Tag: designer

Sleepwear and intimates brand Koeksuster’s new fashion film

Soft shades of pinks and blues, coupled with smiles, twirls and giggles. “I think it is important to always protect your sisters,” says a voice. This is the beginning of the fashion film created by Cape Town-based sleepwear and intimates brand Koeksuster for their latest campaign. Working with director Thea Small for the visuals, and Elu Eboka to create a specific soundtrack, the film is an ode to high school and coming of age. It acknowledges that being at school is a time when young womxn can become insecure, feeling scrutinized by society and their peers. For this campaign, it was important to reclaim the school grounds as a place where young womxn can encourage one another and feel confident in their bodies. I had an interview with designer and founder Marli Grobbelaar about the brand and the concept behind the film.

Please share more about the Koeksuster brand, and the name ‘Koeksuster’?

Koeksuster started as an hypothetical business idea and kind of spiraled into something much much bigger. I’ve been conceptually working on the idea for about 2 years, but our website has been live since July 2017.

I think when people first here the word, Koeksuster, they immediately think of the South African dessert! And they’re not wrong. But if you take it apart, The word “koek” is an Afrikaans word for a prude, and suster is an Afrikaans word for sister. And so the combination felt perfect for a feminist intimates brand, and also my alter ego!

Only as the brand started growing I started coming across more and more people who also use the word as either a nickname or alter ego as well. Even one of the models from the film told us about how she and her friends used to call each other ‘Koeksisters’ in school.

Our mission is to not only create feminist inspired products, but to also create a educational safe space for womxn and to promote feminist content in and around South Africa. The brand is aimed at promoting social change and wants to change the way society views womxn and more so how young females see themselves.

You have a feminist approach to how the brand is presented. How do you think this ties in well with the brands designs for sleepwear and intimates?

I’ve always been a fan of delicate intimates, but seemed to feel ashamed to admit it. I think it was because of the stigma and sex shaming, that I felt was associated with intimates when I was younger. I wanted the brand to promote the message that intimates don’t have to be sexualized. You can wear intimates just for yourself. But in the same breath there’s also nothing to be ashamed of! I wanted to create a brand that encourages young womxn to know themselves better, explore who they are sexually and ultimately become comfortable with who they are.

Please share more about the concept behind the fashion film for your latest campaign?

I think it all started when I drove pass a beautiful School Building in Woodstock. The pink building seemed so on brand, and I could already imagine the styling that could accompany a shoot there. So when I met up with Thea, the director, for the first time we started brainstorming around the concept of incorporating a school setting. We wanted to create an authentic representation of girls that might be nostalgic for older generations while inspiring for younger girls. While exploring the theme of coming of age, we realized it was a place where many young women feel insecure about their bodies, and we felt that by setting the film in a school environment, and styling the intimates there, we would be reclaiming that space. It was also important that it was just the girls by themselves, without the distraction of parents, authority figures or boys – we were intentional about creating a gynocentric representation of high school.

Please share more about Thea Small and how working together enabled the creation of this film?

I met her through Instagram, where she messaged me to meet up to discuss a possibly collaborating on a fashion film together. I think we were both in a space where we wanted to find a new creative outlet as well as work on our own portfolios. It was also really important to me that she was a female filmmaker, and upon our first meeting, I knew she understood and shared the brand’s vision.

She taught me so much as a fellow creative, but I think some of the biggest takeaways for me from the project is the power of collaboration. It was so amazing to be able to rely on someone else, especially someone as hard working as Thea. She had the perfect vision for bringing our brand to life on film. I think if you have multiple people contributing to an idea, the concept can become so much stronger and far more refined. So I can’t be happier with how this project has brought a next dimension to the brand.

Why did you decide on a fashion film for this?

I have to admit that I would have never thought to do a film if it wasn’t for Thea reaching out to the brand. After talking to Thea for the first time it felt like the right next step to expand the brand. I really wanted to push the brand into a more conceptual direction, while still showcasing the products. Also this is by far the brands most theme-driven project, so I think it’s a bonus to have more than just stills to fully translate the idea.

Who do you imagine as the people who wear your designs? Do you keep this imagined wearer in mind when bringing out new collections and campaigns?

I think unfortunately the product design process is very much influenced by what materials are available. But once I do have the materials, it’s all about finding the most versatile way of working. I try to make patterns that I can adjust to different cup sizes and bust sizes. The dream is to make most of the products on request so that you have to submit your measurements online to make a custom bra that fits you perfectly. For now I’m still finding the balance between what’s available and within my skill range as a small business owner. Eventually I really want to expand to be able to accompany more body types and preferences. Because I suppose, I imagine all womxn wearing the designs eventually, or at least that’s the dream!

Anything else about the fashion film or Koeksuster that you would like to share?

Our film also had a soundtrack composed especially for the production. We wanted the perfect sound to accompany our film, and spent time creating music to edit to. The track also includes voices that further emphasizes our focus on Sisterhood and Solidarity.

Credits:

Director: Thea Small

DOP: Jason Prins

Producers: Lola Almond & Chase Musslewhite

Camera Assistant: Junaid Rawoot

Gaffer: Patrick Buti

Make-up: Marchay Linderoth

Styling: Marli Grobbelaar

Art Direction: Christina Leigh Fortune

Style Assistants: Michelle Benade

Production Assistants: Chelsea Wiercx & Beth Ribeiro

Photographer: Natasha Alexandra

CAST:

Terri de Jager

Iman Kathrada

Lucy Mbiola

Maxim Marais

POST:

Editor: Tomas Wells

Colourist: Brett Wrayner

Music & Sound Composition: Elu Eboka

Voice: Liza Scholtz & Tinuke Eboka

18 July 2018
Cheb Moha – The Stylist, Designer and Photographer pushing a new vision for Middle Eastern Identity

Middle Eastern identity seen like never before. An exploration of youth and fashion. Candid intimacy and beautiful styling is brought to the fore.

Cheb Moha is a young stylist, designer and photographer living on and off in the Emirati metropolis. Born in Iraq, he moved to Canada at the age of 12. Having left Canada in 2014 to wander between Kuwait, Oman, Dubai and other parts of the gulf, he has been producing work surrounding his acute understanding of Middle Eastern experiences of social class, misrepresentation and refuge.

His style has secured him projects with brands such as Vans and The Hundreds. However, his aim is to create work that will support the region. It was a goal for Cheb to move back to the Middle East as he felt strongly about rediscovering his roots.

Currently in Dubai, he works on his personal photography, styling and art direction projects as well as brand consultation. The diverse creative has had his fingers in various creative expressions from designing ensembles for musicians to styling commercials.

The models for his work are often his friends. They regard the work that they create together as their form of reality-infused expression and believe that it assists in defining an authentic picture of Middle Eastern identity. “That traditional ideology about what Arabs should do, what we should wear, and how we should act — it’s all changing. It’s a good time for creatives who want to express themselves, because it’s still new,” he expresses in an interview with The Fader.

Cheb states that there has been complete misrepresentation of the area for the last 30 years. He has also emphasised that people from the region have not been producing creative work as they have moved out of their countries due to conflict. However, people are returning to their homelands and in the creative sector he shares, there is a lot of love and support for one another’s practices. They push each other to excel as they see themselves solely responsible for the representation of the area and their cultures. His primary focus lies in presenting what he finds beautiful about his country and his people and not to show that which has been made to be controversial or exoticized.

Cheb and his friends are helping grow a more well-rounded understanding and perspective of what it means to be a young person in the Middle East today and are breaking down commonly held stereotypes of what people believe Arab people should dress like and be like. Sparking a revolution with intimate images made from the heart.

25 April 2018
GOOM // Pushing the boundaries of menswear

After starting off at Central Saint Martins studying womenswear print, GOOM designer Goom Heo reevaluated her position and felt the need to click pause. Being completely open about the fast-paced fashion lifestyle and the pressure that can come from being pushed into spaces that one is not ready for, Goom turned down potential placements with brands such as Dior, Kenzo and Margiela for a two year sabbatical from the industry, and went back home to Korea. However, she never stopped taking in the life she saw on the streets, and armed with her camera, she documented the trash that she found around Korea and China. Goom remembers one distinct moment, seeing a man roll up his t-shirt to expose his large belly, and no one around him being concerned about this. For her this represents her decision to go back to CSM as well as the premise behind her final collection; not being concerned about what other people think and taking ownership of one’s fashion choices.

Upon her return she switched to menswear, something that she hoped would wake her up creatively, considering that she had been out of the game for two years. Inspired by trash and the man she saw with his belly exposed, Goom translated the colours and textures from her photographs into her layered t-shirt design. Her final collection at CSM was a combination of these t-shirts, excessively broad shoulders for 80s-inspired tailored jackets and multicoloured turtlenecks. The collection was captured by blurry images, making the viewer absorb the garments through a trippy, hallucinatory glow.

Having grown up in Korea, and spending one year in a small town in the US, Goom expressed how living in London while studying has allowed her to unleash her creativity, referring both to her own sense of style as well as her practice as a designer.

“I thought I kind of wanted to do menswear in second year but I was scared of it because I thought of menswear having to be perfect with amazing sewing, pattern cutting and tailoring. But I thought ‘ok I can do that, or I can change it to be like something else’,” she expressed in an interview with Hunger, “I wouldn’t say my collection is 100% perfect or traditional menswear but you can still see hints of it. But what’s proper anyway?”

Her collection is all about attitude, with male models walking assertively down the runway with shorts stretched over the bottom of oversized tailored jackets and white fishnet stockings pulled over models’ knees. Her decision to jump back into the industry received incredible validation when her collection won her the L’Oréal Professionnel Young Talent Award.

Goom is currently embarking on her MA, and the fashion world cannot wait to see how she will elevate and/or transform her already well-known name.

17 April 2018
Notion of Form // Embracing Multiculturalism through Abstraction

Intersecting lines flow into form. Revealing subtleties of the figure. Long limbs extend from folds. Striking asymmetry. Frills unfurl in contrasting shades of flesh. Swedish artist and designer, Mina Lundgren, is the founder of Notion of Form. She begins the design process by, “investigating how a theoretical approach of how diversity and multiculturalism can be expressed through form and clothes. I’m interested in creating expressions that embodies unity, yet still allows diversity within.” From there she tries to explore how to relate and abstract the physical body in relation to this theoretical approach. “I tend to look at the body as a puzzle. Each part has its own form, yet it creates unity.”

“The way I will use the material in relation to the body sets the whole direction forward.” Mina approaches the notion of form through modes of sculpture. For her latest collection she sculpted with clay, “drawing from shapes of the body, to find a sculptural expression …that I wanted to translate into garments.” Her designs are also centred around the intersection of visuality and politics – the embedded ideology of aesthetics. “What fascinates me about abstract expressions is that they are both timeless but also, referenceless…They speak to our subconscious memory of form and sense.” She enjoys the universality of this kind of expression as it is more inclusive than other modes of fashion.“Fashion is often built around references that are reworked, tweaked or refined. I want to step away from this way of working.” Instead she wants to, “create a visual language that anyone, regardless of where they are from,can comprehend and relate to on an emotional level.”

When it comes to multiculturalism, Mina fervently believes in celebrating differences while also striving to find common ground. This is rooted in a humanist philosophy as she aims to practice and respect human rights. “I feel that Sweden is still learning how to understand diversity and to create a balanced multicultural nation. However, I feel that the country has a lot to be proud of in terms of equality between and men and women, discrimination laws, free education, and the social security system.” This sentiment of equality and a nuanced approach to cultural difference is at the core of Notion of Form.

This year Mina plans to work closely with collaborators as a means to engage with the brand in, “new and meaningful contexts.” In this latest collection Mina has focused on making her garments more wearable. “I have been enjoying developing new methods for patterns cutting focusing on the shapes and curves of the body in a more experimental way. I have understood more how I want to work with the body,both form a garment-oriented perspective but also and in a more artistic way.” She will also start production and sell selected garments online this year.

Mina hopes that expanding fashion markets in Africa and Asia will shift the way that the industry operates to meet consumer demands. “More diversity, more people of colour in top design positions. More leading design schools outside the west. More models of colour, stop tokenism on the runway!” She believes that this transition will be made possible by growing awareness, education and advocacy.

30 March 2018
What it really means to be a Stylist – the creative profession that is becoming an extension of a multitude of art disciplines

Thinking back to the creative industry a number of years ago, creatives of all types generally operated within a specific field and seldom dabbled outside of its borders, unless they were of course, “against the grain”. It is my opinion that institutions of higher learning beg of their young students to specialize in one medium, and to be proficient in this medium exclusively. Multidisciplinary crafts are hardly ever encouraged. In a world of rapid change and instant gratification, the demands of clients ask more of creatives today. I state this as currently there are many stylists who have become proficient in an array of creative expressions to such an extent that they have the capability to wear every hat needed for the execution and completion of a project. We spoke to three of South Africa’s trailblazing all-rounders about their multifaceted creative exploits.

Photography by Anees Petersen

Anees Petersen

Anees, known for his designs, fashion label and styling, is becoming well versed in the medium of photography. He has set the tone and image (as both digital pixels viewed on electronic screens, and a physical dresscode) for what South African youths look like. Young & Lazy and the Corner Store have assisted in creating an image of our youth that is more versatile and heterogeneous. Looking through the duplicity of lookbooks created by this creative auteur it is almost like seeing Larry Clark’s 1995 ‘Kids’ in still form; yet unlike ‘Kids’ filled with messages of doom, Anees’ message is one of positivity – a celebration of youth.

At the start of Anees’ solo venture he only occupied the position of designer and handed over his collections to stylists and photographers to create lookbooks for him. Regarding it as an act of “letting go” to another stylist, he did not feel capable of styling at that early stage.

Photography by Anees Petersen

“Eventually, I made more collections and I started feeling that by ‘letting go’, the vision that I had, became watered down or changed…” Anees’ persuasion to be more hands on in this regard came from a sentiment that each stylist and photographer inadvertently added their own signature to a specific shoot – a style that he didn’t necessarily want to portray.

From there, Anees took it upon himself to style his designs and worked closely with photographers, making sure he took the lead in the art direction. It took Anees a while to step in behind the lens despite having experience with photographing on a point and shoot.

Photography by Anees Petersen

A boost of confidence intercepted when Anees needed to do some product shots with models and he could not find a photographer for the job at hand. Taking the leap, he photographed the set of images himself. Public review of his images was exceedingly in his favour.“It’s something that I really enjoy. It’s almost [at] a point where I would stop designing to become a photographer, if I could be a photographer.”

His process has become a union of image creator and designer pushing the focal points of his designs for consumers – this differentiating factor is what sets him and his deliverables apart. His style verges on blandness without any frill, lace or prettiness – yet these images should not be construed as unappealing. In fact, they draw you in and mesmerize their viewer.

Photography by Anees Petersen

Gabrielle Kannemeyer

Gabrielle is a name so embedded in Cape Town’s creative culture that it’s hard to speak about the scene and leave her name out of the conversation. Known for her immense talent as a stylist her hand brings styling to the foreground of any image. But Gabrielle does so much more than styling. A former student of Michaelis school of Fine Arts, she is also a producer, creative director and photographer.

Curious about when her creative disciplines started intersecting, Gabrielle tells me that the process already happened during her school years when she started a clothing business with a friend. Here she took on a chameleon like role of a photographer, stylist and co-director for their lookbooks.

Image courtesy of Gabrielle Kannemeyer

She unpacks her creative process as one that relies on documenting experiences. Her documentation takes the tangible form of drawing, creating mood boards and writing her ideas as they come to her. “Most of my work starts as something I see in my mind’s eye…” She shares that her process is ever changing and doesn’t necessarily take place in a linear pattern, stressing the importance of collaboration in her practice.

The Gabrielle Kannemeyer aesthetic can be defined as one with strong styling and simplified backgrounds. As a child growing up in the Northern Cape area she explored many landscapes which influenced her. She later moved back to Cape Town. She shares with me her strong belief that South Africans should tell our stories in the spaces that we are native to.

Image courtesy of Gabrielle Kannemeyer

The singularity of her styling practice arose from Gabrielle’s ability to recognize that what she wanted to bring across is something that she had not seen in the glossy pages of fashion magazines. “…No one was layering garments in a sculptural way, or in a way I thought was interesting.”

She explains that she thinks of the human body as a sculpture on which silhouettes can be changed to no end by adding elements or tying cloth and fabric to limbs. Inspiration also lends itself via the interpretation of clothes within our country she tells me. “I am incredibly inspired by the individuals I dress / collaborate with and it excites me to see the interaction they have with the silhouettes I build and all of that in relation to the spaces they are shot in is something I continue to explore today.”

Image courtesy of Gabrielle Kannemeyer

Chloe Andrea

Chloe works as both a stylist and a creative director honing her skills at Vega where she studied Graphic Design and Branding Communications, and later completed a short course in Personal Styling at Fedisa. Growing up in Durban as an only child, she cultivated a vivid imagination that has carried over into her adult life; spilling into her creative practice.

Her artistic interests came at a young age and was met with a similar fixation with dress up. Rummaging through her mother’s closet she would put together outfits that she called “characters” and insistently begged for an audience to admire her various ensembles.

Image courtesy of Chloe Andrea

“I started dreaming about my label in high school where I’d often sew myself up a top to wear out for the night. Later, launching my first collection in college called Ramble, which was completely ridiculous and outer space themed. My friend Nicci modelled the outfits, with my cousin behind the camera. It was then I realised I had discovered a new interest – the photograph.”

In the world Chloe creates for her clients framing takes a classical stance and every element within a picture frame is carefully thought out and placed. Her hand is known for its versatility and that is what she believes makes her projects distinct. From beautiful white on white to edgy pairings each project translates into human beings draped in such a way that they themselves become human artworks. “I’m inspired by creating characters and telling stories about them through fabric and images.”

Image courtesy of Chloe Andrea

Chloe tells me that her working in Nigeria has been her favoured project up to date. “Working in Nigeria – you learn a lot about self-identity and where you fit in. It’s also very challenging working in a new place where you don’t speak the languages. That being said, what a beautiful, colourful place! Everyday people rely more on local tailors to create garments for them rather than commercial retailers. It’s quite special.”

When it came to advice for young creatives with similar career aspirations, Chloe had the following to say, “The best advice I ever got was from Caroline Olavarietta. ‘Assist. Assist. Assist.’ I’d say, don’t chase fame and earn your stripes.”

Developing her skill set to encompass that of a fashion designer as well Chloe looks forward to a year of growth. She will continue creating garments for her own shoots as a costume designer while pushing the bill towards launching a full-time fashion label. She is currently being mentored in pattern making by a fashion designer.

Image courtesy of Chloe Andrea

27 February 2018
The Wanderer – Stability through Movement

In search of a meaningful way to stay intellectually charged and creatively engaged, Jason Storey said goodbye to his corporate law position in New York and followed his dream of becoming a full-time designer in South Africa. He now explores fashion creatively in its various conceptual forms with the label he started with his sister – Unknown Union.

When the label was launched in 2010, it took root in a retail store on Kloof Street in Cape Town, and it housed a collection of international brands alongside their own small capsule collection. 2014 saw the siblings open a design studio in Salt River. The same year also saw the inception of a larger collection that reflected upon the art, history and culture they encountered on the African continent. And in 2015 their brother Oscar left his job in the US to join the team. In their newest location on Bloem Street in Cape Town’s CBD, Unknown Union blends art, fashion, literature and music as a way to stay a “community of people that dig the arts.”

Their latest offering is a collaboration with photographer Cathrin Schulz titled The Wanderer – Stability through Movement. This body of work is a crisp exhibition of Unknown Union’s garments and Cathrin’s extraordinary command of lighting. An additional layer to this visual treat comes in the form of a short fashion film shot by Anna Schulz. With a behind-the-scenes feel, the film opens with the model getting camera ready accompanied by the soothing tone of James Blake’s voice breaking free as the music starts, bringing one into the Wanderer’s journey. I had an interview with Jason to find out more about the project.

Tell us a bit about The Wanderer – Stability through Movement and how it came into being?

The Wanderer can be seen as a pilot for an upcoming series and a fruitful collaboration between Unknown Union and Cathrin Schulz. A team of creatives sat down and brought in their expertise as a form of creative exchange. The cultural diversity of the creators brought up a colourful mix of ideas, leading to the story of The Wanderer. The result is the art directed and photographed edition by Cathrin Schulz and a complementary film by Anna Schulz.

What was the inspiration behind it?

The source of the collaboration is to merge the creative languages into a synergy. Unknown Union weaves ancestral knowledge into fashion, while Cathrin Schulz infuses spirituality into her visual medium of photography. The red thread is to connect the respective visions and create an effect greater than the sum of their separate effects.

The series found inspiration in conveying the concept of Human Design, a science of differentiation. The Wanderer is a primal aspect found on both of the artists’ work, to convey a deeper message – a message of interpreting experience, emotions and stories – into a stimulating form of expression.

What is the message you wanted to convey with this film?

The medium of film visualizes and highlights the project’s aspect of ‘Stability through Movement’. Its purpose was to portray the creative flow of the shoot, as well as giving access to the different angles of the scenes. The intended message is simple: the beauty of creative collaboration.

What sparked the collaboration with Anna-Marie Schulz?

The collaboration was sparked by Unknown Union’s openness to provide Anna Schulz with a creative platform of expression within ‘The Wanderer – Stability through Movement’. It is rooted in creative exchange.

What can we expect to see from Unknown Union in the future?

We are going to dig further into current themes as well as unveil some new themes at this year’s runway show on February 10, at SAMW (AW18). In March, we’ll open our newest location in Johannesburg – in Maboneng.

With The Wanderer – Stability through Movement as the pilot, Unknown Union’s partnership with Cathrin Schulz promises to bring about sheer viewing pleasure. To watch the film go to their Instagram.

The Team:

Clothing: Unknown Union

Photographer: Cathrin Schulz

Stylist: Kshitij Kankaria

Hair & Make-Up: Richard Wilikson

Model: Cristiano Palmerini

Filmmaker: Anna Schulz

1 February 2018
Young Joburg creatives to look out for in 2018

Johannesburg has always been associated with a vibrancy, hustle and creative spirit that is kinetic. A city that moves in ways that pay homage to its past lives, while simultaneously rebuilding and redefining its own foundations. A large majority of this can be attributed to the young creatives who follow their raw ambitions. There is a new creative energy in the city that is making its presence known in the streets and online. An energy that permeates as a kind of renaissance that is plugged into an entrepreneurial, “I don’t need your approval” attitude. We have identified four young creatives who embody this creative energy.

Photgraphy by Sandile Madi

Ketu Malesa

Ketu Malesa is an artist and designer, and these creative practices bleed into one other. “My artistic viewpoint influences how I see clothing design. In essence, I view clothing as fine art.” Emphasizing the importance of fluidity in creative practice, particularly at such a young age, Ketu mentioned that he is still honing his artistic style or identity. However, in reference to this answer he mentioned his interests revolve around the fusion between art and fashion.

Making sure that his work speaks to the South African context, his designs take note from local style subcultures and codes. After expressing his focus is more on style rather than fashion and fashion direction rather than styling, Ketu unpacked his sources of stylistic inspiration. “I’m inspired by style eras, subcultures and style codes as well as everyday mundane style and beauty. I’m also inspired by the past and how it influences the future. Urban youth are also inspiring and how they express themselves.”

Acknowledging a new creative energy in Johannesburg, Ketu shared that this is visible in the way that young people are taking ownership of their ideas. Mentioning his membership of the collective Bushkoppies, he sees their DIY ethos as a nod to this shift brought in by young creatives. His designs for Bushkoppies are an extension of the larger framework within which he positions his work – the questioning and reworking of sartorial and artistic norms and foundations.

Bradley Sekiti

Bradley Sekiti is a dancer who feels that movement is an expansion of emotions and energetic alignments. In grade 10 he realized that he wanted to be a part of the creative industry in Johannesburg. “After doing a couple of shows for the Johannesburg Youth Ballet (the company that I am under) and for the school [NSA] I realised that it was going better than I expected , and I thought why not.” Channeling the positive sonic vibrations of FAKA and Solange, Bradley continues to invest time and effort into improving his skills.

Having featured in Mykki Blanco’s film Out of this World his confidence about openly expressing his identity has exploded, and this filters into his approach to dance. “The queer culture is supportive to a certain extent because of the platforms that are presented for us to be ourselves, such as Cunty Power and others which gives us a sense of belonging. Those have been the places I’ve been feeding off from because I get to see other people’s success which is inspiring.”

At the moment he is working on how to use dance in a way that has never been explored before, which he plans to share later this year.

Artwork by Anne-Marie Kalumbu

Anne-Marie Kalumbu

Anne-Marie is a young multi-disciplinary artist born in Zimbabwe and currently calls Johannesburg her home. Her mediums of self-expression span from ink, pen and print making to photographic documentation. Having lived in various parts of the world she expresses that her formative years were distinguished by an ever-changing environment and a characteristic thrill of uncertainty.

Many of Anne-Marie’s artworks reflect on childhood memories influenced by the various places and spaces she has inhabited over the years. Using memories as the backbone to her practice, she examines the role that they play in the formation of personal identity.

Photography by Anne-Marie Kalumbu

This has manifested into an experimental film project at present, involving the burning of negative images and relates to the wear and tear time inflicts upon memory. The negatives she explains, are symbolic to these memories and her forced intervention signifies the ease with which memories can be altered with the passing of time. Thereby regarding time as a powerful destructive force capable of altering our understanding of the past. “I aim to make artworks that contemplate the past whilst facing the brevity of the future. What you forget is as important as what you remember.” Anne-Marie is concerned with pushing the limits of what can be considered as a photograph. An ideal aspiration that she is already starting to conquer.

Photography by Jemma Rose

Jemma Rose

Jemma Rose is a young creative predominantly known for her photographic expression. A suburban childhood had isolated her from the harsher realities of South Africa. Her realization of this sheltered-ness transpired into the objectives of her practice. “I started taking photos to try and understand everything around me.”

Her message encapsulates topics such as mental health and queer identity. Recently she has started looking at another point of interest, photographing confusing subject matter. “My aim is to make people question why things are the way they are.”

Describing herself as an image recorder navigated by gut, Jemma regards photography as a therapeutic practice that eases her experiences of anxiety. Johannesburg has influenced the way in which she thinks about her projects. Currently she is interested in public space and definitions of “safe space” for various womxn from varying milieus.

Jemma’s work features her friends, dog Lula and anyone she can persuade to pose for her. Aspiring to become more self-focused this year, the young image maker has a promising future ahead of her. In short Jemma’s work indicates a mastering of her own photographic style and can only be described as a feeling.

Photography by Jemma Rose

12 January 2018