ONE PARK – A NEW PLACE TO LISTEN

Dec 12, 2022 | Lifestyle, Music, Community

One Park has just launched its listening bar, a first for the country and continent.

Situated in Cape Town, One Park is fashioned after the Japanese kissaten, audio focused lounges & coffee shops. Expect high fidelity, highly curated sounds varied with heritage inspired cocktails, natural wines and delicious bar snacks. One Park is a place where old and new meet. Owners Matt and Mishka transformed a hundred year old heritage building into a record store, eatery, online radio station and listening bar. 

“After almost three years of red tape and construction we’re finally ready to share the sound bar.” says Mishka. The newly opened upstairs which includes the listening bar and online radio station The Other Radio is a floor for the ears. Enjoy a rotation of local DJs, live acts curating their favourite music for an immersive listening experience. A key to the enjoyment of the listening bar is the finishes – natural wood tones, local artwork and a fully customised speaker set. Matt describes the design as such, “It was incredibly rewarding to work on the interiors, from curating the walls, to the wood and bar finishes and adjusting the lighting. These details give the space a home-like feel, a place to relax and listen.”  The corner nook couch has the sense of intimate, private but still part of the whole space perfect for any celebrations.

The listening bar includes a one of a kind DJ Booth and specialised speaker set designed by Phil Kramer. One Park’s system is both classic and modern , using restored Altec cabinets from a 60s movie theatre, brand new CNC’d biradial horns and biamping. It’s a hybrid approach that sounds as good as it looks. It delivers a realistic and natural sound to the listener. Kramer says “for me it [the system] was a combination of all skill sets – cabinetry, CAD, hunting for old parts, electronics, a

deep love of vintage hifi and aesthetics. It was interesting to use everything simultaneously, and makes the outcome extremely satisfying”.

Apart from natural sound, the listening bar serves the popular Bird’s Eye cocktail, made of fresh turmeric, chilli, orange liqueur and Leonista reposado, paired with sticky lamb ribs and mint chutney. The bar snacks are made by the downstairs Eatery run by Chef Lisa Knipe and Yoraya Nydoo. They offer a variety of small plates made to share that are inspired by Lisa and Yoraya’s heritage. One Park is a sensory experience where food, music, shopping and art meets. Browse the latest releases at The Other Records, share small plates at the Eatery, purchase a painting by Givan Lötz or Black Koki, stream The Other Radio and finally drink and listen to high quality sound at the Listening Bar.

One Park is open from Wednesday – Saturday 4pm – late Sunday 12pm – 9pm. 

Walk-ins welcome.

Reservations recommended for Eatery.

 

Published: 12 December 2022

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

Dune Tilley’s Point of View

Dec 9, 2022 | Interviews, Creatives

Dune Tilley was 17 when CNN asked him to participate in a photographic series for International Youth Day. In his commissioned self-portrait, Dune is perched on a chair between two women, a tender hand on either shoulder; the feminine forces that shaped him – his mother, and his second mother, Dune’s domestic worker. Embedded in the image is the precise dichotomy of South Africa; the response to CNN’s brief on what each young African photographer felt most concerned about in their country. For Dune, born some years after the cessation of apartheid, his subject was the disparity of his two maternal figures; the accompanying text reads, “These two figures, although in my eyes represent that of my motherly figures, in the eyes of the country (they) take on two very different roles and narratives. Although a similar age to my mother, my domestic worker was previously marginalised by the government, leaving her with no access to education and a low standard of living while my mother had access to a high standard of education and grew up in a quiet suburb. The wage gap between my mother and my domestic worker harps back to a disadvantaged majority due to the legacy of apartheid.”

To have a point-of-view as is so boldly required of artists is something we believe to be forged in the furnace of age; a slow, perspective kindled by all the pain and all the glory that the battle scars of time bestow upon us. Then, there are those who seem to have been born with those battle scars already emanating; Dune Tilley is one such being. At 22 years old, Dune holds a body of life’s (and living) work that impresses, with said point-of-view utterly responsive to what it means to be a young human being with vision that our elders either dream of, or fear. I was cautious to begin this story pinpointing Dune’s age; but I did, because I think the weight it symbolises outranks the need for discretion. When the keys are handed over to our generation(s), and people are welcomed for their talent and minds into spaces usually gate-kept – magic occurs, and a new cultural chapter is unleashed; such as the one Dune’s image for CNN beckoned for. The hope and possibility of South Africa’s future. 

“I come from a very artistic family – it’s always been a big part of my life. Growing up, I was really encouraged to be creative, and to make things. I wasn’t into academia, but I found a lot of joy in art-making and design. With photography, it was when I got a film camera at Milnerton market, and I became obsessed with it. I got a job with a local nightlife company to shoot events following that; and I had a fake ID, obviously. So from 15, I was shooting nightclubs, and through that I started finding unique individuals. Nightclubs are the perfect place to see firsthand how people really are, and that encouraged the documentary-style reportage that began after that. I’m not really sure how, but someone at CNN saw the work I was doing and invited me to submit an image, as a young, rising photographer in South Africa. That was a big stepping stone in my career, from amateur and into a more professional space.” Dune says in our conversation, and it’s a theme that continues as we speak; Dune has worked ceaselessly since he was 15, grabbing hold of almost every opportunity presented to him. In the perfect blend of right time / right place, inner-determination, and a fixation for image-making; Dune’s honesty of image is derived from a childhood experience. On this, he says; “when I was much younger, between birth and eight years old, I was pretty much deaf. We only realised when I was in grade 2 or 3, when my spelling wasn’t where it was meant to be, and all throughout that time – my comfort was picture books. I have always felt safer visually. After CNN, it really emboldened me to take photography a lot more seriously. I had some amazing mentors, too – who I begged to let me assist them. Sweeping studios and building lights, that kind of thing.”  

 

After high-school, Dune found himself a long-term documentary gig with a South African band, an experience that taught him many, many things; namely, what it means to make images beyond qualms, and ultimately, when to let go. Working directly with Roger Ballen, an idol of Dune’s, the creative experience itself marked his development in many ways. While the project never came to full fruition, Dune was already on a fast-track to somewhere he couldn’t have known yet, saying “I think it’s important to hold things sacred in an industry like this, it gets so easy to justify your way out of any moral or ethical thought. You can spin yourself in a circle, but to create good work that reflects who you really are; you have to be prepared to be totally honest. I learned that fast and hard.” On the other side of this poignant teaching, Dune counts mentors such as Gabrielle Kannermeyer, Raees Saiet, Duncan MacLennan and Ashley Benn; all of whom welcomed Dune into the realm of making the kind of art that he was destined to make; the stories that must be told, “they all really allowed me an overwhelming amount of freedom and space to work creatively at a really big-scale, at a really young age, to become the photographer that I am now. I think people don’t understand how much impact it has to allow someone into a space to make pictures, and what it does to your own perception as to what is possible beyond age – beyond our preconceived notions of the requirement to be ‘professionally’ creative.” Adidas is notably at the forefront of these sentiments; and perhaps it is why it remains one of the most important brands in the world, today. Not only is Dune a long-time photographer of adidas campaigns; he is now an associate creative director for adidas South Africa through room studios. Talent is irrelevant to age, and adidas demonstrates their commitment to vision. 

 

Dune is a self-confessed ‘yes man’ – someone who is known to venture into spaces and scenarios that others might resist. This grit and flexibility bore him his relationship with Ashley Benn, founder of Room Studio – together they share a tried, tested and mutual vision for making work that stands out as wholly reverant and exemplary of South African culture, design, creativity; basically, the anima that makes our country as spotlighted and coveted as it is today. This led to international work that includes Asics China, Spotify Russia, BMW, Mercedes-Benz – and then some. Dune says, “When Ash started Room Studio, I was in third year at university. We met up again by chance, and he was telling me about this avant-garde creative studio that he was cooking up, and I told him then and there that if he did – I would drop out tomorrow and join. Whatever that meant. I got the offer to join the team as a concept lead soon after that, and dropped out immediately. Room is the internal creative studio for adidas South Africa, so my focus is there entirely now. It organically transitioned into an ACD (associate creative director) reassignment, and that’s been about two years.“  

Dune speaks of Room as he does about everything else; with clarity and affection, and the acknowledgement of his rare position – but this ‘rarity’ is only because of his age, I feel, and soon – it will be Dune’s work that stands alone as a testament to his purpose in this world. From our conversation, and the wild focus of all his images, Dune is no longer ‘emerging’ – but in his established professionalism, the future remains wide-open. We are enamoured in witnessing what will become of it.

Written by: Holly Beaton
Published: 9 December 2022

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

Design Academy of Fashion’s 2022 Graduate Showcase | Qhakaza : To Bloom

Dec 8, 2022 | Fashion, Community

It is pretty obvious that at Connect Everything Collective Media, fashion is a big deal for us. We take it very seriously as one of our favourite and most precious forms of creative expression; and it has been a wild year for the greater fashion industry, and here in South Africa? We are in the midst of a boom. With South African designers and brands having far reaching success across the world – and our industry is emerging in its rightful place as a sartorial centre on the continent, we are committed to noting the critical function of fashion education in seeding this wave of notoriety.

Design Academy of Fashion was founded in 1999 by Daphne Treadaway, and later acquired in 2006 by Bianca Fobian and Suzanne Aldridge – remaining one of South Africa’s most critically acclaimed incubators of the future generations in South African fashion. Their three-year pathway offers an intentionally curated focus for students: with subjects ranging across four modules: Design Cluster, Technical Cluster, Commercial Cluster and Contextual Cluster. Each cluster informs their students of the practical, theoretical and entrepreneurial acumen required to not only orient their sartorial view-point; but to harness it within a real-life context whether it is brand-building, or placement within the fashion industry in varying roles. The place for fashion education is exceptionally important, and Qhakaza : To Bloom exemplified what it means to equip and nurture the next generation. 

With a turnout from industry ranging from H&M, to Truworths and Superbalist, alongside family & friends – each graduating student showed their final collection, and took the honorary designer ‘bow’; did we get emotional? Yes; because this graduating year, as mentioned by director Luke Fobian in his speech, are the pandemic class; having seen 2020, 2021 and this year through together; from adapting to digital learning, to a return this year. This year’s alumni stand-out as resilient emerging designers, destined to make it happen, despite the obstacles – and that is somewhat of a prerequisite for an illustrious career in the industry. Head of Department, Nikki St. Quintin, reflected on the show, saying “our 2022 Graduate Fashion Show was testament to the incredible amount of hard work and dedication both students and staff put into this year’s showcase. We are so proud of the talent that exuded from each level of the programme.  Seeing how far they have come in their journey and knowing that they will have a significant impact on the African fashion landscape, is both exhilarating and incredibly rewarding.”

 

SCENE 1 /// FIRST  YEARS /// DRESSES:

“ H A P P Y   C A M P E R ”

/// 1st years were asked to explore the Gorpcore trend in a series of dress designs. Gorpcore – named after the colloquial term for trail mix (“Good Ol’ Raisins and Peanuts”) – is a style focused around wearing utilitarian, functional, outdoors-inspired gear. Details to be incorporated were camping inspired items such as webbing straps, clips/buckles, hardware – D-rings, drawstrings and toggles, functional pockets, structured hoods, velcro, zips, press studs and rivets, colourful twine, rope, and bungee cord. /// –  Nikki St. Quintin, HOD

The first year segment was a profound technical flex; with the brief encouraging students to draw on everything they had learned this past year, and envision as much detailing into a cohesive, Gorpcore masterpiece. For many students, this year would have been the first time consistently sewing beyond a DIY style set; and the sheer amount of variation and application we saw come down the runway was clearly indicative of a focused, attentive class and their varying lecturers. In the two years to come, their garment construction skills will be proliferated across many garments, eventually culminating in a cohesive graduating collection. Scene 1 showed an astute focus of ability and mastery over a single garment – the dress – in a multitude ways, and in a variation of burgeoning aesthetics and points of view. 

SCENE 2 /// SECOND YEARS /// MENSWEAR

FIELDS COLLABORATION

/// “Outside beyond ideas of wrongdoing and rightdoing there is a field”, I’ll meet you there” -Rumi

In collaboration with the contemporary South African menswear brand FIELDS, our second years were asked to choose their own inspiration, interpret and design AW23 looks for the brand, while adding their own unique signatures to their menswear designs. /// – Nikki St. Quintin, HOD Collaboration is the kindle for true success in design. For the second year’s menswear segment, Fields – founded by Mikael Hanan – formed the foundational reference, yet the students were required to understand what it means to take a reference and channel it through their own, unique design language. Referencing is the bones of design; many have said there are no original base ideas left in fashion, only the originality with which we can update and make an idea brand-new. With juxtaposing yet seamless moods of sharp tailoring and casualwear, we loved seeing menswear encouraged as a space for thoughtful ideas on masculine dressing, and a profound necessity for the design students to begin to think clearly about creating for a customer within real-life contexts. 

SCENE 3 ///  SECOND YEARS /// AVANT GARDE

/// Second years were asked to design an outfit using only white bull denim and fabric manipulation for this years’ Avant Garde Scene. The theme “SPEAK YOUR MIND” asked students to investigate their internal thoughts around the ideas of social activism and what kinds of world issues they were passionate about and would like to explore in an Avant Garde design. Topics they chose to explore include the refugee crisis, poverty, mental health, depression, coral bleaching, loss of innocence, animal captivity or cruelty, police brutality and human trafficking. /// – Nikki St. Quintin, HOD 

This segment was a very deep moment in understanding the power of sartorial consciousness; the idea that through clothing, we can express the very complex nature of being human. There was major Lee Mcqueen energy through each look; with the first look a disconcertingly brilliant transition between a straight-jacket style piece, in which the model had to essentially contort to walk down the runway – breaking free at the end, and walking back sharply and intently. With a limitation on fabrication, the white bull denim lent itself to each look as the perfect canvas to flex working with heavy, durable materiality – and playing in the realm of the surreal and obscure, in order to translate difficult truths. This segment was the study of intelligent design – design that evokes, that discomforts – design that is necessary in and amongst ready-to-wear. An essential space of growth for every designer to find the ‘WHY’ of their vision. 

 

SCENE 4 /// THIRD YEARS /// GRADUATE COLLECTIONS

The show culminated in the graduate collections; eleven students, for whom the world waits wide open creatively and professionally. This was the moment that all they had learned, interrogated and envisioned came through in a five look collection founded on a brand concept that they had spent the year nurturing. Cohesion is key in a collection; whether this is stylistic oriented, led by the colourway choices, or strength of narrative concept. Each graduate collection felt to be designed in touch with an audience in mind; whether sub-cultural, or a specific customer – a special reminder that each designer is speaking both for themselves and for whom they imagine their clothes to be worn by. 

With a deep focus on mentorship and industry integration, the showcase hosted an advisory committee led by industry titans Lukhanyo Mdingi, David West, Nicola Cooper and Thato Lehana. After deliberation and connecting with each student, the Design Excellence Award was given to Amanda Trom for her stand-out collection, conceptual branding and vision under the moniker VNTU. We couldn’t agree more; with her technical, stylistic richness shining through in an identifiably clear landscape. Another stand-out collection for us was the menswear collection by Christopher Emefiele; a concise dialogue on Nigerian, British masculine dressing. The strength of DAF as a school, and of the students themselves; is that we could imagine each designer finding a path ahead, overall encouraged by the idea that there is a seat at the table for every kind of essence and expression. Speaking to this, director Bianca says, “the Design Academy of Fashion creates an environment where students can unleash their unique potential. The students rose to the occasion and produced outstanding work that showcased their distinctive design aesthetics and individual perspectives. I am excited to see what the graduates do next.”

 

Written by: Holly Beaton
Published: 8 December 2022

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

An iconic city deserves an iconic drink. Introducing Cape Spritz.

Dec 5, 2022 | Lifestyle, Community

Few drinks cut as pleasurable a form as the exquisite spritzer – the word itself stirs up images of balmy summers in southern Europe; days spent languishing along the Amalfi coast or Saint-Tropez. With a rich heritage as a ‘summer wine or cocktail’ – spritzers are intended to be steeped in freshness, as the perfect accomplice to the hot months ahead. This mood is precisely the latest vision and offering from the minds behind The Duchess – South Africa’s award winning alcohol-free gin & tonic. With Cape Town as a local and beloved expression of coastal immersion, Cape Spritz is set to invigorate South Africa with its very own spritzer: ‘Cape Town on tap’. We are absolutely here for it. 

With no artificial flavours, Cape Spritz is an all natural, beautifully blended symbol of summer Cape Town. The serve is a distillation of Swartland Rosé, infused with natural peach, punctuated with carbonated bubbles – and finally finished off with a sea salt rim, derived directly from the ocean. Lower in alcohol, at just 5%, Cape Spritz is intended for easy, extended drinking; Cape Town’s very own spritzer – with a sincerely distinguished ode to our landscape encompassing the elements of ocean, orchard & vine. 

Launching on tap and exclusively to an array of selected local bars in the city; the intention behind every sip is the unbridled joy of living and playing in Cape Town during the summer, the quintessential experience of that sought-after Mediterranean mood, right here at the southernmost tip of Africa. Why yearn for holidays spent elsewhere, when we have it all, right here? The first official taste of the Cape Spritz world was shot by Aubrey Ndiweni – the master of evoking solar-soaked delight – with this campaign initiating the pursuit of Cape Spritz; to capture the essence of Cape Town, on tap. 

Now being served at Rockpool, Sotano, Strolla, Presidents Hotel, Mojo Market, Bacini’s, Judds Local and Firemans Arms to name a few.

Product Photography: 
Kleinjan Groenewald and hyperlink his IG @k.groenewald 

Follow Cape Spritz on IG: @capespritz 

www.capespritz.com

 

 

 

Published: 6 December 2022

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

World AIDS Day: The Importance Of Knowing Your HIV Status

Dec 1, 2022 | Lifestyle, Community

Growing up in the 21st century, set against all the ways we are socialised and cultured into bias and prejudice, the HIV epidemic has always struck me as a paradox of both the fragility and resilience of being alive and of being human. That fact that we are at the mercy of microscopic organisms is sometimes a hard thing to reconcile for creatures such as us; so clearly endowed with vast ideas, vast abilities and vast systems. Yet, with the recent pandemic and all its polarising qualities; I look to the history of HIV as a clear example of what happens when we strive for access to healthcare, medical intervention, awareness and de-stigmatisation. Today, someone who is HIV-positive can lead an incredibly full, beautiful life; and with the correct intervention, the virus itself can reach an ‘undetectable’ status. This is an incredible feat against a disease which has ravaged the world for nearly 40 years ; and to which none of us are beyond facing.

Today, 1 December, is World Aids Day – and this year’s theme is ‘EQUALISE’; because as much progress that has been made in the fight against HIV/AIDS, so there are many barriers in our continued progress for equality, access and stigma reduction, and ultimately, eradication of HIV entirely.

According to a report by UNAIDS; “In 2021, there were 38.4 million [33.9 million–43.8 million] people living with HIV, and 54% of all people living with HIV were women and girls.”  We spoke to Zella Young, COO at LifeSense Disease Management, to learn more about the importance of knowing your status, and the invaluable purpose of antiretrovirals: the treatment for HIV that has seen leaps and bounds into a what it is today; a single pill, daily, that saves lives.

 “Part of the barrier to equality in the HIV epidemic is that everyone needs to know their status. Once you know your status, and have accepted it, taking steps to get treatment can be instrumental in being able to live a normal, healthy life. Many people are living with HIV, and are in relationships, and yet the stigma of a positive-status can be such that they feel incredibly alone, in a bubble of fear, and if they are not on treatment, they are at a high-risk of developing AIDS.

 HIV is a virus that attacks the body’s immune system (CD4 Cells), and starts making “copies” of itself. The more “copies” there are of the virus, the more CD4 cells are attached, resulting in a compromised immune system putting the individual at risk of other infections and diseases. When the immune system’s CD4 count, the cells that fight viral infection, is lower than 200 cells/mm3, it then constitutes a person receiving a diagnosis of AIDS. Antiretroviral intervention ensures that someone’s CD4 count does not lower to that degree.” Zella explains, pointing out that there is a clear difference between HIV and AIDS; and while the two explain varying states of having the virus, that there is also an incredible hope.

The general protocol for HIV testing at pharmacies, clinics and hospitals, both public and private is that when someone chooses to get tested, they are pre-counselled by highly trained people, and should they receive a positive diagnosis; they are then further counselled on appropriate steps to take. The key principle of this process is that everyone is counselled with empathy, with all their questions, fears and concerns answered. Then, it’s about sharing the good news with the patient; which is that HIV is not a death-sentence, and it is not a hindrance to living your life. If a patient who is HIV+ starts immediately on their treatment, it will stop the virus from replicating in the body. This is what can allow the body to ensure it is protected against HIV, and maintain a high CD4-count, and a low viral-load.

A central aspect to how we de-stigmatise HIV is through education, cultivating honest, non-judgemental awareness around sexual health. It is imperative to practice safe sex, and in particular; ‘pre-exposure prophylaxis’, known as ‘PrEP”, a medication that can be administered to people at a high-risk of HIV exposure. Zella explains, “PrEP is a form of antiretroviral therapy which is given to individuals that want to protect themselves from contracting HIV. PrEP is taken continuously whilst the individual is at risk of contracting HIV from an infected individual. If you are in a situation where you are not already on PrEP, it must be taken at least a week before sexual activity in order to protect yourself from contracting HIV.Very importantly, to qualify for PrEP; one needs to be HIV-negative. These are measures everyone can take to ensure that they secure their own agency and safety in any circumstance that might arise. Guidelines indicate that condoms should still be used for the protection against sexually transmitted diseases”

After testing positive, with immediate and consistent treatment one can achieve an undetectable viral load which can lead to an HIV-positive person not transmitting the virus to another person through intercourse; this means that under the correct course of action, an HIV positive person can practice sex with their partner, without protection. This is only, and I stress, if we continue to build individual and collective accountability for how we face HIV and as well as being honest with your partner about your status. It does not mitigate sexually-transmitted infections and thus practicing safe sex is something that should always be of the utmost priority.

 In South Africa, we have the largest, national HIV program in the world. The support for this disease exists nationwide and it is state-funded; it is essential that these conversations are brought into every community across the country, as every person in South Africa is entitled to HIV health-care and support, whether through medical aid or state-facilitation. As Zella clearly says, “One of the major challenges that we face in South Africa is the stigma attached to HIV. People are reluctant to go forward and disclose their status, and therefore do not access the necessary treatment that is available.”

With the state of our country often in contention; it is incredible to know the utmost seriousness with which our government has handled the HIV epidemic. As Zella explains, this extends to motherhood; with South Africa offering some of the best, direct support pre and post-natally for HIV-positive mothers, “Our government has the most amazing pregnancy program, which people need to know about. A pregnant woman can immediately be tested for HIV, if her status is confirmed as positive – treatment begins immediately. Then, she has her viral load tested again within six weeks. The minute the mother becomes undetectable, she will not transmit HIV to her baby; even if she was positive at the time of falling pregnant, as long as she gets onto treatment, during the pregnancy. All throughout this, she is supported, and after attaining and maintaining an undetectable viral load, she is then highly encouraged to prioritise continued treatment. The minute the baby is born, they are given what we call “PEP” – post-exposure prophylaxis – which mitigates the exposure in-uterine and during the delivery. If mom decides to bottle feed, the baby receives PEP for six weeks; if mom decides to breastfeed, the baby will continue PEP until such time they are weaned off the breast.”

The availability of these resources are localised in our areas across the public and private health sector; and HIV is not a bygone issue, despite the progress we have made. Like any disease, it does not discriminate; and everyone, across every socio-economic, class, sexual, racial and gender spectrum can be infected. We need to have these conversations in our communities, with our friends and families; and most importantly, we need to know our status. We invite you to ‘equalise’ the conversation and fight against HIV.

 

 

Resources ///

Steps To Getting Tested

UNAIDS South Africa

The South African National Aids Council

Donate Here

EVERY SOUTH AFRICAN IS ENTITLED TO HIV TESTING AND TREATMENT.

 

 

Written by: Holly Beaton
Published: 1 December 2022

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

Chapter 11 | 22 of 2022 – The Best Moments In Fashion ft. Tanatswa Amisi

Nov 30, 2022 | Interlude

As fashion is an enchanting force to be reckoned with as our ever-delirious yet necessary remedy in this world; it was only fitting that we end our final edition of the year with angel numbers – 11 of 22, in 2022. Invoking the power of 1’s and 2’s, the alignment of union, relationship and wholeness; Interlude ends aptly, if you ask me, for a year that has seen Africa firmly take its place as the original sartorial source and Motherland; as She should. To further this, Interlude finds an exciting new way of expressing; collaboration, and I am so excited to welcome one of South Africa’s most exciting, emerging voices in fashion: Tanatswa Amisi, AKA @iobservefashion on Tiktok and Instagram. I have been following her TikTok discourse for a while as her content is fast becoming a source for the world to see fashion through the voice of an African woman; her critical, digital archive grows, with followers tempered across Europe, USA and more. So, Chapter 11 is the outcome of an hour-long digital conversation and geek-out retrospective of the year – with Tanatswa’s top 11, and my top 11; a journey through the year across the world, with the strongest emphasis on the continent and South Africa. 

Disclaimer: the lists shown are in NO particular order – each a gem in the crown of the proverbial pash for fash. 

 

Tanatswa’s 11 of 22 in 2022:

1 /// Thebe & Pierpaolo Unite Their Houses With Exceptional Results  

When Thebe Magugu and Valentino collaborated, I was surprised – there’s usually quite a disconnect when different brands from different cultures collaborate, and especially in light of fashion’s history with cultural appropriation. After watching their conversation, and seeing the final results; I could tell there was a real mutual respect and appreciation for each other. Boldly, I would say this is the first true cultural exchange that I have seen executed in fashion, that I’ve seen. Pierpaolo said that he sees Thebe’s work as Haute Couture; that there is this direct cultural expression through a cultural viewpoint, was beautiful to hear. 

Images Courtesy of Vogue.com

2 /// Riri Alters The Timeline of Motherhood Forever with Her Pregnancy Reveal Look

That piece from Chanel F/W 1996 was incredible – with her bare tummy, casually strolling through New York. Yes, it was clearly staged – but it was so fabulous, it really made me understand that pregnancy is not a inhibitor to style! I think it was a new way of making the  ‘pregnancy reveal’ casual yet fashionable; and not this high editorial moment that we have seen before with other celebrities. It was refreshing. 

 

Photographed by Miles Diggs

3 /// Wanda Lephoto X Dakotas Preserves Cultural and Sartorial Consciousness in Real Time 

This was a very new perspective on South African fashion. Designers here are really showing their mastery of story-telling. I remember Wanda posting an image a month or so before announcing this collab, and it was an image of a man in apartheid South Africa, dressed in this crisp, smart-casual way as a lot of Black men dressed in townships. This collaboration was paying homage to a very specific sartorial coding within South African culture and history. I struggle to find the words to describe it – but it’s the way my grandfather dresses, the way our father’s dressed back in the day. The loafer is the central symbol to this, and it’s significant – I know my dad and grandfather polished and cleaned their loafers with great pride. Wanda and Dakotas coming together to really honour this, was so meaningful. I think it should have gotten a lot more attention than it did. The coming together of a South African, heritage footwear brand and a contemporary designer is something I hope that we continue to see happen. 

Photographed by Luke Ncube

4 /// Michaela Coel’s American Vogue Cover is a Ghanaian Dreamscape 

 

I first talked about this cover on TikTok, because it was the first American Vogue to be shot in Africa – it was shot in Ghana, in Michaela’s hometown in Accra. Afterwards, I learned that the actual cover itself wasn’t shot in Ghana, but all the other images were. People were quite critical, and I had to take a step back and interrogate what does this really mean to me? It’s something I’ve asked my audience before on TT, do we as Africans need Vogue to recognise us, whether in the form of a Vogue Africa or a cover shot here? My perspective is that Africa is luxury – we have it within ourselves – do we need the validation of the rest of the prestigious spaces in the west? The images themselves though, styled by Ib Kamara, were incredible – and I love Michaeala, apparently she demanded it was shot in Ghana. I think seeing Black artists asserting this agency in fashion is so important. 

Photographed by Malick Bodia

5 /// Kenneth Ize Takes A Break And Reminds Us All That Rest is Powerful

When Kenneth Ize announced that he is going to take a break from fashion, I was intrigued. It hit really hard, because it was indicative of the pressure and demand that we put on designers in the industry. There’s this expectation for them to be creative messiahs – to create and constantly amaze us – and then we sit back and pull apart their work. There is a powerful statement to be made when a designer chooses to step back, and almost set a boundary that allows them to reflect. Kenneth didn’t go into specifics, but I’m speculating that it comes from immense pressure. When you are designing for a social media age, you are having to feed people’s desire for constant newness – with little understanding of anything other than the final image or garment. 

 

Collection images courtesy of Maison Karl Lagerfeld and Image of Kenneth photographed by John-Paul Pietrus

 

6 /// Maximillian Davis Debuts at Ferragamo – And Milan Is Already Better For It

Ferragamo is a very traditional, heritage brand in Italy – and their customers for their garments, not just accessories, are wealthy, European aristocratic types. I’m very interested to see how Maximillian as this British, Black and queer designer – at such a young age of 27 years – is going to make clothing that speaks to a broader demographic, too. I think the house wants a broader, more diverse customer; it’s strategic, and Maximillian is highly suited to this task. Even at his debut show, the front row was full of his younger, Black friends – and it felt very reminiscent of when Lee Mcqueen took over Givenchy. There are these two worlds colliding, of traditional brands with very specific coding, and then a young maverick who ruffles feathers – so I am very excited to see the Ferragamo culture shift under Davis’ tenure. It’s a sign of a healthy industry, when we see big change like this happen and then succeed. 

 

Photographed by Cris Fragkou 

7 /// Thebe Magugu’s Heritage Dress Collection Is The Deepest Love Letter to South Africa

Each dress was a homage to each indigenous culture in South Africa – and the silhouette itself referenced a continental silhouette, that long, flowing dress that we see in central, west, east and southern Africa. Thebe’s constant push to be so authentically South African, and succeed in being totally himself, it’s a very deep lesson that I think will forever be referenced by designers who come after him in South Africa. Thebe is uncompromising himself, and so is the label and everything it showcases. This collection was one of those moments where I just sat back, sighed and thought, ‘this is why I love fashion.’

Photographed by Aart Verrips 

8 /// Africa Is Now Magazine Editorial Says it All with Muses Yannick Konan and Pivot Aurel 

This was my first time doing a video on African fashion editorials – I had only spoken about designers previously. This was a South African all-star team, with a powerful interview with Nao Serati, and the models Yannick Konan and Pivot Aurel – we don’t often hear from the models themselves, and their Ivorian and Burundian perspectives on fashion – and I think all around, this editorial demonstrates our culture of fashion showcase in editorials. 

Photographed by Kitso Kgori 
 

9 /// Raf Simons Knows When It’s Curtain Call, Even When It Aches 

I haven’t really dissected Raf’s work that much, but I respect his impact – when I was first getting into fashion, he was the first ‘niche’ designer that I heard about. I learned about the Antwerp 6 through his work, and I think we are all quite shocked. None of us saw him giving up his label before his tenure at Prada. It’s heartbreaking, and it’s the end of an era – and I can’t help but feel that it’s this eerie feeling of an independent designer being absorbed by the machine. Having said that, it’s also great when someone knows that it’s a curtain-call; it’s what Margiela did, and maybe it’s not the last we’ve seen of Raf in an independent sense. Raf’s impact on streetwear – his relationship with rappers, with Black culture – his discretion, and I think he’s done more than we can say as a bridge. We also need to brace ourselves for the inflation of his pieces – where his legacy will be fully commodified under the capitalist function that emerges when a brand closes. 

 

Backstage images by Jamie Stoker 
Image of Raf by Getty Images

10 /// Burna Boy IS The African Giant For Dazed’s Autumn 2022 Cover

 

Dazed is a magazine that I think is most reflective of our times. Burna Boy is so relentlessly confident, and he backs himself so much – oftentimes there is this perspective that African people on the global stage are grateful to be occupying these spaces. With Burna Boy, he screams he’s the “African Giant” – he knows his impact, and his worth. Seeing Dazed recognise Burna Boy and them coming together for this very earnest, beautiful feature was amazing. It also speaks further to Ib Kamara’s continued influence, and perhaps the most important fashion director of our time, and the thread of African collaborators running through fashion across varying publications, brands and personalities – it’s huge. 

Photographed by Kristen-Lee Moolman

11 ///  The Intellectual Lens of Thebe Magugu Remains with ‘Discard Theory’  

I really tried not to make this all about Thebe, but he has had an incredible year. The ‘Discard Theory’ speaks to such a variety and layers of fashion. Internationally, the sustainability conversation appears very surface level – but Thebe going into Braam and shopping, with the documentary by Franasonic, was so transformative. It looks at the idea of luxury, the idea of consumption, and specifically in Johannesburg. There is this tension in the city between opposite sides of the socio-economic spectrum. There is one moment in the film where they show this Dolce Gabbana dress that is amongst this huge pile of clothing, and it shows that a piece of clothing is just a piece of clothing – it ends up the same, in a landfill, no matter the price tag or context in which it was made. I loved how Thebe subverted the trickle down effect in fashion of runway to rail, and made it ‘trickle up’ – saying that clothes coming from here can become luxury. The collection itself did this, and I think it’s genius. It’s demystifying and deconstructing luxury itself, and I think this makes Thebe one of the most precise and intelligent designers in the world, right now. 

Collection images by Aart Verrips


Documentary and stills by Francesco “Franasonic” Mbele

Holly’s 11 of 22 in 2022:

12 ///  Lukhanyo Mdingi Brings A New Format of Sartorial Showcase to Cape Town With ‘Provenance’

 

Lukhanyo Mdingi has had an incredible year – showcasing in Paris, and stocking their label from Saks Fifth Avenue to Selfridges, and then some. As an ode to Cape Town, and South Africa overall, the label saw a month-long residency at THEFOURTH Gallery, courtesy of Lemkus, and co-curated with Morné Visagie; detailing the label’s process from sketchbooks, to photographs – to calico mock-ups and more. Lukhanyo himself was available at the space every Saturday for four hours, doing direct walk-throughs with visitors – and this included many fashion school students in the city. To see fashion expressed in an exhibition format is usually what we know from large, archival showcases from bygone eras; Provenance set a new tone, and a direct dialogue for anyone aspiring towards design, or inspired by it. I’m told that there will be a Part II…

 

Images courtesy of THEFOURTH 

13 ///  Tywg’s Fourth Edition of The Sustainability Awards Is a Triumphant Dose of Hope

It was my first time attending Twyg’s annual Sustainability Awards, and I was left utterly amazed and energised by the evening’s celebration of changemakers and creatives – from winners, to finalists and attendees. Founder Jack May is a fashion industry veteran, and in this new era of her decade-spanning career – she and her team are spearheading sustainability in South African fashion, as an NPO, media space and incubator of circular and ethical frontiers. This is the most important award show in South Africa, in my humble opinion. 

Photographed by Tash Singh 

14 ///  ‘The Law of Desire’ sees Desire Marea Styled By Nao Serati and Shot By Tatenda Chidora in Dazed Magazine 

 

Everytime I’m at an Exclusive Books, you will find me surveying the magazine section – because you know when our shipment of Dazed, i-D or AnOther Magazine will arrive. Particularly with the pandemic’s shipping crises, it has been sparse and inconsistent to say the least. Imagine my surprise then, when 2022, Issue V ‘Chop Life,  of Dazed Magazine turns up on the shelf – and then later when I am immersed in it at home, only to see DESIRE MAREA and their multiple page spread? With unbelievable images shot by Tatenda Chidora, and styled by long-time friend Nao Serati, this editorial is one to be forever archived, remembered and celebrated. The interview detailed Desire’s career, their initiation as sangoma – and beautiful epitaphs of what it means to be Africa, to be Black, and to be unstoppable. 

Photographed by Tatenda Chidora

15 /// Sindiso Khumalo’s isiZulu Ode with VAULT by VANS and Sarah Andelman

Legendary Collette founder Sarah Andelman selected four women from around the world to participate in a VAULT by VANS collaboration; and Sindiso Khumalo was one of the designers chosen.  In a press release via Vans United Kingdom, Sindiso’s process for this series was described as ‘’Using her mother who was an activist as inspiration, Sindiso incorporated illustrations on the quarter panels of the OG Style 24 NTC LX for adults and the Classic Slip-On for kids. The illustration shows the artist’s mother on her daughter’s wedding day seen in traditional Zulu attire. Below it is an array of traditional Zulu homesteads to depict the traditional Zulu life on a modern, contemporary sneaker. This celebration of old and new continues with the Sindiso Khumalo Tee that uses water-based ink to screen print the powerful illustration of the artist’s mother at the front and at the back neck of the oversized tee.’’ This is the magic of design and of culture, in real time. 

 

Images courtesy of VANS

16 /// Broke’s Runway Showcase Powered By Lemkus Is A Taste of The Future

 

Broke’s Runway Showcase at Lemkus’ Exchange Building was one of the most special things I saw this year. With creative director Andile Dlamini taking his first designer’s walk at the end, to the hype and energy of Cape Town’s best dressed, to the garments themselves – streetwear is here, on the runway, and in our city’s. Up and up, onwards – it’s only just begun. 

Photographed by Gidion Felix 

17 /// Perennial It-Girl Chloë Sevigny marries in archival Jean-Paul Gaultier by Glenn Martens, custom Loewe + Cadwallader’s Mugler

 

Chloë Sevigny is fashion’s perennial It-Girl – and has been the ‘90s. Now, at 48 years old, it wouldn’t be remiss to place her in the same camp as young style icons such as Bella Hadid. Age is literally just a number; chicness is forever. When marrying her husband Siniša Mačković for the second time (also so chic), post-pandemic, the looks were sensational; and yet another collaboration between she and long-time stylist Haley Wollens (one the best fashion minds right now). The celebration began with ‘Look 8’ from Gaultier Couture by Glenn Martens – all sheer, ruffled and sculptural. For the second look, Chloë tapped into her friendship with JW Anderson to create a custom Loewe dress with billowy sleeves, reminiscent of a ‘60s shift dress. Finally, her third look of the night was the part look – an ivory, lace catsuit by Casey Cadwallder’s Mugler; uggggh. Perfection. 

Images Courtesy of Chloë Sevigny’s IG

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
18 /// Copenhagen Fashion Week Set The New Standard With Their Stringent Sustainability Requirements for 2023

			

				
				
				
				
				
For Chapter 08, I wrote about the potential parallels between Copenhagen Fashion Week and ours here in South Africa; as the cooler, younger siblings of the older trinity of Paris, Milan and London. I argued that central to this is CPHFW’s intense commitment to sustainability, writing:


“Underpinning all of this in a philosophical sense, is CPHFW’s unwavering commitment to sustainability; with many of the designers on show already having social and ecological awareness woven into the very fibre of their creative practices. Swedish label Main Nué had their entire collection made from vintage and deadstock fabrics – with others doing similarly – and with their position as a micro-brand – to exhibit that it’s not who you are, but rather what you are doing that is of interest to CPHFW and the vision ahead. To further this, CPHFW have released their sustainability report with a specific mandate for 2023; in which every label must meet 18 minimum sustainability requirements to qualify for a slot on their schedule. There are as follows, found here.”

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Photographed by Adam Katz Sinding


 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
19 /// Ib Kamara Receives The Baton As Off-White’s new Creative Director

			

				
				
				
				
				
In our conversation, Tanatswa and I touched on how we both thought Virgil had passed this year – only it was this time last year, and yet the wound still feels fresh. With many, many things uncertain about Virgil’s passing – one thing was always certain – he left behind a network of exceptional visionaries as family and friends in fashion and design. So, when Ib Kamara was appointed the new CD at Off-White; we were all relieved. If there is anyone up to the task, it was always going to be Ib – who styled many of Virgil’s shows, and was close confidant and co-creator. The resulting debut? Phenomenal.  

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Images courtesy of Off-White

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
20 ///  Spearheaded by Ky Bxshxff, Twyg Magazine Showcase South African Luxury Design in ‘Confections X Collections’ at The Mount Nelson Belmond Hotel

			

				
				
				
				
				
In a beautiful marriage between taste and sight, Tywg hosted a five day extravaganza at The Mount Nelson Belmond Hotel – delighting audiences with showcases by some of the most important designers in South Africa alongside custom-designed high tea. As Stella Hartenyo wrote, “From the 16th to the 20th of November 2022, The Mount Nelson Hotel in Cape Town, will host a five-day fashion homecoming celebration like no other with 5 of South Africa’s most renowned designers – Thebe Magugu, Sindiso Khumalo, Lezanne Viviers of VIVIERS Studio, Laduma Ngxokolo of MAXHOSA AFRICA, and Maxwell Boko and Mmuso Potsane of MMUSOMAXWELL. The Mount Nelson Presents CONFECTIONS x COLLECTIONS curated by Twyg: A fashion-infused celebration of creativity, culture – and cake.” I hope this won’t be the last we see of this event! imagine an annual one? 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Photography by Frances Marais 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
21 /// Stylist Rachael Rodgers Cuts Her Wedding Cake In A Floral Bikini 

			

				
				
				
				
				
Maybe it’s because I’m getting married, or that I’ve always just been a sucker for a wedding – but featuring two weddings on this list tells me one thing is true. Weddings are a fashion event, and Rachael Rodger’s cutting her cake in a custom floral bikini begs the question as to whether we will continue being discreet – due to family etc. – about showing skin at our nuptials? So cool, so original – more of this, please. 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Photographed by Maxime Ballesteros

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
22 ///  LVMH announce 2022 Winners : Winnie New York, S.S Daley and ERL 

			

				
				
				
				
				
I had to put this year’s winners, as I truly believe the LVMH Prize is a one-of-a-kind lesson in supporting rising fashion talent from around the globe. I urge you to keep an eye out each year not only for winners, but for finalists too; as it gives a breadth of understanding of the current fashion zeitgeist, and rising stars. 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Images Courtesy of LVMH 


 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Written by: Holly Bell Beaton


Published: 30 November 2022

			

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

			

			

				
				
				
				
			

				
				
			

				
					

			
					


				
															
Cotton Fest Comes To Cape Town, And It’s Going To Be Wild

					
					
Nov 29, 2022 | Music, Community

				
				
				
				
				
				
				

				

				
				
				
				
				

				
				
				
				
				
It’s hard to imagine that in relative terms, Cotton Fest has only just arrived on the scene. Its impact on the musical and cultural wave in South Africa is already phenomenal; consolidating into one space the pulsing heartbeat of hip hop, rap, pop culture, fashion and creativity emanating from the new generation, right through to the OGs who have a thing or two to teach. The first Cotton Fest was launched in 2019 – and stayed alive in the midst of the pandemic with the exception of 2021 – only to return again this year, now with a highly-anticipated entry into Cape Town. 10 December 2022 sees Paarden Eiland Park transformed into ‘University of Cotton Fest’ – this year’s theme – featuring over 100 performers and artists, alongside incredible spaces and installations, designed in partnership with Cotton Fest sponsors. Mother City, brace yourselves.

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Although Cotton Fest is young, it was forged with the grit and hope of vision of the late Rikhado “Riky Rick” Makhado – who leaves behind an indelible legacy, among it Cotton Fest. Seeded in collaboration with festival producer and maestro, Alain Ferrier, the show must go on; and as Alain tells us in our conversation, that is precisely how the festival had been laid out to be; a concept and story that could live on beyond he or Riky, and that was driven by the community of South African creatives.  Alain says, “Cotton Fest has and will always be a collaboration between two people, Riky and myself, primarily with me as the behind-the-scenes production, and with Riky as the creative and ‘the face’. I started in festivals and events in 2006, helping to launch Rocking The Daisies while doing illegal, underground raves in Paarden Eiland with some friends. It was never a career choice – trust me – but it has been my life’s and the thing keeps me on my toes like nothing else can. One of the artists that kept coming through our radar was Riky Rick. We started booking him more and more for shows. From 2012 to 2016, I must have booked him 30 times. We became friends, and there had been this loose conversation for a number of years of doing a festival. In 2018, I called Riky and said look, this is the time to do something celebratory under your banner and guided by your vision – where we could create an environment in which it wasn’t an egotistical festival about him, but rather a concept in which he could gather minds and creatives that he felt needed to be seen or heard. For the culture, you know?” At first, Riky was hesitant – and then one day, he called Alain saying ‘’we need to do it now, this December.” 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
With Riky Rick’s passing, a wave of heaviness and poignancy rippled through the country; but it could not deter from their initial intention for Cotton Fest, as Alain explains, “When we were conceptualising Cotton Fest, we didn’t want to call it ‘The Riky Rick Show’ – ironically, so that if anything happened to anyone of us, or the format shifted, we could rely on the brand to continue to be built around culture itself, rather than a personality or performer. Naturally, all of the things that we both loved came through; fashion, art, music, street-culture, the kids, Johannesburg as a city. We had very clear job roles, and fed off each other in terms of energy. We launched the first year, and lost shit loads of money – I’m talking shit loads – as you do in your first year where your dreams are not bigger than your pockets.” With this in mind, Cotton Fest is a ground-up and grassroots festival; and it has grown from strength to strength. The first edition in 2019 saw 50 artists perform, then to 100, and now the Joburg festival is a two-day experience with at least 120 performers across three stages. The vision for Cotton Fest is to highlight a range of artists at various stages in their career; from emerging talent, to more established MCs, DJs, trap artists and then towards headliners. This brings many minds under a unified vision; with the festival itself acting as a party, a networking space and a catalyst for growth in the industry. 

			

				
				
				
				
				
For the Cape Town edition, the line-up is set to energise the crowds in a big way; with ANATII, A-REECE, blxckie as just some of the headliners; our girl Dee Koala takes the stage too, and CEC’s extended family from Broke such as International Pantsula and Insertcoinz. The line-up is comprehensive, and designed to showcase the diverse cross-pollination of talent across South Africa. Though, a Cape Town hiphop extravaganza wouldn’t be right without the King of Kaapstad himself, YoungstaCPT. Alain tells us that Youngsta has been extremely influential in Cotton Fest coming to the city, saying “Youngsta has been a super supporter of the festival, and he’s come to every single one of our shows. He and Riky had a very special connection, and when Riky passed away – he showed up for us all in a very big way. We felt it was a safe first step for us, after everything that had happened, to go to Cape Town.”


The festival also will host a variety of spaces alongside the musical component; with fashion showcases highlighting young designers, and even street-skating competitions held by Day Marumo of Perfect Weather Skate Foundation. Cotton Fest Cape Town is going to be a decisively exceptional end to our first year recovering from the pandemic – with deep losses and uncertainty – but it’s spaces like this that keep pushing hope, joy and opportunity for this beautiful country. We are here for it. 


Get your Cotton Fest CPT tickets HERE! 


 


 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Written by: Holly Beaton

			

				
				
				
				
				
Published: 29 November 2022

			

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

			

			

				
				
				
				
			

				
				
			

				
					

			
					


				
															
Benjamin Fisher releases nostalgic track  ‘What It Was’ through The Good Times

					
					
Nov 28, 2022 | New Release, Music

				
				
				
				
				
				
				

				

				
				
				
				
				

				
				
				
				
				
Although Benjamin Fisher’s first single was released independently, but listening to that first release the natural talent is clear and abundant (I Don’t Need No Other). Now, he is back with the latest track ‘What it Was’. 


It’s visible, too, in his latest single, his first through Netherlands-based The Good Times Co. “What It Was” is the kind of song that emerges so fully-formed that it’s hard to imagine that this is only Fisher’s second commercial release. Riding on an easy groove and backed by a steadying beat, the song trades in nostalgia while remaining as far away from nostalgic pandering as one can get. Instead, Fisher offers up an embracing song that is streaked with melancholy, ultimately moving towards a heroic pinnacle where all things can be at ease – all carried by the warmth of his voice. 


 Benjamin’s first memory of hearing music in a way that wasn’t just as someone receiving it but as something he wanted to be part of came when he was about five or six years old. He was listening, as young kids do, to a children’s song that his teacher was playing through a CD player. When the song finished and the rest of the class moved away, he sat there transfixed, enthralled, feeling the magic of what was coming out of the small music player. Benjamin’s musical career is a continual reference to this moment.


Listen to ‘What it Was’ HERE


Benjamin Fisher social Media Links: Instagram | Tik Tok


Released by The Good Times Co. For more info contact [email protected]

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				
				
			

				
					

			
					


				
															
Do You Drink Too Much? | Navigating Binges, Booze and Post-Party Blues

					
					
Nov 25, 2022 | Navigating Reality, Lifestyle

				
				
				
				
				
				
				

				

				
				
				
				
				

				
				
				
				
				
Picture the scene. You’ve met up with a friend at one of your local bars for what inevitably won’t be just the one beer you agreed on having. “I can’t go too wild. I have some early meetings tomorrow morning,” he says to you, a kind of innocent reassurance that this will be just a calm catch-up. Time passes, one beer turns to two, to three, to four. You stop counting after a while. You have to go to the bathroom, you say, the words not yet slurred enough for you to know you need to stop drinking. Staggering but not quite stumbling, you make it to the bathroom, which you know will later be used almost exclusively for people to “powder” their noses. You empty your bladder and catch a glimpse of yourself in the mirror. You look rough, really rough. You have a good hard look at yourself, it’s time for that little mirror pep talk, because you could swear the room has never felt like it was spinning this much. While you were away, your friend bumped into some acquaintances. It seems there’s an event at this club nearby and to be honest, you have enough alcohol coursing through your veins that it doesn’t take much convincing to get you into a car. The club is dimly lit. It always is in fairness. You need another drink. Maybe two, gotta keep it going. “Do you want half of this?” the acquaintance says, signalling to a speckled pill in their hand. Fuck it, who cares, you’re mashed. The rest of the night is a blur. You have flashes of you dancing. Did you have even more to drink? Probably. You remember drunkenly flirting with someone you saw out at the bar. Did we make out? Does it even matter? You come to, slumped on a sleeper couch in your apartment. It’s noon. “What the fuck happened last night, weren’t we supposed to only go out for one drink?” 

			

				
				
				
				
				
For a lot of people, it’s  never “just one drink”.


After some recent self-reflection and a Halloween party where I’m pretty sure I consumed enough beer that my liver only recently recovered from, I posed myself this question. Am I drinking too much? Simply put, the answer is most certainly yes, and within South African drinking culture, I am definitely not alone. The statistics surrounding drinking culture in South Africa are pretty intriguing in a morbidly fascinating kind of way. Admittedly the percentage of people who engaged in drinking is lower than I expected at 31% of the population, albeit that third of the population drinks exceedingly heavily. 


“Among those who consume alcohol, nearly one in two men (48.1%) and two in five women (41.2%) engage in heavy episodic drinking.” according to a 2011 report by the World Health Organisation. Now here, I feel it is important to clarify what the WHO classifies as heavy drinking. In this classification, I think the context within South Africa becomes even more concerning. WHO statistics measure heavy drinking as 60g or more of pure alcohol on at least one occasion in the past 30 days. AWARE breaks this down for us in more manageable terms. One unit of alcohol equates to about 10ml or 8g of pure alcohol. Let’s apply this to what you might have on a night out. 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Malibongwe Tyilo did precisely this in an article for the Daily Maverick.


“…a standard glass of wine (175 ml) is 2.1 units, a cider 1.5 units, a single spirit mix as one unit, while a regular draft beer is three units. By those measurements, four glasses of wine in one sitting is a form of heavy drinking; the same would apply to drinking three draughts or three double spirits.”


Uhmmm, three draughts. I had that yesterday with lunch at Blondie without even batting an eye. Let me draw your attention back to the WHO’s measuring parameters. 60g of pure alcohol in the span of a month. I just had 72g of pure alcohol with lunch before coming back home to work on this article, yikes. I do realise that there’s a kind of slapstick comedic irony to me only seeing this stat after apparently engaging in heavy drinking, but I wouldn’t say that having three draughts is even close to being out of the norm in South Africa.  Maybe that is part of the problem. Perhaps the drinkers in South Africa, obviously me included, have been engaging in the overconsumption of alcohol for so long that we have shifted the parameters not concerned with the guidelines set out by health care professionals but rather with our own twisted indulgence. 


Here’s the thing, it’s not only that binge drinking is a problem, it’s the sheer frequency of these heavy drinking sessions. Let’s be honest. We, as South Africans, don’t need an excuse to get some drinks. Many of us have convinced ourselves that we should just quickly go and grab some drinks with colleagues or friends after work. A quick drink or two, to reward ourselves after a long day’s work. A quick drink or two as a form of celebration. A drink or two while we watch sports. When we’re bored. When we feel down. When we want to numb our feelings. When we think it’ll give us liquid courage on a date. When we need an escape. The list is frankly seemingly endless. South Africans have to a large extent, made drinking culture part of almost every social occasion. Joyous or emotionally dreadful, it seems the drinks are ever-present.

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Given the fact that we can now say that a lot of us drink not only regularly but, as outlined by WHO, far heavier than we probably should, it’s only right that we mention the impact this deeply ingrained drinking culture has not only on us as individuals but on our communities. Now look, it’s no secret that humans aren’t necessarily the best at internalising long-term consequences. Despite how fun it may seem at the moment, there are some real and potentially severe consequences associated with alcohol abuse, both physically and psychologically. Let’s not forget alcohol is, at the end of the day, a depressant. That hangxiety and post-party blues don’t magically appear. As stated in the WHO report, “An expansive literature shows that alcohol intoxication can increase dysphoria, cognitive dysfunction, impulsivity and intensity of suicidal ideation.” – so, the hang-xiety blues are not just in your head; they are a common feature of drinking alcohol, at varying levels and quantities depending on each person. In a culture where drinking equates to sociability – these effects are often laughed off or deflected as ‘par for the course’. 


Beyond the immense negative impact that alcohol abuse has on our mental health, we can not, and should not overlook, its tremendous negative impact on our communities. South Africa not only has the highest recorded percentage of fetal alcohol syndrome (FAS) but is, unfortunately, also one of the nations where gender-based violence and femicide statistics are sickeningly high. According to statistics released by the Western Cape government, 67% of domestic violence in the Cape Metropole was alcohol related, 69% identified alcohol/drug abuse as the main cause of conflict leading to the incident of physical abuse and 76% of domestic violence in rural areas in Western Cape was found to be alcohol related. And unfortunately, the abuse of alcohol cuts even deeper into our communities due to just how prevalent driving under the influence seems to be in South Africa. More than half (58%) of deaths on South African roads are linked to alcohol consumption, and we all know that this stat is far higher over the festive period.

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Now look, I know summer is here. We are all ready for sundowners, wine tastings, a lunchtime beer or two (remember, it can’t be three), family gatherings and the wind down to the year. We’re ready to pop champagne or an overly sweet sparkling wine as the clock strikes midnight to herald the start of 2023. And I know I’m the last that should be preaching mindful alcohol consumption. But maybe more of us should be asking, “Am I drinking too much”? If the answer is yes, know that there are myriad of resources available centred around community-care – and that the stigmatisation of sober-leaning lifestyles is becoming more popular – there are many ways to live, and even more ways to celebrate being alive. 


 

			

				
				
				
				
				
If you think you need help quitting or even just reducing the amount of alcohol you consume, take a look at: 


Monument  


Tempest


Alcoholics Anonymous South Africa


Al-Anon


Sanca


Therapists for Addiction in South Africa – Findhelp

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Published: 25 November 2022

			

				
				
				
				
				
Written by: Casey Delport

			

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

			

			

				
				
				
				
			

				
				
			

				
					

			
					


				
															
The New Originals on Building a Creative Exchange Beyond Borders

					
					
Nov 24, 2022 | Interviews, Fashion

				
				
				
				
				
				
				

				

				
				
				
				
				

				
				
				
				
				
There is a web of connection being built around the world – it has been happening for some time, and from our vantage point in South Africa; we are finally being seen as the immense wellspring of ingenuity that we are. Right at the nexus of this cross-pollination and cultural exchange is creativity. This force, within all of us, is driving us out of the rigidity of society’s demands – soaring us to new heights, new visions and among new friends. The New Originals are a brand that express this in the very fabric of their brand DNA, and their interest in South Africa – specifically Cape Town, with Johannesburg soon to follow, traces its root back to the Broke family, and photographer Nick van Tiem – who, through shooting Andile Dlamini for a few years, introduced The New Originals, and thus a collaborative union was forever formed. In the space of two years, TNO founders Rizky Lasahido, Maru Asmellash and Eben Badu have travelled to Cape Town – immersed themselves in the culture, now stock their brand at Lemkus and will return next year to deep this relationship between Amsterdam and Cape Town – beyond borders or difference, and solely to cultivate a new future of creative collaboration and opportunity. The dynamics of friendship, design and passion are the principles; The New Originals is the vehicle. As TNO’s tagline states, ‘performance clothing for creatives’ – this is the era in which creatives are paid their dues, and recognised as intrinsic to seeding the future. At Connect Everything Collective, we could not agree more. 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
“We originally started out as a blog around 10 years ago. We were just a group of friends posting about things that were going on around us – we all went our own way in our creative career paths, and then around 6 years, the three of us came together to build the brand, focused on clothing as a way to tell the story of creatives. We are very motivated by creatives across different industries and skill sets, and coming from Amsterdam – we grew up around really influential, dynamic creatives behind brands like Patta and Daily Paper. The New Originals is our contribution to this wave.” Eben says in our conversation. Central to the TNO vision is collaboration and community, with their site acting as both an e-commerce platform and a home to tell stories about their friends and peers in music, art, performance, fashion and design. It is about capturing the zeitgeist emanating from Amsterdam, and recognising ones emanating elsewhere across the globe. On this vision around collaboration, Maru explains, “As a brand, we are based around a group of people who share common interests. Our vision is to be a bridge and a space for people to connect from different spaces that normally might not get in touch – I think our tagline, “thinking out of the box” is the common thread among us all who are involved in or connect to the brand. A big part of this is our activities and programming that we do, which brings people together. The root of this is that we started as a DIY company without capital, and based everything on our community – we believed that we could pull this off purely off how inspired we were from the creatives around us. I think that’s why, wherever we go, there’s this energy around us, because we started with human capital instead of financial capital, and that will always be our main focus. Creative communities will always have people as their bottom line, before anything else.”

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
				

				
				
				
				
				
			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Cape Town has a special place in the TNO’s expanding universe, and with many amazing collaborations being able to take place digitally – Eben, Maru and Rizky did a one up and flew down to experience the Mother City in all Her glory. Eben says, “Nick van Tiem put us on with Cape Town, specifically with the Broke Boys. Earlier this year, we visited – and we wanted to expand on the work we had made a few years ago. We did a pop-up store and an event, and it was our first time seeing the Broke family in real time. Instagram has its limits – when you’re there at The Clubhouse, or at Lemkus or at INFLUHKS – that’s when the magic happens. We will be back next year to do part two.” With many brands honing on ‘community’ as an ethos or framework, with The New Originals – it’s the essence of what they do. Their original work was throwing cult-status parties in Amsterdam, and through that the brand was born; for TNO, the energy of people together under one banner can never be replaced. Maru explains what Cape Town meant to them, “The energy in Cape Town is incredible. We are aware of the rise of Ampiano taking over the world – people are talking about South Africa. What we experienced in the city was our mutual ideas. The style in Cape Town, and in South Africa, is wild. It’s one of the few places I’ve experienced recently where subculture is boiling and bubbling. In the age of social media, everything becomes so saturated so quickly; South Africa still has facilities to nurture sub-cultures, individualism and collective expression. There is so much acceptance among people that I don’t really elsewhere, there is a spirit of believing in what you are doing. We want to be a part of this, and what this is all about. Yes, we can hear the music, but what is happening behind it? We can learn a lot  from you in South Africa, especially in Amsterdam or London or Paris – where community-building is almost a slur nowadays, people throw it out there but it can be so exclusive. We were granted access to a community and culture that inspires us to do better where we come from.”

			

				
				
				
				
				
As for the future of TNO, Rizky reminds me that they are a young brand, so there is a lot left to do and build. He says, “We are starting out, really. We want to create further extensions of communities and bridges around the world, and tap into varying collectives in different cities. Our clothing drives that, but it’s really about meeting up and hanging out – that’s never really been possible before in the world, so it’s a new frontier. We want to highlight the fact that many people like us are starting companies and being creative, and it’s something that’s happening around the world – so if we can map it out, and bring people to Amsterdam, or visit their home cities, then we are achieving our vision.” The New Originals are a potent example of what it means to be young and create a company today – in the trenches of capitalism, consumption and chaos – there is a light shining out from all over the world, doing beautiful work and creating waves. We just have to be bold enough to search each other out, and then anything is possible. 

			

			

				
				
				
				
			

				

				
				
				
				
				

				
				
				
				
				
Written by: Holly Beaton

			

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