South African Singer-Songwriter Serati Releases ‘Don’t Let the Sun’

Mar 17, 2022 | Music

South African singer-songwriter Serati releases her single ‘Don’t Let the Sun.’

Serati is an afro folk/soul singer-songwriter, poet, stage performer, cultural activist, and model from Johannesburg. Her sound is always evolving in a mix of her influences and interests; storytelling acoustic guitar-based folk music, to the diverse musical styles found in the African continent. As a writer and poet, Serati’s lyrical content strongly invites her audience to deeply listen to the themes she explores, predominantly love, self-love and the human condition. Having lived in three continents (the US, UK and Africa) and constant travel, she continues to draw inspiration.

Serati is a founding member of transnational, all-woman, political art, music collective Basadi Ba Mintsu; Tswana and Shangana for ‘Roots Women’. The members use the metaphor of the elements and cycles of nature as a symbol of female fertility and creation. They blend their diverse musical and cultural origins with their shared African ancestry. Basadi Ba Mintsu seeks to merge their diverse cultural, artistic and linguistic backgrounds through poetry, music, and dance, to pay homage to their Black African and Afro-Diasporic women who have come before them.

In March 2021, Serati joined the feminist collective, Makwayela Para Todes, directed by Mozambican singer and cultural activist, Lenna Bahule. This was presented as an online performance at Centro-cultural Franco Mocambicano. The word “Makwayela” came from the word ‘choir’, aptly named for the group’s music/dance genre of multiple voices performed. In response to this genre mostly sung by men, Makwayela started in the 80s and is used to express social, civic and political issues. The collective’s interpretation of this style is to unite voices to speak about our place as inhabitants of the planet, their bodies as women, the feminine place, free transit as a right, geographically and gender identification wise.

Serati dedicates this song to her late grandmother, “The spirit of my grandmother lives in it, the passing of whom inspired the message of this song which is: do not hold onto your anger towards someone, that very person may be your help in the last hour.”

 

Listen to Serati ft.  251Afrika ‘Don’t Let the Sun’ on:

Apple Music

Spotify

iTunes Store

deezer

Amazon music

YouTube

Soundcloud

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Rose Bonica, Nurturing Creative Gardens

Mar 16, 2022 | Interviews, Music

Rose Bonica makes the kind of music that verberates in your cells – it’s visceral, unpredictable and a raw representation of her viewpoint, formed from her thoughts, feelings (sometimes intense) and experiences. In 2017, Rose took the plunge to create this channel for her expression; leaning on friends and Google to prepare her with the skill to create. With a strong name behind her now, one album and many EPs – Rose is here, fully manifested in the pursuit of her craft. Self-teaching of any kind requires a simultaneous grit and patience; when it is most uncomfortable or challenging, leaning into the knowing that what we want to make needs to be heard or seen is perhaps the only remedy. This attitude, contrasted against a male dominated playing field, is what I feel makes women & femme-identifying people critically powerful perspectives in music. While mechanistic perfection and theory certainly makes for great sound  – it is the playful, intuitive and curious arrangements we hear coming from women in the game that delights and intrigues. Unfortunately, everything we do as women and LGBTQI+ people is in many cases political – in a patriarchal world, the very act of just being ourselves without restraint is a “statement”. Hopefully, this will change, but for now – creative gardens like the one Rose tends for herself and her community are pathways to liberation; a commitment to saying what the fuck needs to be said.

“When I first decided to truly pursue music, it took me a long time to figure out how I needed a kick drum to sound. In many ways it’s the foundation of developing one’s sound – so it’s always evolving – but I think those periods of isolating and learning are really initiatory for any creative. The frustration allowed me to open up to my own perspective – I quickly realized I wasn’t going to make music that was palatable, that was not why I wanted to do this. There is a lot of great music in the world that is easily digestible and understood – but just who I am, informed by my experiences and sensitivity as a person – anything I produce is a reflection of my inner process, and I finally found a way to allow that to spill out.” Rose muses, looking back at the last five years of ardent trials to arrive at where she is today. It’s fascinating for any person to wake up one day and be further down the line than what was previously imagined, and for creatives, this retrospection is often tempered by bodies of work that visually show this movement through space and time. Everything Rose does as an artist relays that sort of reflective honesty, with contemplative track titles like “Mouthful of Concrete”, “Send Forgiveness / Disengage” or “I Have No Words Left” coupled with her masterful animations that appear to form and dissolve shows Rose’s grasp of how temperamental life is – this we know given the pandemic, in which all sense of certainty had to be abandoned. 

Anchoring each other in the storm of existence, Rose is recently engaged to her partner and fellow musician, Deep Aztec, marking the formation of a real beautiful union in Cape Town, and the world at large. On this, she says, “We got engaged on New Year’s Day – still reeling from the night before. We nurture each other and play each other’s roadies when the other one plays. It’s really a wild and precious thing as an artist to have another artist, especially of the same medium, reflect back to you a sense of assurance and safety – the confirmation of the necessity of what the other one is creating. In a competitive landscape, knowing we support each other ‘til the end is a huge source of encouragement.’’

Heading further into 2022, Rose is set to be a part of the growth of ​representation in the music industry, an intrinsic part of her vision as an artist. “I’m very proud to be part of the leadership committee of the shesaidso South Africa chapter, which brings me opportunities like the shesaid.so SA x Reform Radio x Rose Bonica Music Production and Online Radio Training Programme funded by British Council. We are focused on assisting women and LGBTQIA+ artists in underserved communities in the Western Cape with the necessary tools to further their careers. I am really grateful to my mentor and friend, Ang Weickl, for driving this to take place.” The program ties back to Rose’s label, Rose Are Red, a safe space for exploration and risk-taking; “Roses Are Red has been a blessing and feels like a fresh start for who I am as an artist and who surrounds me within a community. I want Roses Are Red to be a place where you share without the feeling of being robbed or taken advantage of and I think (I hope) that’s where it’s going.”

Sowing the seeds and pruning back the bullshit, Rose is nurturing a garden that welcomes everyone with good intentions – and this is the kind of world we want to live in, where voices and viewpoints are all growing together; organic and diverse. 

Applications are now open for shesaidso South Africa, you can find out more about it here: https://shesaidsosa.work/ssssa-reform-radio-rose-bonica-grant/

Written by: Holly Bell Beaton

Sindiso Khumalo for Vault by VANS X Sarah Andelman

Mar 14, 2022 | Fashion

Vans need little introduction – since 1966, they have consistently offered the world, and particularly skaters, the Old Skool to Classics silhouettes that are wholly etched in our collective consciousness as synonymously and effortlessly cool. Their Vault by Vans series is a premium archival series, in which over 40 years of vaulted styles are pulled from – and then reworked and reimagined with collaborators across the intersections of music, art, fashion and culture that illustrate the Vans world. Bring in Sarah Andelman, legendary founder of the hypebeast mecca, Colette store, in Paris and god-mother of the rising relationship between contemporary streetwear and luxury fashion, and we knew it was going to be an incredible edition of Vault by Vans.

Imagine, then, our excitement at discovering our very own South African designer, Sindiso Khumalo, is one of the four women (along with Fumiko Imano, Julia Chiang and Soko) that Sarah chose to bring Vans to life. 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’’

Here’s to more of our country’s beautiful cultures being shown on the world stage – there are so many stories to be told. 

Written by: Holly Bell Beaton

Onwards and Upwards with Xzavier Zulu

Mar 14, 2022 | Interviews, Fashion

I have a certain reverence for designers and creators who invoke the act of upcycling into their practice – and so, in many ways, Xzavier Zulu is that OG for me in South Africa. We have been fed this image of sustainability and environmentalism as existing on a “shades of beige” spectrum – corporate bohemian aesthetics – whitewashed and exclusive to one particular idea of what it means to be aligned to a purpose devoted to people & planetary wellbeing. Upcycling is very difficult to control within a single narrative – it is inherently fluid and requires a direct relationship between one’s skill and one’s vision – it is the punk pathway for garment construction, and it has no rules. One can train to perfectly draft patterns and replicate a garment accordingly, and this is exceptional in and of itself, but to view scraps, offcuts and existing garments as living beyond their passive state as “waste” and into something new and enhanced – well, this is a new frontier for fashion, I believe. We have passed the point of no return with regards to how much we lay to waste as a species, particularly in comparison to what we give back to the Earth. The energy exchange has not been equal for a very long time. It is with these sentiments that Xzavier continues to unlock new codes as a designer – all that makes up who he is and his experience, from streetwear to music, is the blueprint from which he re-designs and re-imagines the essential way in which we relate to our sartorial expression. This conversation speaks for itself, Xzavier is both an influential and discreet figure in South African fashion – a vanguard and visionary.

Upcycling as a practice seems to have really taken root in the last few years – being someone who has pioneered this in South Africa, when did you begin to see the value in textile surplus and re-imagined styles, and what are the possibilities that you envision through this practice?

Thank you for your acknowledgement of the work I’ve done over the 7 years, as it affirms that my practice, the voice and means of which I chose to speak to upcycling is my purpose; it’s not a buzzword, trend – it’s what I see to be my life’s work. Thrifting, fashion design – including co-design, and upcycling became practices I came to adopt as my voice through need, not having, not being able to afford a pair of Levi’s® jeans growing up through being introduced to the practice of thrifting by my brothers, The Sartists, coupled with the platforms and creators I look to as points of reference and inspiration opened my eyes to possibilities of a sustainable future through conscious consumption and development my own unique understanding of fashion design – and co-design.

 

You worked with denim initially alongside Levi’s – creating contrasting patchworks, and robes with panels among other pieces – and you have recently showcased a reworked tracksuit collection with Adidas Originals. What has the value been in diversifying your materiality, and is there a symbolism in these two textiles?

Denim is an incredibly democratic fabric, hence my continued use of it throughout my practice, as I’d always hoped that with the ongoing upcycling series, EVERYTHING IS A SAMPLE, people would develop their own relationship with the fabric but even more so have been conscious of the access to the fabric within their own inner-cities and environments. 

It’s about everything being an eye-level conversation when creating. 

That said, the “one-of-none” samples produced from the Daniëlle Cathari x Adidas Originals collection were a nod to the designer and the shared school of thinking we have when it comes to upcycling and repurposing as her collection was of that universe. I also wanted to take her collection further by bringing it into my own universe by upcycling a repurposing-inspired collection and as she’d highlighted classic Adidas Originals apparel silhouettes, I’d looked to produce a collection highlighting my own classic silhouette i.e. kimonos, balaclavas, face covers and bucket hats.

If I’m being truthful, I guess a part of me wants to also “flex” and let people also know that I can do denim, track-suiting, or whatever! I’m not “stuck” in denim but rather am growing my own understanding of storytelling, fashion design, production and purpose. Over the years, I’ve come to understand that my process is the symbolism; it’s the one thing that will always separate my items from others – even those that upcycle and repurpose in the same – if not similar, vein, and that regardless of the material(s) sourced the intent behind the series being beyond me is what I hoped people come to understand.

 

There is much to be said for the sustainability movement being corporately co-opted and whitewashed; as if neo-colonialism can somehow attempt to espouse inherently indigenous practices such as care for people and the planet. Can you talk a little about your perspective as preserver & curator of Black culture and sartorial expression, what are some of the considerations that need to be had for fashion in South Africa? 

Oddly enough, when I’d first told my mother of my upcycling process and how my grandmother comes to me in my dreams she’d explained to me that as a child my grandmother used to make quilts from off-cuts she’d source from clothing factories to then sell in the Durban CBD.

I say that to say that, our ancestors, forefathers and communities have shared these sensibilities and practices for generations, and that’s why today it’s more important to me to ensure that yes, as the conversation on sustainability develops it’s imperative that it remains at an eye-level and not over-intellectualized – then excluding so many that could gain from being part of the conversation. From a fashion industry POV, it would be a miss to not make it clear that designers across the continent face layered challenges in regards to resources and accessibility that sustainable practices may not be possible as most are at mercy of their immediate environments.

I do believe it needs to be said that corporations although having not typically formed or run sustainably as a business model – or otherwise, are needing to lead the change to a sustainable future as they quite simply have the means to create the biggest changes whilst emerging brands are to hyper-localize their efforts – and preferably with the financial and infrastructural from government, institutions, etc. to sustain the change.

 Your photographic archive, People Are Not Disposable, feels like a continual thread running through all your projects. Can you talk a bit about it – the importance of documenting, of honouring and archiving your experience?

I spend a lot of time alone, laughing at my own jokes and I guess always thinking over the relationships I have with others and myself, and with COVID having completely shifted our worlds – and to the amount of loss we’ve shared of those that we love, I think it became even more apparent to me to create more memories with my friends and family. That all we’ll have of them, and to still share. That’s what birthed the People Are Not Disposable series, the idea that as a people were needing to take better care of each other, well that, and the play on words as I began the series by capturing portraits on a disposable camera. Like I said, I laugh at my own jokes and thought the title was incredible and “smart” but the intent is pure.

 

The Sartists are a legacy – a decade long journey between you, Wanda Lepotho, Andile Buka and Kabelo Kungwane. What has this community-centric, collaborative binding of all your disciplines and intentions informed your own process in the last few years?

The Sartists are my brothers, my family. They’re the people I call upon to check on my mother, spend time with her over holidays… I couldn’t have asked for better people in my life. Andile Buka, Kabelo Kungwane and Wanda Lephoto play that role in my life – and I in theirs, long before we talk about collaboration and the work we’ve done together throughout the years.

Ironically, over the years we haven’t necessarily collaborated as we have before as the Sartists as compared to the “golden years” of pre-2018 but since have developed our individual characters and forms of story-telling, our voices and communities though when I think about it all we’ve done so by pulling from the initial intent of The Sartists; so whether it be Wanda Lephoto forming his namesake fashion label, or Kabelo Kungwane forming his football-focused community, Kasi Flavour, or Andile Buka documenting the life and times South Africans it all rests upon story-telling.

Today, as Xzavier Zulu, I have developed my own voice and it’s informed by the years behind me in forming communities, working with some of the biggest brands in the world, developing my own voice, character and story – especially outside of The Sartists. That said, instilling the importance of story-telling through everything I create has been the greatest gift they’ve given me; today that’s become my purpose.

What is 2022 looking and feeling like for you?

I won’t lie, it’s going to be quite an intense year and thus far I’ve definitely felt quite overwhelmed at times but now I’m incredibly grateful for all the opportunities ahead of me, and the time I hope I have to still spend with friends and family.  

I’m looking to be as present as possible for it all. 

The biggest shift in my life is that I’m set to relocate to Germany in June having recently been appointed to a role at Adidas headquarters as their HYPE Originals Go-To-Market Planner Manager. This serves as an incredible opportunity to grow in my career, and more than anything I’m grateful that the work done locally to develop the community – and some of the milestones still to come, that I have through my previous Entertainment and Influencer Specialist role at Adidas South Africa has been seen and acknowledged.

Coming off the back of being one of the finalists for the 2021 twyg Sustainable Fashion Awards, my collaborator, Matthew Edwards, and I have been selected as part of this year’s Design Future Lab, alongside an incredible list of artists, designers and creative technologists as the initial looks to explore the intersection of fashion and XR. A blessing really! All in all, I’m grateful and want to make the most of the time I still have in South Africa.

Written by: Holly Bell Beaton

Broke: The Family That Continues to Ascend

Mar 9, 2022 | Editorial, Interviews, Fashion

The pandemic definitely warped time for me because it feels like years ago that I wrote a piece on Broke’s foray into streetwear, and yet it was only the end of 2020.

Since then, the brand / family / empire has amassed a connectivity throughout South Africa that is reminiscent of the kind of old-school stories we know about Shaun Stüssy selling t-shirts out the back of his car; the murmurings of a dream, made real – the kind of legends and lore that drive young people to believe in what they are doing. If you speak to anyone in who has had the pleasure of connecting with Broke’s founding father, Andile Dlamini, you’ll know that clothing (whether thrifted or designed) has been his love language in building his family; the crew allegedly is home to between 20 – 30 core members, and that’s not including the many people across South Africa that make up the whole collective, as one can check here @wear_broke.

Although Andile handles the origin story of Broke, and is very much the creative director of the label aspect of Broke, Andile consistently ensures its understood that unlike most of societies’ systems; Broke is a family, everyone plays their part and the idea is for whoever, to bring whatever, as long as its laden with vibes that align. I think once your brand and vision is turning customers into homies, and not superficially or for social status, it’s safe to say you’ve created a movement; and that is precisely what Andile has done. This is a new kind of sub-cultural wave; it’s defiant through authenticity, it’s peaceful through true connectivity, and it transcends gender, sexuality, race and cultural differences. While corporate entities and big brands scramble to convince you of their “values” – the Broke family embody their values, and that can’t be bought or studied. It just is.  

To know Broke is to know the critical element that thrifting has been in the formation of this vision. Thrifting for Andile was a practice that evolved naturally, an earlier manifestation of his ability to enhance any opportunity he has in front of him, and on this he says, “Grand Parade’s Saturday market is the beginning for Broke, I think. I had been thrifting at Lower Main in Obs, but it was so expensive – like R350.00 or R400.00 for something I realized I could get straight from the source. My first big purchase was 20 jackets, and I sold them to my friends – and thankfully they were all into it. It was 2015, and we were rocking those colourful 80s windbreakers, and we stood out. The scene was quite reserved and minimal at that time, and were there in these fits that cost us like R50.00 to put together.” This divergence from coveting high price tags – as most people in fashion still buy into – also informed the name, Broke; “I was staying in Kuils River, and the homies and I would travel by train constantly to town. That’s where everything was – we were all living like 45 minutes or an hour away from the central point of where we wanted to be – and we realised we can’t just move around like no-one, we needed a name for our gang; to cement our purpose for showing up. What better describes us than Broke Boys? Our whole lifestyle was about spending the least amount of money – from the cheapest train tickets, to R1.00 shots at Bob’s in Long Street, to our fits.’

Andile has no formal design training, but his eye for silhouettes started simply – a great testament to anyone who is looking to build a brand; to start with the foundation, refine it and above all; make it personal. “I bought some plains from Mr Price, and took inspiration from the show The Amazing World of Gumball – and put “The Amazing World of Broke Boys.” We were proud to declare that we are making the most of what we have – the least money, maybe we come from hard places – but we are about to turn what we have been dealt into something bigger than us.”

Broke exemplifies the best of the digital influence of social media with the tangible experiences in which the energy of this movement can be truly felt. Their multiple IG handles – each covering a different aspect of how the family functions – keep everyone connected to the next move, and as Broke is always in motion, never breaking character or ethos. Their brick & mortar store at 199 Loop St is probably the nexus of this all – but you will also find them at Lemkus on First Thursday, or hosting their own Clubhouse residency at Tiger’s Milk (brokeklubhouse) – and of course, the iconic pop-ups in Joburg. The record label under the Broke family is Space Sounds, and Andile tells us that there are even family members who cook and feed the homies. Broke needs a crazy mansion or piece of land somewhere near town; it’s the kind of communal living the hippies thought of, but led by Broke it would feel way sharper and in-tune with amplifying the kind of energy this world needs. 
The latest instalment of Broke is global domination – in the best sense. Earlier this month, the brand dropped a collaboration with Amsterdam-based label The New Originals – a space concerned with creating performance wear for creatives. TNO was born from the same passion & pursuit that Broke was, as though spaces on either end of the hemispheres are speaking from the same collective consciousness, only a slightly different lens of experience. On how this came to be, Andile says; “Around five years I started this relationship with a photographer from Amsterdam, Nick van Tiem, and we just hit it off. This has become a series every year – Nick photographs me and it has formed this archive of my growth, which is pretty special. It’s through Nick that we were introduced to The New Originals, and we loved the pieces – it really spoke to our aesthetic. I wanted to collaborate from then on. Nick then facilitated a zoom call between the CD of TNO and me, and we started to envision bringing the two worlds together. TNO is led by guys from Ethiopia and Ghana, so it felt beautiful to work on this with them. The production was done in Amsterdam, and then they came down in Jan, and we dropped in Feb and launched at our store – we are almost sold out now. I feel like we had to do it, and it’s a great reflection of the level we are at; everything is real for us now, the opportunities and futures of where Broke can take us.”
///

Broke boys photographed:
Andile Dlamini
Sindiso Tshuma
Mzwandile Sithole
Akhona Beja

Shout out to the rest of the Broke gang:  Simbongile Bino, Siyabonga Cole Lukhele, Sibulele Ganca, Onke Mphokeli, Mphendulo Sibiya, Mangaliso Mdingi, Sinethemba Magama, Sibusiso Tyibilika, Athenkosi Rato Vundisa and anyone and everyone that has contributed to their journey thus far.

Written by: Holly Bell Beaton

Photography by: Keegan Foreman

 

The Stockroom Show Powered by Lemkus

Mar 9, 2022 | Fashion, Community

The Exchange Building at St Georges Mall is nearly a century old – dating to around 1927, and although it is considered an architectural artifact, in recent years it has become so much more; enlivened by another historical landmark in Cape Town, sneaker and streetwear purveyor Jack Lemkus. The first floor of the building is the Lemkus concept store – one of the city’s nexus points for sneakerheads and creatives alike. Alongside their brick and mortar space, Lemkus runs a highly-functioning and curated online store, with consistent drops, campaigns and raffles conceptualized and actioned by Rich Lemkus and the brand’s creative head, Calhoun Matthews. The building is also home to The Fourth Gallery, with owners Maybe Corpaci and Rodan Kane Hart as residents of the top floor in Apartment. With the onset of the pandemic, it felt as though the mass migrations from the CBD might be permanent – with months of eerie desolation occurring for those who lived or ventured into the heart of the city between 2020 to 2021. Now, with a somewhat stabilized sense among most people for the first time in two years, the 2nd and 3rd floor of the Exchange have been taken on by Lemkus; and the building is steadily growing into an epicenter for culture, community and creativity, under the brilliant moniker “The Stockroom”. Calling on  Kyle Brinkmann, AKA Das Kapital, to lead a curatorial role, The Stockroom Show is an event that brings together the vision of Lemkus into an experience; now a monthly occurrence, every First Thursday, dedicated to the celebration of streetwear, food, music and people.

The 2nd Floor is the residency space of The Stockroom, hosting an array of brands sectioned into micro “stores’.  Tempered by glass fixtures, it feels like being on a shop floor – yet without the hyper-materialism or anxiety of a shopping mall – and is decidedly more beautiful, with a feeling of being thoughtfully considered. During The Stockroom Show, it is flowing with Cape Town’s raddest people, all dressed incredibly well – connecting and dining on the event’s resident cuisine, Jack’s Burgers. Brands include Sheree AKA Dj Rishi Love and her partner Ryan, who have their brand SPRMRKT, stocking their brand RAION, while importing some of streetwear’s most coveted labels such as Palace, Stüssy and Braindead – laid out with signature hypebeast objects and accessories. In another cove is Human By Nature – designed by John Lehman – including his collection of locally made denims. John has worked and lived across the world, and has decided to call Cape Town home, both for himself and HBN.  Recently, the 2nd Floor has welcomed the OSCS family – namely Sol Sol and Maylee, by Mathew and Molly Kieser respectively, a hugely exciting new chapter for one of the original streetwear brands in Cape Town. The Stockroom takes on an experimental position in this way; inviting into its vision the idea of collaborative retail, in which the experience of a community centered around their unique design aesthetics seeks to enhance our relationship to purchasing. 

The Stockroom Show is a showcase of creativity, and one of its most interesting aspects is the vendors on the third floor – local designers and businesses set up shop for the event within a marketplace style, yet somehow a little cooler. This last week, 3rd of March, these vendors included Broke, Hygge, Mad Dogs, Hempt, Hopeville Grailz, Brunch Club, Illucid, HeySous and Save Vintage. Stockroom exemplifies the mood of the moment for streetwear across the globe; a juxtaposing celebration of new labels, emerging designers with vintage brands and a thrifting mindset.  Our favourite part of the whole experience has to be Obscure Archives – which started as a series for the Lemkus website, and is now a monthly residency in which The Stockroom partners with a local creative for them to exhibit new work, their process and signature style – it’s a space of connection, knowledge transference and a peek into the minds of Cape Town legends such as Keith Vlahkis, Yaeesh Dollie of Daremposh and last week, Naeelah Jumat of Socioculture. 

Kyle explains how it started, and what lies ahead; “The Stockroom started out a place for our favourite things – local and international streetwear, food, music, and the people that surround them. It was a short conversation the LEMKUS team and I had together – Cape Town needs a central place for both creators and patrons within our wider community to come together, and we acted on that need. From a very simple idea, a complex and detailed form has emerged – one that marries conventional retail with developmental talents, media, and some unforgettable experiences both IRL and online. LEMKUS uses the 2nd Floor to offer a new take on established retail with our current permanent residents and their showrooms, while my role as “curator” is to help grow and mold a dynamic roster of young brands on the 3rd Floor every First Thursday.  Behind the scenes, we are working together on expansions to The Stock Room as a physical offering, as an online community, and as a conceptual space for empowering creators in both fashion and media. As we find our voice and continue to use it, expect more special moments, top-level products, community enrichment, and partnerships with key global brands – offering them a place in an increasingly important conversation. Long live The Stockroom.”

It’s a vibe – the whole platform powered by Lemkus is a sheer example of what it means for a larger, heritage brand to nurture and provide beyond itself. While there is certainly a return of investment, it is also altruistic – The Stockroom Show provides a physical space that was once filled by Corner Store (RIP) and events of the last decade. It’s a new era, for a younger generation to find their way – whether it’s through making friends, or getting inspired to start their own labels or hone their desired crafts. We believe The Stockroom Show is a critical space for the city – and we urge everyone to check it out this year – if not every month.

Written by: Holly Bell Beaton

Virgil’s Abloh’s Perennial Legacy For Young Black Creativity

Mar 7, 2022 | Fashion, Community

It’s weird – this think-piece feels overdue, yet not, all at the same time. Where does one even begin attempting to trace back the lasting impact which the late Virgil Abloh, and his creative brainchild, Off-White, have made towards progressing youth fashion culture forward? I guess we start at the beginning. Off-White c/o Virgil Abloh was established in Milan in 2012, founded by creative polymath Abloh under the parent organisation, New Guards Group. By this time, Abloh had already created a name for himself within the global creative field – forming nascent streetwear projects such as Pyrex (which subsequently evolved into Off-White), working for Ye under his creative agency, Donda, and designing a wide range of product, such as the Ye’s “My Beautiful Dark Twisted Fantasy” and “Yeezus” album covers, plus so much more.

This period of time is arguably one of the most important in terms of its lasting impact on Black youth culture, as the collaboration of Donda – which then included the likes of Heron Preston of his self-named brand and Calvin Klein, Matthew Williams of 1017 ALYX 9SM and Givenchy, as well as Virgil Abloh, and more. From designing garments under the creative moniker of Been Trill, which had a massive impact on Black New York fashion culture, this creative crew also operated as a deejaying collective, merging their influences and taking over the nightlife with fashion-centred soirées. This is precisely why I reference this period of time as culture-shifting – as the current local creative climate for young artists seems to be following suit – largely within the Johannesburg and Cape Town cultural scenes. Two poignant examples of local collectives following suit with somewhat similar blueprints are Broke (CPT) and Franasonic (JHB).

The former, BROKE, define themselves as, “a cross-cultural clothing brand that aims to tell the stories of those regarded as misfits, and/or the rebels of society.” This definition encompasses a lot as BROKE have managed to expand and progress into more than just garments; it’s also more than the weekly parties they host in collaboration with Tigers Milk – the infamous BROKE Klubhouse. This is a community – a brotherhood spawned from a mutual appreciation. The latter, Franasonic, is also a youth-focused cross-functional clothing brand that has morphed into a digital multimedia experience. Accompanied by unique editorials inspired by overseas zines and fashion publications, as well as in-person fashion pop-ups slash soirees, it’s pretty clear that the local creative scene is in extremely capable hands.

Many don’t actually know that Abloh was not a fashion designer by education but actually a trained and qualified architect but I personally feel that this is quite evident within his structural codes for Off-White (and later Louis Vuitton) – which were continuously updated throughout his tenure. The late designer was obsessive about so many things – one of them being utilising fashion as an intersection for all other forms of art, music, film, literature, and more. Take a closer look at Off-White’s first posthumous collection without Abloh – titled “Spaceship Earth, an ‘Imaginary Experience’” – a fitting ode to a creative genius of colour who changed the world forever.

The show was characterised by Virgil’s best hits – absurdly oversized straight caps and fluffy bucket hats, paired with colourful bright-lumo patches attached to tailored two-piece suits with the relevant accessories to match. The collection is a classic play on form, function and silhouette – flavoured with the rebellion and bravado which epitomises what Abloh and what the brand has always been. One of my highlights of the entire collection was seeing the white flags printed “Question Everything” – an integral message which Virgil continued to emphasise even during his infamous Harvard lecture. The roster of models who took to the catwalk included many of Virgil’s close friends, compatriots and collaborators, such as Naomi Campbell, Bloody Osiris, Ama Lou, Kendall Jenner, Bella Hadid, and many more.

So in summation, what does the metaphorical handbook which Abloh left inform us as young black creatives? Towards the latter part of his career, he and Off-White had a very clear mission – to support young black creatives within the global fashion industry, by all means and by all costs. For example, his resilient humanitarianism accompanied by strong creative ties within his homeland resulted in a successful collaboration with Daily Paper in order to build a skatepark in Ghana, which was successfully unveiled in December last year. 

Consistently throughout his career, qualities such as these have inspired and informed an entire generation of kids – to try and become their own Virgil’s. He continuously proved to us that anyone can crack it within the industry – as long as they have the right amount of hard work, matched with the necessary talent and enthusiasm. This is a blueprint which Abloh has been cultivating for his whole career – the blueprint for any upcoming young black creative to follow. So with LVMH’s acquisition of Off-White last year, I sincerely hope that Abloh’s legacy continues to remain supreme at the fashion house, just as it does within the hearts of many emerging creatives just like mine.

Written by: Odwa Zamane

Crystal Birch, Milliner Extraordinaire

Mar 2, 2022 | Fashion

Millinery as a profession can be dated to around 16th century England – although hats have had a long relationship with humans across many ages and regions of the world. When my mum married my dad in the early 90s, she had a custom wide-brim hat made layered in silk with a micro-veil – and only until now, with the revival we see around headwear, has the utter brilliance and originality of this make sense to me. Connect Everything Collective founder, Candice Erasmus, and I were invited by the REAL Crystal Birch (a nod to her stance when obtaining her website URL years ago, of which the name Crystal Birch had been taken to promote a novel) to the incredible Hat Factory in Foreshore, Cape Town. It was a fever dream walking the open-plan factory floor; a juxtaposition of shapes and colours in fabric and trim, set against an astounding array of early 20th hydraulic press machines with hundreds of different types of metal hat blocks.

Crystal’s team of artisanal hat-makers rotate different tasks, chatting and enlivening a space that we tend to associate as being ominous; the factory. I certainly always conjure up grim images of our continually mechanized future – or the sweatshop crisis we see unfolding in the fashion industry. The Hat Factory is totally different in this respect; Crystal’s office is barely private, assembled from vintage panels that only have half of it fitted, and a door that only closes for supplier meetings. This open plan space and collaborative energy was not always the case, and Crystal tells us that a year ago, when she bought the factory rights from her mentor Harry Faktor (the company was previously Parisian Milliners, founded in 1936) – the previous building ceased the lease agreement effective immediately, and they had three days to move everything to a new location; “No moving company was interested in helping us – they wouldn’t even quote me. These machines are insanely heavy, and for the average moving company, to even begin to work out how to fit and lift them was probably a nightmare they didn’t need. So I did what I had to do – I called the rigging crew from the film Mad Max, and they didn’t even ask what we were moving. They just showed up with 10-tonne trucks and did it all in a day.” 

If you know Crystal, you will know that her exuberance and impassioned energy is totally infectious – Candice and I sit listening in awe as she recounts the multiple moving parts it takes to go from designer and making hats, to leading the full-scale operation of The Hat Factory; of which The Real Crystal Birch label is a part, but not all of the hats that are made; “It’s been interesting, because the hat revival is taking place now – especially in the sense of fashion, where I have been able to collaborate with incredible designers – but catering to small scale, direct clients who have always bought their hats with our factory has been tricky. They are from a different time, I have the old invoicing books and the total cost of the special-occasion hats cost R30.00 – R35.00 to make. Fast track to 2022, mark-ups for materials have gone up by about 300% – let alone the total sum of all the materials being 30 bucks – so doing costings has been so eye-opening, because I think people assume hats like ours can be made on an assembly line. On the contrary, it is really the hands of the team that ensures our quality and design language is constantly being elevated.”

One of the other positive outcomes of the pandemic has been Crystal’s connection to two other hat factories and South African institutions; Simon & Mary and Carmi Hatters in Johannesburg. “I think I am the special freaky one out of the three of us – and we have been able to start these relationships which previously didn’t exist. So if I cannot do a big order – say a huge church hat order – I will send it to them, and vice-versa if they have a smaller, perhaps more detail-oriented order request. This wouldn’t have happened if it wasn’t for lockdown – but I think a lot of us realised our survival depended on each other, and industries had to find a way to come together to preserve the common goal we all share for local manufacturing.” Crystal’s label has a cult-like following in South Africa – with creatives and fashion insiders alike, but also an often unspoken sartorial audience such as political delegates, church women and the races. The newest market that she is tapping into is dermatology; “Because of the cancer association, it should be part of your beauty routine in the sun! I’m always like you’ve got your SPF and sunnies, but where is the hat? It’s so critical, especially here in Africa – and while my hats are interesting and unique, they are also functional. Hats are critical for sun protection.” 

We are so honoured to have been welcomed into the Hat factory, and to feel the pure love and commitment Crystal has in nurturing this craft and all the experts she has on her team. With events, collections and collaborations ahead; watch this space – The Real Crystal Birch. 

Follow the label’s movements on Instagram at: @therealcrystalbirch 
Or visit their website: https://therealcrystalbirch.com
Better yet, pop into the space – with a front room display – at 1st Floor, 42 Newmarket Street, Cape Town.

Written by: Holly Bell Beaton

Genesis: Life / Death / Force

Feb 28, 2022 | Art

Genesis is the manifestation of two artists and women in their pilgrimage across ancient lands in Southern Africa, told through the story of the rocks that hold both the geological and spiritual history of the planet. This poignant series is the union of both Rochelle Nembhard & Gemma Shepherd‘s visions and private journeys with the Great Mother as told through 35mm and 120mm film, as well as iPhone and drone imagery, a nod to the adaptability and resourcefulness of women, using whatever means they had at any given point. The root of this work, aside from the rock, is inspired by the anti-apartheid freedom song “You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokodo”.

In the visual outcome of Genesis, Rochelle is shown by Gemma’s inimitable eye as symbolizing both Mother & Daughter of sacred land. On this, Rochelle muses; “Artists are those who are able to be the conduit and go before others in harnessing conceptual understandings that come from the ether. To hold the death, the awakenings and the rebirths – I see artists as the seers, those who take the first sacrifice in order to move us all forward. We were anchoring that energy in this pilgrimage through Adam’s Calendar and the Cradle of Humankind. It was a return to the earth; and so it was necessary for me to be nude in the images, to convey that stripped back and bare process that is required for any type of initiation into the mysteries.”

This journey was undertaken by both artists alongside hair stylist and sister, Justine Alexander (justine_nomz) who carried hair with them during kilometers of camping and walking; through the unbridled beauty of the Cradle of Humankind, largely alone in deep contemplation and communion with their own inner-landscapes. The courage of this – to return and answer the call of the Mother – is acknowledged by the artists through the trinity depicted in the images of body / rock / hair : these elements converging to sanctify Rochelle in this space as a representation of the feminine; and is a call for protection of the feminine amidst femicide, particularly the harrowing statistics faced by Black women, and women of colour. 

We are so moved by these images, and by this unfolding process between Gemma & Rochelle. ​

Written by: Holly Bell Beaton

Interlude Chapter 02 | Needle + Stitch

Feb 23, 2022 | Fashion, Interlude

In this month’s edition of Interlude, I thought we would go back to basics and approach fashion from the viewpoint of the stitch. This simple technique launched humanity into a new era of expression and environmental protection, thought to have originated during the Paleolithic era using bone needles and hide. This seemingly simple act that we rely on today has been updated through hyper-advanced sewing machines (my entry level Elna Explore has 22 stitches) alongside the movement of the hand-stitching, and it’s pretty wild to consider how new sewing machines are for us, as their invention and subsequent computerization have only been available since the 19th century. I really believe anyone who is interested in fashion should understand garment construction even in just an introductory way – my basic skills managed to get me through hard lockdown in 2020 when I created my apocalyptic up-cyling project, @hac_ansuz – and while many of the pieces are not very wearable, the idea behind it was to re-imagine my wardrobe as if shopping was a thing of the past, due to the breakdown of society, and what struck me was my previous disbelief in my own sewing skills was thoroughly challenged; surprising myself with the inventiveness of slashed hems and turning pant legs into sleeves. Not everyone who loves fashion is destined to be a designer – which I believe is something we should address in our fashion school system in SA –  but we are definitely all creative, and sewing is as much an exploration of one’s own aesthetic identity as dressing & styling ourselves is. Without the needle piercing and looping through fabric, none of what we see occurring in fashion could take place, and while digitization continues (a chapter for another day), chapter 02 lays out some notable stitching of some South African creators that I believe are preserving the craft of local hand-making.

Sewing the Seams ///

There is a certain kind of patience and delicacy required for small batch runs of clothing or bags; envisioned for a community, and yet made well enough to be bought by said community. I am in awe of  Sheefah Sity’s bags and purses via her page @sakkie.co – particularly the use of faux-fur (that reminds of our-mother-in-fur Lil Kim) and the checkerboard carriers; a technique, by the way, of stitching squares together rather painstakingly. These can be custom ordered and developed with Sheefah based on available fabrics and tones. Alex Kaczmarek is Cape Town’s foremost creator of belt-bags (an updated term in the most recent renaissance of the “fanny

 

pack”) and shows exceptional technical skills in stitching together all the nuanced inserts, zips and straps involved with bags – alongside her signature boiler suits and bucket hats. Recently, psych-student Laylah Sallie was invited to Levi’s Haus of Strauss for a workshop – and made the coolest panelled corset from a pair of 501s. A home-sewer, Laylah reminds me that sewing can very much be a treasured pastime and creative endeavour without it being monetized – although, if she were to drop an up-cycled collection, I’d be there in a heartbeat.

Slip Stitch of Crochet ///

Crochet seems like a magical power to me. I attempted it once, many years ago -and found it really difficult, although at the time I was very impatient about doing anything I would have to practice in order to be good at (oh, youth). As opposed to a production line in which a garment may go through the hands of many people – crochet cannot be done on a machine (unlike knit), as a machine is incapable of replicating the transverse chains attributed to crochet. So, if you see a crochet item in a fast-fashion retailer like Zara; please know it had to have been made in one sitting, by one person, who is definitely being exploited. I don’t like to ascribe dualistic morality to how we purchase in a capitalist society – it’s always a far more nuanced conversation around

 

accessibility and consumption – I do, however, feel strongly that one should always purchase crochet pieces from a local creator. My favourite crochet artists at the moment include Crochet Couture; their deliciously vivid chain-stitch bikinis, patchwork pants and sets are gorgeous and the brand oscillates between the earthy-sentiments often associated with crochet and super bright, maximal pieces. Tenele Zwane’s crochet label, @subtletdesigns, is dedicated to crochet as an act of longevity; each piece is handmade and showcases an incredible ability to create patterns with yarn. Cape Town’s own @wren_and_blue maximizes the width of the crochet hook with her beautifully knotted bags in all different shades; and all these designers do custom orders.

Knitting Nature ///

Last winter, artist Sphiwe Dliwayo (under his moniker @iamkeithvirgo) knitted a series of exaggerated Mbatha scarves – his own, refined iteration of the Lenny Kravitz blanket scarf moment from the early 2010s, along with snug hats in shades of black and stone grey – here’s to hoping Sphiwe will be taking orders in autumn; it feels crucial for AW22 in South Africa. CTFCD graduate Jessica-Ann Sheperd is an emerging designer and her label Oddity is another stitch-defying array of oversized cardigans; among them beautiful, pastel shades and organic browns; I look forward to 

 

watching Jessica-Ann’s unfolding. Last, and certainly not least, @bambi.knits is designer Tarryn Tippens continued conversation using wool & yarn as a means to explore sustainability in her practice; using organic shapes and forms to create balaclavas, cropped jerseys and fairy-esque skirts and bras. Tarryn’s aesthetic makes sustainability feel incredibly thoughtful, particularly through the juxtaposition of her eco-dyed pieces against digital backgrounds depicting Mother Earth’s textures and terrains.

Curated & Written by Holly Bell Beaton