Yndian Mynah Releases ‘Follow The Dots’ From Upcoming LP ‘The Boys Scribbled Like Mad’

Jul 11, 2022 | New Release, Music

Yndian Mynah release their newest single “Follow The Dots”, as an energy-driven homage to the band’s punk influenced roots. From guitarists like Wes Borland, bands like A.F.I. and nostalgic memories of losing yourself to loud music on road trips, FTD is a song written with energy. This is the second offering from Yndian Mynah off their upcoming album, The Boys Scribbled Like Mad, which is set to release at the end of 2022 on streaming platforms and Vinyl.

Yndian Mynah is a South African instrumental band based in Cape Town. Their sound can be described as post-rock music with hints of dreamy psychedelia, post-punk and prog rock that vacillate between explosive edges and nostalgic narratives. Influenced by DIY culture, the band started off by playing tightly packed intimate floor shows and quickly elevated to festival stages across South Africa. In 2019, they released their debut album ‘Velvet Youth’ which was recorded, produced, and released through their own independent label, Mount Wave Studio. Singles from the album, including ‘Ridge Forrester’, “Massimo, Don’t Go” and “Chai Tea”, would go on to represent their dynamic compositions. Staying away from conventional rock music, Yndian Mynah is not bound by language or genre, allowing for impressive high-energy live shows that focus on a visual and instrumental journey, left wide open for personal interpretation. Expect large guitar-driven songs led by spontaneous structural changes, with a tendency for heavy breakdowns and momentary euphoria.

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Handmade with Love: The Intentionality of Crochet with Nthatuoa Makhapha

Jul 6, 2022 | Interviews, Fashion

In a global fashion system in which one can find crochet pieces sold mass-produced at fast fashion retailers; Nthatuoa Makhapha is a designer, creator and founder of a company that seeks to preserve this incredible practice; for the hands that stitch and those who wear, simultaneously. Her name sake, Nthatuoa, is Sesotho for “my loved one” – a poignant reflection given to her as her guiding name in this life, and the name she has chosen to extend to her company, Nthatuoa Crafts. The art of crochet is an ancient, cultural practice found to have existed all of the planet – so it’s hard to pinpoint its origin story – however, the oldest needle that has been discovered dates back 60 000 years, and was excavated here in South Africa; this bone needle is a rich symbol for just how innate the process of weaving or stitching is to the human experience, both now and in ancient memory.

Nthatuoa weaves together her own vision of entrepreneurship and design; and in our conversation, her deepest link between sustainability is with living wages and value towards her growing crochet-team. These sentiments act as a beautiful remedy towards the dire job-market in South Africa; Nthatuoa is a pioneer, and we are so excited to share her thoughts through our interview.

We love the energy and care that your brand encompasses – how did Nthatuoa Crafts begin?

I am an introverted person and this has always affected my social skills in general. In 2017 when I was doing my third year in Law school I got diagnosed with social anxiety. This is when I started trying different things; from volleyball to all kinds of things; I picked up crocheting very fast and I loved it because it is very therapeutic and meditative. In 2019 I decided to take a break from school and that’s when I founded the brand. I had just moved to Cape Town for the first time; I had just been exposed to so many things and so many ideas and I decided I want to pursue crafts because it has always been a huge part of who I am. 

When I started I was very much passionate about home décor and crafts in general. I didn’t not imagine the brand taking this route at all. But I realised that as you get to know yourself better… things also just unfold for the better. And right now I’m embracing who I am, and how I communicate to the world through my crafts- I guess a simple answer would be to express myself in ways I couldn’t through words. 

 

What does the term #handmadewithlove mean to you and your relationship to fashion?

There’s so much work that goes into handmade garments, for me it means pouring out passion into creating something out of nothing with your bare hands and enjoying it to the fullest. It means I find joy and meaning in the trial and error to come up with a meticulous and designed and handcrafted garment. It is a pleasure that you see when something you envision comes to life. It also includes the process of picking and gathering the right material and the right colours that align with the brand or the person who is creating such garment. 

The term for me in regards to fashion means an intentional process to produce a garment that holds so much sentiment. I always see handmade as superior because it takes time and it is meticulously made. It means creating loved clothes that hold so much story, from the person who designed it, why they chose certain colours and that design.

A big part of your journey has been centred around sustainability. Could you tell us more on why sustainability matters to you as a designer?

It is such a broad concept that most of us young designers fail to understand. We want to check all the boxes and that’s close to impossible and unrealistic. Our core values at Nthatuoa Crafts is to impact our community positively and to communicate a positive image for African talent and innovation. We are a job creation venture and this means not only creating jobs for women with the same skills but also defending fair wages. 

One of the brand’s core values is fair and just compensation for artisans and workers in order to make an impact and to compensate their time and their skills faily. It includes aspects of fair trading, this means that the workers are paid a decent wage and that their working conditions are closely monitored to ensure they are fairly treated. Nthatuoa stands to defend fair wages, working conditions and workers’ rights, sustainable livelihoods and minimal use of water.

 

In a fashion landscape where crochet pieces are being sold cheaply by fast fashion brands, what can you tell us about the practice of crochet that makes it important to honour and preserve?

Crocheting is such an intentional skill. It is very therapeutic and holds so much sentiment to the makers. It also relieves stress and depression. We are almost all stressed by the activities of our lives these days; crocheting is one of the things that one can pick up and learn to allow themselves to just be creative and take off their minds from stressful tasks. The mind is free and relaxed when crocheting. The repetitive and continuous stitching transforms the mind into a sort of a mindfulness that is very similar to meditation. Without actually meditating the traditional way, you are reaping the benefits of meditation through crocheting. If you are somebody that has failed repeatedly on your resolution to start meditating, you should probably allow yourselves to try crocheting

 I’ve also read that our brains release dopamine that affects our emotions and functions like a natural antidepressant. Scientists believe that crafts, such as crocheting, can  make us feel happier  and better about ourselves. Given the stressful tasks these days, from work to home and living on a forever changing and evolving planet; I think this is something that we should preserve and pass on to younger generations. 

 

You are embarking on a journey of working with more ladies on your team from July, and it’s so amazing to see young entrepreneurs in South Africa making an impact – what is the vision ahead for Nthatuoa Crafts with this expanded team?

I currently started with three ladies and I wish for our team to crochet this year. I am working towards growing and for every one to perfect whatever skill they are good at; be it knitting or crocheting. I hope to have a full team that can work from home independently and still produce the same garment. Another thing that I’m also looking forward to is being able to send back orders timely because I’m not alone anymore. 

Other than that I hope this year we’ll be able to attend a retreat to teach us about finances in general. It is one thing to create jobs but it is also important to equip myself and the team with the right tools to use money effectively and enjoy the fruits in our hands – We should be able to create generational wealth through what we do.

Could you offer any advice to someone looking to start their own brand, that you had wished you had known starting out?

Every designer should be aware of the challenges before they start so that they can make an informed decision. It is one thing to love what we do; but it comes with challenges that we have to decide if it’s a life you want to live or not. Getting a mentor is very important. Someone who has been there before you and can guide you towards the right direction, how to network and social in general. I have been on an island for a while because I didn’t want to be distracted and also I work better when I’m alone. But it took me so long to see the light and the direction until I was assigned different mentors; so I’d recommend mentors and I wish I had one the first year.

I also think it’s important to be self-compassionate. It’s a very treadful industry. We have to learn as entrepreneurs to take care of ourselves each and every day and be compassionate to ourselves. I had attached my worth to my circumstances for such a long time; I ended up feeling not worthy of love, friendships and success because I felt like I was struggling so much and I didn’t deserve to show the world who I really am or love. 

I wish I learned not to attach my worth and identity to the struggles that I went through. We need to fail fast and learn faster and still know regardless of where we are in life; we are worthy of all the dreams we have and achieving them. Good things take time – Really… they do. We have to allow ourselves to make mistakes and learn. I wish I knew I won’t just move to Cape Town and live the dream.

I had to learn (and still have to learn) a few things to get to where I am. And that was only through patience. We have to be patient with our craft and trust that things are unfolding as they should. It’s okay to not rush or do what everyone is doing. We need to normalise slowly and generally take care of ourselves. I had to learn the hard way when it comes to self care and I wish for young designers to not repeat the same mistakes. We have to know how to take care of ourselves before anything else, to love ourselves more and make it a habit to rest and get rejuvenated.

Written by: Holly Bell Beaton

Focusing on Form with Ross Robertson of Oliver Whyte Studio

Jul 5, 2022 | Interviews, Art

The pathway from architect to designer and artist seems to be gaining ubiquity – from Danielle Smith, a previous feature of ours, to Virgil Abloh, to Zaha Hadid and Mario Bellini – yet, perhaps the distinctions we hold for categorising architects / designers / fashion designers and artists are merely that; categories that provide neat constructs for us to understand the creative anima that precedes, initiates and directs the outcome of these disciplines. Maybe it’s not so much a pathway or pipeline; but an eventuality for some, and a shift we need to make regarding our prescriptions and semantics around the act of creating. Ross Robertson is one such designer who originated his perceptual and creative through architecture; and with his entry into design; exemplifies the intersecting nature of architecture and design – the idea that these two methods exist more as an axis than as parallel occurrences in his life. Under the moniker Oliver Whyte, Ross is finding creative solace in defying the rules of his own making as an architect, with an initial design praxis that concerned itself with sharp lines and clean materiality; the latest designs from the studio at first glance read as concrete forms depicting rawness and heaviness – yet made with rubber and foam – bring together a juxtaposition of lightness veiled by weight and in some cases, lightened and tempered with pastel hues of baby pink, lavender and mint green.

This collection, titled “Heavy” debuted at Decorex 2022 – on this Ross says “Sometimes my work looks like two different designers – there’s this juxtaposition between clean lines and a clear reference to architectural technique, and then the robust presence of colour and the shapes of concrete that I elected to paint in pastels. I’m usually so clear on being monochromatic in my own personal life, so using colour as part of my design process has initiated this sense in me that things can be playful. When we are younger, anything can be anything – like using a spoon to make an aeroplane or a pen into a car – as an adult, objects are totally fixed, and the suggestion of otherwise is a cause for concern. I think that’s why I’m quite focused on form at the moment – function is what it is, it is always being dealt with – this collection is really about that own inner process I’m experiencing as a designer.”

To create as a designer is to self-actualise – and often, creative blocks arise when we resist the call to go deeper, or further, from the spaces that provide comfort and familiarity, speaking to the inner-initiatory challenge that every artist must eventually face, Ross comments “I think it’s important to stave off any conception of the final destination. We were taught that in architectural training – to never envision the final building too closely, and instead focus on the process. It’s only by that, that I’ve been able to realise over time that my head has wanted me to perfect design – perfect angles, geometric expressions, cleanliness. But my hands do otherwise, and instead of having to confront this struggle, I’m now allowing a total surrender to unfold in my development as an artist and designer, to ensure I make things that reflect different aspects of who I am and what I’d like to see in the world.” Part of this actualisation has been Ross’ incorporation of an identity etched in his full name – for which he explains, “Oliver Whyte is the middle name of my full name, and like an alter-ego too. It was this whole portion of my name that sounded like a real person on its own,  that wasn’t being used – and so it’s been great to use Oliver Whyte. I respond to both Ross and Oliver, and don’t correct people if they say either because they are both my names – just in a linear order, but descript for my whole identity.”

With a design landscape emerging – ours in South Africa is considered quite young – the sense of particularity in our collective design aesthetics is built around a small percentile of tastemakers who with privilege and access, tend to define the mood of design in the country; yet for Ross, this totally counter-intuitive to process of design; “I think we have such an abundance of amazing designers making great things, but I think we are yet to have the spaces in which our design industry can fully take root. There are more art galleries in Franschhoek than design galleries in the whole of the country. I don’t know if we are yet at a place where we truly see design as art, and whether either space is at all accessible. These are still very exclusive spaces that feel like it’s by invitation only. Yet, most designers and artists I know including myself are designers because it’s an inherently democratic process – it’s innate to human nature, for all of us, to make with our hands.” It’s with this simultaneous participation and defiance that Oliver Whyte Studios finds its place as a nexus for compelling design and considered philosophy; towards a democratised design industry, injected with joy and imagination.

Written by: Holly Bell Beaton

Boogie Vice Debut’s ‘Kariega Cruise’ On Amsterdam Based Label, Animal Language

Jul 1, 2022 | New Release, Music

Hailing from Paris and currently living in Cape Town, Boogie Vice is a hyperactive producer and DJ whose music has been released by some of the biggest labels in the industry. His tracks have performed on Ed Banger Records, Get Physical Music, Circa 99 (Boston Bun), CUFF (Amine Edge & Dance) as well as Katermukke (Dirty Doering) among others.

Boogie Vice has a truly unique sound with influences of disco, groovy house and African tribal beats that have resonated with music lovers all around the globe. It’s this love for his music that has led to him covering a global footprint of live performances that span from Brazil to Argentina, Italy, Ireland, Russia, France & more.

Boogie Vice now makes his debut on Mason’s Amsterdam based Animal Language imprint. A label that is always willing to take a risk on the more eclectic sounds of the house scene. ‘Kariega Cruise’ is a pure distilled summer party vibe; like having the sun on your back and a mojito in your hand. It is a sonic stew of steel drums, snake-charmer-esque woodwind, pianos, and percussion. It’s a kitchen sink of a track that grooves as layers weave in and out creating pleasing musical havoc. 

The track has already received DJ Support from:

Jamie Jones, Laurent Garnier, Robert Owens, Eelke Kleijn, Mason, Ida Engberg, Mousse T.

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Interlude Chapter 06 | The Ascent of Local Streetwear

Jun 30, 2022 | Fashion, Interlude

Emerging in the 1990s as the amalgamated uniform of subcultures like skating, surfing, hip-hop and punk; streetwear is perhaps the most critical avenue we have in “fashion” that most represents the truth of dressing in the world. While luxury built its bones on exclusivity and perceived notions of “quality”, streetwear has always been intrinsically tied to community and authenticity; with such tenets able to thread through its incredible ascent to luxury fashion status, as seen today with Virgil’s legacy at Louis Vuitton or Nigo’s journey from Bape and Billionaire Boys Club to Kenzo. Even in these translations of streetwear to luxury, the energy of community permeates – and it’s this origin story for streetwear that will continue to live on even in the age of “hype-beast” style distinguishability, in which rarity and novelty tend to triumph above all. Streetwear is comfort – it is casual, functional and acts as a bridge of accessibility for most of us traversing personal style and sartorial expression. While retail is not a game for the faint hearted – as I’ve heard Los Angeles designers Steak (AKA Rachael Finley) of Hot Lava or 2tone of Born X Raised reiterate, and it tends to always be a labour of love and affection for carving out cultural spaces for homies and lovers. Building a brand strikes at the very experience of being young and driven, and speaks to the innate scrappiness of human beings to build and create despite the economic systems that were never really designed for many of us to succeed. This is why brands like Stüssy and Palace remain behemothic directors of culture in a way that no corporation could ever set out to do, and why like Sofia Pantera’s label Aries – that reignited women’s presence in streetwear in the early 2010s – remain important, coveted, and as essential as the silhouettes of streetwear itself. Streetwear is the second-skin of the mass experience; it is both a tool and a weapon against the constraints of a stifling society, and a nexus point for music, art, design and creativity. 

Before Virgil passed on, he left behind a tool that everyone should know about – Free Game a 12 step hitlist resource for emerging brands, or anyone wanting to embark on building their own, to consider and learn from. This energy of mentorship is a widespread phenomena, and is the kind of energy that saw brands like Young & Lazy hit cult-like status in South Africa, a door that was opened by Anthony Smith’s iconic 2bop offering – Corner Store alumni and affiliates will tell you those doors will never close again; and we see it, now, as streetwear in South Africa continues to ascend to new heights, lead by the likes Sol Sol, Good Good Good and Broke While by no means exhaustive, this chapter of Interlude is dedicated to a variation of 12 streetwear and apparel brands that excite and encourage sartorial autonomy in the country, and to whom we owe gratitude for electing to create and produce locally.

Heysous

Heysous hail from sunny Cape Town – a colourful, joyful ode to friendship and fun, alongside a wonderful size inclusivity. Their offerings are notable for the graphic print tees (our favourite is the Abra A Sua Mente tee depicting consciousness awakening) and bubble style typography, with mantras like “change cometh” and “guided by love”. Priding themselves on responsibly sourced fabrics and local production; we love to see the spirit of Cape Town’s textile heritage celebrated in a youthful way, for everyone.

Lazy Stacks

Comfort is king for local brand Lazy Stacks; their focus is on staples like crewneck long sleeves and tees, tracksuit-style interpretations of loungewear and a two piece set with their logo printed; something we see many fashion retailers attempt to do, but with Lazy Stacks – feels so right for their brand’s ethos, built on the rebellious spirit that guides culture in South Africa. Affordable and effortless – their offerings are must-have additions to your wardrobe.

Maylee

Molly Keiser has been a mama of streetwear in South Africa from some time now – her husband Mathew is the founder of SolSol, and together they co-own Orphan Street Clothing Shop. Her brand, Maylee, is a feminine answer to the masculine-centric energy of streetwear. With designer Megan Woolley at the helm, Maylee showcases the simultaneous softness and toughness of women; and this season was a corduroy dreamscape of green, pinks and browns – essential for winter in South Africa. We love the art direction of the brand – for the gals, by the gals.

Artclub and Friends

Artclub and Friends is an immense blueprint for building a successful brand based on values. Founder and designer Robyn Keyser was talking about living wages and ethical production a few years ago – before it became a prerequisite for producing locally and sustainably. Today, the brand has a cult-like following of Artclub’s own community; non-gendered apparel, with the in-house staples that are updated every year – and now, footwear! The brand’s earliest inception was lauded by the late, great Riky Rick as truly interesting and important local design – we couldn’t agree more.

Jeanius Platform

Anele Cephus Nono started Jeanius Platform as a social awareness platform in 2016 – with the principles of freedom and decolonisation as the foundations upon which to build his incredible Denim Artwear brand. Exemplifying streetwears grassroot, radical and DIY origin – Jeanius Platform is a kaleidoscopic landscape of colour, community and care. No two pieces are the same, with tie-dye, symbolism and upcycling making this brand one of the most unique and exciting in South Africa.

Socioculture 

Naeelah Jamut’s label Socioculture has taken the scene by storm. With a recent showcase at The Stockroom Show (powered by Lemkus), Socioculture is Naeelah’s commitment to quality construction, and the pieces are made strictly by her with a helping hand from her mom – herself, an expert in garment construction from her years in Woodstock’s historic garment industry. The brand started when Naeelah studied at CTCFD (Cape Town College of Fashion Design) in which the students were tasked with conceptualising a viable brand; fast-track until today, and Socioculture is as viable as ever – with a strong emphasis on creating clothing that tells the story of Cape Town’s streets, and the diverse people who inhabit them.

Pedestrian

Pedestrian is made-to-order; a brand that doesn’t sit on stock and rather responds to its community directly, is worth noting in a world where streetwear seems to be more and more co-opted by the clutches of hyper-consumption. Button-up shirts, tees and well-crafted trousers; Pedestrian is unisex, and a favourite of creatives in Cape Town.

Refuse Clothing Brand

Refuse boasts some of the most intriguing and varied array of garments we have seen in a while – with an editorial and brand identity that is incredibly strong. The design nuances of their collections in the last few years have seen the brand drop suites, bags, shirts – alongside streetwear staple like tees and trackies. Their discreet brand story leaves the brand a mysterious enigma in the local scene – whatever the story is, it’s working overtime. 

Kazard Clothing 

Kazard founder Ayanda Tonise is a streetwear maverick, paving the way for South African culture and design since 2015. The brand’s logo is constantly revived in different typographies, and across an array of essential garments like rugby jerseys, caps, hoodies and tees. Kazard’s name means “being the king/queen of your own area” – a code for the culture.

Human By Nature

Founded by John Lehman in 2017, Human By Nature is a cross-continental ode to nostalgia. Originating in Hong Kong, the brand (and John) now call Cape Town their home; with a push to streamline all production here in the city. Inspired by John’s love for athletics, Japanese design sensibilities and his childhood living all over the world, the brand is a precious reminder that our streetwear scene is as exciting and inviting for people around the world, as it is for us. 

 

Stiebeuel

Stiebeuel reminds us that the boundary between streetwear and menswear remains interchangeable. Founded in 2014 by designer Nico Nigrini, the brand is an effortless interpretation of staple silhouettes and styles created with intention; the recent ‘22 collection Volley paid homage to tennis, and we think the editorial images of Alex Pankiv-Greene and Tiffany Schouw are some of the most beautiful campaign shots we’ve seen all  year.

Written by: Holly Bell Beaton

A Mother and Maverick of South African Art, Jana Terblanche

Jun 29, 2022 | Art

The image traditionally held for the art world, when it comes to both people and institutions,  is quite austere; a strict code founded on a western sensibility in which severity equates to seriousness. Art as an industry has systematically functioned as a branch for exclusivity – and in many ways, the commodification of creativity – which is in stark contrast to the inherent channel for freedom and expression that art truly is. Yet, it is precisely within this confinement of spirit that artists themselves have always challenged; and it is within this mood of liberation from severity or restriction that artist and curator Jana Terblanche has found her voice. Jana Babez, as she is affectionately known, has been a maverick and mother of Cape Town’s (and South Africa at large) art scene for a decade; beginning her journey as a student and later graduate at Michaelis School of Fine Art, in the early 2010s. For Jana, pink is the most illuminating colour – and Britney Spears is perhaps the most important artist of our generation. This is not irony; these facts speak to Jana’s greater sense of performance as precisely herself, self-describing as “girly, joyful and fun” – and is with this authenticity that Jana shows up as one of the most important curators in South Africa; as a guardian of the arts, and protectress of creative freedom.

‘’Art was the thing I was drawn to my whole life. I knew it was going to be an unusual choice, as it’s one of those paths with less certainty, and I think that challenge really spoke to my curiosity. I gravitated towards performance art during my studies, and developed a foundation that mixed together my sense of playfulness with how female bodies are perceived in society. I do think my life is a bit of performance anyway – I like to entertain myself, and it’s interesting to see how people’s biases can be very concerned with the image in their mind of what an artist or art should look like. I think life is one long artistic process, for everyone, so having my own self or personality and the art I’ve made be indistinguishable from each other has helped me maintain an authenticity, I think.” Jana’s work has been a dialogue with the treatment of women’s bodies in South Africa quite a bit before the fight against Gender-Based Violence began to sweep the country. Jana and many women and femme-identifying artists continue to remind us that sensuality is a birthright, and to have it both policed and violated in the way it has (and continues) is a battle that continues to be fought. 

The last few years have seen Jana’s artistic practice evolve into custodianship; as a curator with an impressive and growing repertoire for creating shows from Joburg to Lagos, to London and Rotterdam. On this, she says “As much as my own story is interesting, I love other people’s stories – and I think there are so many that need to be told. I have found my strength in curatorship right now, and it feels like it intersects with my artistic practice because there are performative aspects to it, but also the deep collaboration that occurs between curator/s and artists. It can be this very beautiful synergy that as a curator, I can nurture artists. I also love standing in between being very girly, over the top but also fucking professional – and so the bridge is that, performing this role of a curator that’s meant to be behind the scenes, but actually bringing my own sense of fun and spirit into the mix. I think it’s refreshing.”

Jana’s work continues to relay her clarity and vision on the purpose of art, and its relevance for healing and contextualising the lived experience of human beings. Last year, Jana co-curated a standout show with Anelisa Mangcu, titled “Everything was beautiful and nothing hurt”, centred on the complexity of black identity in modern culture, with an emphasis on joy and trauma as dualistic. Jana reflects, saying; “I have been travelling to Lagos quite a bit because I’m affiliated with the African Artists’ Foundation as a curator. Within that realm, black portraiture has been emerging as a very critical movement for reclamation for black bodies. I wanted to bring this conversation home, so Anelisa and I co-curated the show for Art Joburg – and the director for the space, Mandla Sibeko, gave us incredible free-reign – outside of a gallery context, too. It was a very cool experiment on taking away certain constructs in art such as commerce, and then having the show held together by this poignant theme of black portraiture. Anelisa is a longtime friend, and we have walked a long journey together – we went to high school together – so this was a very special, full circle moment. The energy in Joburg is crazy too; the response and hype from everyone who came just enriched the whole experience, and it’s one of those moments where I am strongly reminded of why art exists, and why it’s so important.”

Jana’s work continues to expand as she continues to use her curatorial role to celebrate queerness. Last month, Jana’s show Hot House in London, and on this she comments; “For Hot House, I worked with Sixty Six in London. They are what we could call a “nomadic gallery” as they’re not fixed by a venue – so they are not bound by needing to have a gallery schedule and the pressure that involves. I’m interested in seeing how we can take the traditional models and adapt them to suit our lives, the lives of artists and people. Growing up in Cape Town, Hot House was an enigma – and being surrounded by gay and queer friends all my life, there was this mystery around Hot House. I like this idea of people having a collective perception of something without actual experience of it – beyond judgment, too. I think Hot House was also a very important place in the city for the gay community, and so it felt like a beautiful way to acknowledge that. I asked Brett Seiler, Strauss Louw and Shakil Solanki to participate – it was very special.”

Jana’s practice is wholly concerned and considerate of what it means to truly “guard” the arts; and in that, is the representation for the true plurality of identity. Iconically, she and her best friends Martin Magner, Mavuso Mbutuma and Nash Mariah were flown to Sweden by H&M for an exclusive campaign celebrating Pride Month. The concept was the sacred experience of getting ready together before a night out – the love shared, secrets spilled and intimacy of being with chosen family before the night takes on a life of its own (as it always does). Surprisingly, in a time where “rainbow-washing” during Pride Month is unleashed as a feigned gesture by corporations, H&M released no products alongside the campaign, “We had so much fun! It was a wild thing to happen – and so cute to be in Stockholm, having our make-up done and styled, all of us together after a decade as best friends, going through highs, lows – careers, heartbreak. Also a lot of the team from H&M were young and queer themselves, so we just felt very held.”

In many ways, Jana has just begun – and we are so excited to see what comes next from the iconic and exceptional Babez herself. 

/// Read about the H&M campaign here; Meet the Angels

Written by: Holly Bell Beaton

Excavations of the Psyche with Roger Ballen

Jun 28, 2022 | Interviews, Art

There are certain artists who possess a power and ability to expose us to what we refuse to see; and such artists tend to have the most visceral impact in the deepest recesses of our minds. Roger Ballen is one such artist – a vanguard, whose prolific career has spanned four decades – and of whom it would be impossible to distil into a single article or interview. In a style that is decidedly distinguishable as “Ballenesque”  – a term eventually coined as Roger’s own descript recognition of of a personal articulation throughout the years – we, the viewers, are thrust into a contemplation that can be reactionary; felt in body, mind and spirit. Much of Roger’s work is suggestive of the unconscious asylum in which humanity’s collective mind space exists;  outwardly, we are productive, consumptive, biassed and relentless seekers of comfort, growth and expansion. Inwardly, however, and as Ballen’s work reminds us, there is the haunting reminder of decay – imperfection as one of the only certain truths – and the ever-pervading presence of dualistic fixations. Good vs. Evil is a debate Roger refused to have a long time ago; instead, there just is all that there is. Liberating himself from such selective constructs has meant that Ballen’s path has been carved much like the ancient sediments that he observed as a geology student at Colorado School of Mines (a position that first brought Roger to South African in the 1980s) – a painstaking and curious excavation of his own mind, layer by layer.

“I don’t know what’s stored up there in my memory, that’s the problem. I think that’s what keeps me moving forward. It’s a philosophical question, to wonder if you could unwind every moment that has happened in your life – would every moment be there?”  Roger says on the matter of one’s own mind. Assuming the position of the everyday viewer, I wonder if he recognises the sometimes grotesqueness of his work’s theatrics, the psychological and existential nexus upon which his style exists; to which he says, “My approach has always been psychological, which I think started in the 70s with my first book called Boyhood. It was a trip I made hitchhiking from Cairo to Cape Town and then from Istanbul to New Guinea, and then South America. It was four years of trying to find my own childhood reflected in the world; and I was able to see this thread running through different cultures and lands as sentiments that speak to a shared experience of humanity. When I came to South Africa again in 1982, as part of my PHD training in geology, I started my first project here, Dorps. That was a critical moment for me – that beginning of that publication, ‘Dorps, Small Towns of South Africa.’” Roger reflects, on the metaphoric sense that underpinned that book – ‘’I went to Hope Town in the Free State, and I knocked on the door of a house, and going into that person’s home, I went inside physically and psychologically – and I rarely have ever taken a picture outside again. I started to find my motifs and techniques from then on.” Images from Ballen’s Dorps remain stark depictions of apartheid-era South Africa; the fascist state’s controlled and implemented division of people, subjugation across racial lines – and also, of class lines. Outside of the main city centres and economical melting-pots lay the dorpies; obscured and isolated even more so than sanctioned-against South Africa – itself a country modelled as a bizarre attempt at a utopic white supremacy.

On the seemingly harrow nature of these works, Roger says; ‘’I always say that in nature, there really is no beauty or ugliness. The darkness and light are not oppositional, they just are what they are – expressions of a wider whole. I think what we are dealing with in human society and in our psyche’s, is a permanent state of repression. A repression of the primacy of our instincts, and how deep our unconscious goes. So, there’s nothing really dark about what I do – but it seems to affect people’s psyche because they’re in a state of repression, and so desire order or predictability. Our obsession with attractiveness, spurred on by Hollywood and mass media machines, has made us too easily recoil at discomfort – whether aesthetically or otherwise. I think a world like mine, which is very concentrated, pierces through that repression and makes people somewhat anxious. From a Jungian point of view, the word “dark” would be a side of the Self – so I’ve come to learn that my work has that quality that aims toward getting through repression and denial.“ This inquiry into the Self is as integral to human’s and history as the very earliest variations in our biology; we have been wholly dependent on such endeavours as a propulsion through the ages. Art is then – absolutely essential to the human experience, if not the core of human experience itself; ‘’The work of an artist is an attempt to define the Self.” Rogers says, ‘’and there is never a conclusion to this work, either. You’re always finding bits and pieces stored in various crevices. That’s the problem with language, too. Semantics are restrictive and just our attempt to convey meaning or communicate – but I don’t think we can ever explicitly convey the entirety of what our minds conceive.”

Roger’s own stylistic language, Ballenesque, is so distinct that it led Die Antwoord to their own existential awakening post-Max Normal TV – how strange, we might think, that one of South Africa’s most famed and controversial music duos saw their own articulation through the lens of an American-born photographer, which set in motion a sequence of successes internationally, amid scandal too. Yet, this is the transcendent power of Ballen’s style – and again, its incisive quality that speaks to the very grit of living, whether here or elsewhere in the world. On the term Ballenesque, Rogers says ‘’I had to develop the confidence to call a book “Ballensque” and cement my own position as being unique or its own viewpoint. I think that comes with time, and dedication to my own particularities in my practice of art and photography. I think that has been an important stepping stone in my career, and although you can define it in other terms like “absurd” or “uncanny” or “theatrical”, combined – Ballensque is the best thing so far even with the confines of language to describe what I’m doing.” So indelible is this style that it caught the eye of avant-garde’s mother, Rei Kawakubo of Commes des Garçon, and in 2015 Roger’s work was featured in a AW15 showcase – signature ghoulish faces, drawn in charcoal, on the back of crisp white tailored jackets, “My only regret is not getting any samples, but it was great to have my work pulled into this world of clothing – which is not a realm I exist at all. I like how they interpreted it. It’s very rare that I would relinquish creative control – but they did a fantastic job with the collection and the subsequent installations in their stores, and Rei is exceptionally artistic herself.”

Among all the caveats to draw from our conversation, one of the most pressing had to be Roger’s black and white images of the infamous festival Woodstock ‘69 – the summer of love, as it where – a tear in the fabric of America’s tightly stitched together order and control; was he and his peers aware of just how momentous that moment was, when it was happening? Roger responds, ‘’That’s a good comment. It was the first large event of this kind, and it had an intense enthusiasm about it beforehand. The mood was changing in the states, and in the world – and I think this was a kind of pilgrimage to symbolise that, whether we really understood that at the time, I’m not sure. The fence fell down, and the entertainers that were there – mixed with the sense of being free – were powerful contributions to this overall push against society. Nobody expected it to become what it became, and its legendary status in our collective memory is in part due to our nostalgia, I think. It’s a landmark now of the 20th century, and as in everything in life – there’s the reality and the experience, and then how it’s interpreted by others.”

Right now, Roger is grounding himself – an unusual, but perhaps necessary step in his life. The grounding, or landing as it were, comes in the form of a physical space; Inside Out Centre for the Arts, in his chosen home of Johannesburg. Drawing on Brutalism, the building is a raw, materially-minimised archive for Ballen’s life’s work, set to also promote African photography and art, alongside educational programmes; “Our focus is Africa, and the work coming from the continent – as well as my work, all with a psychological component. I really like coming into my own place everyday, and to have a physical space to share more of the art and photography that needs to be shared.”

Written by: Holly Bell Beaton

MeccaMind Releases New Music Video for “Sunny”, A Single From the Mixtape “Let the Kidz Play”

Jun 22, 2022 | New Release, Music

MeccaMind is a 21-year-old artist based in Cape Town. Having found inspiration through Outkast, A Tribe Called Quest, Erykah Badu and the whole Soulection movement, it is evident in the beat selection and cadence on MeccaMind’s songs.

“Sunny” is the first single from the upcoming mixtape called “LET THE KIDZ PLAY“, and was inspired by being young, unapologetic, creative and free, capturing the essence of youth. This care-freeness is evident in the move away from MeccaMind’s older more melodic songs. “Sunny” is rooted in collaboration, the name was inspired by a friend of MeccaMind’s, Sundog, who painted the accompanying artwork and is produced by 16-year-old Oluh. The music video was done by Vahid Skippy Davids, who dissected the lyrics and created a love story out of the hook that reminisces about a love interest and how it quickly it can turn sour.

“Let The Kidz Play” is a space and platform for overlooked creatives who haven’t been given a chance to “play” due to gatekeeping, and the lack of accessible opportunities or general layers of bureaucracy within the industry. MeccaMind hosts events in Cape Town in collaboration with Vision TV to provide the necessary spark to push this growth. Sunny is the first in a series of things to come for “Let The Kidz Play”. Keep a look out for more content, merchandise, and events that are lined up

Follow MeccaMind and Let The Kidz Play.

 

Watch “Sunny” here ///

 

nuun concept space Lead the Way for Sustainability as Inherent to A Design Practice

Jun 20, 2022 | Interviews, Fashion

I have been fascinated with nuun concept space for a few years now – with a sense of discretion and dedication, mother and son duo Zainab and Shaheed are always up to something; and their practice has offered our design landscape with a sensibility that is rooted deeply in their dedication to their heritage. In their releases over the last years, nuun has evolved as an exploration of garment construction and textile research, and both of these profound sentiments that encourage a truly conscious approach to clothing; distilling the true essence, I believe, of what design is – as our inquiry into the human experience on the earth. 

Beyond the constructs of minimalism, nuun instead feels as though it is space for essentiality; founded as a dialogue between family, and inspired by their Islamic heritage – with a contemporary yet timeless emphasis on sustainability. Amassing a following on TikTok, nuun is pioneering a homemade bioplastic for packaging that is available for purchase on their website; I encourage you to view these incredible videos here.

This spirit of community is inherent to nuun; the notion that there are no trade secrets or exclusivity where ecological and social preservation are concerned. I chatted to Shaheed and Zainab to learn more about their story and vision;

How did nuun concept space arise, as a mother-son duo but also as a creative expression + vision?

It had always been part of our lifestyle as a family to explore textiles and designs but nuun was started when my mother (Zainab) who would design abayas (the cloak worn by women who practice Islam) for herself which gained interest from close family and friend. Soon thereafter a collection was produced and sold in stores in Saudi Arabia.

At the time the other half of nuun (Shaheed) was working in architecture and would offer design advice. The conversation led to ideas explored and this is how the space organically formed to what it is today. 

 

A lot of your work explores construction and methodology underpinned by fabrication, can you talk about your design process?

Ideas are developed through necessity, a need of our own. A thought of how life would be better if this idea were to exist. we do not force a narrative, the idea has to fulfil a function. After brainstorming solutions of what this product could ultimately be, we explore sustainable and/or locally sourced materials and textiles that would best suit the idea. our intention is to create so that life is better after the idea manifests.

 

Your work, since I’ve known it, has been a solutions-based response to the lack of environmental + social integrity in the fashion industry. What are the values you both hold as designers and creators in this regard?

The objective at nuun is to offer solutions that are sensitive to the environment without compromising design aesthetics.

 

I love the perfect marriage between form and function that I’ve come to associate with nuun concept space. What concepts do you find yourself referencing and exploring as you develop the label’s design language?

The work we do is a celebration of our heritage and culture. The age-old silhouettes of Islamic attire and the techniques used to construct garments are a constant reference point for us. We build on these concepts to pay homage to our people while developing our own unique perspective thereof.

How did biodegradable packaging first occur? 

We had just developed a t-shirt made from recycled plastic bottles (collected on the beaches of cape town) blended with organic cotton and wanted to present it as the classic t-shirt in transparent sleeve but after months of searching we found it near impossible to find this product anywhere. The material existed but wasn’t used in this context and when we found something similar it was not made available to africa. We became determined to produce this product ourselves and decided to partner with a company who produces the base material. The material was reworked to suit our specific design needs and this is how we became the first in Africa to produce water-soluble packaging. 

Since this product was the first of its kind in Africa, we made the decision to forgo any explicit branding so that it allows others to use this in their own brand spaces, which would have an exponential positive impact on the climate versus if we kept this product to ourselves. 

 

What do you want to see in this world, and how does nuun concept space reflect that?

The ultimate goal is to create a more conscious society in every aspect. Sustainability, to many, remains a difficult subject to face as there’s so much information out there that makes people feel overwhelmed. Our intention is to create simple solutions that feel approachable so that people gravitate toward our work without the guilt. We have stated before that sustainability is a process and not a race and our intention is to share what we know with those who are interested in incorporating sustainable practices into their own design spaces.

 

What are you working on at the moment, and what lies ahead for the rest of 2022?

We are currently working on multiple projects all of which will be released when the time comes. one project we have slowly been sharing on our socials is our homemade eco-plastic experiments that are produced using natural ingredients. The process is exciting as the outcome is unpredictable. We plan to use these eco-plastics in one of the upcoming projects so stay tuned on our socials for more. 

Follow @nuun_concept_space on Instagram and @nuunconceptspace on TikTok to keep with their latest processes and offerings

Written by: Holly Bell Beaton

Liberty Battson’s Ode to 20th Century Masters in her Latest Showcase, Yada-Yada Club

Jun 17, 2022 | Art

“Yada-Yada like Blah-Blah like Dada.”

“A persistent theme in Liberty Battson’s work has been the language of visual art. This latest body of work uses the iconic styles of major figures to engage with – and celebrate – modern art history.

The flat, colourful faces that make up ‘Yada-Yada Club’ draw on the languages of 20th century Masters. In a tongue-in-cheek postmodern overview, Battson acknowledges the impenetrability and opaqueness of their abstract and conceptual work to many people. Referring to a range of movements – from the Dadaists and Cubists to the New York School and Young British Artists, Battson aims for her viewers to recognise some of the silhouettes she has selected, and wonder about others.” – Lena Sulik for Everard Read Gallery

Liberty Battson has coined a new term for her latest showcase – “Art Gibberish”. What at first seems to be a cheeky omission from an artist as “nonsense” – is in fact, a playful and loving semantic note that describes for Liberty her strongest theme running through her career: that art is a language; a syntactic arrangement that is infinitely variable, and pursued through many mediums and styles, the same way dialects become regional and linguistic jargon develops out of subcultures. Known for her distinct style using precise lines in vivid colours, “Yada-Yada Club” is the first diversion we have seen towards a new landscape for Liberty – instead, this showcase is explicitly post-modern, and uses a variety of Liberty’s most revered artistic Masters of the 20th century as affectionate references; creating interpretations of works from artists like Dalí and Matisse, for the viewer to decode in a visual treasure-hunt. 

On this diversion, Liberty says “This is the first body of work where I’ve ventured away from stripes but I’m still dominantly attracted to hard edge, clean cut lines even though this time they are objects. I like controlling the paint, even when I am painting freehand I still aim to have control over the paint, I’ve made looser work and come full circle where I want to contain it again. It’s just an overflow of influence. I’m in awe of Abstraction and Modern art whose key principles are uniformity, structure and geometry – this was a great challenge and undertaking in a period where art was very realistic and pictorial. I approach art very mathematically, using data, stats, numbers, codes. I still had a mathematical approach by selecting specific subjects and arranging them into funny faces. I knew exactly how each one should look before I even touched the canvas.”

Using her distinguishing medium, 2k automotive paint, Liberty explains why this has come be her signature, against the traditions of oils or water-colours; “I’ve always been inspired by artists who push the boundaries of their chosen medium, such as when painters master the timing and viscosity of paint to get you questioning if it’s actually painted or when ceramicist work dangerously thin or sculptors who make hard materials look soft. It was important for me to use Automotive paint on a medium (canvas) to which it wasn’t designed and get the same finish as if it was painted onto car parts. It was important to me to master the material. I haven’t met many artists using it the way I do, therefore my work is quite recognisable. That’s the goal, you want to walk into a room and recognise the artwork before you go close enough to read the  signature. Even better to wonder how the artist made it, to get the viewer thinking.”

Encouraged by the artists referenced in Yada-Yada Club, Liberty remains committed to the pursuit of her own artistic development; and this mindfulness is perhaps rooted in her genuine joy and awe for the stylistic traditions that have come before her. Commenting on the exhibition’s affectionate tone, Liberty says, “These faces are made up of different Master artworks over the past decade, most with the theme of being anti-war, inspired by Dada. I hope viewers see the silhouette of one or more of these artworks or better yet see their own imaginary subjects. Kazi is the nickname for Kasimir Malevich who features in this artwork alongside Salvador Dalí, Alexander Calder, Philip Guston and Pablo Picasso. Gav is my nickname for Gavin Turk. In this artwork there is also representation of Yves Klein, Marcel Duchamp and Alexander Rodchenko. Néné is my name for René Magritte, who starred with Edvard Munch, Philip Guston and Yves Klein. Fridz is short for Frida Kahlo, one of few women artists represented here, alongside Jackson Pollock, Damien Hirst and Henri Matisse.  It is always my intention to celebrate these Masters and show my close relationship with them, their impact on me; that’s what inspired the titles, as well as to link the personification so viewers could identify a face.”

Yada-Yada Club is on show at Everard Read Gallery Cape Town until 2nd July 2022.

Written by: Holly Bell Beaton