Disrupting the Norm with South Africa’s Sartorial Icon Yasmin Furmie

Sep 6, 2022 | Interviews, Fashion

Yasmin Furmie lives by the line ‘disrupt the norm’ – a phrase that is as pertinent as ever. As a beloved icon on South Africa’s fashion and creative scenes, Yasmin cuts a disruptive stance – offering us case studies, almost everyday, in dressing; what style is and its relationship to ‘fashion’ – Yasmin embodies the joy of free-flowing expression, and usually with the wildest pair of sneakers to match. For Yasmin, style is the medium she knows best to channel her creativity – and as she tells me in our conversation, it’s been an evolving dialogue with herself in which she has challenged herself along the way; to be bolder, to be more conscious, to curate – and most of all, to support local. Yasmin is an absolute devotee of local design; championing the creativity ingenuity that only seems to accelerate in our country. Alongside her best friend Cynthia Allie – Yasmin runs their brand SiSi – a loveletter to each other, and to their passion for the perfect shirt; and how it can be adapted in so many ways, as treasures for one’s archive. 

In our conversation, Yasmin is dressed ‘down’ – although it’s the complementary sweatshirt and tracksuit jacket from the PUMA x VOGUE collection; a coming together of fashion and sportswear that represents the fast and necessary dissolving divisions between luxury, streetwear and the categorisation of style. Shining brightly in crimson red, Yasmin speaks on her personal style evolution, “You know, we don’t all pop out the womb knowing how to put things together – it’s something one builds on through periods of growth during life. I am very influenced by my family, specifically my father; the way he dressed and curated his outfits, which were very preppy, was something I loved so much. That preppy style was quite unusual for the time. It also comes with confidence in myself; and less of a desire to have what’s fashionable, and more of a desire to be unique and tell a story of my life through how I dress. That’s I think where the so-called ‘iconic’ association comes with me – that’s a consequence of living true to myself, and my style reflecting that.” In a world so driven by consumerism, and often designed to feed into our desires to covet newness, Yasmin reflects, “I think there’s an important distinction between style and fashion. We can go on that hamster wheel forever and ever wanting every fabulous thing that comes out by every brand or label. I think that gets very overwhelming and you’ll never be satisfied. My style really evolved when I made a conscious choice not to consume so much, firstly, and then to really work with what I had in my wardrobe. This forced me to become creative – and of course, fashion will always be a reference point – you can take what’s fashionable, but interpret it in your own style.” Yasmin’s sincerity is poignant on this – that trends do reflect the mood of the moment, but that it’s ultimately a matter of bringing it into one’s personal viewpoint of their expression and taste.

Yasmin is an immense supporter of local design – and I’ve heard it said that seeing Yasmin in one of your designs is a sure sign of good things to come. Perhaps, without knowing, Yasmin holds this sense of guardianship for South African fashion; a treasured talisman and lucky charm, and her position is influential, in a way that influencer culture could perhaps never quite land as earnestly. On her love for local fashion, Yasmin says, “I’ve always felt that I had to be a little bit unique. The best way I know to do this, is by looking right at home in our country – instead of looking overseas all the time, or following what everyone else is trying to wear, and we are so spoiled for choice here. A country like South Africa is made up of such diverse talents and creatives, and when I wear local things in Sydney or London – for example – I am stopped over and over, and asked what I’m wearing. We have to support local – for environmental reasons, and for every political reason that I think about regarding fashion and its power in the world. Buying into our industry is buying into our own economy; it’s supporting young creatives who are carving their paths. It’s about supporting their dreams, and the future for all of us.” With the uncertainty around job security and our country’s overall economic health; Yasmin encourages creative solutions, and in speaking – she always returns back to fashion or design as a pathway to a better vision for South Africa. We are emerging from a decade of a near full-scale outsourcing of our production and manufacturing power – spurred on by globalisation, rising costs and other facets of industry. Yasmin reminds me that we are seeing the industry re-assert its course inwardly; from the successes of contemporary luxury brands, to mid-level and streetwear label’s gaining traction – to the excitement felt this year of our fashion week culture reestablishing itself firmly as a fixture of expression for designers and roleplayers in the industry. Internally, we have a responsibility in our purchasing power to see this reassertion through, and with a voice like Yasmin’s – we can be assured in the act of supporting local.

Recently, I watched a Tiktok from Yasmin in which she addressed her followers; and asked them to refrain from expressing their admiration using words like ‘aunty’ or saying ‘you look good for you age’ – as a part of Yasmin’s purpose in becoming a public figure for fashion, has been about defying ageism; on this she says, “I think it’s something that needs to spoken about. I think people sometimes think I’m being petty – what’s aunty or mama saying that for? What people don’t see is that if you extrapolate that phrase – ‘oh, you look good for a ____” – and insert something pertaining to race, or gender, or sexuality – it would be highly problematic. What I try to put across is that the very sentiment of viewing someone as doing or wearing something and tying it to an aspect of their identity, even as a compliment, that it is othering them. If I love someone’s style, I would never qualify that in accordance with their identity. I know the majority of people are well-meaning, but I do think ageism forms part of the way that we continue to separate and divide each other based on how society has taught us to view or appreciate each other.” These is a powerful sentiment – and poignant if we are to continue to shifting our socio-cutlural exchanges. Yasmin just is – as we all just are – and that is a very beautiful surrender to make away from the demands of categorisation. On ‘disrupting the norm’, Yasmin explains, “Well, we are put in a box. Especially women, and at a particular age in their lives. Policing behaviours and expression is something I am strongly against, and I hope that I can reflect a different way. I want to say what I want, wear what I want – and to be acknowledged, and for my beliefs to be respected. It’s quite something that these very simple things are somehow rebellious in the world. I want to see people being unapologetically themselves.” Inspired by her friends, her beautiful family – travelling and the city of Joburg that never ceases to inspire her – Yasmin Furmie being essentially and wholly herself is a symbol for us all.

Written by: Holly Bell Beaton

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

Building Streetwear Ecosystems with Cameron Lovemore’s Brunch Club

Sep 2, 2022 | Interviews, Fashion

Cameron Lovemore’s surname is incredibly apt – especially as our conversation unfolds, and it’s clear that his brand Brunch Club’s origin story is as earnest as its latter and present success, as one of the most exciting streetwear brands sweeping South Africa’s scene. The new generation of streetwear founders and designers have grabbed the baton themselves; and intend to do big, big things with it. As Cameron tells me later, he and contemporaries such as the homies at Broke are seeding a streetwear ecosystem in which everyone can have a seat at the table; the ‘we all need to eat’ sentiment is ripe, and so critical if our fashion scene is ever to see out longevity and expansion.
The brand’s signature’s are developing, and are punctuated by bold use of colour – with a specific shade of blue (cornflower-esque) as a visual footnote – and the name itself, playful and inviting, is a nostalgic nod to Cameron’s cohort of creative in high schools; who, in a rigid traditional school in Graham’s Town, were not into rugby and all said camaraderie. What Breakfast Club was to misfits of the ‘80s, so Brunch Club was Cameron’s crew, and the name has since stuck. Around this time, Cameron tells me how the idea of apparel as a career first struck, ‘’In high school I was always trying to make money, and I managed to get some designs that I had made for our houses (school houses) hoodies – and I got the opportunity to run with that. That was the first time I was introduced to how anything is made in fashion – like print methods, embroidery – construction. The goal then wasn’t to be cool or do something very meaningful, I think, the goal was to have extra pocket money. The idea of Brunch Club was born from my friend group – we are a bunch of creatives navigating this very traditional environment – and we were also quite naughty, and Breakfast Club was our favourite movement. We would meet at brunch time every day at break – so the name stuck. I made us a few more and they liked it. It was plain tees that I had sourced and worked on myself to differentiate.” This first taste of production and retail stayed with Cameron – and he went onto supply schools and universities with matric jackets, jerseys, hoodies for around five years – intermixed with an annual ‘Brunch Club’ shirt release. After leaving university, it was clear to Cameron that this is what he wanted to do full time – particularly in the creative space of fashion.
Like many creatives, COVID was a driving force – in its simultaneous devastation and incubation of careers and pathways – for brand ideas and visions to become a fully-fledged brand. Cameron is endlessly curious and committed to learning, and the time offered him an opportunity to learn to sew on his own – alongside a move to a studio in Greenpoint. On this, Cameron says, “We are a functioning brand with everything made by us. I don’t buy blanks anymore, and this rebirth is very much about Brunch Club – I haven’t done an order for a school since 2020 – and it’s produced and designed by myself, our seamstresses and print shops. I wouldn’t have the time before the pandemic to put in the research that I needed to in order to build Brunch Club’s blueprint. I’ve loved fashion for so long. The biggest issue at that point was to sell, and believe it or not – even with e-commerce being what it is today – people still struggle to buy a garment from a picture without actually touching it or fitting it.” Like any good Cape Town story – Brunch Club’s first appearance on the scene was courtesy of a friend, who invited Cameron to do a pop-up at Yours Truly – unbeknown to Cameron, YT was one of the centres of the city’s culture and young creatives. Cameron reflects, ‘’I produced all the stock in two weeks, all day and all night. I felt it could be my big break – and it was the first time I had to buy hangers and rails, and figure out this aspect of fashion. I invited all my friends and it was a lot of fun – but then I was introduced to Andile (Broke) and Sam (Lazy Stacks) – and I had no idea that I was speaking to two of the most important figures in SA streetwear, right now. They told me that they were opening a store in Loop  Street the next day, and did I want to be in?” This store is none other than INFLUHKS – the brick & mortar emblem of the streetwear’s new wave. For Cameron, this was massive – and with the ensuing parties that laid the space’s name as iconic, and propelled many who stocked there to new heights, seeing fashion bring huge communities together gave Cameron every hope he needed for Brunch Club’s future.
Since then, Cameron’s growth as a designer has been nurtured by his ongoing dialogue ‘Understanding’ – a space he has created within the brand to express his growing understanding of brand-building and design. ‘Understanding’ is a dynamic approach to releasing collections, as Cameron says, “I’ve been exploring through capsule releases or piece by piece, to build a brand identity for Brunch Club. I’m taking our clients and community with me on the journey to explore different seasons, silhouettes – logos, fonts, typefaces and print methods. This is all under one big banner of ‘understanding’ – that instead of releasing new ideas, I’m focused on building on the central idea of what Brunch Club is. I really like this open-ending conversation I’m able to have because it also reflects my sense that I’m not done in my own understanding – I’ve created my favourite t-shirt silhouette so far in this collection, and my favourite pants – but that’s not the end of figuring it out, you know? As long as I am learning and growing, and everyone in the scene is supporting each other, then I think this shared vision of South Africa’s streetwear scene in 2022 and beyond is only the beginning. We are adapting to suit our own resources and market; and I think this is the difference when many of us realise that we can make our own notes, instead of always feeling like we need to take notes from international spaces.”

With Cameron’s sincerity – and his own style as an iconic feature on its own in South African fashion – the uniform of vintage blazers and ties is a nod and reclamation of his start at a traditional school. With doses of rebellion and grit, Cameron and Brunch Club stand alongside the promise of South Africa’s streetwear scene; critical, community-based and cooler than ever. We are here for it.

Written by: Holly Bell Beaton

Berlin Wibes is Releasing 8 singles Followed by Their First Self-titled Album

Sep 1, 2022 | New Release, Music

Berlin Wibes is the label of Sound Dogma Berlin founder and Bass music producer, Christian Ogrinz, a.k.a. Wasserstoff, in cooperation with Paradise Worldwide. Through networking in Berlin and internationally, his team has produced a global sound, with a mix of Gqom, Amapiano, Reggae, House, and Minimal.

Berlin Wibes recently did a session at Riverside Studios with Soundz of the South from Cape Town, with an imminent joint release for 2022. The Berlin Core Team is made up of Wasserstoff, Waynette Posch (media/club), Martin Burkard (co-production/sound), and Henrike Ott (graphics/contacts).

Starting the 26th of August, Berlin Wibes is releasing 8 singles, and their first self-titled album with 15 tracks to follow on the 10th of February 2023.

/// Listen to the first 3 singles here on Soundcloud

Featured artists on the tracks are Marechal Mendy (Reggae vocalist, Dakar), Ali Haydar Timisi (Turkish Anatolian folk singer and instrumentalist, Istanbul), Jah Moko Family (Reggae vocalist from Mali, now Dakar), Msoke (Reggae artist, Zurich), and Ben Hafane (Rap artist, Lyon). The artistic concept reflects the stereotypes of current contemporary history. While the songs are characterized by a yearning for peace and freedom and the desire for more equality and independence; standing for qualitative relevance through diversity.

Berlin Wibes is working in parallel on a Trap/Drill series in a Berlin/Hamburg/Cape Town collaboration: where female MCs in Germany are presented, supported, and empowered by means of features by the legendary MC Zulu (Chicago), the Reggae prizewinner Mame Baye Fall (Dakar), and JsideB, who the radio has named as one of the Top 5 Rappers from Senegal.

DOPE X Float Apparel’s Love Letter to Summer

Aug 31, 2022 | Community

A few warmer days here and there, and everyone is back on the beach, or the mountain; Cape Town is alive in a matter of moments, all of us intent on soaking in the first tastes of the juicy, balmy energy of summer. First, we welcome spring – the blooming onset of sunshine beckons us; the west-coast flowers blossom; the salty and sandy memories of everyone who grew up in and around this coastal city. Many Cape Town-born brands find their reference somehow tying back to the qualities they learned here – whether it’s the pace of life (chilled, please) – or the colours, even our fynbos – or subcultures in music or movement. The beautiful collision of two such brands for whom Cape Town & summer are the foundational footnotes of their work, have spent winter nurturing a celebration for this season.

 For the first spring that has sprung in which the pandemic really feels like near-memory passed, DOPE – homegrown cannabis infused seltzer – and local apparel wayshowers, Float – bring us their collaborative collection launch, marked by a first Thursday event that falls effortlessly on the southern hemisphere’s Spring Day itself; September 1st. Spring Day ‘22 brings together the DOPE and Float communities – sharing in the spirit of childlike joy at the warm seasons ahead. The event will be hosted at Blondie, Kloof Street in Cape Town’s CBD.

As DOPE co-founder Andrew Davenport tells us, their brand was founded on friendship and creativity – intrinsic to Float’s origin, too; “We challenged ourselves to imagine what the next generation of consumers would want from a lifestyle beverage. Something beyond alcohol that wasn’t a ‘mocktail’. We wanted a functional drink that would offer a new kind of unwind, free from hangovers and crippling anxiety, but removed from the highly pretentious world of wellness toting yoga yuppies. The answer was DOPE; our cannabis infused seltzer boasting all natural ingredients.” 

Friendship and collaboration make for beautiful stories, and Float Apparel’s is just that, “The brand was formed by 3 friends inspired by travel, photography, music, culture and creativity as well as the people that surround them, it’s collaboration of friends wanting to express their lifestyle through a brand. The name ‘Float’ best describes how we didn’t want to be labelled or categorised. This attitude, to float between the stereotypical societal labels, allows for our community to balance their interests, surrounding themselves with different people,  being forever intrigued and constantly fascinated.”

As summer-centric brands, the coming together of iconic, coastal spaces is set to be a huuuge vibe – join us at Blondie, Kloof Street, Cape Town. The party will celebrate the first drop of their collaboration, featuring limited edition hoodies, tee’s and towel bucket hats; essential pieces for a beautiful season ahead. 

The event boasts a line-up of brilliant local DJ’s including Tommy Gun, Housewife and Yoke. 

/// The full collection will be available exclusively at Float Apparel’s flagship store, 137 Bree Street, Cape Town.

Storytelling for the contemporary human experience with Moveee Magazine founder Tope Akintayo

Aug 30, 2022 | Interviews, Art, Community

It’s rare that I get to speak to a fellow writer – least not one outside of South Africa. Tope Akintayo is an arts & culture reporter, poet and anthologist, and the founder of one of the most riveting independent publications on the continent. Emanating out of his home city Lagos, Nigeria – Tope founded Moveee Magazine as a space to connect, report and reflect on creativity occurring in Africa, and what began as a digital platform dedicated to telling stories & news, has since manifested in its first issue (available both digitally and print) – titled, “The Conscious Art Issue”. Moveee’s launch issue is a dream to discover; thoughtfully curated by Tope alongside his collaborators – as stated so beautifully, ‘’We’ll like to see this issue lead you into a meditation about the beauty of art, and beyond that, into the realisation of the significance of art in its many forms as an instrument of change, a megaphone heralding the realities and echoing both the vices and virtues of human society.” With a central focus on African creative and artistic narratives, works, and primarily focused on the Black experience and it’s multi-dimensional, profound unfolding among post-colonial, globalised generations; Moveee is a channel for story-telling, preservation, inquiry – healing – and growth; and for us at CEC in sleepy sea-side Cape Town, a thorough reminder of just how critical it is to nurture the independent media ecosystem, everywhere.

On what led to creating Moveee, Tope reflects on his own background as a creative, “I’m not a visual artist in the traditional sense – I’m a writer and a poet. I think my artistic practice comes in being able to see and talk about different aspects that make up creativity. Moveee Magazine is my approach to spotlighting African, diasporic, and Black creatives in their journey and contribution to the landscape of creativity. We want to be able to cover our own stories – and we understand that many international media spaces are not covering quite the amount of what’s going on the continent and across the diaspora. There’s an abundance of creativity, and the coverage just isn’t enough to truly capture it. Moveee is our way of igniting this conversation and personal agency for Africans, by Africans, in the realm of creativity.” Starting a publication is no easy feat – and for Tope, the journey of Moveee began earlier this year – and rather spontaneously, “I’ve started other magazines before, and I’ve stopped them – it’s not the most financially rewarding business, even if it’s what I am most passionate about doing, especially the writing. Despite that, I found myself creating a magazine – again. This time, focused on creativity – and it seemed to be exactly the theme or subject that has shown promise. Since 2020, and the pandemic, it feels like creativity in Africa has exploded. I can’t figure out if it’s increased, or if I’m only just noticing it – but it’s skyrocketed. I kept speaking to different friends and creatives who said they had started in 2020 – it seemed that most people had a choice in the pandemic, to go for what they love, and finally do it in a serious way.”

With publishing calling Tope back to it over and over again – the first issue of Moveee consolidates the best of what Tope has learned prior; particularly in focusing the edition on a particular aspect of creativity that is both broad, and dynamic – yet tight enough to remain cohesive in its content. The title ‘The Conscious Art Issue’ is Tope’s, and the artists featured in it, way of drawing the term “conscious” from the grip of sustainability or environmental issues, as it exclusively has been used in recent years, and back into its use for the awareness of the human experience; and the many complex threads of consciousness that unify the socio-cultural landscape of Africa and its diaspora. On this, Tope says “We wanted to bring that term back into the context of visual art, and see how it could serve art being created that reflects the contemporary human experience. More than ever, art is a vehicle to discuss issues that we face as human beings – so issues of identity, gender inequality, mental health, political issues and the effects of colonialism that have had generational effects. So this issue is very much about what we face as humans – personally or collectively. When an artist tells their story through their work, it can express to anyone viewing it their own story back to them.” For Tope, there is a microcosmic & macrocosmic reflection in the word ‘conscious’ – and that for many of the contributors, their personal experiences and inquiries of Self, act as potently as anything that might occur on the collective consciousness scale. Many of the contributors Tope found on social media – artists he had found and whose work he felt would align beautifully with the vision of Moveee. One such artist, Ademola Ojo, Tope explains, “his work speaks to the identity of Yoruba people here in Nigeria. Using symbols and tribal marks infused into his work – Ademola explained to me that he does this to ensure that the Yoruba people remain for a long time. A lot of cultures are still being erased even in a ‘post-colonial’ time frame; we need artists like Ademola to preserve culture through their art – future generations will be able to trace the original culture of Yoruba people.” Powerful and critical – I am deeply inspired by Tope, and by the space that Moveee is creating – with plans for future issues to range from literature, to dance – this creativity led publication has an immensely important future.
/// Content Overview from Moveee Magazine: 

Conscious Art features work by artists Matthew Eguavoen and Johnson Ocheja, who recently exhibited their artworks at the 1:54 Contemporary African Art Fair in Paris. Mathew and Johnson explore issues like mental health, identity, and society. Other artists include Mofoluso Eludire, whose work explores real human experiences of self-image, self-acceptance, and reflection. Julius Agbaje infuses humour and metaphors to represent the interconnectedness of humans and human activities. Ademola Ojo, whose works tell deep stories about inner community, digital artist Amanda Kandawire-Khoza, concepts photographer Harry Odunze, Xaadim Bamba-Mbow, and Obibini Kobby.

To purchase Moveee Magazine (made to order) in print or view it digitally, please go here.

Written by: Holly Bell Beaton

Tailoring for the Homies with Space Spinach

Aug 26, 2022 | Interviews, Fashion

The art of tailoring is a study in workmanship and patience – and in a contemporary setting, it can feel like a waning pathway. Fashion & design are hyper-focused on the ‘creative director’ – and while necessary and brilliant in its own function, there is much to be said for the gritty, hands-on development a designer achieves through intimate knowledge of garment construction. Dennis Collins, the designer behind Space Spinach, has found himself using the term ‘tailor’ recently –  although, entirely by chance. What began as mending clothes for his friends – many of whom are local skaters in the city, prone to slashes and rips – slowly became a micro-apparel brand, with Dennis making custom pieces on the side, learning from Youtube and a CMT on an industrial machine. Encouraged by his partner, Lindsey Raymond, to apply for G-Star RAW’s Certified Tailor Program : Dennis wasn’t sure he qualified, yet the program felt otherwise; now a program affiliate, Dennis finds himself alongside fellow tailors Samkelo Boyde Xaba (JHB) and Sabelo Shabalala (DBN) – the trio working to mend and revive for G-Star’s customers. A new realm has opened for Dennis; one in which his passion for making clothes is showing itself to be laden with possibility, and so apt for someone who seeks to learn everyday; from drafting, to fitting – stitching and finishings, there are few things as powerful as being able to make clothing.

It’s really only with the advent of fast-fashion that tailoring has since diminished as an integral community-role and service; although no less important, the art of tailoring, mending and re-inventing is precisely Dennis’ practice. Did everyone see those ostrich leather cargo pants that he recently dropped? Outrageously good. We caught up with Dennis in a Q+A format, for more insight into the brand’s shift from basic apparel and into this new frontier as a space for tailoring and craftsmanship.

Being both a designer and tailor is really interesting – in an age when we have lost a lot of understanding in everyday life that garment construction is a very technical skill. Can you describe a bit how this came about for you, being a tailor and designer?

In this age, everything is instant; nobody wants to wait and everyone wants results – fast! So, when my mom had a sewing machine and I had the option of making clothes rather than having to wait for someone else to do it for me, I took the opportunity. My first pair of trousers had a drawstring and were meant to be pull-up-and-go, ‘easy wear’ pants. I started tailoring them to fit well, and they just naturally became formal pants… but just ones that you could still skate in. I realised that the pants could be functional and beautiful.

 

What are you doing with G Star Raw at the moment and how has it deepened your work as a designer?

I help G-Star Raw provide a service to their clients by repairing any wear-and-tear on their jeans. So, we work together to revive denim. Collaborating with G-Star Raw definitely has made me want the level of craftsmanship and quality they achieve. But I’ve also taken note of the areas of garments exposed to the most strain, so it’s natural to want to look for solutions and incorporate that into your own designs.

The term sustainability is overdone and oversaturated, but how do you approach design in a conscious way?

I try to be conscious about everything. So, by default I am sustainable, but it also just happens to be. The total mass of garments that can be produced by a single industrial manufacturer can’t compare to the amount coming out of my home studio.

 

What does it mean to you to be a designer and what are your references and inspirations? 

When you design, you share how limitless creativity can be and you communicate with people by making something they might respond to. You create a home for your ideas. My references are my daily life. Locally, I look back at old classics myself and so many others found in the emblematic Corner Store. Now, I look to the Broke Boys and everyone housed in Pot Plant Club (PPC). We all influence each other to excel and to produce something even better than the last time.

I’m also inspired by fabric stores, because so often I am guided by the materials I use: by how fun, different, and unique they are. And of course, Tommy Hilfiger and Ralph Lauren. I lean more towards looking at high fashion, those are the looks that excite me the most.  Then, it all ties back to skating – that’s where Space Spinach comes from. 

 

What is the vision forward for Space Spinach?

Growth! But also, consistency. We want to figure out how to tie skate culture, high fashion, streetwear, and art all together. And to always expand beyond what we know. We also want our own in-store studio and a space to hold and showcase our ideas. And eventually, to produce more numbers! But not to manufacture in a way that is harmful to the brand’s exclusivity.

 

Where does the name ‘Space Spinach’ come from?

It’s a playful euphemism that just stuck! If you know, you know! And if you don’t, now it’s just Space Spinach the brand and what it has become.

///

Kwezi wears a custom-fitted Golden Swamp Cargo Pants and SS Bucket Hat

Lindsey wears a Metallic Heavy Petal wrap-around dress accompanied by Clarkes and his custom Leather Patchwork Doggy-Fit 

Lindsey wears the latest Cropped Hoody – the first of our in-house hoodies produced from our home studio, along with our Chrome Cargo Pants

Lea wears the Chrome Single-pleat Slacks and Forest Green SS Cap

Lea wears the Chrome Single-pleat Slacks as well as the Lime Green SS Hoody 

Lea wears the Chrome Cargo Pants as well as the Lime Green SS Hoody and Foldable JACKET-IN-A-BAG Raincoat

Written by: Holly Bell Beaton

Interlude Chapter 08 | We Should Be Taking Cues From Copenhagen Fashion Week

Aug 25, 2022 | Fashion, Interlude

The holy trinity of fashion season is Paris, Milan and London – with the most established fashion week programs and institutions, the trio have historically been the consummation or grand slam of a label or designer’s showcase; the final destination, and ultimate centre for the dissemination of their work. Yet, quietly and cordially – the Nordic countries have been carving their own path in the way of sartorial expression, and the nexus for this is Copenhagen Fashion Week. The home of the ‘Ganni Girl’ and coined term ‘Copencore’ – arising out of the minimalist palette of their sister country, Sweden, Danish fashion has risen out of such shadows, to become synonymous with vivid colours and textures – playfulness, joy and a deliberate emphasis on apparel and everyday wear. Slightly different from “ready-to-wear”, I use the term everyday wear to describe the sincerity of Danish fashion – that it seems to actually reflect, directly and effortlessly, the sartorial choices of our generation; many of us working as creatives, many of us thrifting and interpreting trends with less rigidity and rules than before. Danish fashion seems to show the lived lifestyles of fashion-conscious people around the world; and as such, Copenhagen Fashion Week is as much a coveted affair as it is an event that feels accessible and relatable. The wild part of this – particularly the fervour for which CPHFW is becoming an essential fixture in the industry – is that it is still considered a very young, emerging fashion market. Sound familiar?

With South Africa’s own fashion industry producing some of the leading designers in the world, and our incredible array of small-scale streetwear, contemporary luxury and design school have been underscored by a consolidation and streamlining of our own fashion week spaces. As Daniël Geldenhuys writes, “News of a merger between two of South Africa’s three major fashion weeks underscored this season’s collections. SA Fashion Week remains in Johannesburg, while SA Menswear Week, now expanded to include womenswear under #WeekOfFashion branding and a CTFC graduate showcase, happens in Cape Town. What exactly this will mean for the industry, no one can say for sure. But two fashion weeks is far better than three: this consolidation, unimaginable in a pre-pandemic world, should enhance the community benefits designers find so valuable.”  The necessity for fashion weeks remain invaluable – for local designers, applying for global prizes tend to require a local history of showcasing, and even amidst the digitisation of fashion – the hybrid access to collections alongside the unmatched tangibility of runway shows, mean that fashion weeks continue to be an essential avenue for our industry. Our emerging industry, like Copehagen – is a profound place to be amongst a global landscape that is shifting faster than many of us can comprehend. What CPHFW appears to execute beautifully, is that it’s a biannual hub of connectivity – and yet, a site to be seen at too – but with the kind of earnest spirit that many of us find ourselves first stepping into “fashion” with.

Without nearly 50 years of historical decorum and tradition – like with Paris – emerging fashion weeks meet an opportunity to build their foundations within a contemporary timeframe; cognisant of the social, ecological and cultural shifts occurring within the collective consciousness, and with the ability to action these as the blueprint of their vision. While we have seen these same shifts being reflected within the ‘old guard’, such measures are perhaps easier and feel more sincere in emerging landscapes. As WWD said, Copenhagen Fashion Week drives ‘a democratic approach to dressing’ and so eloquently writer Samantha Conti goes onto say, “The Danish have been working hard to fix Scandinavian fashion on the map, and to promote Copenhagen Fashion Week as the cooler, more progressive — and more whimsical — younger sibling of London, Paris and Milan.” Trend wise, functionality and wearability are centric to the Danish design aesthetic; and much like our own fashion landscape, aspirational price-tags of the couture variety are inconsequential; affordability is a topic of conversation at CPHFW as it is here at home, where much of the market has to be driven by the local economy first before garnering international interest. Many of the designers and labels AT CPHFW are self-starters; like Cecilie Bahnsen, a designer making dresses as luxurious and crafted as couture in the Parisian sense, fetches a low price tag of €2,000 – a fraction of nearly most of what is shown further south in Europe; challenging the very notion of hungry-ghost style capitalism under which much of the mainstream luxury fashion system rests upon. CPHFW’s schedule features many relatively recent alumni from schools, or creatives making career changes to fashion design, with a vision to create their own labels; and similar to South Africa, the culture of singular appointments of creative directors to big houses is practically non-existent; this is self-creation, community-driven creative execution by our generation, for our generation. We are watching a new understanding of the fashion ecosystem being born in Scandinavia; and we would be wise to take notes, spirited by where our varying potentials lie as a critical sartorial centre in Africa.

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 – 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;

“As of Copenhagen Fashion Week AW23 (AW23: 31 January – 3 February 2023), all show schedule applicants whose sustainability efforts meet the minimum standards will be considered for the official Copenhagen Fashion Week show schedule. The 18 Minimum Standards span six focus areas covering the entire value chain. In addition to those, brands are asked to answer an additional set of questions to get insight into their current standing on their sustainability efforts;

  • We work strategically with embedding sustainability and international standards on human rights 
  • We include diversity and equality in our management approach and actively consider these aspects when hiring staff, especially for management positions
  • We do not destroy unsold clothes from previous collections.
  • We design to increase the quality and value of our products economically and materially and inform our customers about the value of longevity.
  • We find a second life for our samples.
  • At least 50% of our collection is either certified, made of preferred materials or new generation sustainable materials, upcycled, recycled or made of deadstock.
  • We have a preferred materials list in place.
  • We have a list of restricted substances in place, following the requirements of the EU REACH Directive, and engage with our suppliers to ensure compliance.
  • Our collection is fur-free.
  • We are committed to exercising due diligence in our supply chain according to international guidelines and standards and work with our suppliers to ensure e.g., freely chosen employment, secure employment or no child labour.
  • We are committed to operating a safe, healthy and respectful working environment for all our employees, free from harassment and discrimination and where everyone enjoys equal opportunities regardless of gender, ethnicity, age, political/religious/ sexual orientation, physical appearance and ability.
  • Our in-store and online customer service staff is well informed about our sustainability strategy.
  • We educate and inform our customers about our sustainability practices on multiple platforms.
  • We do not utilise single-use plastic packaging in store or for online orders but offer recyclable, recycled or repurposable alternatives.
  • Our set design and show production is zero waste.
  • We do not utilise single-use plastic packaging backstage during fashion week but offer recyclable, recycled or repurposable alternatives.
  • We offset or inset the carbon footprint of our show.
  • We are signatory of the Danish Fashion Ethical Charter and consider diversity and inclusivity when casting models.

 

This non-negotiable attitude is essential if we are to imagine having any kind of world in the future; at least not one in which fashion production can continue. With vast creative and entrepreneurial talent here in South Africa, many of the above are the nature of what local designers do – particularly in the way of small-scale production and inclusivity – yet, daring to expand further, and for that to be supported by the fashion institutions and networks that here – one can only imagine.

Lady Skollie’s Illustrious Presence

Aug 23, 2022 | Interviews, Art

Laura Windvogel-Molifi AKA Lady Skollie is not a conversation or interview that one should research for – unbound by anything that may have been written about her previously in her decade long career – she has been through immense shifts in the last three years. So, we scrap everything you thought you knew; because while Laura’s core tenets remain artistically in her style, Laura shapes a new form in both herself and her work everyday. Rare is the moment to speak to an artist whose personality and work are so intertwined; far from the fine artist trope of having one’s work front-facing and their personhood subdued or discreet, Lady Skollie IS her art, and her paintings accompany this expression as a peek into her illuminated, illustrious inner-world. 

“It seems like a cliché to say that I wanted to be an artist as a child, but it’s true. When I was very young and wrote with my left hand, I realised I could draw – so kids used to line up in class and ask me to draw them legs. Like many creative pursuits for a lot of people, art chose me – and I’ve been in the art world since I was about 8 years old. From that age, my mother sent me to Frank Joubert Art & Design Centre – now it’s called Peter Clarke Art Centre – until I was about 18. The famous and former principal Jill Joubert is a genius, and she really changed my life – I owe her a lot in terms of guidance.” Laura explains where her art education began, noting the quiet school in Claremont that has been a guardian of nurturing young, creative talent for decades. Now named after visual artist Peter Clarke, the centre pays homage to the legendary visual artist who created through six decades of both apartheid and democracy. After leaving Michaelis School of Fine Art after two years, Laura took a four year hiatus – “I wanted to see what else I could do. I tried fashion, and worked in shops – suddenly I was good at making sales, and speaking to people. I developed skills that I think have contributed to being able to make art full-time and as a fully fledged career. Working at AVA Gallery, I learnt a lot about art administration – and even though that’s only a few years ago, it’s in my living memory that art wasn’t a thing people did full-time, really. It was a side passion. I always lived in houses with people in advertising and marketing, so that could have been a thing I did – I loved strategy and copywriting – but I think morally, I was too evil or subversive for that world. I learnt a lot from those girls, though; especially about how to represent myself. In 2014, I quit my job and pursued art full-time – and I haven’t worked since in anything else.”

What shifted in a few short years that has seen the attention shift to art, as well as the encouragement for many to pursue it in South Africa? Speaking to this shift, Laura says “I think it’s because people realised they could shift their trauma in a way of making it this tangible thing. The resurgence of activism and discourse on oppression, presently and historically, but also just realising that one can resolve and vocalise their trauma through art. People were doing this before, for sure, but I think black and people of colour have started to feel far more comfortable in the art industry, whereas culturally we have been excluded from it; we have realised this space is for us. I also think the consumer started being more informed – and I also think things like FNB Art Fair, which are all new concepts, drive widespread interest. I think there has been a widespread involvement from all sides in nurturing art as viable and critical work to do in the world, and especially in our country.”

Laura explains her process, which often stems from writing, “I write a lot, and it’s usually the start of a work – writing, or something I dream. One of my favourite art movements is the Pre-Raphaelite brotherhood – yeah, I love a bunch of old, white men that wanted to just have sex with the same woman! It was also the movement that brought us pink and purple in a profound way. I love the bible, great piece of fictional work – and all of my work has a messianic element, I think.” Laura’s notable use of archetypal figures is a fixture throughout her work, “The figure is me. It looks like me, it’s bald – how can artists really see but through themselves? I do see my work as big, pop art cave drawings. Since I was a child, my parents would take us to see the cave drawings in the country. I think there’s a comparison I draw to the culture of coloured people, Bushmen or San, or whatever you want to call it – and I see it as a stunted culture that couldn’t really bloom or fully manifest. To me, my work is like what would have happened if cave drawings became bigger, and bigger or crossed over to modern mediums. What if cave painting became pop culture?” 

A strong association Laura has had with her work is feminism and activism – having been out spoken during waves of social change in South Africa, “I think that association has been with me because at the beginning of my career, I focused a lot on sexuality in my paintings – and then it came to looking at sex not being strictly about pleasure, particularly in the context of South Africa; sex is also violence, and so just by virtue of working with those themes, I was labelled an activist. My sister, Kim Windvogel, is an activist – I leave that to her. It’s been interesting because an artist commenting on social issues is not activism in the way my sister or many others have dedicated their lives and careers to that path – so I’m cautious about having that title put on me.” As an artist, Laura is dedicated to making fantastical work; to etch the fantasies and inner-world of her being, out for others to see. If her work can have a provoking impact, then that’s wonderful – but the immense pressure for black and coloured artists in the country to politicise their work entirely is in itself, a form of oppression of creative expression and freedom. In speaking to whether this is the responsibility – and in the age of the internet, especially – Laura says, “It’s become this trope, where if you’re not talking about your identity, then what are you really talking about? Of course we should be talking about it, and there is no cut off time to talk about it – as we were not allowed to – but often then there is more to us than trauma, and that needs to be liberated too.”

Laura found herself, a few years ago, putting on shows heavily focused on violence – and amassing the anger and energy, as if she was becoming the channel for it, ending up  ill after those shows. Energetically hungover – with recuperation becoming longer and harder for her, Laura started to shift her practice, “Three years ago, I realised I couldn’t maintain it. In South Africa, it’s everyday – that anger and need for vengeance would rule my life – so I made a conscious effort to redirect my focus. I also had to stop fighting with people online, which became a never-ending distraction. People would start sending me links, asking why I hadn’t commented on something – almost demanding my voice – and that was a big wake-up that the expectations of me as a public figure were not so much about my art anymore. Since then, it’s been a return to what I need to feel safe, and to make work that speaks to whatever I want it – not what I am being told to comment on.”After Laura’s secret marriage in 2019, the last two years have been securing her vision ahead for artistic cosmology – creating her paintings as a continuation of a world that could be stitched together, and tell a story – this almost accidental nature of her style exemplifies Lady Skollie as an artist whose essence is inextricable from all that she does. We remain ever in awe.

Written by: Holly Bell Beaton

Healing and Reclaiming Tattoo Culture in South Africa

Aug 19, 2022 | Lifestyle, Art, Community

Tattooing is considered among the oldest forms of art –  the word itself ‘’tatau’’ is derived from Samoan, although the practice itself has far reaching, global and ancient origins. It has really only been in the last few hundred years of human civilization – and by that, I mean western imperial civilization that has attempted to dominate cultural norms for centuries – that tattooing has faced a status of taboo and heresy. Using our bodies as the canvas for our life stories – our cultures, community positions, achievements and as spiritual protection – is perhaps as primordial as the tattoo tools that have been found, dating this practice back 50 000 years ago to the Upper Paleolithic era. Tattooing is innate – in our blood and bones as human beings –  spanning from the painted Celts on the British Isles to the Vikings and Samí in Northern Europe, and the Inuit people even further up, across to Eastern European folk tattooing, across to the Americas (North and South), all around Asia, and from the top of Africa to the tip – to the Polynesian Islands, and New Zealand and Australia – indigenous tattoo practices are as prevalent and unifying to the human experience as eating, sleeping and sex; ingrained in our evolution, our diversification, and migration across the eath. It is no wonder that now – with the resistance towards western, white supremacist patriarchy and all its iterations of oppression, bodily policing, and violence – that the practice of tattooing among millennials and gen-Z’s are erupting alongside activism and social change. The changing attitudes to tattoos and body modification in the work-place and in public are shifting because of those who chose to embrace their expression overall all else – and in South Africa, this shift is alive and thriving.

Still, contemporary tattooing has been no stranger to the exclusivity and toxicity insidiously warping even the most sacred of spaces as remnants of colonial programming. In conceptualising this piece, I posted a story asking for everyone’s favourite tattoo artists – and slowly, with the guidance and direction of friends (IRL and URL) – this story has revealed itself to centre on the perspective of black, people of colour, queer (female bodied) and women tattoo artists in both Cape Town and Johannesburg. On building spaces of safety and celebrating culture – I spoke to Ndumiso Ramate of Soweto Ink, who alongside Sibusiso Dlamini founded the shop in 2014. Ndumiso explains the story behind Soweto Ink, “Our objective is empowering young artists who are coming up – giving them guides and tips on the industry and to believe in themselves, Soweto Ink is the people’s tattoo brand. We also host one of the biggest tattoo conventions in Africa, Soweto Ink Tattoo Convention, and we see the culture is growing and slowly understanding what professional tattooing is and people understand what a good tattoo artwork looks like and how to locate a good artist on social media.” Commenting on what this growth means, Ndumiso says, “This is growth considering we are coming from a ‘Stoeka’ (jail tattoos or bad tattoo) era where in our black culture, tattoos are deemed to be satanic, dark, or criminal  Tattooing is for us, the healing of our people because people come with so many different stories and most of the come for closure, healing or happiness.”

Tattoo client and writer, Alyx Carolus’ free ebook Tattoos are for Everybody is a guide to being a black or POC tattoo customer; an invaluable resource, encouraged by her own experiences – on what led to the guide, she says, “I’ve been getting tattooed for over a decade now, and throughout this time, Black and brown people have approached me with questions. They wanted to know what to ask when in a shop, who could work on their skin tones and who would offer a good experience or would be dismissive to their queries. I wanted to condense the things I’d learnt from being a regular client, working in the industry briefly and hearing about positive/negative experiences in shops around the city. Ultimately, I wanted to create the guide I wish I had a decade ago.” Regarding whether she has seen any meaningful change in the industry in Cape Town, Alyx comments, “I think there’s an awareness, with the rise in social media, that the clientele and industry is changing overall. Local tattoo culture has been viewed as having one face, and one or two types of clientele – when historically, body modification has never been limited like that. People who may not have had the space to talk about their experiences, such as harassment, discrimination of all kinds, have a platform. At this point, if you’re still operating in a way that doesn’t consider everyone and being less discriminatory, it’s definitely noticed and spoken about.”

Navigating an industry that has been dominated by cis-white men, resident tattooist at Palm Black Tattoo, Chanté Brinkhuis – idenifties as queer and POC artist on their page, explains the growing sense of safety they and their clients have been able to engage in, “I’ve been lucky enough to have honest conversations with many of my clients of colour about racism and intimidating tattoo spaces. The fact that people feel like they can open up about their experiences means so much to me, because it shows that they are comfortable in the space. Getting a tattoo can be an intimate and daunting experience so it’s super important for clients to feel at ease and this energy also needs to come from the rest of the studio as well. I’ve added a “POC” highlight on my Instagram account which consists of tattoos that I’ve done on darker skin tones. People of colour often check artist’s feeds to see how their tattoos might look on their skin. As a person of colour it’s something I relate to and definitely something I’d like to see more on other artist’s pages.” Dismantling gatekeeping is possible – and for Chanté it was set in motion in the last two years; “I was turned down by many studios until I approached Raoul Goetze, the owner of Palm Black Tattoo. Raoul was quite different to anyone else in the industry I had met up with at that point. He believed in my potential and I was hired a week later. It was surreal for me, because I was so used to being underestimated. No one expects a queer coloured girl to become a successful tattooer in one of the country’s most reputable shops. It was during my apprenticeship when my perception of tattooing changed. I became more educated in its history and origins in cultures all around the world. In tattooing’s early history, it was seen as sacred and ritualistic. I’d love for tattooing in the modern day to be seen as that, or at least be treated with a similar level of respect and consideration. My colleague, Matt, often refers to it as ‘spiritual exchange of energy’.’’

Ethel Laka  was at one time the only black, female tattoo artist working professionally  in South Africa – as an industry OG, she was a forerunner in opening up the possibilities; even when this may not have been intention. Regarding her observations over the last years, Ethel says, “it’s still mainly male dominated, unlike the rest of the world where there are a lot more women involved in it. That said, I recognise that as women we have never needed permission from males to take up the careers that we wanted. I was always thrust into a white male dominated space so I recall being the only black female in south africa that was in the industry. I know that now there are some other women who have taken it up. Society informs how our businesses thrive, and patriarchy and racism have always been factors to note in who comes to my business and who does not. Understanding South Africa’s terrible past, we have yet to have notable social cohesive intentions. We are still culturally very divided, and I think it’s a crucial observation as it affects how a society views arts, expressionism, women and arts. We then need to support talent based purely on that and not factors like race or sex. Black women have and continue to phase othering and inaccessibility across almost all industries; the idea that tattooing, intended to be a rebellious, counter-cultural phenomena and yet remains as tied up in patriarchy and white supremacy as any other; speaks to the reality of both on the most subtle and pervasive levels. Ethel reflects on her come up as black, female artist – saying, “it has been both arduous and rewarding. I have had to understand society so that I understand the notions that people have about race and women. Of late, I’m so happy to be experiencing a lot more black women who are taking the tattoo industry on with large tattoos and the revelation that there is an expertise to the craft. It’s not just a tattoo, it can become a collector piece that you can enjoy and marvel at for life, especially the fact that we as tattooists do have different depictions and characters in how we translate a design. So I am flourishing and some days are very difficult to get through as South africa is still not as extreme in expression as the rest of the world, but my aim is to always inspire and get people who don’t have tattoos to view in a different light that it is a safe expression and when done professionally: it can be something that anyone can enjoy.”

Ethel Laka  was at one time the only black, female tattoo artist working professionally  in South Africa – as an industry OG, she was a forerunner in opening up the possibilities; even when this may not have been intention. Regarding her observations over the last years, Ethel says, “it’s still mainly male dominated, unlike the rest of the world where there are a lot more women involved in it. That said, I recognise that as women we have never needed permission from males to take up the careers that we wanted. I was always thrust into a white male dominated space so I recall being the only black female in south africa that was in the industry. I know that now there are some other women who have taken it up. Society informs how our businesses thrive, and patriarchy and racism have always been factors to note in who comes to my business and who does not. Understanding South Africa’s terrible past, we have yet to have notable social cohesive intentions. We are still culturally very divided, and I think it’s a crucial observation as it affects how a society views arts, expressionism, women and arts. We then need to support talent based purely on that and not factors like race or sex. Black women have and continue to phase othering and inaccessibility across almost all industries; the idea that tattooing, intended to be a rebellious, counter-cultural phenomena and yet remains as tied up in patriarchy and white supremacy as any other; speaks to the reality of both on the most subtle and pervasive levels. Ethel reflects on her come up as black, female artist – saying, “it has been both arduous and rewarding. I have had to understand society so that I understand the notions that people have about race and women. Of late, I’m so happy to be experiencing a lot more black women who are taking the tattoo industry on with large tattoos and the revelation that there is an expertise to the craft. It’s not just a tattoo, it can become a collector piece that you can enjoy and marvel at for life, especially the fact that we as tattooists do have different depictions and characters in how we translate a design. So I am flourishing and some days are very difficult to get through as South africa is still not as extreme in expression as the rest of the world, but my aim is to always inspire and get people who don’t have tattoos to view in a different light that it is a safe expression and when done professionally: it can be something that anyone can enjoy.”

On her experiences as a female artist, Tanya Swemmer says, “I think women in general often feel the need to work harder and prove their worth over and above what is necessary or healthy. I definitely felt this for a long time but after a few years I’m starting to ease into my own rhythm and space.” On whether the plurality of tattoo artists is becoming normalised, Tanya says, “I think tattooing is a little late to the party but the conversation has started and things have started to change. Most shops have gone from a predominantly white male workforce to quite a diverse range of people. There is always work to be done but I’m hoping that the general public aren’t so intimidated anymore when walking into a tattoo shop.”  

Evidently, change is happening – in supporting spaces and people who are instrumental to this, I am reminded of the practice of etching our skin arising from the foundations of community; and that the more we can talk, and find ways to heal, the greater we can action a future across all spaces of creativity that are led by love.

Written by: Holly Bell Beaton

Samurai Farai whips up one-of-a-kind piece of artwork for Dutch denim brand, Denham

Aug 18, 2022 | Art, Fashion

In Collaboration with Trailblazing South African multi-disciplinary artist, Samurai Farai and Dutch denim brand, Denham, have created a striking window display at Hyde Park Corner’s main entrance until the end of July. The fabric installation is Farai’s interpretation of Denham’s passion for design seen in full splendour using a multitude of blue hues and accents of colour. The main feature is Denham’s iconic scissor logo, inspired by founder, Jason Denham’s first pair of tailor shears. Denham, founded in 2008, is obsessed with creating premium-quality denim & approaches design with passion and innovation while honouring tradition.

Looking to localise Denham with select creatives was the intention behind the concept from Denham South Africa’s Brand Team. The team believe, Farai mirror’s key cornerstones of Denham’s design philosophy – ‘worship tradition, destroy convention’ and was therefore a natural first choice to execute this vision.

Samurai Farai is no stranger to collaborations, adding Denham to his already impressive work of projects. Be sure to make time to check out the installation at Hyde Park Corner and head to Denham In Hyde Park Corner or The V&A Waterfront, to get a pair of denims like no other.

/// CREDITS

DENHAM SA : @denham.sa

SAMURAI FARAI : @samurai_farai

DOP’s : @mziie_artist @oupamaesela / @mybizzpromo

EDITOR : @mziie_artist

MUSIC : @realzvri