introverts or extroverts. A gaslighter is a student of social learning. They witness it, feel the effects of it, or stumble upon it and see that it is a potent tool. It’s a cognitive strategy for self-regulation and co-regulation. To be frank, it works.” All with the memes of ‘gatekeep, gaslight, girl boss’ aside, I think it’s crucial that we take note of this. We aren’t predisposed to this abusive behaviour and can try to unlearn it. Maybe we’ve gaslit and I’m pretty sure we’ve all been a victim of gaslighting, but I think we all can agree that it is imperative that we take a good hard look at ourselves before we all become a point of trauma to someone we may have once held dear.

Image 1: Stop crying. 2020. Self portrait.
Image 2: Static. 2023. Self portrait.
In-article images by Sune van Tonder, an emerging South African photographer, detailing intimacy and relationships.
Models: Jan Bond & Adam Shek.

Published: 15 February 2023

Written by: Casey Delport

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

A brief 2023 load-shedding update

Feb 13, 2023 | News, Community

We first experienced load shedding for two weeks in January, 2008. For fifteen years; the question of our energy-grid has loomed large in the background of South African life – and distinctly at the forefront for some periods, and most critically right now. With 2022 being the most load-shedding intensive year so far, it can be agreed that 2023 is already outdoing that; we have had loadshedding every single day since 1st January 2023. 

In a complicated web of corruption, sabotage, crime-syndication, break-downs, political and economic failings; our capacity to produce and supply electricity has dwindled to dire straits, and it appears that things are going to get much worse before things get better. In an article by Business Tech, the publication details the scenario of how much electricity (termed as megawatts, or MW) our country requires, and how much is actually available, “South Africa’s Integrated Resource Plan of 2019 (IRP 2019), which outlines the technologies needed to ensure supply security to 2030, assumes an EAF of at least 70%, rising to 75% by mid-decade (2025), and a shortfall supply of around 2,000 MW. The reality, however, is a horror show. The supply deficit is between double and triple than initially planned, with Eskom calculating the shortfall to be between 4,000 MW and 6,000 MW. Updates from Eskom show how bad the situation has become. Of about 50,000MW of installed capacity on Sunday (1 October 2022), only 26,486MW was available (53%). Meanwhile, demand was closer to 27,430MW.” Alongside this, is the requirement for Eskom to supplement grid supply using diesel; costing the country billions of rands every day. We simply do not have the economic projections to ensure this as a viable pathway.

Once the EFF’s attempted scuffle onto stage at SONA 2023 had been subdued by the ‘white shirts’ (it was all very theatrical), President Cyril Ramapohosa finally took to the long-awaited ‘family meeting’ (remember during lockdown, when it was a weekly event?) – and declared a ‘National State of Disaster’. After COVID, this is the second time this has happened in the space of five years; unprecedented, to say the least. Daily Maverick summed up the key takeaways of SONA regarding load-shedding as “Minister of Cooperative Governance and Traditional Affairs Nkosazana Dlamini Zuma had gazetted the declaration of the State of Disaster, which began with immediate effect. He would expand his Cabinet by appointing a minister of electricity in the Presidency. The role of the minister would be to take full responsibility for overseeing all aspects of the electricity crisis response, including the work of the National Energy Crisis Committee. This year, the president would ensure the Electricity Regulation Amendment Bill was passed to transform the energy sector and establish a competitive electricity market.”

A ray of light did shine down, indeed – as it seems that for the first time, in all seriousness, both the government and Eskom are going to concede to solar power as a necessary component of the overall energy supply. For those who are able to install solar power, a roll-out of a tax-back incentivisation program will allow people to participate directly in a feed-back loop of energy production. In a Daily Maverick report piece by Ed Stoddard, the only known specifics of this is : ‘The tax incentives, which Finance Minister Enoch Godongwana will outline in his Budget speech in two weeks, would aim “to unleash businesses and households to invest in rooftop solar. As indicated in July last year, and with a view to addressing the load shedding crisis, we are going to proceed with the roll-out of rooftop solar panels. In his Budget Speech, the Minister of Finance will outline how households will be assisted and how businesses will be able to benefit from a tax incentive,” Ramaphosa said, “National Treasury is working on adjustments to the bounce-back loan scheme to help small businesses invest in solar equipment, and to allow banks and development finance institutions to borrow directly from the scheme to facilitate the leasing of solar panels to their customers,” he said.’

Without delving into the political or economic tensions of this time; there are a few stand-out caveats that speak to a wider sense of malaise and outright distrust by the public. The espionage-like news that Eskom CEO Andre De Ruyter comes off the back an attempted assisination attempt by poisoning reads like a dark comedy, expect that our country is art stake, and the worry that a ‘state of disaster’ declaration could leave a lot of power consolidated to a very people (Dlamini-Zuma and Ramaphosa in particular) – despite this, we remain eternal optimists, even when it gets quite bleak.

Images: stock photos.
Image of power utility by Brand South Africa.

Written by: Holly Beaton

Published: 13 February 2023

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

SPRMRKT drops their Palace Love Letter Hoodies as the ultimate Valentine’s Day gift

Feb 13, 2023 | News, Fashion

SPRMRKT is the streetwear brainchild of partners Sheree Vida Tigre (AKA Rishi Love) and Ryan Sexton. As purveyors of some of the most coveted streetwear brands in the world – their mission is to bring largely inaccessible or unavailable brands like Palace, right here to South Africa. In a special Valentine’s Drop, the brand has launched the love-infused and rare ‘Palace Love Letter Hoods’ – alongside some other key pieces. Cult-status streetwear brand Palace, founded by Lev Tanju, remains a wayshower in streetwear’s sartorial domination in the world; in which clothing serves as the unifier between music, art, skating and culture. With this V-Day drop, Sheree and Ryan say, “This particular drop is a special one as these hoods are incredibly rare. The peeps who acquired them on the day of the initial launch have held on to them. Don’t believe us, check out StockX or Grailed for pricing and availability. We want to remain dedicated to sourcing and carefully curating the most exceptional and uncommon pieces such as these Love Letter hoods, as well as collaborating with like-minded individuals to produce campaigns that showcase the South African streetwear narrative.”

The campaign features their friend Matthew Wareley, brought on as both the photographer and model. The hoodies come in a trio of colours – pink, white and black, crafted in Palace’s signature heavy-weight design, with intricately embroidered hearts, cherubs and roses. As Ryan says, “These hoods serve as the ultimate symbol of love and affection, making them the ideal statement piece for Valentine’s Day. We are also dropping the “This is what Palace stands for Shirt.” available in Pink, Blue, and Green, this shirt features the words ‘Peace, And, Love, And, Clothes Etc’ – a fitting declaration of the values that Palace and SPRMRKT represents.”

When Cape Town’s hypebeast it-couple, Sheree & Ryan, bring in a drop; we know it’s going to be sublime. SPRMRKT has love and positivity woven into their operational and collaborative network, with the brand and their suppliers being a close-knit team for whom streetwear runs in their veins. Their focus on sourcing rare, exceptional pieces – and SPRMRKT recognises the transformative power of streetwear as occurring all over the world. In South Africa, we are at the forefront of honouring this cultural phenomenon. Sheree says, “we are dedicated to fostering a connection with our customers and promoting this lifestyle in meaningful ways. Through sourcing rare and exceptional international streetwear pieces and making them accessible to the South African market, we aim to foster a sense of community and encourage self-expression. SPRMRKT hopes to spread love and positivity, as well as provide a platform for individuals to showcase their unique style and personality.”

Images courtesy of SPRMRKT and Matthew Wareley.

Shop the Palace collection now at www.sprmrkt.co.za

Published: 14 February 2023

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

Khanyisile Masina on being a shape-shifting game character

Feb 12, 2023 | Interviews, Fashion

Khanyisile Masina is in her post-influencer era. The profession, considered by many to be the digital age’s version of a ‘princess fairytale’ – is still coveted and aspired to by many. Imagine being asked to attend events, or be paid, simply for being you? For Khanyisile, this was a dream come true at first; until it wasn’t. There is still a requirement for influencers/models to be moulded by brands; a blank canvas, as it were, who can express the brand’s products or intentions through the popularity and esteem of a person’s online fame. The young model and make-up artist wanted something different; to express herself in the multitude of ways that she had felt, bubbling up to the surface. When COVID hit, it provided the perfect refuge in which make-up and fashion could be a testing ground for Khanyisile – and now, she is most known for her unbelievable array of characters, looks and moments; no longer bound just by brands, but rather whatever mood Khanyisile is in. That’s a kind of profound growth and liberation for a young Gen-Z growing up in cyberspace. 

“When I started off in the industry, it was with a group of friends and it was a lot of influencer gigs. I had this conversation with someone who pointed out that my friend and I were like a package deal, we all came together – and it hit me that I didn’t want that. I wanted my uniqueness to come through, and be my own person. It was dope, and it was my starting point, but I have always wanted my originality to stand out. That was my entry into being an artist, and using myself as a canvas for what I want to express.” Khanyisile says, and I am reminded of the infamous quote by Nigerian artist Oroma Elewa, who said “I am my own muse. I am the subject I know best. The subject I want to know better.” Khanyisile spends a lot of time in her own space these days, creating looks – and I ask, where does it come from within Khanyisile to express herseful to the fullest? On this, she says “I have actually been thinking about it a lot, lately. I didn’t really go to school for art, but I think my exposure to being on set – doing shoots – and seeing how fashion and beauty can create dreams, allows me to be the many versions of myself that I feel on the inside, in the outside world.”

In asking what kind of career titles Khanyisile aligns with, I am challenged in my own thinking – and understand why her job epitaph on IG is ‘GAME CHARACTER.’ Khanysile says, “I’m still trying to figure out who I am or what I want to do. I definitely align with being called a make-up artist, and I use a multimedia approach in creating, styling, shooting and editing all my own content. I also make a lot of my own clothing. It’s like a full time creative job. ” In this way, I think it’s important to know that content-creators and influencers run full time jobs and careers; we only see the final image or reel, but so much work goes into it. As for Khanyisile’s favourite characters that she’s created at the moment, she reflects, “My favourite character at the moment are the versions I did of myself as the Powerpuff Girls. I love Bubbles, Buttercup and Blossom; but I was wanting to elevate them to a cyber-vibe, in my way of expressing who these girl-powered, crime-fighting characters are. I like that costume-style makeup that you see in films, and can be a whole world of play.” With the beauty and makeup industries constantly selling us this idea of being the hottest versions of ourselves; it is wonderful to be in conversation with a young creative like Khanyisile, for whom these are merely tools to achieve bringing her own essence into the world. Yes, it can be about getting the perfect brow; but it can also be so much more.

With an impressive modelling resume for brands like Rich Mnisi, Diesel, Dickies and as a regular attendee for events by Daily Paper, H&M and adidas – it is wild to consider that Khanyisile has only just finished her undergraduate studies in fashion – with her brand DDMMYY being one to seriously watch. Now, 2023 is a year in which she can let the universe show her the way. Whether it’s modelling, fashion, beauty or art – Khanyisile Masina is an example of dissolving the boundaries across all of these into one, visually stunning career. We love to see it.

Written by: Holly Beaton

Published: 13 February 2023

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

A sacred dreaming of fashion with designer, social sculptor and textile artist Cleo Droomer

Feb 9, 2023 | Interviews, Fashion

Sometimes I come across the work of an artist whose work reaches further than fuelling my thinking or filling my heart – rather, such an artist’s vision translates further, and across the multiplicity of being; reaching deep into the multi-dimensional and unseen. Cleo Droomer is one such artist, for whom fashion is his medium; and by this I mean the very sacred act of dressing the body. For a few years I have been using the term ‘sartorial consciousness’ to describe the often in-articulable way in which clothing design lends itself to an unspoken power and dimension, in which the truths of identity, expression and memory are directly displayed to the closest home we have on earth; our bodies and our skin. It is within this realm of design, that Cleo’s practice and being is illuminated. When he was awarded the Country Road’s ‘Changemaker Award’ at Tywg’s annual Sustainable Fashion Awards, attendees were invited to view pieces on display; to get an understanding of why Cleo had won an award which is not open for entry, and is considered the highest accolade of the event. The (Life) Jackets are a series of life-jackets constructed of heirloom fabric in his familial archive (specifically from his grandmother’s scraps and grandfather’s ties), bringing into question ‘Ocean Heritage’, calling for the recognition of the ocean as a site of the historical enslavement of people & ancestors, for whom the waters of the world were the course of displacement and violence. This continues today with the displacement and refuge of millions of people across the world. It is in this that Cleo demonstrates what fashion and design can truly mean and be in a world – one which is burning, uncertain, and bound by the past and present, systemically violent ways of colonialism, white supremacy and geo-politics.

In this incredibly thoughtful and poignant Q+A, Cleo Droomer (his surname means ‘dreamer’) relays his visions. I am awe-struck, and resolved in my hope for the future of fashion. 

 

Where does design originate from for you, and fashion or clothing in particular?

I have always loved the practice of making, and as a young child I often found myself in the garden sculpting pots out of clay from the earth or weaving vines and leaves together to make some form of eco-textile. My love for making had always been there, but it wasn’t until I was tasked to design my own Matric dance suit that I realised that I really wanted to make a career out of design. 

My grandmother was a highly respected dressmaker, and when she passed in the early 90’s I found myself engrossed by the contents of her haberdashery box. I loved playing with all the different pieces of cloth and trims she had. I think that this early introduction sparked a life-long lover affair with textiles.

 

I use this term ‘sartorial consciousness’ as a way to describe fashion that exists outside societal constructs. The phrase struck me again when I came into contact with your work at Twyg’s Sustainable Fashion Awards last year – can you talk about your (Life) Jackets, their ancestral, historical and cultural importance and story?

In 2020 I went on a deep dive into really understanding the parts of myself that lay dormant and unexplored. I had always been fascinated by the rich cultural histories this country has to offer, but somehow mine – as a brown person of mixed heritage seemed muddied and less clear than others. I grew up in Charleston Hill in lower Paarl in a mixed community until 1994 at the end of Apartheid when my parents moved us to Bellville. I remember conversations around race and identity from a very young age, but not clearly understanding where I sat in this conversation. I was raised with two mixed race, Afrikaaps speaking parents who spoke to us in English and sent us to English schools even though the rest of our family were all raised in Kaaps. 

Growing up as a brown child in a predominantly white school and living in a predominantly white area caused so much inner turmoil, especially when returning to your childhood friends over the weekend, or visiting family and playing with your cousins. It was so confusing – I could pass as white, and lived this white existence but my family didn’t live the same as my white friends I visited. My “weekend away” stories or show-and-tells never matched up to my fellow classmates. I think this identity crisis at such an early age formed a big part of my understanding of the world. It wasn’t until I entered high-school and found a new community that I felt able to embrace a culture I felt so separate from.

When the pandemic happened, and life forced us into stillness – I bravely revisited that 6 year old boy that had grappled so much with his identity and started piecing together a better understanding of how such a diverse & culturally rich people came to be. Interviewing family members, scouring over family albums, searching the National Archives and piecing together our family tree. 

LIFE JACKET, jacket for ma.
LIFE JACKET, de-assimilation.
LIFE JACKET, clyde.

The work of (Life) Jackets sits at the intersection of understanding our past and present, and is a call for a new critical way of thinking though the current global climate crisis we find ourselves in. I’ve constructed these pieces from heirloom fabrics (my grandmother’s scraps of fabrics from her days as a dressmaker and my grandfather’s ties), which have helped surface a dialogue with my immediate grandparents and enslaved ancestors. It was in this re-member-ing of the past that I felt a deep communion with my ancestors and particularly my paternal grandfather, and maternal grandmother (who had just recently passed away during stage 5 lockdown). It was in this ancestral communion, that things started opening up for me creatively and that haunted histories from my past started becoming clearer. 

As a child I had a recurring fear of drowning from a near death experience, and in researching this fear as an adult, uncovered a haunted legacy with water within my lineage. From the recent segregation and forced removals of my grandparents away from the ocean during Apartheid, to my distant ancestors who were enslaved and trafficked across the sea, the ocean couldn’t help but feel haunted. By deconstructing and reconstructing heirloom fabrics to create life jackets, my hope is to keep myself and my haunted histories afloat in our collective conversations around understanding South Africa’s diverse Culture and how this can aid in re-thinking Ocean Heritages. 

For me and many other South Africans, the ocean is sacred. Neither the Atlantic or Indian oceans are recognized by the International Seabed Authority (ISA) or UNESCO as heritage sites commemorating the ocean as a final resting place for millions of enslaved peoples. The UN World Heritage lists recognises places such as Auschwitz and the killing fields of Cambodia as “sites of inhumane, cruel and methodical effort to deny human dignity and right to life” – yet the drowning of enslaved peoples in our oceans has not been included. (Life) Jackets joins the call to recognise our ocean as a sacred world heritage site. If any activity, including exploration for Oil and Gas is to go ahead it requires sensitive and careful considerations and consultations of, and with descendants of enslaved Africans and other diaspora globally.

 

What are your material, fabrication and construction concerns as a designer? 

The way in which I approach making has evolved since my first runway show in 2008. Your term ‘Sartorial Consciousness’ couldn’t be more apt in describing the way in which I wish to create going forward. As citizens living on a dying plant, we have all learnt by now that it is in our ‘choosing’ that we are able to express our power. I want to influence how we choose, and what is available to us. My concerns around fabrications, especially mass retail fashion, is the usage of textiles that pollute our oceans and rivers with harmful dyes, micro-plastics and other waste. I find a practice that feels right for me right now, is utilising discarded pieces of cloth from the industry and upcycling these into new pieces. I also work with people’s heir-loom fabrics in creating new pieces that help surface their own histories. Something that encapsulates a different kind of ‘valuing’ of a garment that sits outside of (sartorially speaking) our capitalist valuation systems. 

As far as possible when sourcing new fabrications, my main criteria is finding locally produced cottons or natural fibres that have been consciously manufactured.

I love that you describe yourself as a ‘social sculptor and textile artist’ – how do these two aspects intersect in your work?

The term Social Sculptor, is a term coined by the artist Joseph Beuys in the 70’s, in his expansive theory of art. The practice of social sculpture goes beyond the rarefied art that is confined to the clinical walls of an upmarket gallery – but rather tapping into the shamanic organs of art, where art-making is more of a sociological ‘practice-making’ approach that can open up discourse beyond humanism, and allow us to sit in the complexities of our entangled relations with others (human and more than human). Beuys is famously paraphrased for his idea that every human being is an artist, but reading deeper into his philosophy, I came to realise that we are artists when we apply warmth to static and sometimes cold social situations. His concept of ‘warmth work’ was beautifully embodied in his work with felt, and creating theories and fables through felted sculptures, that helped warm up the cold memories and haunted realities of the Second World War. 

I have always loved working in textiles, even from a very young age, I could feel the warmth qualities of textiles and their ability to not only warm us up physically, but when used in specific ways could warm something inside us. I now view the work of piecing and mending of cloth as  a shamanic and sacred approach to sculpting. Textiles are imbued with memory and history and working in this way allows me to sculpt new realities and tell new stories.

One of the biggest drivers of my work, and what I want to achieve is solidarity building, creating community and places of sanctuary during this complex time. I think in the art of making, and sharing this making and mending work, something else is mended in our relationships. I have grown such insight into the power of building relationships by creating garments that speak to peoples histories, questions, memories, longings, and nostalgias, while at the same time, making things out of the discards of our world. Bringing new life to objects, somehow has an ability to bring hope and understanding to things that are sometimes hard to look at. The other perception shift that I am really interested in is a loving and empathetic attention given to difficult tensions in our life as South Africans, the critical engagement with anti-racist and decolonial work has many approaches and pathways, and I think there is a soft, textured and tactile approach I am aiming for in my work, one that warms up these cold and static spaces in our society. 

DROOM COAT, dylan sashiko.
DROOM COAT, KELP 1.
DROOM COAT, kelp reverse.
DROOM COAT, moffie baatjie.
DROOM COAT, rust.
DROOM COAT, stone kelp.

Can you talk about being a South African fashion designer, and what your vision is for the design landscape here in the next decade?

I think that being a designer in South Africa right now is one of the most exciting spaces you could find yourself in as an artist. I have often struggled with the societal pressure of needing to create a fashion house or brand that produces collections every season and feeds into a system that I didn’t feel was regenerative in any way. In taking a step back from the industry and rather observing myself more closely and the practices that feel enriching and nourishing to me, has shifted my approach to making completely. I think that the future of design in South Africa is one that surfaces our past as Africans, is deeply embedded in our sacred indigenous knowledge systems and queers western norms. 

 

‘Droomer’ means ‘dreamer’ : what has 2023 revealed insofar as your dreams? 

Yes, well exactly – my name is Droomer, which like you say means dreamer – when I think of myself, or my atelier I imagine it always being a collaborative space to dream, a place to rethink, re-imagine and shift our practices towards new ways of being and doing fashion. So I think in the next few years I see myself dreaming more with others. I am very excited to dream with the thinkers in fashion in applying some of the methods and practices that I have been experimenting in, such as methodologies of mending, repurposing as a form of living in the timeless and offering these insights for reform.

I hope to see my contribution to fashion being one that celebrates the glamour and magic that has always inspired me, but to see this re-imagined in a slow, tactile, ecological sensitive way – I imagine also leading change labs within industry, and hopefully getting the giants of fashion to work with Droomer to create mending stations, in house studios that repurpose and recreate garments with the public. That would be incredible.

Written by: Holly Beaton

Published: 10 February 2023

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

Nomcebo Zikode, Zakes Bantwini, and Wouter Kellerman won big at the 65th Annual Grammy Awards for their song ‘Bayethe’

Feb 8, 2023 | News, Music

Arguably the most prestigious award in the music industry – the Grammy Awards is in its 65th year, and remains a landmark accolade for performers and producers around the world. South Africans across the country (and the world) were amazed to witness musical trio Nomcebo Zikode, Zakes Bantwini, and Wouter Kellerman win the award for ‘best global music performance’ with their song, ‘Bayethe’. While the song itself was relatively unknown – it strikes at the heart of South African music, winning the favour of the Academy. 

Nomcebo Zikode is the vocalist behind the famed ‘Jerusalema’ – one of the most viral songs of all time, with a viewing rate of 544 million on Youtube, and then some. In the music video for ‘Bayethe’, she is adorned in isiZulu attire and beading, and both songs are sung in isiZulu; one of the South Africa’s treasured dialects reverberating across the planet and in the hearts of millions of people across the world. This is another sign of the unfolding African Renaissance.

In winning, Zakes said, “This moment, right here, for anybody that’s in Africa, just proves and affirms that every dream is valid, and I want to say thank you very much to the Academy and to each and every one; and for every child in a ghetto, in a village: just know it’s possible.” With Nomcebo adding, “Thank you so much to God. You know, I once gave the world a song that took the world by a storm… but I didn’t get this nomination or this award, but God was saying to me, ‘don’t worry, my daughter, I’ll give you Bayethe’.” Finally, Wouter said “Thank you, so much. This is such a beautiful moment on the road to sharing South African music and culture with the world. Thank you Nomcebo, thank you Zakes for the incredible creativity.”

Every single week we are shown more reasons to be indelibly proud to be South African – what a way to kick-off 2023 music in our country.


Images courtesy of Getty.com and trace.tv.

Written by: Holly Beaton

Published: 9 February 2023

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

Vans x Alva Skates Celebrate Four Decades of Skateboarding

Feb 8, 2023 | News, Fashion

Vans, the original skateboarding footwear brand and icon of creative exploration, is proud to announce the latest collection with historically influential skate brand Alva Skates and longtime Vans team rider Tony Alva. The collection draws inspiration from Tony’s imaginative world of creative exploration that spans art, music and beyond, and invites fans and newcomers alike into his creative journey, on and off the board, over the past 40 years.

Breaking the mold for what a skateboarding company could be, Tony Alva walked away from his board sponsor in 1977 to create one of the most influential skate brands of his time, Alva Skates, just after helping Vans develop the first-ever skateboarding shoe, the Era. Synonymous ever since, Vans and Tony teamed up to create a new collection that nods to both brands’ roots and looks ahead to future generations with help from artist DJ Javier, Vans team rider Bella Kenworthy, and musician KennyHoopla.

Leading the way, the Authentic 44 DX Alva Skates in Brown/Pink features a leopard-printed suede that pays homage to the original Alva Skateboards from the ‘70s. The design introduces the oversized, visually distorted Alva logo that goes out of bounds— a direct reference to how the logo was executed on Alva boards in the 1970s. 

Image 1: SP23 Alva Skates Kenny hoopla 
Image 2: SP23 Alva Skates DJ Javier

 

Moving into the next decade, the collection features the Authentic 44 DX Alva Skates in Halo Multi as a reference to the halo effect on ‘80s boards, and created a digi print on canvas that mirrors the speed/gradient effect. Influenced by present day and the spiritual center that Alva has found, the Authentic 44 DX Alva Skates in Navy combines a quilted canvas upper with a white lotus print, and calm, earthy colors.

The collection is rounded out with the Alva Skates crew fleece, OTW short sleeve tee, and a loose tapered cargo pant and bucket hat in grapeleaf adorned with Alva Skates and Vans pins.

Image 1: SP23 Alva Skates Collection
Image 2: Authentic 44DX Alva LineUp

The Alva Skates collection is available at Vans retail locations and shop here at Vans.co.za.

Vans, “Off the Wall” Since ’66
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Follow Vans on Spotify Here!

 

Image: SP23 Alva Skates Tony Alva

Published: 8 February 2023

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

MR EAZI Kicks Off The New Year With His Latest Anthem “WERSER”

Feb 7, 2023 | New Release, Music

The feel-good record is Mr Eazi’s third dive into amapiano following the success of his first ever amapiano record “Patek” and follow-up track “See Something”. Having received several accolades by industry colleagues, fans and music critics – Mr Eazi is on a mission to “chop life” while creatively exploring all the facets of his artistry.

Produced by DJ Tárico, who is now arguably renowned for his vast and successful portfolio in amapiano hits ranging from “Patek” to “Yaba Buluku” and more; it is exactly as they say: “Never change what works” – this is evident in the incredible synergy between Mr Eazi and DJ Tárico proven by the two hit records (with one in the making) they have created so far.

After a super exciting dance routine created by a Ghanaian dance group breaks the internet spanning off into hundreds of user-generated videos and millions of views, Mr Eazi responds with a video of himself joining the viral challenge and announcing the official release of “Werser”.

A rich fusion of the famous South African blow whistle sound, powerful drums and chant-like chorus laced with memorable Ghanaian + Nigeria’s Pidgin slangs – Mr Eazi has again found a way to take his listeners on a trip around Africa, the way only great music can. 

“This year, I am focusing my energy on creativity and top-line sh*t”, says Mr Eazi as he prepares to follow up his record with an amapiano mixtape in coming months – The pressure indeed is getting werser.

LISTEN HERE   |   WATCH VISUALISER HERE   

/// Connect with Mr Eazi:
Facebook: @officialMrEazi
Twitter: @mreazi
Instagram: @mreazi

Sindiso Khumalo X & Other Stories will launch this April

Feb 6, 2023 | News, Fashion

It has been announced that South African textile and fashion designer, Sindiso Khumalo, is set to launch a collaborative collection with Scandinavian retailer ‘& Other Stories’. Sindiso is an alumni of Central Saint Martin’s MA in ‘Design for Future Textiles’ – and has gone on to amass an incredible local and international career, with a win at the LVMH Prize in 2020, and numerous collaborations centred on sustainability and storytelling through textile design and fashion – notably, Sindiso was hand-picked by Sarah Andelman for a Vans X Vault collection in 2022. 

This won’t be the first Scandi partnership for Sindiso; she collaborated with IKEA on their 2019 ÖVERALLT collection. With & Other Stories, the collection will feature ready-to-wear clothing, accessories, swimwear, shoes and bags in a comprehensive showcase of Sindiso’s ability to channel her vision through the brand codes of varying spaces. We are hoping to see more of Sindiso’s Ndebele and Zulu heritage fuel the heart of the collection, as she continues to take reference from her culture across the world. The collection is said to feature Khumalo’s hand-painted watercolours and collage prints, and in a variety of sustainable materials; a deep focus point for Sindiso, and for the H&M Group overall. 

 

Images sourced via harpersbazaar.com

For comment, Sindiso told Harper’s Bazaar that “we want to open up a sustainability conversation with more people. My hopes and wishes for this co-lab with & Other Stories are to shine a light on African design and the magical nature of our enigmatic continent,” she added. “Another goal is to communicate to the customer the importance of the materials when building your wardrobe, showing that clothing made from materials sourced in a more sustainable way, can be bold and playful.”

The collection will launch in April & will be available in mid-level price points as set out by & Other Stories’ retail model.

Written by: Holly Beaton

Published: 7 February 2023

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

Southern Guild kick-off 2023 with a double solo exhibition by Porky Hefer and Wycliffe Mundopa

Feb 6, 2023 | News, Art

Southern Guild is kicking off 2023 with a double-hitter of solo exhibitions by artist Porky Hefer and Zimbabwean painter Wycliffe Mundopa, both opening on Wednesday, 8th February.

Volume 4. Chaos Calamus – Interspecies Reciprocal Altruism by Porky Hefer launches a new collection of seating pods woven entirely in Kooboo cane – Hefer’s original material of choice – and incorporating carved timber sculptures by artist Adam Birch for the first time. This body of work reflects on the phenomenon of mutually beneficial symbiosis between species and looks to microbiology in its development of seating typologies – in particular, to amoeba. 

Pachipamwe (We Meet Again) by Wycliffe Mundopa, in association with First Floor Gallery Harare, presents a new group of figurative oil paintings bearing visceral witness to the complex lives of Zimbabwe’s women and children. Rooted in the power of truth-seeing and the drama and beauty of the ordinary, Mundopa’s paintings elevate the daily ongoings of his people toward historic significance.

Please continue reading for the in-depth press releases of Volume 4. Chaos Calamus – Interspecies Reciprocal Altruism, and Pachipamwe (We Meet Again) :

 

PORKY HEFER: Volume 4. Chaos Calamus – Interspecies Reciprocal Altruism
8 February – 20 April 2023

Image 1-2: Porky Hefer by Hayden Phipps /// Southern Guild
Image 3: Porky Hefer, Adam Birch by Hayden Phipps /// Southern Guild

 Southern Guild is proud to present Volume 4. Chaos Calamus – Interspecies Reciprocal Altruism, a solo exhibition of new seating pods by Porky Hefer from 9 February to 20 April, 2023. Woven entirely in Kooboo cane – Hefer’s original material of choice – and incorporating carved timber sculptures by artist Adam Birch for the first time, this body of work reflects on the phenomenon of mutually beneficial symbiosis between species.

A keen observer of natural phenomena, organic forms, animal behaviours, and ecosystems, Hefer’s work is steeped in his fascination with biomimicry. A patch of forest floor, an anthill, the movement of lava – in Hefer’s mind, each unravels a parallel universe that offers a metaphoric lens through which to view our relationship to each other and the world at large. His collections of sculptural seating environments are speculative interventions, a series of playful proposals that take their cue from nature’s unerring adaptability, resourcefulness and interconnection.

Although originally inspired by the complex woven nests of the sociable weaver bird, the works in Chaos Calamus look to microbiology in their development of seating typologies – in particular, to amoeba. The unicellular organisms are known for their ability to alter their shapes by extending and retracting pseudopods or arm-like projections. Amoebas defy our assumptions around solidity and shape in the way they move, morph, and grow. “An amoeba keeps breaking up and reinventing its own structure in order to move into a space to perform a task,” says Hefer, describing them as the ultimate monster from a sci-fi movie.

The taxonomy of the exhibition’s title refers to the Chaos genus of amoeboid organisms which includes the so-called “giant amoeba”, Chaos carolinensis, the largest and best-known species. In Hefer’s speculative science, these works are a new species incorporating a fictional link to the Calamus genus of rattan palm.

The neat, bulbous shapes of the artist’s earlier nests are here extended and draped, resulting in fluid and oozing forms with interiors generous enough to accommodate at least two sitters inside. They are supported by large tree-fork sculptures by Birch, and as such, constitute a marriage of forms, crafts and makers – a symbiosis to which the title alludes. The works were also produced with the contribution of Hefer’s long-time collaborators, cane weavers from the Cape Town Society for the Blind, as well as welder Wellington Moyo, who crafted each metal frame.

Image 1 & 3: Porky Hefer Process 2020 by Adel Ferreira /// Southern Guild
Image 2: Porky Hefer by Hayden Phipps /// Southern Guild

ARTIST BIO

Porky Hefer was born in 1968, in the era where Radical Design emerged with Futurist-designed environments and objects that were more than a chair or a table – pieces that would assault your eyes and also your spirit. It was during this time that Wendell Castle and Joe Colombo made units of self-sufficiency to isolate and change experiences completely. It opened up horizons and possibilities that fulfilled more than simply a basic need to sit. 

Fascinated by the reactions and energy a piece can generate in a space, Hefer embraces Africa and the skills and processes that are readily available indigenously, rather than trying to emulate foreign processes. Making use of traditional techniques and crafts that focus on the hand rather than machinery, his work ensures that age-old skills are preserved and kept relevant in a modern age. Hefer’s life-size nests, woven with Kooboo cane, are a result of his in-depth study into this social bird’s nest-building skills, made relevant for a human audience. His work’s progression into leather and recycled and sustainable materials has further evolved this exploration of ways in which living pods can be presented.

Hefer is the recipient of two Design Foundation Icon Awards (2013 and 2018), as well as two Wallpaper* Design Awards (2019 and 2022). His first solo show, Monstera Deliciosa, Volume I (2015) was followed by a solo representation of South Africa with Southern Guild at the London Design Biennale (2016), and a solo at R & Company in New York (2017). Co-presented by Southern Guild and SFA Advisory, his Endangered collection was exhibited at Design Miami/ Basel (2018), with proceeds benefiting the Leonardo DiCaprio Foundation. Plastocene – Marine Mutants From a Disposable World premiered at the 2020 NGV Triennial at the National Gallery of Victoria in Melbourne.

WYCLIFFE MUNDOPA: Pachipamwe (We Meet Again)
8 February – 20 April 2023

Image 1: Wycliffe Mundopa Portrait by First Floor Gallery, Harare
Image 2: Wycliffe Mundopa, Blind Wisdom Part 2. 2020. First Floor Gallery

Southern Guild, in collaboration with First Floor Gallery Harare, is proud to present Pachipamwe (We Meet Again), a solo exhibition of figurative oil paintings by Zimbabwean artist Wycliffe Mundopa. The exhibition of large-scale canvases bear visceral witness to the complex lives of Zimbabwe’s women and children. The collection will be on view at the gallery from 8 February to 20 April 2023.

For more than 15 years, Mundopa has harnessed his role as an artist to give visibility and voice to the unseen and unheard. The painter’s work is a response to life as he observes and experiences it. Each of his grand compositions, saturated in their carnivalesque colour and brimming with impassioned gesture, canonises the stories of Harare’s women. Believing in the power of truth-seeing and the drama and beauty of the ordinary, Mundopa’s paintings elevate the daily happenings of his people toward historic significance. 

Lurid hues, vibrant pattern, rich allegory and animal symbolism have come to define a potent visual language for the artist. The allegorical mingles with the mundane as a vividly spotted hyena is carried to the local market, fruit-sellers sit streetside in striped stockings and circus garb, a woman’s face bears the distinct snout of a pig. These symbols are visualisations of vernacular expressions. Encoded within each metaphor is commentary referring to the country’s broader societal fabric, and its fluctuating moral codes. The crowding of each of the rendered street scenes creates a shifting sense of perspective as multiple focal points fiercely compete for the eye’s attention. The viewer is initially seduced and overwhelmed by the sumptuous pageantry of the work, but a closer viewing challenges us to engage with the harsher realities that Mundopa’s world is built upon. This witnessing stands beyond literal  documentation; the artist mythologises the everyday with both violence and empathy.

Carousel 1: 
Wycliffe Mundopa, Urban Savannah Part 2. 2022. First Floor Gallery.
Wycliffe Mundopa, Prize Bride. 2022. First Floor Gallery
Wycliffe Mundopa, Flesh-pots Part 2. 2022. First Floor Gallery

Carousel 2: 
Wycliffe Mundopa, A Rose by Every Other Name Part1. 2021. First Floor Gallery Harare.
Wycliffe Mundopa, Better The Devil You Know. 2022. First Floor Gallery.
Wycliffe Mundopa, Nostalgia Revisited Part1. 2022. First Floor Gallery.

Drawing from the tradition of the Old Dutch Masters, Mundopa presents a multi-dimensional image of his countrywomen. These audacious figures – breadwinners, sex workers, mothers and muses – renounce historically reductive modes of representation. His women are dynamic, desirous, joyous and resilient in the face of social circumstances that do not often lend themselves to a life of power. The fullness of this portrayal begs us to see both the pain and vibrancy of these women’s lives.

Valerie Kabov, co-founder of First Floor Gallery, shares this: “Using the dichotomies of anger in beauty and beauty in the pain, Mundopa enables us to emerge from the dichotomy of looking and seeing. Not only do his mythologised but dramatically real subjects compel you to see them, they challenge you to question the way you look, moving between didactic and heroic as though that was a natural oscillation.” Here, the artist utilises a painterly tradition often guarded by the West, to revel in the contemporary complexities of African life.

For Mundopa, the personal is always political. Born in the town of Rusape in north-eastern Zimbabwe, the painter’s practice developed amidst the country’s socio-economic and political upheaval. In the early 2000s, following a prolonged and devastating period of hyperinflation, at a juncture when other artists left the country to seek opportunity elsewhere, he made the choice to remain. The decision was weighted with both personal sacrifice and a life-affirming sense of responsibility. Mundopa is now hailed as one of Zimbabwe’s most recognised and successful contemporary artists.

The exhibition proudly marks the first collaborative project between Southern Guild and First Floor Gallery Harare, which was founded in 2009 by Kabov, an art critic and art advocate, and Marcus Gora, a cultural promoter. Against the odds, in an embattled environment with little to no arts infrastructure, First Floor has grown into an internationally respected contemporary arts space. The gallery is committed to fostering the development of local artists, promoting intercultural dialogue, and bolstering education in the broader cultural sphere.

Image 1: Wycliffe Mundopa, Afternoon Delight Part 2. 2022. First Floor Gallery.
Image 2: Wycliffe Mundopa, Afternoon Delight Part 1. 2022. First Floor Gallery.

ARTIST BIO 

Born 1987 in Rusape, Zimbabwe, Wycliffe Mundopa graduated from the National Gallery of Zimbabwe Visual Arts Studios in 2007 with a National Certificate in Fine Art. A passionate advocate for the lives of society’s most vulnerable, his large-scale works give an exalted platform to Zimbabwe’s women and children.

Mundopa makes an urgent case for the importance of presenting life of his country and his contemporaries with the same pathos and grandeur as the Dutch masters while situating himself as an heir to the grand tradition.

Since joining First Floor in 2009, Mundopa has held multiple solo presentations of his work at the gallery and attracted international attention from important institutions, collectors and critics. His 2020 solo exhibition at Kristin Hjellegjerde Gallery in London was followed by his winning South Africa’s FNB Art Prize in 2021. He has participated widely in group shows in the UK, France, Germany, The Netherlands, Spain, Norway, the US, Israel, Australia and Kenya.

 

ABOUT SOUTHERN GUILD

Southern Guild specialises in functional and fine art by artists from Africa. Through exhibition making and community engagement, the gallery catalyses the creation of globally relevant work. Southern Guild’s rigorous curatorial programme focuses on unprecedented modes of making, cross-disciplinary collaborations, contemporary craft, sustainability and social impact. Founded in 2008 by Trevyn and Julian McGowan, the gallery is unique on the continent both for its hands-on involvement in facilitating production and its interest in the intersection of art and design. https://southernguild.co.za/

Published: 7 February 2023

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