The Rare and Inimitable, Bee Diamondhead

May 10, 2022 | Interviews, Fashion

Bee Diamonhead is an inimitable force in South Africa in fashion, and her power goes beyond image-creation and creative direction. As a commander of our burgeoning sartorial landscape, Bee continues to build African narratives while putting designers and creatives on the map – and in particular, creating spaces for her community of peers and emerging young black creators destined to pave the way for South Africa and the continent. With exceptional personal taste that oscillates between punk sentiments and continual studies on the art of being chic, Bee’s curatorial vision is an extension of her inner-world; and although with an extensive career behind her, I suspect this may just be the beginning for Bee’s worldwide viewpoint. Her work has reached Dazed & Confused, saw her as fashion editor at Marie Claire in the closing years of South Africa’s fashion media industry – with innumerable editorials, campaigns and commercials in between for both independent designers and brands like adidas and Puma – and last year when she spent months working in Accra (I lived for that BTS content on IG) creating Skate Nation Ghana for Facebook, I had the inexplicable understanding that Bee’s level is the blueprint. Also, her close kinship with the Bubblegum Club family is a testimony to the Joburg creative landscape as unmatched in the last decade.  

As a public figure, Bee is relatively private yet totally earnest, with a social media presence that speaks to the effortless congruence between herself – her lived being and experiences – and her work. With an outspoken commitment to rest for creatives as critical for maintaining the energetic flow of one’s creativity, to working independently from an agency for some time now – Bee Diamondhead is rare, a precious presence for the world. 

I had the opportunity to ask Bee some questions on her current thoughts and feelings;

You are one of the most prolific creative directors in the South African fashion landscape as well as on the continent. Starting out as a stylist, what has this evolving role meant for you?
I think the work that I do is quite multi-layered. The reality is that working in the South African creative market means you can reach the ceiling pretty quickly but still feel like you don’t have much to show for it in terms of being able to grow and push new boundaries. I want to grow as a creative, I want to grow as a collaborator and I want to make more money, so in order for all of that to be possible, I’ve had to pivot and I’ve done that a few times in my career – moving solidly from stylist to creative director has been one of these pivots. Its survival and self improvement.

I love your use of silhouettes, colour and the juxtaposition in the archives of your work – what are the aesthetic considerations you undertake in your process?
I like to have a narrative, a story full of colourful characters. I like images that dance and sing, that reflect my world in a beautiful way.

I know you are working independently from an agency, could you talk about the autonomy and freedom this has allowed for you?
I’ve always made sure I have freedom in my career, that I’m steering the ship. I don’t just go where I’m told, I like to think I’m moulding my career to one of integrity, one I can be proud of and work on projects that have some meaning and bring joy to me. Leaving agency life was just another step in that direction. I think the systems that have been built aren’t necessarily there to help us build strong fruitful careers, it’s kinda each man for himself. I couldn’t find an agency that felt like home so I’m building my own. And as an individual it’s important to have your own back.

How have you maintained your artistic practice even in the commercial context?
I’m very particular about the projects I sign on to, the creative, who is shooting or directing. There’s a lot of noise out there, and I think it’s important to put some blinders on and curate how you want your world to look. Sure I have bills to pay but I like to think having those blinders has put the right people and projects in my path.

What are the African sartorial stories you want to create?
As an African who comes from a very textured ethnic background,  my soul is full of beautiful stories that deserve to be told. In a world full of the same curated vanilla content I get so incredibly bored, it’s actually easy to just do the opposite. To do what’s in me rather than what’s being sold to me.

What is your vision ahead for 2022 and beyond?
To stop complaining about the state of things and to continue to create my ideal reality. And to keep pushing intentional and original work.

Written by: Holly Bell Beaton

“The Political is Personal”, and Other Epitaphs from Acclaimed Director Jabu Nadia Newman

May 6, 2022 | Interviews, Community

I have been enamoured with Jabu Nadia Newman’s work for a long time – and it’s hard to believe that her groundbreaking web series, The Foxy Five was only five years ago in 2017. Written, produced and directed in a semi-autobiographical way by Jabu following the South African student’s uprising against the continued institutionalisation of colonialism and apartheid, the series exemplified the utmost necessity for black, female film-making and narrative building; with the synopsis centred on intersectional feminism and challenging stereotypes of black women as told through the dynamics of the five characters Unity Bond, Probably Plebs, Blaq Beauty, Femme Fetale and Womxn We. Referencing blaxploitation films, the Black Panthers and the aesthetics of the 70s, it had a cult-like response when it premiered in Cape Town, going on as a formidable artistic testimony for this political period; and remains a living, precursive archive of Jabu’s foundational intentions as a story-teller.

Since then, Jabu has been growing into an inimitable film-maker and director, independently and commercially. In speaking to her thematic considerations, she says “When I started I was very focused on current issues and political issues within South Africa. My work has since moved into a space of interrogating interpersonal relationships, particularly between women and women of colour. I am concerned with making work that is for the younger generation, and sharing some of my own awakenings that the political is intrinsically personal – it’s not this abstract, parallel construct that exists around us in government buildings – but rather seeing its direct presence in homes in South Africa. I think the most important stories that I am able to tell are the ones about my community; my family, my friends in the city that I am living in, or even the area and street.” While Jabu’s work draws on the framework of imagining realities, there is a decided presence that this statement speaks to – the sense of being here, where one is, and how one’s own life and experience is perhaps the most poignant story to be told – and can be told in a thousand ways.  

Regarding Jabu’s aesthetic signatures, her work oscillates effortlessly between the dreamscapes of analog film and digital-driven tools, “I’ll always be informed by my roots as a photographer, with the view that my work should be able to exist in a gallery space. Even if you can’t understand the language or the story, I always intend for the lighting, colours, art direction and styling – the visual assertion of what I make – to convey the themes I am speaking to.” Making work predominantly on her own for her initial debut, Jabu is currently working more in the commercial space – something wholly necessary for story-telling and representation for a wider audience in South Africa. This has allowed her to focus her independent projects along a long-term trajectory towards longer short film formats and feature films. On working in commercial spaces, Jabu says “I really enjoy the challenge of working with someone else’s material – I think it’s contributed to my development in being able to balance my viewpoint with someone else’s. Collaborating with amazing teams in these experiences is incredible – the collaborative nature of being on larger sets, to smaller sets, has a special energy for anyone committed to this industry. I am learning to tell a story in a minute or thirty seconds – it’s so difficult, but so satisfying when it comes through. In South Africa, all creatives are doing some type of commercial work – it’s our bread and butter. I am hoping we will start to see a stronger connection between the creative vision of independent voices creating commercial work, and the corporate briefs that tend to demand exactly how something should be.”

Jabu has travelled a lot through her work, and has a special reverence for Paris – going back and back forth over the last few years, “Travelling is super interesting, and whenever I do – I wish every South African woman could experience what it’s like to walk around at night, or take the train and feel super safe. I have hiked up mountains alone when I’ve travelled. Going to a different city and getting lost has been critical for me, and I really like Paris because there is a strong African diasporic presence – creatives from across the continent who bring Paris to its fullness in art, film, fashion and music etc. It’s amazing to witness.” In terms of Jabu’s feelings about Africa and the richness of story-telling, she says ‘’I feel like we are moving into a much more global space, which is giving us a much wider audience. Studios like Amazon and Netflix coming here is great – but our cinematic roots are inherently underground or avant garde, whether it’s Ethiopian films, or Moroccan and Tunisian films – and ours here in South Africa – and I think that needs to remain. The dream, I suppose, is to continue with the commercial interest, but for funding of that scope to be dispersed across the array of genres that truly temper African narratives.” Although it’s slowly occurring for South African film-makers to hold viable careers, the issue of funding and infrastructure pervades almost all conversations I have with creatives from various disciplines. This topic can be exhausting, but it has to continue; the fight has to continue for valuing the vision and talent of South African artists.

Lastly, but certainly not least, we touch on Jabu’s film The Dream That Refused Me – commissioned by story-telling haven, NOWNESS. Working with dance students from Khayelitsha that Jabu had previously documented, the film was forged from relationships. Centred around a poem written and performed by Siabonga called “Ubizo”,  The Dream That Refused Me is a world created to hold the poem in its full manifestation. The film incorporates 3D technology with 3D collage artist Zas Lehulee, the film is a whirlwind expression of the dancers, Jabu’s directorial vision, Unathi Mkonto’s styling and costume design, and original composition by Likhona among other potent creatives. “The film is about having a certain calling, either as a sangoma or in a certain role – and fighting that calling, which leads to certain situations. The breakdown of one’s life when we deny our purpose or destiny – and finding new ways to exist in the modern world with ancient, ancestral practices.” A stunning depiction of Afro-centric and Afro-futurist realities – I am so excited to witness Jabu’s continuing evolution.

Written by: Holly Bell Beaton

Synesthesia and New Singles with Up and Coming Joburg Based Musician, BUH

May 2, 2022 | Interviews, Music

Bia Winterbach’s artist alter-ego is simply called “Buh” – said as phonetically as its written, an onomatopoeic reference to a character from the enchanted Ice Age films. There is an earnestness to this fact; a subtle nod to the total unseriousness it can mean to express ourselves through a character we created, as we used to do relentlessly as children with our imaginations at the forefront of our interface with reality. Buh is visually dynamic alongside her sonic-mastery; exemplifying the DIY pathway that has erupted in independent music since the 2010’s. With software and equipment that provides access to recording, producing and shooting everything from one’s bedroom – artists like Buh pose a question to the endless middle-men and mediators in the music industry; those who take a percentage while constraining one’s creative vision. Is it really necessary?

Having sung since she was a child, and then abandoning it when moving to Johannesburg in the pursuit of adulthood, Buh’s foray back into the power of her own voice was rather unusual, “I was waitering at a café that had karaoke – and I was a terrible waiter, to be honest. I remember one evening asking if I could sing and management sort of scoffed at me, saying – you’re a waiter? You can do it when we are closing and cleaning. I’m sure they thought I had forgotten, but at 11pm I went to sing – and that was it. I was fired as a waitress and hired as a gig artist. From then on I did a lot of acoustic covers, gigging wherever I could, before deciding to make my own music.” Fate can be altered in an evening, and some things are just meant to occur – particularly with a being like Buh, who possesses a neurological (although I am convinced it’s more extra-dimensional) asset such as synthesis. 

Owing its name to the Greek words “synth” (which means “together”) and “ethesia” (which means “perception), synesthesia seems to be a superpower for those of us who experience a relatively linear sensory experience – and like its descriptive root of “together perception”, one’s senses are deeply interwoven, with one sense triggering other sensory experience. For some people, it’s the vivid association of colours having specific smells, or sounds having specific numbers, and for Buh, it manifests as an influx of chromatic tessellation, “Mine is very intense, I see colours and patterns and then I turn it into music. As a kid I would walk in the garden and I would trace the outline of the plants, and I would make songs from that. I thought it was very normal to experience non-verbal life such as plants speaking to me in that way.” This experience, 6th-sensory sounding and perhaps quite surreal, has proven quite challenging as a musician, “I think it was such a blessing at a time, especially when I was younger. But it can be incredibly confusing when I set out to make music – the colours and patterns seem pre-determined, and I have very little control over it. I’m in my angst era at the moment, and the colours that come with that are really intense, and spiky…if that makes sense?” Buh explains, noting an adjective that I find illustrates her experience – colour that has texture, that is not flat or singular. Learning how to channel this ever-occurring process is part of Buh’s expression as an artist, particularly as it is so often romanticised as a wildly brilliant gift for creative beings.

Playing with the aesthetic nature of being a performer, Buh describes one’s lived experiences as the best source of inspiration she knows; while owing a lot to those who illustrate this planet with their own artistry.

Her new single, Body Of Your Dreams, is a chronicle of body dysmorphia; a hard-hitting expression of the bizarreness of disassociating from oneself in moments of intimacy. On this, Buh explains “I don’t think it’s an easy listen, and it’s not pop either – it’s more a hybrid of genres. To me the colours are dark and spiky. I am very excited about it, even if it’s been very confronting to make – but I also think it’s a very relatable subject, in a world where beauty standards are fired at us basically from birth.” Having produced, written and recorded everything for – Buh had grown tired of the power play in the studio environment, with multiple delays until she came to understand this was something she had to do on her own. Music production itself is a generally under celebrated art form – a wizardry of engineering and experimentation. Having spoken to a few women in SA music, it seems this route is the way forward for now in terms of retaining total autonomy and creative control; I am reminded of Princess Nokia’s Biohazard Butterfly era, my favourite of hers, an album made almost entirely on her own as she began stepping fully into the Nokia character. I sense the same from Buh; a transition into an unfolding of her own proclamation. Multidimensional and multi-hyphenated.

/// Keep a lookout here for Buh’s latest release, coming this May and available for pre-order now.

Written by: Holly Bell Beaton

Curating Contemporary Amulets with Matter Of Fakt

Apr 30, 2022 | Fashion

The practice of making and wearing jewellery is as ancient as humanity; a universal act of adornment that binds cultures, creeds and communities – strung together through the thread of time. Surviving since prehistory, jewellery found in almost every region that humans have lived or settled in, denotes individuating systems of ranks, roles and spiritual protection; telling us the story of those before us. The oldest necklace we have found was discovered in a cave in Monaco; made of fishbones and dated to around 25,000 years ago; We can only imagine the importance and revelation these ancestors found in carving bones, shells and stones; and the kind of energy that was directed towards each piece made across the planet.

It is with this nostalgia and  reverence that Cape Town jewellery studio MATTER OF FAKT exists within, as a studio specialising in hand-forged jewellery. Founder and creative director, Mary-Anne Grobler, created Matter of Fakt’s inaugural collection in 2013 – initially as a remedy for her own struggles in finding jewellery that were both bold and natural. Nearly a decade later, MoF remains an accessible segway for its community into beautifully forged, clean and intentional pieces – through processes such as smelting, soldering, bending and polishing, headed up by senior metalsmith and manufacturer Prince Bright Gwesani. A poignant part of MoF’s success is their consistent depiction of the  environments in which their pieces can exist; close-ups of the brands’ various muses adorned in MoF pieces are both aspirational and inspirational.
On their in-house practice and aesthetic considerations, Mary-Anne says; “We hand forge pieces using traditional jewellery making techniques in solid metals; Brass, Silver and Gold. The intention behind designing this way is in creating Modern Heirlooms, pieces that will last and live forever with you. MATTER OF FAḰT is greatly inspired by the raw African Coast. We draw inspiration from nature in all its forms of matter; vast textures are integral in our aesthetic.” Each piece has been designed to form part of an ever-evolving curation of one’s own jewellery collection; and the idea of modern heirlooms are so apt in time where excess and discardment tend to rule. These are pieces that can be passed down and shared across families, friends and communities, “We have an array of pieces which are made to layer and add texture. Everyday pieces like the Classic Oasis Hoop earrings can be paired with an earring pendant. A Gold chain and Peso Coin pendant necklace can be layered with a striking choker. The Oasis bangles and rings can be collected over time as they work beautifully in three’s” Mary-Anne says – my favourite, among others, has to be the incredible joint holder pendant, up-cycled from brass bullet cases for your spliff to remain charged and protected.

/// Shop MATTER OF FAKT jewellery here.

Written by: Holly Bell Beaton

Interlude Chapter 04 | The Stylists Shaping South Africa’s Fashion Landscape

Apr 27, 2022 | Fashion, Interlude

“Fashion stylists are the masters of distinction; a person that constructs and reflects a certain way of life, crafting a visual statement to be captured in an image at their disposal, full of expressions, completely edited. Nothing in the work of a fashion stylist is ordinary, as no image in fashion is purely innocent.” 

– Fernando Aguileta de la Garza, fashion communicator and educator. 

Interlude was born from my desire to explore the space in between fashion; or as I prefer to call it, sartorial consciousness. This term is a greater fit for the realm in which I perceive fashion to exist; embedded with meaning, implying transition and transcendence as functions of its existence, and brimming with sentiment, nuance and an ever-evolving philosophy by all those who partake in it –  which is everyone, to be frank. Clothing is our second skin and the most essential device we have to shape and express ourselves; even in the disregard or apathy toward clothing, a signal is relayed – whether it is a stance against materialism, or an indifference towards the cultural perspectives occurring in the world; anti-fashion is still fashion, and no one is beyond participation. Another view I hold rather deeply is the celebration of the entire landscape of fashion – so the intention of Interlude is a continual dialogue that addresses the full spectrum of pathways that exist within the industry and the art-form simultaneously. Chapter 04 marks a third of the way through 2022 – a wild revelation for us all – and it is also firmly centered in the astrological sign of Taurus, which is ruled by the planet Venus. This feels like a magical moment to focus on the hands of Venusian discipline; stylists in South Africa who arrange with their visions the most compelling fashion images in recent years. This is a celebration of the role of the stylist – those who are able to take the vision of a designer, and elevate it to new heights and with a greater context.  

This list is by no means exhaustive, nor in any particular order – but hopefully it can be a small archive of some of the creative beings who breathe beautiful life into the work of designers and brands. Styling is a demanding profession; requiring equal parts discipline, formulation, creativity and originality – and many of them are more than stylists, an often reductive term; as the distinction between stylists and artist continues to dissolve. These stylists are in the process of leaving their mark on South African sartorial consciousness; story-tellers and archivists of the potent and expressive energy that emanates from this corner of the continent.

Amy Zama ///

Known throughout the industry as Thebe Magugu’s right-hand, Amy Zama is behind many exceptional fashion visuals in the last few years – I always go back to the line-up shots taken by Travys Owen from “ANTHRO 1” Thebe Magugu AW21 as a lesson by Amy on how to show a single look in a multitude of manifestations – the mark of mastery in an industry driven by novelty. Working freelance and as the style curator at Levi’s® Haus of Strauss Africa, Amy’s work exemplifies the crucial responsibility of a stylist in translating a collection or brand vision into illustrative medicine for its intended audience – and with the ability to reference the moods of punk, minimalism and vividness across her array of works. 

Ulrica Knutsdotter ///

Ulrica Knutsdotter is originally from Sweden but has called Cape Town her home for many years – personally and professionally. Boasting a vast portfolio spanning many years, she teeters effortlessly between a commercial and “indie” practice, endlessly relaying her innerworld through image-making. Ulrica is also known for hosting the iconic stylists sales in the city; a literal dream if you’ve ever wanted to shop from the impeccable rails that only a stylist can curate. I got my first pair of Acne shoes there a few years ago, and I have not been the same since.

Chloe Andrea Welgemoed ///

It requires a special kind of alchemy to bring Moncler’s ski wear into a South African context; this is one such feat of Chloe Andrea Welgemoed – among many others. Maximalism remains forever relevant through Chloe’s lens, and the performance of colour, texture and print consistently underpin her work. A single image designed by Chloe feels like a drawcard for the viewer to examine their own level of commitment to freedom of expression; I could run through her IG grid for days.

Duduza Mchunu ///

Duduza Mchunu is a Michaelis Fine Art School graduate – having sought this pathway for her own artistic process; this background forms the basis of her technical abilities as a stylist, using fashion as her medium. Mentored by Gabrielle Kennemeyer and Rharha Nembhard along with her in-born vision, Duduza is deeply committed to telling stories of Black women through a de-mystified lens through blending intuitive and referential brilliance. Currently a stylist and coordinator at Foschini, her work has reshaped the visual signature of the brand – her series “Ask A Stylist” can be found here, a beautiful and personal guide on how to consider one’s own wardrobe.

Donna-Lee De Kock ///

Donna-Lee De Kock is a Superbalist alumni – one of the few commercial launch pads available in South Africa in a retail context. Working freelance for a few years now, her most recently released work is “Episode 1 – Atlantis Dunes”, a story on the Maison Margiela X Reebok Tabi’s, an amazing campaign brought firmly into a South Africa viewpoint. This is the brilliance of Donna’s work; embedding commercial or branded work with a deeper layer of meaning, and portraying a South African sartorial consciousness that is reflective of the culture.

Mavuso Mbutuma ///

Mavuso Mbutuma is a long-time maverick in South African fashion – a master of clean silhouettes that evoke a luxurious view, translated into the everyday. His advertising background can be noted, as his work remains both aspirational and relatable for varying audiences. Mavuso is a muse unto himself; and it feels like his work stems from a poignant commitment to his own vision of fashion and expression.

Lethabo Motlatle ///

There is breath-taking consideration to Lethabo Motlatle’s work. Honed over the years as an assistant to Bee Diamondhead, Lethabo has garnered his own sense of signatures and autonomy, as is evident in his campaigns for labels such as Wanda Lepotho and brands like Foschini. I am very intrigued to see what the next few years bring for Lethabo.

Kristi Vlok ///

Kristi Vlok’s ethereal styling provides insight into the tenderness of dressing; focusing on nostalgic details like the softness of ruffles and necessity of accessories. Recently, her styling for Rethread’s latest collection combines this thinking to amplify the raw construction of their garments; an aesthetic feat that references current pop-culture moments such as Julia Fox’s iconic fox eye makeup with DIY safety pin nose chains. 

Ulindelwe Ratsibe ///

Ulindelwe Ratsibe is one to watch – styling everything from Vogue Nights in Jozi, to breathing life into thifted pieces for their campaign for ThreeThriftyFive. Challenging gender roles in fashion, Uli is also a keen fashion writer – a polymath in the making with discernible taste and vision.

Akim Jardine ///

Akim is another Superbalist alumni, mentored by industry legend Kelly Fung – and was the fashion editor at Elle SA during her tenure. Few stylists these days have a tangible publication background – and I note this as a testament to how the calmness of Akim’s work, composed for everyone to experience. Now a style lead at TFG, Akim boasts a repertoire of distinguished campaigns, editorials and TVC’s; such as co-ordinating the compelling casting and styling for Arc Store’s opening last year. Akim is a wellspring of knowledge on the history of fashion – you might even find his brilliant fashion week commentary every now and again via IG.

Written by: Holly Bell Beaton

Photographer Matt Ginsburg on Emphasising the Practice over Outcomes

Apr 26, 2022 | Interviews, Creatives

Matt Ginsburg’s images feel reminiscent of time before everyone was a photographer – and although the analog revival has been well under way for a while and everyone is a photographer through their phone, Matt’s work makes the case for craft and curiosity as integral for creating archives. The 21st century is a hashed out accumulation of everything, with a strong focus on nostalgia as we struggle to depart with the last century and the wildness of its latter decades – we want to hold onto a sense of authenticity that we have placed in the past as opposed to the present reality of things. When I view Matt’s images, the intimacy of his images are illuminated by an intense understanding of colour and composition, and strangely high-res for the often grainy feel of 35mm – yet the nostalgia is there, and the feeling of the moment remains alive despite it living on in static, but these are moments that are occurring now; the people and places he captures are not bygones. Matt is not referencing anything but that which stands before him; transfixed on his subject beyond temporal limitations.

“I think we were the first generation that actually learned photography on a phone – so it’s quite interesting to see many people return to analog but informed by a digital understanding. I remember my older brother got a Sony Ericsson that had a camera, which was wild, and we were on a road trip when he first let me play around with it. I was amazed. My first project was at 13, I had convinced my mom to get me a disposable camera, and we went to the Natural History Museum – and I was just running around going mad but also trying to be selective. I loved that I had a finite number of pictures; that changed the game for me. Later on, once I got my first camera, I learned through the books of Ansel Adams. He is a maestro particularly on exposure, and I owe a lot to him in how to build a unique thought process as a photographer.” Matt reminisces in our conversation on where the love for photography, and particularly film, began for him. 

Matt is a concept photographer, deriving a lot from his initial idea – but remains unwavered by a deterministic fixation; “Like most creatives I am a storyteller – and my medium is a camera. I went to film school and thought I’d be a director and writer, and learning both of those roles has definitely contributed to how I practice. With regards to people – I love human beings – and their stories, who they are and the energy they bring into spaces. Shooting people is not about treating someone as a human clothing hanger or even as a character in your own story, it’s very participatory and it’s not even about liking the way someone looks – I’ll always ask for a conversation beforehand on their hopes, fears and what motivates them. It’s either that or just in the moment – and I think this allows me to let go of my preconceived notions. It’s the collaboration of my impression of them and how we arrive at that point, together, that is really exciting. The biggest compliment I ever get is if someone makes my photo their profile picture – it sounds strange – but then it feels like I have accurately captured them, in the way they want to be seen. Not necessarily the way I think they should be seen.” This earnest remark is profound; a sort of wisdom of the times. In a world usually marred by the hyper-perceptive and curatorial nature of social media, it is beautiful to think that the essence of what we do in this digital landscapes is tell our stories – whether it’s through our personal feeds or profiles – that what lies at the core of these “illusory” formats is our innate desire as human beings to be seen, either as we are or as we wish to be. In this regard, Matt is a brilliant visual diarist – and working as a casting director for many years paved the way for being able to cut through to the core of people in front of cameras. These fleeting moments of people in and out during casting influenced Matt’s relationship to people as a story-teller, “Models and actors will come into a casting space and be wholly concerned with what the director wants from them. I realised in that process that there should be a space between that – that instead of telling someone how to do something, rather one should ask them how they would do it. Even something as simple as telling someone how to pick up a glass of water becomes a very different motion when you just ask them to do it themselves. Once someone is themselves in that moment, then they can morph into a character.  I think there’s a skill in that; drawing out someone’s confidence in their own abilities, in their way of being totally themselves, and having that as the root for whatever comes next in a scene or still.”

At the moment, Matt is not releasing much of his work – having recently taken up a full time position with. This shift from freelancing into working with new equipment and for a different purpose – namely, for the metaverse – which has provided him with a chance to step back into himself. “My practice has changed and although I am shooting a lot of stuff, I am keeping it intentionally in the shadows. I’m trying not to focus on the exhibition – the showcase and outcome – and go back to the process, and let that be the guiding force. When I am concerned about the presentation, I become concerned about what other people think, and that can be murky waters for the inner-critic. It’s important for staying true to one’s own vision to dial back on the outcome.” With Matt’s process, there has been a quietness in how he approaches references and inspiration; preferring to avert his awareness from too much external influence. This has fared well with his ability to arrive to his work with as much of his own vision, on this he says “I’m the kind of person who doesn’t want to know anything before I watch a film – I don’t want to know the characters, or even the context further than the brief synopsis tagline. Translating that into my creative work, I try to dial back on Instagram for example. I find we are in these echo chambers and it’s the algorithm drawing us into this particular way of expressing ourselves or being. With the current work I am doing, I go out to remote places and image the land – I can’t speak too much on more than that – but it’s ignited this deep interest in me about the people and land. How people are situated and related to the land, and it’s a new concept for me – it’s not studio work, or anything staged, it’s as unabridged as possible.”

This conversation held many moments in which my own joy for interviewing creatives came through – a reminder that there is so much intentionality and voice behind the work that we see. South Africa is brimming with creative potential, and I look forward to witnessing Matt’s growth along new thematic substances.

Written by: Holly Bell Beaton

SPRMRKT: Expanding Streetwear in South Africa

Apr 26, 2022 | Fashion

If you have been to The Stockroom Show,  you will know SPRMRKT as the unofficial home for Stüssy and Palace in Cape Town; among other cult-like streetwear brands. Founders and partners, Sheree Vida Tigre (AKA DJ Rishi Love) and Ryan Sexton are unequivocal tastemakers in the hype-beast, pop cultural realm – bound together in their pursuit of the fashion, sneakers and art – led by their love for the aestheticism (and humour) of KAWS to Braindead, with music being the thread that binds it altogether. While the term “hype-beast” has had a rap for conveying a style that is totally trend focused; it’s original meaning was an umbrella term for the influence of streetwear and street culture on fashion – in its purest form, hype-beast sentiments express that which is cool – and in the case of SPRMRKT, coolness is underpinned by community.

With a market as relatively young as ours in South Africa, we are yet to have the full-scale exposure that the global north has to limited drops, coveted releases and the generally colossal choice of brands – and while this can leave us wanting, in a way it has allowed for a certain reverence in South Africa for the discipline that is thrifting and curating one’s wardrobe with the vision possessed here. We see this with the homies at Broke, and the breakout of streetwear brands like Socioculture or the longtime success of SolSol. This local resourcefulness is the crucible of desire in which SPRMRKT was forged; led by Sheree and Ryan’s conversations with industry peers and friends on questions of accessibility and opportunity. Illustrated by their own process with their streetwear brands, RAION, the vision has always been to create a space in which local brands can live alongside international labels – and that the two function synergistically in quality and creativity, not as oppositions. In a dualistic fashion landscape in which we are tempted to pick solely local, or possibly pretend to deny the influence of the global north, instead Sheree and Ryan remain concerned with one question; why not have it all? SPRMRKT answers this question as a conduit for international brands for a local audience – one that is most likely setting out to grow our own local scene whether through music, producing, art, fashion or design.

SPRMRKT is growing their offering, with their newest store having opened on the 23rd April at We Are EGG Cavendish – a space that speaks to their values as a hub of local brands, beauty, accessories intermixed with notable labels from around the world. This kind of communal retail experience is fast becoming the norm; a nostalgic nod to the era of department stores, yet catered to the contemporary audience and next generation. “We have knowledge and genuine passion for this space. We want streetwear to bring the community together – to us, SPRMRKT stands out for authentication as well as dedication.” – Sheree and Ryan state, as they prepare to bring SPRMRKT to Joburg in the coming weeks. Hype never sleeps. 

Shop SPRMRKT’S latest offering at We Are EGG, Cavendish Square, and look out for their online launch and JHB launch dates here.

Written by: Holly Bell Beaton

Joburg’s Current Art Scene & It’s Parallels with New York SOHO in the 1970s

Apr 21, 2022 | Community

“Art is the birthplace of innovation and creativity. It’s with this sentiment that a need arose to provide consumers and overall art enthusiasts with the opportunity to consume art in a space that deviates from the traditional template of four white walls.” 

– Lebo Kekana (‘FEDE’ Arthouse Curator’s Note)

After recently completing the ‘Andy Warhol Diaries’ on Netflix, I couldn’t help but notice so many striking similarities between the underground art scene in 1970s SoHo (New York) and Johannesburg and Cape Town right now. These similarities prompted me to look for answers to questions which had swarmed my subconscious for quite some time, as well as uncover an entire local burgeoning art scene which is brimming with talent and excitement. This is the exact same youthful exuberance which I witnessed on the Netflix show – way back in 70s New York nestled with stardom and intertwined with celebrity culture.

Sometimes I feel as if the days of chasing the quintessential ‘American Dream’ have now dawned upon us. In a city like Johannesburg, that really shouldn’t come across as a shock, considering the vast similarities in infrastructure between the two capitals. But also, rather within the inherent geological makeup of inhabitants of both megacities; everyone is chasing somewhat of a dream, a greater perhaps, and the ever-present hustle-and-bustle of both areas makes them prime destinations for artists to set up shop.

What also draws me to this comparison is the sheer quality of art that we are witnessing nowadays. This is further elevated by the standard of art curation in South Africa, which I personally feel has the potential to be a cut above the rest of the world – especially the current cohort of Black art curators that this country has. From the more experienced and established art curators such as Anelisa Mangcu, to the emerging Gen Z art curators like Lebo Kekana, and more.

A couple of prime examples of local contemporary art-infused events which are reminiscent of when Hollywood used to congregate at Studio 54 are, the Siyabangena22 unofficial Art Fair afterparty and the GSPT x Puma Group Exhibition. Both recent events hosted in Cape Town and Johannesburg respectfully, organised by Siwa Mgoboza and Tamryn ‘Rarri’ Arends, these events embody this intersection between art, fashion, music and nightlife. Amogeland Maledu of News24 writes:

“Siyabangena22 is an afterparty that pertinently considers South Africa’s relationship of political discourse and collective organising as shaped in the shebeens of Black townships during apartheid. It considers how the existence of ball culture was founded underground by African-American and Latin American LGBTQ+ communities – “Houses” – in New York City in the late 19th century, resisting queerphobia. These disco sites serve as robust incubators of radical discourse about questions of the Human, where a reading of sound, performance, and collective organising are grammars of certain philosophical positions of being.”

A key element that drove the success of the “party scene” during this era of 70s New York was the thriving queer Black community. Now fast forward over fifty years from then and analyse Johannesburg – has much really changed from then? I think not. Topical queer and femme-forward events such as Vogue Nights, by Lelowhatsgood, further reinforce my point.

Fede Arthouse, founded by artist and curator Lebo Kekana, hosts their first group gallery exhibition for the year at the ‘Ghost’ in Loop Street, Cape Town. The group show includes an exciting roster of emerging multidisciplinary artists, namely Lebo Kekana, Yonela Doda, Tiffany Joy Schouw, Francesco Mbele, Neha Hajee, Reef Sithole and Nkhensani Mkhari. In anticipation of the event, I find myself reverting back to the Fede Arthouse curator’s note, which writes:

“This idea is meant not to criticise, but perhaps interrogate the way in which art is presented in contemporary art spaces – to consider how welcoming and inclusive these spaces can be made to feel. The idea is to offer the experience of an intimate and fulfilling art-filled environment, with an atmosphere that allows for a deeper connection with the art, and with the artists who share parts of themselves when creating it.”

This exhibition will open on Friday, 22 April 2022 and run until May 12.

So if you ask me, the similarities between both past and present eras are more than striking – they’re somewhat astounding. And if you actually think about it – the New York art scene in the 1970s is still regarded as its peak era – so can you imagine how good what is currently happening locally must be? The talent bears testament.

This is why it becomes even more critical for us to support our own burgeoning art scene, in all ways possible. In a country looking for solutions to exponential economic growth, internally investing in our art scene is one of the most financially viable options for jumpstarting our own economy.

Written by: Odwa Zamane

The Sensational Money Badoo

Apr 13, 2022 | Interviews, Music

I recently found out Money Badoo (Jade Alves) is a Libra – and it all made absolute sense. Ruled by the planet of beauty and pleasure, Venus, many Libran’s pursue a path of total devotion to the ecstasy of the senses; driven by aestheticism and expression, all while balancing the scales of their conceptions of justice. Money is a Lady Libra in every sense of the term; wildly creative in her style, and fully committed to her highest manifestation as an artist, and with her recent participation in the GSPT (curated by Rarri to highlight and represent femmes in music), there is a purpose to her vision as a musician in South Africa. The magnetism on Money’s IG alone gives one the sense that she is always working – putting the visual aspects of her work equal to her music – offering her community and audience consistent doses of her kaleidoscopic relationship to fashion. Musically, Money writes her own lyrics and raps effortlessly over beats – and with her debut project PORN$TAR coming out soon, it seems to only be the initial chapters of her career – after a halt following the pandemic, Money has emerged strong and more determined than ever to reach for exactly what she wants. In speaking to Money, based in Johannesburg, I feel hopeful for a strong feminine presence in music and expression.

I know you have been writing music since you were 12 years old – when and how did you realise this was your purpose, and that it could become the career that you are creating today?

Only when I was 20 years old, a freak accident happened to me in 2015 and I couldn’t walk for almost a year, it changed my perspective on life and I vowed to go after every single thing that I wanted in life and in that process of becoming who I knew I was always meant to be, music sort of found me. 

 

You have been making waves in the music and fashion scene for a number of years now – how has your sound and style in both these spaces evolved, and do they influence each other?

Yes, fashion found me first, I knew it was going to be a part of my life forever because I was always so passionate about it, so I think anything I do, fashion will be a part of it. It’s really just who I am. I love dressing up, I love being able to express myself, I feel like it’s my armour. Music & fashion are like sisters, they’ve always co-existed with one another & for me, it’s been really exciting to be able to creatively let both my love for fashion and music become sort of a vessel for the way I tell the story of who I am and who I want to be to the world. 

 

How has the last few years of the pandemic affected your process as an artist?

It was really difficult to not feel like my entire plan and career wasn’t ruined by the pandemic, to feel like it would take years before I could, if ever get onto a stage and perform again. The uncertainty was horrible but I kept going, we all did. Music is my happy place, where I can just spew what’s on my mind & heart without feeling judged or taking in any opinions of the world. Once I got past the reality of the pandemic and focused on the art, focused on just making my art. It helped me a lot. I got back to where it all started for me; just a pure love for making music & so in a way, I’m grateful that I’ve faced obstacles that in return made me stronger & I know now I can face anything that comes my way. 

 

It feels like self-expression is the cornerstone of what you do under the moniker “Money Badoo” – where does the name originate from, and is Money Badoo an extension of who you are or is she a character you can step into to differentiate from yourself? 

I mean the name Money was something my friends started calling me before the music, and Badoo I added as a way to pay homage to one of my favourite musicians, Erykah Badu.. obviously with a twist! I like to think of myself as sort of Peter Parker & Spiderman. So I guess it’s both an extension of who I am and a character that I step into.

Can you talk a bit about your relationship to colour? It’s so compelling in all you do – from your looks, to your productions and editorials. It feels personal and so vivid.

I love textures, shapes and colours, I sometimes find myself going through phases of colours like with my hair which I think we all do, in a way textures, shapes and colours make up how I see fashion, and maybe in some ways, I can say that colour makes me feel safe and seen. 

 

How are you feeling about the music industry in South Africa? 

I am excited! I see so much more female representation happening, and I feel like there’s a new industry of noisemakers unfolding and it’s very exciting to witness and be a part of. 

 

What is the year ahead looking for you in 2022?

Crazy! Finally dropping a catalog of work, my debut project called PORN$TAR & it really feels like the beginning of an era for me. So I’m feeling like this year is going to be a good one. I’ve put in so much hard work & I’ve not only been resilient but very patient with my craft, I’m ready to reap what I’ve sown.

Written by: Holly Bell Beaton

GSPT X Puma: Curating an All-Star Femme Group Exhibition

Apr 12, 2022 | Community

“The three of pentacles reveal a successful beginning towards achieving your goals. It teaches us to not ignore the talents of others that surround us. We need the collaboration of others, with diverse viewpoints, experiences and expertise to accomplish something more than we could have ever dreamed of. GSPT welcomes you. We’re stronger together.” – GSPT

I found this statement to be such a poignant introduction to the latest ‘GSPT’ event which I managed to attend, on First Thursdays last week, hosted at Hallmark House in Johannesburg, in collaboration with Puma. Founded by Deejay and creative entrepreneur, Tamryn Arends, more commonly known as ‘Rarri’, GSPT is primarily concerned with providing opportunities to young femme creatives of colour within the music and events industry.

As we all (hopefully) understand just how much of a problem it is for marginalised creatives of colour to land opportunities within these industries, especially for reasons outside of their control, GSPT are providing a solution through creating a gateway of fresh opportunities in which these local creatives can be supported through their craft.

The GSPT event which took place was centred around an all-star femme group exhibition, including: Bambi, Kahlo Greed, Nailed Ntswembu, Ndivhu and Tamia Saunders. This multimedia exhibition was an exhilarating success, followed by a host of DJs and live performances from Doowap, Money Badoo, and Rarri, just to name a few.

An essential principle which I feel as if we (myself included) need to constantly exercise is to pay Black femmes for their art – whatever kind of art it is; that’s entirely subjective. But the underlying concept which remains and requires constant reiteration is to pay femmes for their art, pay them for their work, welcome and value their artistic contributions just as much as we do for their male counterparts. This is integral in attempting to blossom a healthy and balanced local industry, fair of opportunity and free of the shackles of gender-based favouritisms or exclusions.

I had the honour and privilege of virtually engaging Rarri and sneaking in a few post event questions to gauge her feelings towards how the event went, ask for more details surrounding the femme artists which exhibited, understand GSPT’s dedication towards uplifting young POC femmes within the industry, and so much more.

 

Would you mind introducing a short description of what GSPT is and what your organisation does?

Rarri: GSPT (Pronounced G-SPOT) looks to provide an entry point and space for young POC women in the music and events industry in South Africa. We aim to challenge pre-existing structures from within by providing access to equipment and knowledge about the industry best practices and infrastructure. By partnering with brands and producers with a similar vision, GSPT facilitates femme focused DJ workshops and events. The line-up consists of a combination of up and coming live local acts, producers, musicians and established local mainstay DJs.

 

Which femme artists took part in the exhibition? Why this mix?

Rarri: Please see the list of femme artists below:

I selected these artists such as Bambi, Kahlo Greed, Nailed Ntswembu, Ndivhu and Tamia Saunders because we were looking to create a nice diverse exhibition which showcased a variation of art mediums. This allowed the audience to focus on each piece individually. I felt that it was important to provide these talented young artists with a platform, as they are often overlooked.

What is the role which Puma played within the whole event?

Rarri: Puma came on board as a headline sponsor which provided me with the resource and opportunity to put this all together.

 

 How was the process of planning the event? And how was seeing it turn out as such a success?

Rarri: As anyone in the industry will tell you, eventing can be extremely stressful as it is a high-pressure environment. However, to be quite honest I really enjoyed this process. Working tirelessly on a project and then seeing it come to life is pretty rewarding. Seeing people feel comfortable enough in your space to really enjoy themselves is a great feeling. The highlight for me was being able to build new relationships with other creatives as well as culturally relevant companies, such as Puma and Beefeater. 

 

This event was the perfect intersection between art, fashion, music and really nightlife, inviting such a wide spectrum of people. Will you be looking to do more in the future or maybe something different?

Rarri: GSPT is a concept that will live forever. The idea is to recreate the experience based around the selected femme artists or collaborators. It is something that is constantly evolving and I am so excited to see what the future holds. We are looking at hosting the experience every first Thursday of the month. Stay tuned for more details!

 

/// Photography credits to Sherwen Diamond

Written by: Odwa Zamane