Weaving the Tapestry of Architecture, Fashion and Photography with Danielle Smith

May 30, 2022 | Interviews, Fashion

There are seven principles inherent to the architectural practice; balance, rhythm, emphasis, contrast, visual, proportion and scale. Each of these features provide the boundaries within which architects illustrate their vision for the structures and buildings around us; and while architecture is concerned with pragmatism, the awareness of spaces are inextricably rooted in the pursuit of beauty. In the book The Poetics of Space, French philosopher Gerard Bachelard uses the environment of the home as a literal and figurative metaphor for establishing the philosophy of aesthetics; that it is our first home and its beauty (or lack thereof) that form our initial experiences, inspire the sights we set our eyes on; our hopes and dreams.  Bachelard says, “And always, in our daydreams, the house is a large cradle. Concrete metaphysics cannot neglect this fact, this simple fact, all the more, since this fact is a value, an important value, to which we return in our daydreaming. Being is already a value. Life begins well, it begins enclosed, protected, all warm in the bosom of the house.” – and I was reminded of this quote as being totally transient in my conversation with creative polymath Danielle Smith. Having trained as an architect in her initial degree out of matric – Danielle’s work makes an incisive case for learning, of every kind, as critical for bettering one’s artistic expression – and like Bacherlard’s philosophical sentiments, her inner-home of creative development is an ongoing investigation. With a creative like Danielle, we see the impact of the late, greats Zaha Hadid and Virgil Abloh; the boundary between design of architecture and the design of fashion as unrestrained; wide open for infinite and endless interpretation.

Danielle’s visual work began with architecture, and was later emphasised by fashion – and through her photographic practice, running parallel throughout her career, Danielle’s works depicts a rich balance founded on symmetry, and the distillation of the form required for exceptional buildings, garments and the human beings who animate it all, inbetween. Later this year, Danielle is moving to Florence for a masters degree at the prestigious school Polimoda, and feels this moment is the beginning of her visions unifying towards her life’s work; “I studied interior architecture at the University of Pretoria. I think I have always had a love for fashion though, and started making clothes as a hobby when I was younger. It was a big dream for me to go into fashion, but I chose a different route – specifically because it’s on a more ephemeral scale; designing inside of a space. I love the challenge of problem solving, and interior architecture is a practice that really demonstrates the science of art. I used this as a foundation to set my course in the design industry, and I always knew I would eventually move over into the fashion industry. I wasn’t sold on any of the fashion schools in South Africa, and my dad being a conservative Afrikaans man – urged me to ‘get a real degree’. In hindsight, I am so grateful for that.” Danielle reflects, and I wholeheartedly maintain that fashion tends to be one of those practices that benefit less from traditional degrees, than they do from a vivid plethora of experiences, dynamic skill sets and methodologies born out of sheer curiosity. After her degree, Danielle says ‘’I worked in the industry for a while, and freelanced as an interior designer, before finally making the call to step into the fashion space. I studied at The Nuova Accademia di Belle Arti in Milan, an intensive tailoring course. I was self-taught until that point, but knew I wanted to refine my skills. Coming home, I joined Viviers Studio – interning at first, and then working my way to studio coordinator. It was such a hands-on space, and a small brand, so everyone is able to do a little bit of everything. Along the line of my life, photography has been the running pulse. It’s been the medium I have relied on the most. I fell in love with film photography, it’s so mechanical – digital is not very interesting to me, because with film there is such a strong capacity to convey mood and emotion. It’s a small science experiment with film.”

At the moment, Danielle’s photography is part of Shutterland – an exhibition curated by Marnus Strydom, reflecting poignant images of South Africa, as a driver to convey the fine art photographic genius of the country, “It’s at the Art and About Gallery in Johannesburg, and I’m co-exhibited alongside around 30 photographers. It’s such a privilege to be alongside people like Roger Ballen, Justice Mukheli, Nadia Raaths – Andile Bhala – this list goes on. It’s surreal that my work can stand alongside this level.” she says. Working freelance as a product developer right now, Danielle muses; “All I have done, and am doing now, is preparation for Italy later this year. The creative direction degree at Polimoda is what I feel is going to tie these various knots together; I am really interested in continuing to weave all my various curiosities into one picture. I want to see the boundaries of categorised practices be able to translate into each other, and I think that is the future for so many creatives; being multi-disciplinary, and constantly evoking circumstances to challenge ourselves.” 

Concurrently, Danielle is developing her own prints and fabrics – amazingly, among all she already does, is this deep sense of creative multi-tasking in speaking to her; it is clear that Danielle can hold many projects in her mind, and sees them through. “I wanted to develop a symbiosis between architecture, fashion and photography. Using my own photographs, I am creating prints – I started with picture images, and being an architect I pay a lot of attention to detail, so naturally I gathered so many images of buildings and spaces. Suddenly I realised that I could morph them; reflect them in patterns and play with the images within a new dimension of fabric. It was so interesting to see these patterns arise, the geometry gives itself quite referentially to a contemporary, African print style. In figuring out how the print could be used, I wanted to emulate something that could portray the quality of film photography – so I am looking at synthetics and raw hemp or silk. With synthetics, it will be more vibrant and clear, and with organic fabrics it will be more faded, more true to the film image itself. I’m excited to have the contrast of both to experiment with.” Having both the practical and aesthetic motivations, Danielle is also creating a silk scarf range – and in doing so, seeks to challenge the way photographs can be showcased. While the traditional exhibition environment will always be a catalyst, Danielle’s intention for her photographs is to exist with someone; whether framed on their wall, or worn on their body, ‘’I think the most exciting part of doing this, of creating these scarfs and print archive, is that I can invite people to step into the moment in time, or place – potentially wearing it, or framing it – it becomes a more dynamic object; it’s livable and wearable. A lot of fashion is seen is as frivolous, but really clothing is an innately practical pursuit – why shouldn’t it be beautiful, too?”

Danielle’s work is so intriguing; her images from her travels are as true to her own vision as her professional, creative work – and her curiosity is so palpable. This is a creative whose joy is to venture Springs, Johannesburg to capture an amazing fact – this town has the largest collection of Art Deco buildings in the world outside of Miami in Florida; right here, in our own country this stark edifical feat exists. For Danielle, this is the strongest reason she creates; to archive and experiment with the materials and memories of the world. With a future enriched by her prospects in Europe, and her deep commitment to South African art and design; what comes next will be nothing short of incredible.

Written by: Holly Bell Beaton

Saul Nash and MmusoMaxwell Take Centre Stage at the 2022 International Woolmark Prize

May 27, 2022 | Fashion

The International Woolmark Prize is known to celebrate outstanding fashion talents from around the world who showcase the beauty and versatility of Australian Merino wool. Historically, it is also dubbed as one of the world’s most prestigious fashion awards for any emerging fashion designer. So when this year’s panel of judges awarded both prizes up for grabs – at the ceremony held in London – to designers of colour, it signified somewhat of an iconic moment for Black independent fashion designers all around the globe.

Towards the end of April, an entire panel of judges, finalists and more, congregated in London to crown the winners of the prestigious International Woolmark Prize 2022. This year’s cohort of designers proved to be extremely tough competition, with an extremely talented bunch of hand-picked sustainable fashion designers from all over the world. The finalists included winners Saul Nash (UK) and Mmusomaxwell (SA), as well as Ahluwalia (UK), Egonlab (France), Jordan Dalah (Australia), Peter Do (USA) and Rui (China).

This year’s completion also had a seasoned batch of judges – real experts within their separate pockets of the fashion industry and with enough global luxury experience to impart valuable career advice to these fledgling leaders of sustainable fashion design. The panel of experts included the likes of Carine Roitfeld, Edward Enninful, Ibrahim Kamara, Naomi Campbell, Riccardo Tisci, Tim Blanks and more. These were the elected judges to decide who would take home the two coveted awards.

To fully understand how important this award can be to the career of a young designer, we look to the competition’s history. Lucy Maguire & Maliha Shoaib of Vogue write:
“The Woolmark Prize is one of fashion’s most defining awards, and has been given to designers including Giorgio Armani, Yves Saint Laurent and Gabriela Hearst in the past. Last year’s winner Matty Bovan won both the main Woolmark prize and Karl Lagerfeld Award for Innovation, praised for his creativity and use of biodegradable intarsia knits, sourced and produced locally in his native Yorkshire. The winnings from the prize typically fund a designer’s next collection or help them reach sustainability goals.”

According to the International Woolmark Prize website, “The prize has undoubtedly contributed to key moments of contemporary fashion. Early records attribute none other than Valentino Garavani as one of its first winners. In 1954, Yves Saint Laurent and Karl Lagerfeld were also winners, changing the history of fashion forever.”

I feel as if we have achieved some level of progress as a global diaspora of Black creatives. Within an industry which is still largely dictated and dominated by white capitalistic organisations – for both winners of such a western heritage award to be Black is astoundingly commendable.

Saul Nash was awarded the 2022 International Woolmark Prize for his capsule collection titled ‘wool you can dance in’. As a hybrid of designer and choreographer, Nash surprised most by producing an exciting luxury activewear capsule collection using Merino wool. But according to Vogue, just by taking a glance back at the designer’s education, you find an extensive history with knitwear. Lucy Maguire and Maliha Shoaib further write:“The designer had studied knitwear at fashion school but when he embarked upon launching an activewear label, he’d put it aside. With Woolmark, Nash discovered he could use a wool yarn with high density, to produce garments with high elasticity suitable for movement in tops and trousers. For outerwear, he created modular wool garments with bonded seams that are 100 percent waterproof. The designer is excited to continue innovating with wool in future collections, because of its sweat wicking and cooling properties, when created thin enough.”

South African luxury design duo, Mmusomaxwell, also took a unique approach to their design process and instead, focused on slow sustainable design and tailoring produced at home in South Africa in order to attempt to uplift our own economy. This also meant that Mmusomaxwell only enlisted the services of local artisans to produce the entire capsule collection, and sourced almost all of their Merino wool locally.

This is due to the designers specific vision of reinjecting money and opportunity back into Africa – regardless of our infrastructural limits when it comes to full-scale sustainable production. In closing, I leave a quote from iconic French fashion editor, Carine Roitfeld, on what she thinks about the South African design-duo:
“I love what Mmusomaxwell is doing and how they explain their work. They have a dream and what they are doing is not just for South Africa, but for a modern, western woman. I think Karl would have loved to have spoken with them today and am sure he would be very happy to give this award to them.”

Written by: Odwa Zamane

Interlude Chapter 05 | Collaborations, Campaigns and Community

May 26, 2022 | Fashion, Interlude

I have always been fascinated by the co-operative nature within which fashion exists. Although the last few decades have seen a strong emphasis on the role of creative directors with individualistic connotations, we know that the dreamscapes and visions of sartorial expression are actualised by an intricate web of people- teams of collaborators sized with their capabilities, weaving together the visuals and products that we come to covet and adore. As of late, I have been totally enamoured with the various creative exchanges that are occurring within South African fashion; designers teaming up with various brands, and labels co-sharing on projects and campaigns that are poignant and community-driven. Each of these perceived “moments” covered in Chapter 05 are critical building blocks contributing to an intensely exciting decade ahead for our country – these designers and labels are touching on the power of international recognition while remaining true to preserving and archiving intimate, local narratives in South Africa. Interlude is in its infancy, and testing out various formats makes this written corner of Connect Everything Collective a great space to consolidate a retrospective, reflective overview of fashion creativity – and this edition Collaborations, Campaigns and Community is just that, a curation of recent work that reinforces that fashion will only survive its disastrous effects on the planet if it continues to hold meaning for our connection to each other.

The Power of Collaborations

The power of the “X” in collaborations are infinite in today’s cultural landscape. The X denotes a cross-equality of brand values, and suggests the merging of two sometimes distinct, sometimes similar design languages fused together. From a marketing standpoint, it is immensely valuable for both brands to share audiences and community, and depending on the type of collaboration – they can sometimes serve as a great point of entry for accessibility from one brand to another. 

Rich Mnisi’s collaboration with adidas is a phenomenal example of South African luxury translated through the performance wear lens of a steady sports brand; with the Homeland collection Rich’s Tsonga heritage as the foundation and blueprint upon which pieces that support a range of activity such as running,swimming and training can exist. Made using recycled materials and Parley Ocean Plastic, the strength of both Rich Mnisi and adidas are brilliantly distilled; vibrant, accessible and functional.

For South African designers, the meaning of collaboration is the incubation of stories; and the celebration of cultural visions that temper the lives of those people, places and memories that came before them. Fashion is a dialogue, in this way – a medium through which to channel that which needs to be said, and memorialised. A while ago, we had the pleasure of featuring Sindiso Khumalo’s stunning collaboration with Vault by Vans, curated by the legendary Sarah Andelman – Sindiso’s label is sustainably centric, and weaves together feminine silhouettes in natural fabrics such as hemp, linen and cotton, with collections that feature Sindiso’s hand drawn illustrations and prints. In a press release via Vans United Kingdom, Sindiso’s  

process for this series is described as, ‘’Using her mother who was an activist as inspiration, Sindiso incorporated illustrations on the quarter panels of the OG Style 24 NTC LX for adults and the Classic Slip-On for kids. The illustration shows the artist’s mother on her daughter’s wedding day seen in traditional Zulu attire. Below it is an array of traditional Zulu homesteads to depict the traditional Zulu life on a modern, contemporary sneaker. This celebration of old and new continues with the Sindiso Khumalo Tee that uses water-based ink to screen print the powerful illustration of the artist’s mother at the front and at the back neck of the oversized tee.’’

This last month in May, another incredible collaboration dropped – and this time, between two South African powerhouses. Wanda Lepotho® X Dakota brings us the High Shine Mule – available in three shades of Burgundy,  Black and Tan – this ingenious interpretation of a shoe as culturally critical as Dakota moccasins marks a moment for South African fashion that is ineffable; the strengthening of heritage across local  

design spaces, with products created to reflect and sanctify the sartorial lineage founded here. Elegant slip on moccasins with a curved arch, embossed with the WL monogram and the Dakota label? An symbol of abundant moves and successes ahead. After their Milan Fashion Week presentation, and now this – Wanda Lepotho® is set to make some serious shifts in the seasons to come.

The Power of Partnerships 

While partnerships and collaborations are generally synonymous terms, I would differentiate a partnership in the way of the coming together of two forces for the intention of a project; the initiating of a conversation that is set to continue. Perhaps the master of weaving varying threads through multiple mediums, Thebe Magugu continues to solidify fashion design as an essential praxis for sartorial philosophy and application intrinsic to South Africa. On the 27th April 2022, Freedom Day, the label launched PROJECT 16.1.C. – a direct reference to the clause speaking to the right of creative expression and individuality stipulated in the South African Bill of Rights. The project will annually partner with emerging creatives to both nurture and co-

create a body of work that documents culture and further builds an expressive archive rooted in honouring the immensely important vision of a post-apartheid South Africa. Their first partnership? The eponymous Wanda Lepotho® – showcasing the synthesis of both label’s respective Tee’s. Along with their official partners, Bubblegum Club, the campaign launch directed by Amy Zama featuring both Wanda and Thebe in intimate celebration of each other, lensed by Andile Buka, and the “sites of resistance” editorial was further held in a potent invocation by Lindi Mngxitama’s written narration of this work. 

This is the deep, deep might of partnerships.

The Power of Campaigns

Fashion is as visual as it is tactile, and campaigns are the medium through which many collections / works are tested in both strength and versatility. With a creative landscape as rich as ours, we have no shortage of insane talent synthesising the visual palette of South Africa. I mentioned Keith Virgo’s work in Chapter 02 | Needle + Stitch and as we are in our colder season, knitwear is absolutely essential. The latest AW22 campaign, This is Mi, is a stunning articulation of how  

Keith’s hats are intended to exist; communally and comfortably within his community and beyond. Having shot the campaign himself, the campaign invites us into incredible locations and homes marked by some of the most talented South African creatives – creative director OneSimo Bam, stylist Donna-Lee de Kock, visual artist Dada Khanyisa, sonic polymath Dumi, hair stylist and co-owner of Kitsune Duncan Gosling, artist Brandon Reeff and photographer Mzonke Maloney. 

The next campaign I can’t get over comes from the mind of Luke Radloff of UNI FORM – and his window installation for AKJP Studio. Luke perfects what I think Balenciaga are endlessly attempting to do; providing an existential commentary on the current collective miasma concerning war, pandemics and socio-economic decay. Creating a replica of his body, Luke created a “cubicle” of a 1990s dystopian office space – using a repurposed “retro” copier that he found in the classified ads, and “developing a light fixture that would

mimic the classic beam of light emitted by a Xerox machine mid copy.” On this, Luke writes via IG, “The Xerox process represents repetition, a cloning of sorts, creating copies of myself, different versions of me to leave within the space. By ‘cloning’ my body, I wanted to literally put myself in the window adding to the overall surrealism of the installation”. This campaign epitomises why fashion is so important – why it is art, and our designers are artists, and that both strength of concept and simplicity of execution are often underrated in a culture driven by the overstating of ideas. 

Our SA Fashion Week Retrospective

May 24, 2022 | Fashion

It has been a strange time in fashion. After some years of a global pandemic with immeasurable constraints placed on every industry – fashion as a space saw its reliance on tactility wholly challenged, with fashion week’s around the world quickly shifting towards digital format for their showcases – sans front rows, and released for the world to see in real time via platforms such as Instagram. This moment has also featured a deepening inquiry around the purpose of fashion in our lives – with major brands like Balenciaga going totally rogue with their marketing, coaxing us into a sort of social experiment of what people are willing to pay for the association to a name, while new designers were born from the confines of their homes during lockdowns, to the uptick of upcycling as a solution to fabric waste and the overwhelming ecological, social distress fashion production continues to put on the planet. In South Africa, the last few years have been intense – yet marked, also, by exceptional wins for our luxury designers such as Sindiso Khumalo’s win at the 2020 LVMH prize, and last year with Lukhanyo Mdingi’s win. Our recognition on the international stage is an important one; opening up a wider market, a strong sense of accessibility and providing encouragement for emerging talent here in South Africa. South African Fashion Week, then, continues to remain absolutely essential for our sartorial landscape; being the foundation upon which designer’s gain the experience of showcasing, while offering a succinct view of each year’s design talent. 

In 1997, South Africa was steadily opening up to the world after our democratisation, and it was in this year that fashion polymath (and legend) Lucilla Booyzen launched the first South African Fashion Week – the first of its kind to centralise the conversation and expression of design in the country. Held every year in Johannesburg, the 25th year of SAFW took place in April, hosted at Mall of Africa, with MAC as official makeup sponsors, Carlton Hair as official hair sponsors alongside Oppo as official mobile sponsors and Cruz Vodka as venue sponsors. Within South Africa’s fashion ecosystem, ethical production and sustainable thinking are almost inherent, and these necessary, value-driven sentiments have been woven into the South African Fashion Week’s mantra; The Business of Ethical Fashion. Within the SAFW structure, their role in discovering in emerging designers is seen through the co-occurring initiative the New Talent Search – with this years finalists being Thando Ntuli of Munkus, Nicole Smith of Ipikoko, Mikhile Du Plessis of MeKay Designs, Calvin Lunga Cebekhulu of Czene.24, Sanelisiwe Gcabashe of Gjenelo Couture and Mimangaliso Ndiko of Sixx6.   

With an exciting three day showcase featuring established and emerging designers, South African Fashion Week’s website has taken on a clean, navigable form – robust with information, imagery and videos – and details a very important co-existence of digital and physical viewership. We applaud all the designers who showed, and have compiled a brief recap of our highlights, while encouraging that one checks out all the exceptional designers of SAFW.  

 

Day 1 ///

Munkus (New Talent Search winner)

“MUNKUS, founded in 2019, by Thando Ntuli, is a contemporary, colourful, trans-seasonal brand. It has 80’s and 90’s South African fashion influence with classic silhouettes to create a retro intergenerational style. Ntuli’s inspirations are rooted within intergenerational history. MUNKUS comes alive within the streets of Soweto and Gugulethu.”

Across a colour palette of fern green and crimson held by the monochromatic temperament of black and white, Munkus was a showcase of exceptional structure; with ballooning silhouettes of both sleeves and skirts contrasted against layering across each look. After seeing this collection, we are certain Thando Ntuli’s pattern and draping abilities are immeasurable – and noting, in particular, her ability to challenge the perception of form with angular bias cuts, ruffled hems and the insert of puffed elements across bodices.  

MeKay Designs (New Talent Search finalist)

“Mikhile du Plessis is the name behind MeKay Designs. ‘We strive to create a lifestyle of creativity and to add reason to the quality of life through our designs,’ says Mikhile. The brand has a sense of ‘fast-fashion’ in terms of keeping up with trends and is ready-to-wear but has a strong sustainability process by using organic fabrics, working in a minimal waste environment, and redesigning new items from old garments.”

For her runway debut, Mikhile Du Plessis showcased a vivid maximalism – with elements of denim, amber velvets and animal prints. Maximalism has been sweeping the world, with a return to personal style as a medium for colourful expression; and while there are no inherent rules, MeKay Designs made the case for how important styling is for runway shows; through the headpieces, headscarves and jewellery – we were transported to a elevated view of what contrasting fabrics and textures can mean.

Fikile Zamagcino Sokhulu

“Feminine and organic aesthetics, that appeal to an ageless contemporary market, are associated with brand Fikile Zamagcino Sokhulu (FZS), a South African clothing brand based in Durban.  Fikile Sokhulu studied at Durban University of Technology, receiving a National Diploma in Fashion Design. In 2018, her achievements as a student included showcasing, for the first time, at South African Fashion Week, and being part of the Cheers Qingdao Fashion Project in China. She was also a finalist in the 2018 South African Fashion Week New Talent Search. The brand collaborated with retailer, Mr Price, and created a fashion collection which launched at the beginning of 2020. In 2021, Fikile Sokhulu was one of four South African designers selected for the Fashion Bridges project sponsored by Camera Nazionalle della moda Italiana (Milan Fashion Week), Polimoda Firenze, Lineapelle Fair, South African Fashion Week, Mandela Forum, Italian trade agency and so many more.

Fikile Sokhulu’s SS22 showcase was astounding – with an impressive repertoire behind her already – the cross body patterns, execution of draped silhouettes and pops of lime green among the minimalist tones, we believe Fikile is one of the most critical designers in South Africa. The details of fabric manipulation such as pleating and tucking added rich texture to an already robust variation of garments.

Day 2 ///

Artho Eksteen

Artho Helmuth Eksteen, graduated in 2018, with a BA Honours in Fashion from LISOF. As the Creative Director and owner of brand ARTHO EKSTEEN, Artho describes his brand’s design style as offbeat with artisanal influences and a maximalist approach. The brand’s style is heavily influenced by history, taking inspiration from fabrics used to create silhouettes. The ARTHO EKSTEEN brand focuses on slow fashion, utilising ethical fabric sourcing methods and garment production in order to help establish and preserve a healthy consumer culture, as well as ethical consumerism.

Artho Eksteen brought maximalism back to South African fashion week in a big way last year – and returned for SS22 with a kaleidoscopic array of pieces, perfectly juxtaposed together to create a psychedelic dreamscape that exist effortlessly for both the playful and serious nature of fashion expression. A magic mushroom knit? Yes please! We are delighted to witness his continuous growth.

Amanda Laird Cherry

“Amanda Laird Cherry is a designer label that creates apparel with soul. With a focus on telling the stories behind clothing and culture, and a dedication to authentic, responsible production, they appeal to a range of customers. Their style language combines deep experience of the South African lifestyle and context with classic Asian influences, and they are known for their range of considered basics, separates and statement pieces. By taking familiar styles and silhouettes and updating them with unexpected and avant-garde twists, their garments are both wearable and distinctive.

Amanda was honoured at the World Fashion Awards in London in September 2020 and took home the Fashion Designer of the Year award. The business was also awarded the Changemaker Award at the inaugural Twyg Sustainable Fashion Awards in 2020 with the judges having taken their ethical labour practices, fabric choices, the extent of their upcycling policies and the reduction of waste throughout our garment manufacturing process into account.”

ALC is a South African design legend, providing both the accessibility and consistency that we have needed to make a fashion design pathway successful both creatively and in business. Playing with length and bold colour, Amanda is a master at offering her audience a vision that is both daring and familiar – a difficult feat to execute.

Helon Melon

“Founded by Helen Gibbs in 1995, Helon Melon was born out of an idea to service an industry that was limited in product design, style, fabric choice and innovation.  In the early stages fabrics were easily sourced from local suppliers who understood the need to supply products that were manufactured from natural fibres and fabrics that had surface interest.  The first few decades were very much dedicated to homeware and lifestyle design with an extremely happy diversion into apparel.  Armed with an understanding of what it takes to succeed, Helon Melon has grown from being a local supplier to being sold in many countries including Italy, Germany, and England.  Ted Baker is a great example of a brand that has used Helon Melon to manufacture products and Helon Melon has been sold in well-known stores like Selfridges and Beales of Manchester.”

Helon Melon’s SS22 showcase was centred around the art of quilting; specifically block quilting, creating a subtle reference to the trend we have seen of “puffed” textures extending beyond the standard jacket. Acid pink and navy created a fun contrast, and it’s wonderful to see an established, long standing designer contributing to the SAFW landscape.

Day 3 ///

Ntando XV

“Ntando XV brand offers artisanal clothing, with unconventional design. Ntando Ngwenya, established his brand, Ntando XV, intending to target the high-end retail market, garment collectors and connoisseurs. Ntando, who began designing at an early age, likes to work with experimental cuts, pattern engineering, unusual intricate finishing, treated goods, and controlled fits.

Using both his professional experience and natural talents, Ntando Ngwenya has formulated a new genre in fashion, merging conservative and postmodern techniques to create a new representation for clothing. Using a syncopated technique in pattern engineering, by drafting intricate patterns, he introduces a new take on traditional methods by recreating popular styles in a contemporary light.”

Ntando XV placed their label firmly in the future; with a high-tech approach to their collection, the sense of performance wear that is refined and elegant stood out immensely. With the soft green, black and egg-white shades finished with waved piping – we loved the balanced clean lines with a subtle reference to organic shapes.

Francis Elis

“Cameroonian-born, naturalised South African citizen, fashion designer Fabrice Moyo is the director and founder of Franc Elis, which opened its doors in 2003. Known for its sophisticated and well-tailored garments and shirting, this season’s menswear collection, inspired by the French Military, depicts Franc Elis’ modern adaptation of variants of its service dress. It juxtaposes elements characteristic of turbulence against the calm of peaceful times. Strategic pockets, an important component of combat fashion, are added for their utilitarian nature, rather than aesthetic appeal. The brand operates from an 850 square metre studio combined with a factory floor with Fabrice being supported by 1 assistant and 15 permanent staff. Franc Elis has a retail store online.”

Fabrice Moyo’s strength of tailoring was very evident in his SS24 showcase – as is defined in his label’s philosophy, French uniforms of both workwear and service wear are functional and beautiful, an illuminating example of how elegance should exist with menswear.

Loxion Kulca 

The iconic and proudly South African brand was born in Johannesburg and since its entry into the market, has been the embodiment of popular culture with its trendy fashion. The term Loxion (lock-shin or location), used countrywide to describe townships, represents the African urban state of mind while nurturing Kulca (culture) – pride and successes of those who made freedom tangible. It draws its inspiration from authentic African principles of ‘ubuntu’, which govern the nature of their corporate partnerships. To adapt to this ever-evolving industry, the Loxion Kulca range offers leisure and streetwear, footwear, bags, underwear, and socks.  Fulfilling the vision and dream of the late co-founder Mzwandile Nzimande, Loxion Kulca, today, is available at more than 1000 PEP retail stores across the country. 

Loxion Kulca brightened Day 3 with brilliant neons and sporty cuts – a beautiful ode to Mzwandile Nzimande, who left his mark on South African streetwear. We are thrilled to see his legacy continued.

Written by: Holly Bell Beaton

Mamela Releases Debut EP “I Warmed You UP” On Berlin Based Label Mobilee Records

May 23, 2022 | New Release, Music

MAMELA is the production & DJ duo of Valentin Barbier & Gordon Mackay, otherwise known as Boogie Vice & El Gordo. The two met backstage at a New Year’s festival in Cape Town, bound by their mutual devotion to outdoor adventure and electronic music, a great friendship ensued. 

Mamela was born as the two sought to combine these interests by filling a caravan with drum machines, samplers and synths and embarking up the East Coast of South Africa; the idea was to channel the energy and inspiration absorbed from their surroundings into their music, 12 – 16 hour sea-side studio sessions punctuated by some of SA’s most renowned hiking trails made for some astounding results and music production. 

Their music gained the attention of some of Berlin’s most established electronic music labels; the first single ‘Tsitsikamma Vygie’ was released on Katermukke in Janurary 2022 with their debut EP ‘I Warmed You Up’ released on Mobilee Records in May 2022. Resonant baselines and powerful synths with refined vocals and delicate textures to offer two commanding yet blissful cuts inspired by the exquisite locations visited during their travels. 

Following this path, they are currently somewhere up the West Coast creating more music to share with you.

/// Stream “I Warmed You Up”:

Spotify
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We hope you enjoy the music!

Follow Mamela on their next musical escapade via:
IG : @wearemamela
Soundcloud : soundcloud.com/mamelamusic

* DJ’s please contact [email protected] for promos.

Our Pics From Inside Boiler Room’s “Contemporary Scenes” Curated by Broke

May 19, 2022 | Music, Community

On 13 May 2022 Boiler Room returned to Cape Town for “Contemporary Scenes” curated by Broke in collaboration with Black Major and Millers Genuine Draft. 

The event was hosted at the Hearty Collective – a perfect venue for what was to be a night of extraordinary performances by Zakes Bantwini, K.Keed, International Pantsula B2B Insert Coinz, Fizz & Shai-a and Cody Losper. A surprise performance by Dee Koala sent us into a spin of euphoria and the evening was an overload of sensory experiences with an undeniable sense of community as we were all there to celebrate the music hailing from our local landscape of talented artists. 

We chatted to Andile Dlamini, founder of Broke, about the curated line-up and how the event came to it’s beautiful fruition “The event came about when our events coordinator (Simbongile Bino ) coincidentally met one of the members from the Boiler Room team during his time as a storekeeper at Duck Duck Goose. He asked if they had any plans to run an event in Cape Town to which they said yes after hosting a successful event previously. Simbonginle mentioned the Broke Boys and how we run our brand, DJ and curate parties in Cape Town. Without wanting to bore her, they later connected via digital channels and we were put in touch with Joe Catch – discussions around a line up for 13 May began.” 

Andile further elaborates “We are still in awe as we answer these questions, we can’t believe we did that, being there felt like a dream. Being given the opportunity to curate and host Boiler Room came with a lot of mixed emotions – we were very stoked yet nervous as we spent most of our lockdown watching past Boiler Room events from all over the world and just dreamt of one day hosting one for our tribe and our city at large. Our thought process when we were planning the event was to give people an experience and not just an event.”

About the line-up…

”The line-up was curated in a sense that it represents who we are as BROKE, we had to balance the line-up so it could flow and make sense to everyone attending. We kicked off the show with a slow paced Kwaito/Midtempo set by Cody Losper, which was also a form of us paying homage to the Kwaito legends who have inspired us throughout our lives. Thereafter Fizz and Shai to pump up the energy with an enthral deep house set, to having our in-house music wizards Iinsertcoinz and Internationalpantsula to take us to the peak with an Amapiano/Gqom .The talented K.keed and Senhora then hopped on to give us an amazing hip-hop set with Dee Koala which was a full circle moment for us, being able to share this platform with our friends and our family. Then our headliner Zakes Bantwini got on the decks to close the show with Skye Wanda, Maline Aura and Karyendasoul. We wanted it to be like a journeywhere you are being transported from one spot to another, with each stop giving you a different energy from the last.”

A journey it was. 

Reported by: Candice Erasmus 

Photography by: Koooooos

Ghanaian Artist Stonebwoy, Releases New Single and Signs Global Deal with Def Jam

May 17, 2022 | New Release, Music

Universal Music Group (UMG) label divisions Def Jam Recordings, 0207 Def Jam and Def Jam Africa announce the global signing of Ghanaian Afropop, dancehall and beloved reggae musician and pioneer, Stonebwoy to the global Def Jam artist family.

As an award-winning African artist, Stonebwoy has been placing the continent firmly on the musical map with his international touring, standout collaborations and popular singles since 2012. Stonebwoy is one of Ghana’s most relevant superstars, and has released his brand new single, ‘Therapy’, globally via Def Jam Recordings, 0207 Def Jam and Def Jam Africa, supported by UMG labels. ‘Therapy’ comes off the back of Stonebwoy’s prestigious career so far of four albums, multiple hit tracks and movie roles, not to mention his philanthropic work as part of the ‘Livingston Foundation’, educating young Africans and elevating the youth of Ghana. 

Sipho Dlamini, CEO, South Africa & Sub-Saharan Africa, Universal Music, has been said to be excited to add yet another African megastar to the Def Jam roster. “Stonebwoy is a true African talent. He works to lift the heart and spirit of those around him, whilst producing fresh sounds that keep blowing the world away. We look forward to what 2022 has in store for him.”

“I’m excited to welcome Stonebwoy to the Def Jam Family in partnership with Sipho and 0207,” said Def Jam chairman and CEO Tunji Balogun. “The Def Jam brand is recognized all over the world as a stamp of excellence in black music, and as we continue to strengthen our musical bond in important markets like Africa and the UK, it’s dynamic, talented artists like Stonebwoy that will lead the way. This is great music from a special artist who needs to be heard everywhere.”

Alec & Alex Boateng, co-Presidents,  0207 Def Jam added, “Stonebwoy is one of the great Ghanaian based modern music artists and ambassadors. The opportunity to amplify his outstanding talent alongside Sipho, Def Jam Africa and Tunji with Def Jam Recordings is very exciting, especially him becoming a part of our world class Def Jam artist family. Hopefully this is the first of many more collaborative projects to come.”

/// The single ‘Therapy’, is out now across all streaming platforms and its accompanying red-hot video shot in Ghana. ‘Therapy’ is essentially a love song, that kicks hard with a driving beat and all the right flavour for dance floors worldwide.

/// Stream on:

Apple Music
YouTube Music
Boomplay
Auidiomack
iTunes Store

/// Watch

The Case for Brick-And-Mortar Retail with Daniel Sher of Duck Duck Goose

May 16, 2022 | Interviews, Fashion, Community

Daniel Sher is the unofficial mayor of Bree St, as far I’m concerned. This could be seen as a relatively new occurrence – since his concept store, Duck Duck Goose, was only officially born on the 15th December 2020 – but already the space functions as a nexus for the city’s creative community, while showcasing a very refined study on why brick-and-mortar remains critical for fashion, design and retail. This launch date is correct – I am not kidding in stating that Daniel opened Duck Duck Goose at the strained apex of the pandemic; a wild decision rooted in a optimistic, fervent imagination of the future; but if you know Daniel, this boldness is part of who he is; a creative instigator juggling many projects, collaborations and ideas held within his vision – and making them happen, too. Positioning DDG opposite Clarke’s Diner and next to his friends at Max Bagel’s / Leo’s Wine Bar, the store is a Daniel-esque spin on a flagship store for his much loved brand, Good Good Good, and a home for some of South Africa’s most critically acclaimed designers – from Thebe Magugu, Wanda Lephoto, Beau Beau to Asa Sadan and more. As far as being the mayor, I say this as there is a certain imprint that Daniel leaves across the city, one that can be most centrally felt at the stretch of Bree where no.120 is located, but that has a far reaching effect on the sort of design and creative scene many of us wish to see (and are seeing) established in Cape Town and South Africa at large.

Chatting to Daniel for this interview perched at a table outside Clarke’s, he is multi-tasking our conversation, a lager and and greeting friends passing by – social and assured, there is always a sense that Daniel is up to something – which is part of why this conversation is occurring at this time, in which there is a moment to breathe; a time to reflect and introspect on Duck Duck Goose and everything before it, and what is to come. Candice, our publication’s founder, created CEC for this very reason; to tell stories of pioneers in South Africa’s creative scene. As far as the store is concerned, Daniel says “Duck Duck Goose is the place where most of my focus and energy is going at the moment. Good Good Good had a really big year last year, and I actually got so burnt out that I couldn’t go into the factory for three months – as I was at a point where responding to simple emails was terrifying, because I was overthinking as a result of not being able to think. I really considered checking myself into a place… somewhere for people who work too hard on too many projects and reach the dead-end which I now know as burnout. I spent those months looking after my son, and trying to recalibrate my dedication to these various spaces.”

 Last year was not only packed for the brand, but for the other production that Daniel oversees at his wife, Paige Sher’s, family factory – one of the last manufacturers of local clothing left in Cape Town’s heritage textile landscape. In this way, there is a roadmap for Daniel’s pathway as a designer and businessman; the preservation of the heirloom factory, Jacqui Couture, with Daniel’s primary focus as the section newly named Together MFG. From this vantage point, Good Good Good was born – a menswear (although their collections are typically fluid in silhouette and form) label that spent many years on the SA Fashion Week circuits, garnering a cult-like following from creatives on the scene. In relaying the events of last year, Daniel recalls, ‘’In March last year, we were featured on Vogue Italia for the Hope Collection launch, with a collaborative film featuring the Cape Town Philharmonic Orchestra. Then we did the April’s Fool Collection with our friend Willy Hobson – and even at that point, with the obsession for detail that the team has, each product is scrutinised over, and over again. So what seems like a really fun, tongue-in-cheek drop or beautiful story  – which they are in essence – also has a lot of blood, sweat and tears put into it. I think any local designers or brand will tell you the same; how much is really required to bring these ideas into being, and make them feasible for the longevity of the brand’s financial and creative health. We also care about our products standing alongside international expectations, there is no reason why South African design shouldn’t be in Dover Street Market – and that’s already happening.” 

Daniel’s earnestness is always a pleasure to listen to, and always delivered with a dose of humour. A huge moment punctuating 2021 was Milan Fashion Week, and Daniel let us in on the lead up to that defining moment; “I actually tried to pull out of Milan, I CC’d everyone into an email a month before saying we couldn’t do it. They came back to me and said they’d put us on the press release, that the announcement had been done – we were on the bill – and it was really clear there was no backing out. Sara Maino the editor of Vogue Italia had put us on, but the dread and sense of defeat I was experiencing was debilitating. At that point I entrusted most of what was ahead to Masego (Morgan), our former creative strategist, and Lazola (Gola) – I had no creative juice, and they really put something together that was testament to why the brand is what it is; it’s for our friends and community, and their ability to take the reins when I couldn’t is something I am eternally grateful for. Even in the film, you can see me trying to muster up some kind of enthusiasm that just wasn’t there.” While brand building is difficult anywhere in the world, this story somewhat speaks to the gaping void in South Africa’s fashion industry for support, infrastructure and funding. Good Good Good, like many others before, alongside and ahead of it, is a brand built from the sheer determination of a small team of local visionaries – and it’s not always known just how intense that can be. 

For now, Good Good Good is quiet on the social media front. Last year, the content was abundant and is always an in-house production – which is part of why Daniel is currently leaning on Duck Duck Goose. The space speaks to Daniel’s life in the way he exists in this part of town anyway, and creating a flagship store micro in size has allowed him to have a home for Good Good Good, while stocking other brands that strengthen and consolidate an experience of tactility for those who champion and support local design; “the store has become such a cool a way for us to find  new ways of doing everything we wanted. We can have a sale at the store for all the rejects at the factory – rather than a fleeting pop up store. We can curate brands that are aligned with us, and in a way, hopefully contribute to a picture of what South African design looks like right now. The factory, the store and the brand is one big ecosystem, and a lot of people might not know that. I’m proud that we have a very clear, very clean supply chain that provides us with a sense of autonomy that is becoming increasingly difficult in the world today – and remains a positive contribution to local livelihoods.”

The store itself was totally gutted and built in line with what was needed – down to the intricate mosaic depicting the humour of Duck Duck Goose. The store comes alive on First Thursday, and the last time I was there I was quite emotional by the dynamic presence of people, drinks in hand, dancing outside outside 120 Bree after two years of lock-downs and isolation. On this, Daniel says, “We repurposed the windows and remodelled the latch window after a radio station in London called NTS – a crazy hole in the wall booth that everyone’s favourite artists and performers has done a set at. We built the desk to be able to fit decks – and our intention was to activate the space. I think having a physical space for brands is great and necessary, but giving city spaces a multi-functional purpose is what I see as the future. First Thursday gives us a free-pass with licensing, but the road ahead is to continue bridging the store and brand with music. That intersection of interests for me, personally, is part of what I have realised is going to keep me going.”

Daniel’s philosophy is to empower South African designers for a global audience, while creating a life in Cape Town that weaves effortlessly with his friends and peers. Duck Duck Goose is the third step on this journey – with many steps ahead. As a devotee of alliterative triptych, the number three feels like an auspicious one indeed. If you haven’t visited the store on a First Thursday; we urge you to go on 2 June. A mensch and a maverick, we can’t wait to see what Daniel does next.

 

/// Image credits:

Duck Duck Goose by @francesmarais 

Daniel by@koooooos



Written by: Holly Bell Beaton

WGSN X Coloro SS24: Collating Future Colour Forecasts with Confectionary

May 13, 2022 | Art, Fashion

In collaboration with Coloro, WGSN brings us “A Window to The Future of Colour”, showcasing the key colours predicted for the SS24 season and beyond, developed around the themes of care, connection and community. At Connect Everything Collective, we have elected to interpret the brilliant shades of Cyber Lime, Radiant Red, Elemental Blue, Fondant Pink and Nutshell through the lens of one of our favourite current trends: the beautifully bizarre and decadent art-cake genre sweeping the confectionary world from Berlin to Toronto. Reminiscent of Sofia Coppola’s Marie Antoinette, the opulence of buttercream icing adorned in flowers cut an indulgent form, with some bakers tending towards imperfect proportions – a sort of grunge-like spin on the highly technical art of confectionery. With forecasting being a vivid illustration that consumption truly does drive our world, we reckoned – why not eat cake?  

WGSN is the behemothic, leading destination for consumer trend analysis and forecasting on the planet – any design or fashion school worth their salt has a yearly subscription, alongside the leading brands, agencies, designers and product developers. With most of their prized information hidden behind paywalls, there has been a recent invitation by the company for the rest of us to peek beyond the curtain; this, I am sure, has to do with the hyper-participation we are beginning to see from consumers with the advent of online shopping, social media and investments into digital worldscapes in the hands of anyone with a smartphone. I know it doesn’t feel like it, but we really do have the power – and WGSN are able to collate what they perceive through their algorithmic-rich methodologies, and provide useful insight into the collective, aesthetic consciousness of humanity.  What makes this quite compelling is that their work exists within a two year framework; projecting further enough into the future for the trends to manifest, while remaining close enough to the present moment for their forecasting to be actualized and relevant. Yes, we believe in timelessness regarding trends and consumption – but there is something quite beautiful about roaming their website and being able to paint an internal picture of what the world of design might look like in the next few seasons. Perhaps this is our innate need for certainty, or CEC’s total devotion to visual contentment. 

The other half of this collaboration, Coloro, is a company created to build colour systems for the creative industries; combining research based in the logical application and intuitive envisioning of colour as it pertains to brands, communication and design. Perhaps the most fundamental experience we have as human beings is the interaction of our visual cortex with refracted light, and such colour is an immensely powerful tool. It is the subconscious compass with which we approach our lives – emotional, mentally, physically and even spiritually. In explaining their system, the Coloro website states; “Coloro is based on a 3D model where every colour is specified by a 7-digit code. This code represents a point where Hue, Lightness and Chroma intersect. The system is built by a 160-step Hue wheel with a vertical axis of 100 Lightness values and a radial range of 100 Chroma values. Together, they create a new model to define human colour perception for a potential 1.6 million colours. The only limit is your imagination.” Coloro offers products and services for educational and commercial purposes, so for a team as easily riled up by colour harmonics we are, we would go all in on whatever Coloro say for SS24 – those forecasted to already be emergent now, and reaching its apex in 2024 before the next cycle takes place.

Disclaimer before we continue: forecasts are fun demarcations of the future, they are not gospel nor should anyone live a cult-like accordance with whatever the powers that be say – remember, these colours can only be forecast because everyday folk like us have been spied on using people utilising intricate research, statistical analysis and technical wizardry that we may never truly comprehend.

Cyber Lime /// Coloro 051-76-36

The collaboration project states, “embodying the synthetic realism, Cyber Lime connects us to our ever-expanding digital lives. It is a punchy near neon that exerts and energises the body and mind. This hyper bright green signifies the powerful connection between nature and technology.” To us, Cyber Lime is a softer hue of Nike’s iconic Volt Green, and a welcome colour that holds connotation of futurist musings. We think its precursive presence is beautifully captured by @rustcakes‘s dragon field chocolate cake with vanilla cream cheese.​

Radiant Red /// Coloro 011-50-32

Conceptualised as, “a sweet and playful summer hue with a delectable quality, Radiant Red confirms the importance of stimulating and emotionally engaging colours that morph effortlessly between the digital and physical realms. On a deeper level, this red connects to the care economy, a key society shift forecasted by WGSN. A greater emphasis will be placed on the giving and receiving of care as people and organisations recognise how crucial this is to our well-being, our communities and our economies.” We love the allusion of Radiant Red in @nogood__cakes toasted sugar, browned butter cake with grapefruit marmalade, passion fruit curd and rosewater buttercream.

Elemental Blue /// Coloro 117-47-13

This forecasted colour “confirms the continuation of mid-tone colours that speak of a slowed-down lifestyle and increased sensory awareness. This practical colour aligns to the pursuit of seeking the right balance of work, internet and possessions, representing a need for stability and moderation. Restrained and industrial in appearance, Elemental Blue can become surreal and experiential in a metaverse environment.” We noticed the foreshadowing of this serene hue in the Chandelier cake by @rustcakes, apt for wintertime; a decadent vanilla pistachio cake with coconut cream cheese.

Fondant Pink /// Coloro 147 -70 – 20 

A perfect colour for joy and confectionery alike Fondant Pink “is a pigmented pastel with an easygoing, youthful appeal. It signals the return of the sweet, mellow shades of pink that blend effortlessly with lilac and lavender shades. This colour connects to feelings of delight, a sentiment that will become more important to consumers by 2024. Small moments of awe can act as an antidote to anxiety, enhancing well-being and slowing down our perception of time.” Teetering on the line between the pastel-ness of lavender and baby pink, this soft delight can best be noted in our colour swatches of choice – this vegan bergamot cake with passionfruit curd, lemongrass buttercream and coconut meringues by the @nogood__cakes.

Nutshell /// Coloro 024-37-20

The final colour Nutshell, “is a rich and spicy brown, transseasonal evoking warmth and reassurance. It’s inspired by the growing thrift and resale culture and consumers determined to rewrite the rules of entrepreneurship and fractional living. This colour speaks to sustainability over newness and a growing nostalgic sentiment that sees consumers return to retro-inspired styles and colours” is elucidated by a dark chocolate cake with a caramel, vanilla mousse by @rustcakes.

Written by: Holly Bell Beaton

The Art of Contemporary Draughtsmanship with Callan Grecia

May 11, 2022 | Interviews, Art

I’ve known of Callan Grecia’s work for about a year now. I believe that he is one of the most exciting, emerging artists on the local landscape – as he continues to produce art which populates many galleries in the Western Cape. Bouncing between the walls of pop art and surrealism, heavily reliant on the strength of his draughtsmanship – Grecia is certainly a name to look out for within the local art scene. 

Draughtsmanship, which is defined as the ability to draw really well, is the foundation on which I believe Grecia bases his artistic signature. Fine art legends such as Henri Matisse and Andy Warhol spent a large portion of their nascent careers fully as draughtsmen; fully immersing themselves within the art of drawing in order to expand into their unique artistic styles. For Warhol that basically manifested into his pop art silkscreen technique, and for Matisse into his unique usage of shapes and colours to accompany his impeccable draughtsmanship. For Grecia, the combination lies somewhere in the middle, as he strongly possesses qualities from both artists’ sides.

Callan is extremely adept in using shape and colour to convey feeling, or situation, throughout all of his paintings. With strong contemporary references – not all necessarily artistic but also childhood memories, everyday products or designs – his work stands out as uniquely African.

I had the honour and privilege of virtually engaging Grecia and asking them some questions surrounding their introduction to the world of art, inspirations for their work, their relationship with and SMAC Gallery.

Would you mind introducing yourself and including a short description of what you do?

I’m Callan Grecia. I was born in Durban in 1991 and I currently live and work as an artist in George. I’m a painter but I also draw, take photos and make music when I have the time. I studied painting at Rhodes University and got my MFA in painting in 2017.

 

You’re one of the exciting local and upcoming contemporary fine artists at the moment. What mainly inspires the art which you make?

I paint what I know and what I want to see. 

 

Do you have a specific process when creating your art?

 Drawing is important to me so most of my ideas start in my journals. Sometimes they’re fully fleshed out, but most often they have to be revisited a few times. Working in monochrome helps cut through any visual distraction and I can really focus on composition and building up that specific world. It changes often though so I don’t know if I have the same specific process for every body of work, because it changes so frequently. The language shifts steadily but drawing is the one function that mostly stays the same. I’ve started drawing on my iPad now and that’s quite fun because you can punch in quicker when you have an undo button. But paper is where it’s at. I love drawing. I’ll also write down phrases in my pocket book or my notes app and those generally inform something immediately or further down the line. 

The aesthetic of your work is starkly characterised by your unique usage of colour as well as other nuanced techniques – are there any artists which you draw inspiration from? 

As many as possible. I think having a broad spectrum of visual input helps me solve faster than consistently looking at one or two artists. Painting has its own world of languages and extending your painterly vocabulary can help to convey what it really is you’re trying to say eloquently. I love Andy and Damien and Luc and Kehinde and Kerry James and Wilhelm and and and. My scope and visual input is beyond just painting though, and that just gives me more world building tools than I know what to do with (which is better than having none).

 

What is your relationship to SMAC Gallery? How has your relationship with them impacted your art career?

I’m currently represented by SMAC. This is a fairly recent development so I’m not sure, but so far I’m really happy with the freedom I have and with the confidence they have in my work.

 

Is there any advice which you could impart to any young emerging fine artists attempting to make a name for themselves within the industry?

Take your time. 

 

What are some of the things you are looking forward to within the remainder of 2022?

 I’m just enjoying the peace I have right now, so hopefully more of that!

 

 

/// All the images are courtesy of SMAC Gallery, except Cosmic Disco courtesy of WHATIFTHEWORLD Gallery.

Written by: Odwa Zamane