Fine-Wine & Vibes with Joburg’s new female-owned restaurant : Acid Food & Wine Bar

Sep 9, 2022 | Lifestyle, Community

I remember hearing Matty Matheson once say that chefs make the best restaurateurs – and this truth extends to all the key roles and skill sets that make up the dining experience. Hospitality is not for the faint-hearted; and many just pass through this profession as means to an end, mostly in their early 20s. Then, there are those who stay; who find their passion and pathway within the energetic, high-pressure / high-stakes business of food & wine – and those rare people, whose professional grit is forged in the intensity of the kitchen, or the spin-like dance of service on the floor, or behind the bar – learn to speak their own language and observe subtleties the rest of us may never know. Subtleties of client’s responses in a single gesture, or the nuances of flavours, or the dynamics among staff – a sharpened intuition of how people want to experience what they themselves are unsure of; to me, working in a restaurant is an artform. 

Mastering the craft of hospitality is exemplified by sommelier Jemma Styer and chef Jes Doveton – two women who have spent the last few years learning, adapting and growing within the melting-pot of the restaurant and bar realm, a realm that has kept calling them back to pursue food and wine; over and over again. Now, in a dream that is fast becoming reality, Jemma and Jes are gearing up to open their Joburg food and wine bar: Acid. The name is taken from the essentiality of acid as a balancing component across food and wine – forget psychedelics – the term in this context is incisive, and speaks straight to the heart of their respective expertise. I think of Samin Nosrat’s Salt Fat Acid Heat & how cooking, overall, as a craft has burst wide open across TV, Youtube and in books – good food and wine are a birthright, and Jemma and Jes are custodians of this sentiment, with vision to share it in a pared back, considered and inclusive setting.

Jes is self-taught, and cooking has been a natural reflex that she honed out of curiosity and persistence. It’s also deeply personal and healing – as she says, “My mom is Thai, and it was something I was quite embarrassed about as a kid. As I got older, I realised that what I learned through food from my mom – as it was the biggest way we connected – was a huge lesson I’d been learning all that time in the balancing of flavour and importance of ingredients. Asian food in general is a mastery in salt, sourness, sweetness and spice, and it’s a key part of the way I’ve learned to cook and experience food. Balance has informed how I approached cooking, and when I went onto to work at restaurants on the floor and later as a consultant.” Having worked on yachts and shifting from a stewardess to a chef, Jes’ experience of managing a full-scale kitchen space has since been an important aspect of her work as a consultant. Streamlining processes and preparation – Jes’ dedication to incredible food combines functionality and dynamism, a central tenet to the custom kitchens being built for Acid.

Jemma is a prolific sommelier in Johannesburg – having been catapulted into the space by chance, when she was sent on a wine course by the restaurant she worked at during university. Now, a few years later, Jemma is a trusted fixture on Joburg’s wine scene – mostly recently and notably known for taking Coalition Pizza’s wine repertoire to a considered level. On this, Jemma says, “Working with the guys at Coalition, focusing on wine, was great because the space is simple – it’s incredible pizza, and so the wine needed to reflect that. When they decided to cut their Rosebank store in half, and make one side an Italian wine bar, Flor was born.” Armed with the skillset, experience and qualifications – a trio of requirements for the exceptional complement that a sommelier is to a restaurant – Jemma matches Jes in an incredible way. After a chance meeting, and a few glasses of wine shared over time, the two decided to collaborate; somehow, someway. With mutual admiration and understanding of a shared vision; Acid has been born out of their desire to seed a space that works: that is welcoming, aesthetically compelling and original, and of course – draws back down to the ever-lasting dance between food and wine. In a surprising way, when all of us are wanting to make every idea we have happen, Acid has seen a pretty seamless development from concept to actualisation, Jes says, “We have had challenges, of course. But these are obstacles that we have overcome together.” Jemma adds, “We have had moments where we are like, how are we going to solve this? But, there has never been a moment in which we said we can’t do this.” While it’s an unfortunate trope of the society we find ourselves in – it has to be said and acknowledged that being a female-led business in a notoriously masculine, boisterous industry is a critical contribution to hospitality in South Africa.

Encouraged by their respective networks and friends – Acid is being realised through Jemma, Jes and Tag Design Architects – alongside their creative strategist, Lineo Kakole. Set to open in early October, their recent launch event was an immense success; with DJ sets played by friends, and punctuated – of course – by beautiful food and wine. The event set the tone for what is to come – the unbridled joy and community that surrounds the unmatched role that food and wine plays in the human experience. On how the wine will play a part, Jemma says, “We will be focusing on female producers and producers of colour – and offer a wide range of unusual and regular wines. We will have a small set menu, with everything by the glass, and then a rotated menu every couple of weeks around a certain theme. I want people to come in and be able to get some education about wine in an encouraging environment.” and for the food, Jes explains, “I really don’t like the term ‘asian fusion’ – but given my background and cooking style, asian cooking will be a central reference, but I’m endlessly curious about food and flavours around the world – so, it’s probably best described as ‘ global food’. I don’t want to set myself limitations, and it will be small plates – with a few mains – and non-negotiably, oysters. Dressed oysters will be permanent. I’m building a framework which can be adapted – to establish familiar dishes that will be Acid’s regulars, but using varying ingredients with respects to seasons and mood.”

With a specific focus on hiring and upskilling their staff, and integrity as a remedy for the often intense pressure of the restaurant business – Acid is marking a new wave of young-ownership, female-led hospitality – and the space itself? Without giving too much away: retro yet timeless, warm and inviting – unusual – and most importantly, the stage for an incredible future for Acid.

Written by: Holly Bell Beaton

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

Exploring Mutable Forms of Earth with Blank Project’s latest exhibition

Sep 7, 2022 | Art, Community

The earth is ripe for inspiration – to me, Mother Nature is our first and most formidable artist. All of us, her children seeking to create on our own accord, but always with a lineage that traces back to the planet. The strength of concept at blank projects’ current show, ‘the weight of a stone’, interrogates precisely this; the mutable forms in which earth as a substance exists. Never static nor passive, as the prima materia of our corporeal expression in the world. The show notes describe it best, “the stoicism of cement, the richness of clay, the sturdiness of metal, the infinite darkness of the mine, the pigmentation of soil, the fragility of glass and the versatility of salt.” These descriptions are exceedingly poetic – and in mere words, enliven the often mundane view of matter as vital material; our original mediums. Tucked away in a 360sqm space in Woodstock, blank projects offers a sublime space for such inquiries – high ceilings, sheet-white walls and parquet floors – and since 2012, ‘’the gallery represents emerging and increasingly established artists from the region in a critically engaged programme that emphasises contemporaneity, with a focus on concept and abstraction in the African context.”

The show, co-curated by Lemeeze Davids and Thobile Ndenze – brought together an array of 10 artists, each with their practice linking back to earth. On how ‘the weight of stone’ was conceptualised, Lemeeze says, “the concept emerged organically after a discussion around a few artists that we were generally interested in, when in the brainstorming stages of the show. We noticed that the common thread was that they all worked using varied forms of earth. We mostly let this organic connection lead and speak for itself, only adding a few more artists based on the curatorial direction, as artists confirmed their availability.” Regarding the response to the show, Lemeeze says, “The reception has been tremendous – the opening night was packed and we’ve had a lot of foot traffic during the course of the show, which is great as winter is normally a slower season for visitors. We’ve had very positive responses towards the show from friends of the gallery, artists, and arts practitioners alike. Overall, as the first presentation that Thobile and I have curated since joining the blank team this year, we’re really happy how it came together and how the show makes use of the space.”

Following a beautiful format, ‘the weight of a stone’ is divided into clay / metal / soil and stone – each division grouping together artists whose work reflects the materiality of four forms of earth. Vulnerability of process was key as Lemeeze explains, “A number of works, including Nolan’s set of xenoliths, Jean-Marie’s sculpture, Rowan’s pieces and Inga’s works, were created specifically for the show, while Zayaan, Setlamorago, donna, and Belinda’s installations were compiled from their deep archives and studio processes of years’ of works. It was also wonderful to introduce our audience to the work of Tendai Mupita (Zimbabwean) and Pieter Paul Pothoven (Dutch), who are international artists we’ve had the pleasure of meeting through research around the show.”

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We urge you to pop into the space to see the show before it ends on 10th September, 2022.
10 Lewin Street, Woodstock, Cape Town .

Click here for ‘the weight of stone’ zine – a critical accompaniment to your walkthrough of the show.

Written by: Holly Bell Beaton

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

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.

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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