Vogue Nights Jozi, Celebrating Expression and Euphoria with Genesis All Black

Jun 8, 2022 | Art, Fashion, Community

If you’ve read some of my articles before – you’ll know that I am the biggest advocate for the creative economy. Maximising our arts & culture sector in order to progress the entire economy is extremely important, yet continually overlooked by many, especially the government. What the easing of lockdown has led to within our local nightlife scene is beautiful to witness; a flourishing party scene which continues to innovate in order to elevate, and ‘Genesis All Black’ is a perfect example.

As a first-of-its-kind collaboration between Vogue Nights Jozi, KOP and Until Until, the event proved to be a massive success – a euphoric trance into the true meaning of Jozi’s nightlife.

Serving as a tasty prelude to Pride Month, our celebration of the existence and contribution of the LGBTQIA+ community, Genesis All Black proved a fitting pre-gathering for Johannesburg’s Queer community. Hosted on 28 May 2022 in the eclectic Newtown area of Jozi, with the support of Johnnie Walker and Heineken as sponsors, this event produced a roster of incredible local artists and performers. In a wall-to-wall line up of local talent, led by the likes of Blxckie and Reece Madlisa and Zuma, accompanied by a plethora of exciting deejays such as Fiflaaa, Skits & Nkuley, and more.

The 360-degree focus on art, in its entirety, is the pinnacle for the betterment of our nightlife scene. Genesis All Black clearly got the memo over here because there was indeed a big event focus on the arts scene, with emerging fine artists such as Bemo Doll, Gabriel Stephen, and more, all on showcase with live installations. A couple of months ago, I wrote an article for CEC touching on the parallels I discovered between Joburg’s current art scene and SoHo, New York, in the 1970s. A lot of the thoughts which I had conjured up within that think-piece seemed to resurface after witnessing the outcome of Genesis. An example:

“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.”

Another massively enjoyable aspect of Genesis All Black was the return to festival culture. It’s so refreshing to see the large festival-esque signs and banners at venues once again, with live performances from artists gleaming from the stage lights. And with popular local festivals such as Rocking the Daisies returning in full swing following Covid absences, it seems that the space is opening up for independent creative organisations to cultivate their own large-scale events.

Vogue Nights Jozi, founded by eponymous award-winning cultural curator, writer and Deejay, Lelowhatsgood, is at the forefront of reinventing and redefining South African queer culture through tastefully curated ballroom events. These are inclusive and are centred around dance, music and fashion. It reminds me of how aptly Siwa Mgoboza described it in relation to his art fair, ‘Siyabangena’.

“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.”

Another topical independent creative organisation teaming up with Vogue Nights Jozi for Genesis All Black is ‘Until Until’ – represented by the duo of Thulani Dandala & Lenzo Mangonyane. Until Until hosts a few of the hottest events in Johannesburg, such as Sunday Roast, i.e.”The Happiest Place on Earth”, Bacardi Holiday Club and Good Morning. There is a consistent thread between all of these curated events and that is their emphasis on redefining comfort and prioritising inclusion.

The final creative partner to complete the trio is KOP represented by its co-founder Amira Shariff – a youth-driven creative space and platform redefining the culture of music and art. What I enjoy about KOP is their retrospective perspective towards nightlife culture, and how they are able to transfer this ethos into contemporary event spaces.

The combination of these three creative brands clearly makes so much sense. As nuanced as their vision and missions are, they somewhat all congregate at the same corner. The true intersection of local youth culture – where all forms of art converge into one. Genesis All Black has executed a giant leap for our arts & culture scene, depicting the true essence of what a collaboration is meant to be.

Written by: Odwa Zamane

Roses Are Red Releases “Nothing Lasts Forever” Fear & Self Loathing Remix

Jun 6, 2022 | New Release, Music

Cape Town based record label Roses are Red release a remix of “Nothing Lasts Forever” by South African production duo Fear & Self Loathing.  

The original track from Rose Bonica is reworked into an energetic and explorative sound, taking a different approach to the original track, they explore an area of experimental music that is a fusion of Breakcore, Juke, and hints of Jungle.

Already grabbing attention on shows such as BBC’s Radio 6 with Mary Anne Hobbs – a true sound journey and sensory overload is what you can expect from this remix. 

/// Listen here: 

Spotify 

Apple

Deezer

CEC Exclusive Video Premiere: “Give it all” by Luh’ra Featuring Andy Mkosi

Jun 3, 2022 | New Release, Music

Cape Town based singer/songwriter Luh’ra shares the poignant music video for “Give It All”, the first single release from her upcoming EP. Known for inviting her audience in to contemplate the tenderness of their own emotions, Luh’ra uses this track to explore the experience of women around the world that fall into maternal ways of giving entirely of oneself with little to no return, whether expected or not. 

With Andy Mkosi sharing a rap verse, the narrative of “Give It All’’ evokes the experience as seen through both a masculine and feminine perspective.

“As women we often fall into our maternal ways of wanting to give our everything to the ones we love, which can often be at the expense of our own well being. In Give It All, I get into the mindset of what it can feel like giving your everything to a situation that does not give back the same in return. Andy Mkosi shares a rap verse on the track which adds more of a narrative perspective to what that sort of situation could look like. 

The music video follows this narrative. Self styled in local brands, I tried to create different characters through fashion to express the different emotions that we go through. Innocent in pink, a calm and present bystander in burgundy, angry in black.” – Luh’ra

WATCH BELOW:
https://youtu.be/XzaN–TIew0

 

/// Credits: 

Give It All @luh.ra ft. @andymkosi 
Directed by @andrealoupis
DoP @baz_bailey and Co DoP @nicloupis
Edited: @nicloupis
Hair and Make Up: @dazedfay_ 
Styling and Creative Direction: Luh’ra 
Dancers: @issyagirlq and @isabelladelimaaaa 
Talent: @luh.ra , @kigalichristian 
DoP Assist: @pending_pending_pending_ 
Wardrobe with special thanks to: @wanidaboutique , @betterhalf_thestore , @trotse_tert , @jungli.cpt  
Recorded @concept_records
Released by The Good Times Co.

Genre-Bending Namakau
Star Presents Her Debut EP, Landing; An Ethereal Ode to Freedom and Flow

Jun 2, 2022 | New Release, Music

Namakau Star has come back stronger than ever with a tribute to authenticity and freedom, packaged in a 7-track EP, ‘LANDING’, that releases today. The first single in her repertoire, “Rewind”, leads up to her EP that was released earlier this year, with “Seazn Luv” following, through Paradise Sound System.

An eclectic bouquet of sound and influence, each track pays tribute to Namakau’s unique mix of Hip Hop and R&B. Her sound is delivered with a combination of soulful lyricism and vibrant instrumentals. Namakau Star is a singer-songwriter and rapper who weaves effortlessly between spoken and sung while the production of each track adds to the soulful experience one can expect from this innovative artist.

The foundation of Namakau’s musical journey began as “iindirhe” under which she debuted the GLTTR EP, a prelude to what was to come with her reemergence as Namakau Star and the much anticipated LANDING EP. Known as the “Vibe Goddess” by her loyal supporters, Namakau Star promises a sonic journey of sound with this new body of work and fans and industry stakeholders alike should brace themselves for a futuristic kind of sound, complete with broken barriers and blended genres.

///

Follow Namakau Star on Social Media 

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/// Stream ‘LANDING’ on 

Apple Music

Spotify 

The 59th Venice Biennale: An Inside Look at Countries and Contemporary Art

Jun 2, 2022 | Art

“The Milk of Dreams takes its title from a book by Leonora Carrington (1917–2011) in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. It is a world where everyone can change, be transformed, become something or someone else. The exhibition The Milk of Dreams takes Leonora Carrington’s otherworldly creatures, along with other figures of transformation, as companions on an imaginary journey through the metamorphoses of bodies and definitions of the human.

This exhibition is grounded in many conversations with artists held in the last few years. The questions that keep emerging from these dialogues seem to capture this moment in history when the very survival of the species is threatened, but also to sum up many other inquiries that pervade the sciences, arts, and myths of our time. How is the definition of the human changing? What constitutes life, and what differentiates plant and animal, human and non-human? What are our responsibilities towards the planet, other people, and other life forms? And what would life look like without us?

These are some of the guiding questions for this edition of the Biennale Arte, which focuses on three thematic areas in particular: the representation of bodies and their metamorphoses; the relationship between individuals and technologies; the connection between bodies and the Earth.” – 59th Venice Biennale curator, Cecilia Alemani.

 

I had never been to a Biennale – of any kind – until just recently, on a trip to Venice. I have been fortunate to visit both classical and modern art museums on my travels around the world, and attend galleries in South Africa – including the most recent Investec Art Fair in Cape Town. I wasn’t prepared – both physically and emotionally – for the sheer magnitude of this showcase, taking place in the Central Pavilion (Giardini) and in the Arsenale, which includes 213 artists from 58 countries, until November later this year. It is common practice for art shows to be unified through a thematic concept; whether individually ascribed by or to the artist, solo or in a collective, group exhibition – and in the framework of a Biennale, the showcase is divided into “pavilions” that are founded by a country. In this strange, often antithetic-to-the-anarchy-of-artists dynamic between artist’s, their nationalities and the construct of borders; the concept of a Biennale in this regard is at its most base level, proliferated with nuance and complexity. The Milk of Dreams, the central theme of the Biennale this year in 2022, was an epic portrayal of stark variation of contemporary art filtered through the consciousness of artists, their feature alongside their peers, the context of their representation for their country, their country’s position in the global context, and finally – the innate, shared experience of being a human being on one, single planetary body of the earth.

Walking through the varying arms of the Gardini and Arsenale – which, in hindsight, is something to do over two days rather than in one – I was struck by the interpretations of the curatorial theme that could be lensed in such a multiplicity of ways. A reminder that within each human being, lies an innate originality, vulnerability and ingenuity. The central space was breathtakingly curated, enriched by the contribution of female artists – with curator Cecilia Alemani stating that her intention was for the central exhibition to ‘not be built around systems of direct inheritance or conflict but around forms of symbiosis, solidarity and sisterhood’. I couldn’t believe my eyes at the work of Indian sculptor Mrinalini Mukherjee’s beings of divinity – massive woven sculptures depicting beings of divinity, imposing in their structure with an energetic imprint of grace. Kudzanai-Violet Hwami’s paintings depicting spiritual ceremony and a Shona wedding ritual was pivotal in conveying her upbringing in Zimbabwe and South Africa – weaving together themes of magical realism, Afro-Futurism, a Shona cosmology and community, nature and humanity. Hannah Levy’s obscure, almost repulsive objects denoted both a reference to furniture while showcasing a sensibility of alien-life forms; an egg sac balancing on three arthropod-like steel legs, an oversized peach pit like a discarded organ, and a tent in the fashion of a thin membrane. The use of silicone in a quiet shade of pink contrasted with steel reminded me of musician Sevdaliza’s work in her music videos – that brings forth an image of cross-planetary inquiry; perhaps life beyond our planet will have to be both beautiful and bizarre?

Some of the most striking pavilions  (although each one could stand alone) was Hungary and South Korea. Zsófia Keresztes’ showcase for Hungary was an almost psychedelic, certainly surrealist depiction of identity (and its many, oozing and contorting forms) built as sculptors, layed with pastel shades of intricate tiles and mirrors. Each “established’’ country that has built a pavilion over the years tend to reflect their entry way into the region of global politics, as determined by Europe, which is interesting when seeing the totally abandoned Russian pavilion, the modern pavilions of countries like Estonia and Hungary – and the separation of Finland from the Nordic pavilions of Sweden, Norway and Denmark. There is a sense of qualifying for a seat at the table – and some of the curated pavilions, like Estonia, used their space to pose these questions of colonial sympathising for self-preservation, and a drive to uphold indigenous viewpoints like the Sapmí showcase for the Nordic pavilion by artists  Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna. South Korea’s three themes of The Swollen Suns, The Path of Gods and The Great Outdoors mirrored an entangled labyrinth of machinery and materials reflective of the micro-world on earth and cosmic events. With the incredible kinetic “breathing” machine – engineering and art are showcased as a unified expression.

Lastly, our own South Africa showcased at the Arsenale section of the exhibition – called Into the Light, which included Phumulani Ntuli, Lebohang Kganye and Roger Ballen. Taking reference from the emerging into a new space or frontier, as South Africa as a nation and people are well acquainted with, the space was dimly lit contrasted by the artist’s visceral interpretations of identity, individuation and self-actualization. Personally, the showcase was wonderful to see – but perhaps with a bigger space and notable accessibility than where the South African pavilion was situated. This does not, however, impede on the quality of the exhibiting artists; and perhaps lends itself to the theme, too; of emergence, and rising up.

The 59th International Art Exhibition runs from 23 April to 27 November 2022

Written by: Holly Bell Beaton

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

May 30, 2022 | Interviews, Fashion

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

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

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

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

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

Written by: Holly Bell Beaton

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

May 27, 2022 | Fashion

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

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

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

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

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

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

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

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

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

Written by: Odwa Zamane

Interlude Chapter 05 | Collaborations, Campaigns and Community

May 26, 2022 | Fashion, Interlude

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

The Power of Collaborations

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

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

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

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

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

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

The Power of Partnerships 

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

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

This is the deep, deep might of partnerships.

The Power of Campaigns

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

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

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

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

Our SA Fashion Week Retrospective

May 24, 2022 | Fashion

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

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

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

 

Day 1 ///

Munkus (New Talent Search winner)

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

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

MeKay Designs (New Talent Search finalist)

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

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

Fikile Zamagcino Sokhulu

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

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

Day 2 ///

Artho Eksteen

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

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

Amanda Laird Cherry

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

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

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

Helon Melon

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

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

Day 3 ///

Ntando XV

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

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

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

Francis Elis

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

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

Loxion Kulca 

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

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

Written by: Holly Bell Beaton

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

May 23, 2022 | New Release, Music

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

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

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

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

/// Stream “I Warmed You Up”:

Spotify
Youtube
YouTube Music
Tidal
Soundcloud
Deezer
Apple Music
iTunes 

We hope you enjoy the music!

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

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