Tag: fashion

  • TELFAR x FAKA – exploring gender fluidity through fashion and performance

    The exploration of gender fluidity or genderless garments has come to the fore over the last few years in fashion. Launched in 2005 by designer Telfar Clemens, TELFAR has positioned itself as a foundational brand for black, avant-garde design with gender fluidity as its backbone.

    During  Milan’s Men’s Fashion Week in January, Kaleidoscope presented TELFAR’s project, Nude – a live installation of TELFAR’s work in collaboration with other artists. This project stretched fashion linguistics by sharing with audiences a fashion presentation without any garments.

    Photography by Donald Gjoka

    The exhibition centres around a large nude image of designer Telfar Clemens by Rob Kulisek. Surrounding this were nude mannequins with gender signifiers removed. These were an updated version of the mannequins TELFAR presented at the 2016 Berlin Biennale, that were designed by American artist Frank Benso and manufactured by German mannequin factory Penther Formes. In addition to this, there was a film about Telfar’s apartment building in Queens, NY made by filmmaker Finn MacTaggart accompanied by musical composition by Aaron David Ross.

    FAKA were invited by Telfar to bring a performative element to the show. Having been TELFAR fans for a number of years, they were pleasantly surprised to find out that Telfar has been keeping an eye on them too. After a few email exchanges, the collaboration was solidified. “We performed both our EP’s ‘Bottoms Revenge‘ and ‘Amaqhawe‘. Our performance tied into Nude through our known exploration of gender fluidity which Telfar’s work generally explores,” Desire explained. Their performance also gave audiences a sneak peek of TELFAR’s new looks. Working together made complete sense considering FAKA’s interrogation of gender identity, and their aim to celebrate, reimagine and liberate queer bodies. FAKA continue to push their positive agenda across the globe with collaborations such as this.

    Photography by Pietro Savorelli
  • 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

  • The Evolution of The Sartists

    The Sartists – One of the first collective’s whose name imprinted onto my young mind when I situated myself within the man-made concrete mounds of the bitter-sweet creative city of Johannesburg. A very organic process considering that this group stood out as one of inimitable expression characterized by disruptive, radical thought and one of a kind fashion apparel. The multidisciplinary collective made up of Andile Buka, Kabelo Kungwane, Wanda Lephoto and Xzavier Zulu seek to challenge insular notions about blackness with a documentary approach to style and identity. Now four years since the inception of their creative brotherhood the auteurs of the ‘Sport Series’, the ‘Our Tribe’ Stüssy editorial and the Levi’s Customization project are in the midst of a transition.

    As time has passed so have the dynamics of creative production for The Sartists who are working more towards honing their practices individually outside of the collective. What is anticipated by the group for this year is a number of international exhibitions and a keener focus toward personal projects for the group as a whole.

    Individually Wanda’s fashion label, ‘Wanda Lephoto’, a ready-to-wear brand taking its inspiration from under-celebrated black culture, has a new collection in the works. With his focus marked on the new collection, Wanda will partake in his first South African Fashion Week. One of the goals he shares with us in conversation is to employ people for his label and to share skills, grow and participate in more events as an individual, and as a collective.

    The collective’s transition is one of singular focus looking inward as can be seen with a renewed focus on the Customization of denim project. A collaborative project between Wanda, Kabelo and a retail partner will bring forth a new denim capsule. Wanda explains that the design focus on denim can be attributed to their collective attempt at channelling earlier DIY forms of denim production for the group that took place in their homes.

    “I think there is a strong cultural significance about denim within our spaces. Jeans can last you 5-10 seasons depending on how well you treat them and how good the quality is. I like to make classic products that will outlive me and my time on earth. Denim is one of the key items I love to design because it embodies that,” Wanda explains.

    Wanda shares that he would like to use his first fashion show as a stepping stone to have his models’ opinions voiced beyond their aesthetic appeal. “I like to use people with substance that are giving back to the culture.”

    Kabelo has been working on projects in honour of his late father and launched a casual football brand in this year that speaks to South African culture. Football is of integral importance to him as it was one of the first sports that he played and the idea for the brand acts as a way of creating a football lifestyle.

    In October of last year Xzavier celebrated two years at adidas and expresses that “I am in a different space, the corporate guy in the group. I’m trying to balance that with who I was even outside of the collective.” He hopes to release two collections this year. As the collective works towards individual growth, he expresses that it will facilitate collective efforts and pinpoints it as an internal, mental and cultural shift.

    He elaborates on their current way of working by stating that the group assists one another in personal projects and makes time in their schedules to work towards projects for the collective. An example of this can be found in the 5OS (Five-O-Sartists) Levi’s project by Xzavier Zulu. Some might say that this mode of cultural production is the future of collaborative practice.

    Being a part of a collective is an incomparable support network within itself built on trust and respect, Xzavier expresses. He looks to his collective not only for advice and support but for truthfulness in his practice – to tell him when his work needs more, less or something different.

    “There is more of a community, a family. A respect and understanding of each other’s possible success. There is a very clear understanding that your efforts are as great as the next person’s and can only help the collective as a whole.”

    His advice for getting your first “in” with a brand is to be patient, work hard and surround yourself with others who share the same work ethic as you. He identifies the collective’s success as one that came about from years of customizing, thrifting and working hard. “Understand that you need to work even if you think you’ve made it. If you want that brief from that brand you need to think like that and be really mature.”

    Andile has been working in Japan frequently over the last 3 years and expresses that the city stimulates his personal projects. He explains that his constant return can be attributed to his interest in publishing and creating photo books in a city where publishing is more affordable.

    “I think I’ve done more that side than this side in terms of my personal work. It’s humbling to have that presence and support in a city that you are not from.”

    When probed as to why he remains a member of the collective he states, “You come to the realization that you can do things by yourself but when you do them as a collective it’s better, it’s bigger, it’s stronger.”

    With labels such as “Johannesburg’s best dressed crew” and perhaps a subculture within itself, The Sartists embody at present everything they set out to be; to be storytellers who celebrate black culture and subvert narrow minded views on blackness in modern society. The collective has left their imprint on South African youth culture and fashion resulting in other young people becoming stylists by thrifting and customization. As the brand has grown over time so has its members. The choice to focus on their practices individually has not resulted in a negative impact and instead they look to one another as family and as a support network to grow the collective through individualized growth and focus. What is of importance is “a greater consciousness” and advocating for change. As their website states, “IT’S NOT ABOUT US”.

  • Art’Press Yourself Festival // Back to the Afrofuture

    Fashion. Art. Music. These are three creative spheres that are often intertwined with one another. The Art’Press Yourself festival, organized by the agency DARAJA CONCEPT, took place in Paris on 3-4 November, and aptly represented this intersection. Described as an afro-urban festival, designers, filmmakers and artists with roots spreading across Europe and Africa were brought together to share their work which tied into the slogan for this year’s festival, ‘Back to the Afrofuture’.  Playing on the cyclical notion of time, this slogan references Afrofuturist thinking.

    The backdrop with the words ‘Art’Press Yourself’ surrounded by adinkra symbols greeted guests as they walked through the entrance of the festival’s location, Pan Piper. This was created in collaboration with POSCO. Festival-goers were invited to sit on a hand-woven chair and use various props representative of the festival and different African religious and mythological stories for photographs. However, the use of the backdrop transformed throughout the festival, with people being given pens to write messages and draw on the white spaces between the letters. This is symbolic of the collective production of language, making a connection to the way in which images have played a significant role in the foundation of African lettering and preservation of knowledge. Considering how young the festival is, it moves towards its importance in bringing together artists and designers and making a collective mark on framing fashion, design and music inspired by African and African Diaspora experiences.

     

    The three levels of the venue allowed for a seamless definition of spaces, making it easy for attendees to navigate the festival. The first level included an exhibition space for artists and designers of all kinds to share their work. Gold jewelry, items sourced made from various African countries, accessories customized by artists, and original art pieces.

    Ensuring that the festival catered for different interjections and reflections on creative practices, the third level of the venue was used for a fashion show, performances, a film screening as well as a talk on Afrofuturism. A display of the dance style vogue by Matyouz Ladurée and Félicia entertained festival-goers during the day on Saturday. Jean Fall, the founder of Cinewax, shared with audiences a video describing different elements of Afrofuturism and its significance as a school of thought and lens through which to view the experiences of black people. This was followed by the short film by female filmmaker Wanuri Kahiuthat uses Afrofuturist motifs as a way to interrogate environmental issues in Kenya, and the globe more generally. There was also a projection of Alexis Peskine‘s movie ‘Raft of Medusa’.

    With the film setting the mood for a conversation which underlines what these motifs are and what they mean, UK-based digital artist Ashley Straker shared the stage with Bubblegum Club’s Editor Christa Dee to have a question and answer session facilitated by Laurie Pezeron (founder of READ! CLUB) about Afrofuturism. The enthusiasm and curiosity expressed through the audience members’ questions highlighted the significance of the conversation and the interpretation of it as a therapy, a methodology, an imaginary, tool for critique as well as a connection to a past, present and future which is expressed through writing, fashion, art and music.

    The festival had an open-ended closure, allowing for conversations and networking to continue post the event.

    To find out more about the festival visit Art’Press Yourself on Facebook and Instagram.

    Below is a list of artists, designers and other participants to get a feel for the kind of collective creative energy that was present at this year’s festival:

    Fashion

    ASO GLOBAL. HARRIS M. MADEMOISELLE BLE. SOUL and ROOTS. KEIKO. SECRET SAMPLE. L’ATELIER DE BOJEL. ICOM ASSO. EKEEYA. KOROSOL AFRICAN ARMURE. KORY WADE. ALICIA DELYSSIME. ITFA

    Accessories

    MA COULEUR A SES MERVEILLES. AYIZANA. NOOR ART. OH LA CRANEUSE. NOIR FLUO EVA SAM. BAZAR WAX. OHEA. AFRICAN STYLIA DECO. NUBYA. DE BENGUE. LA FABRIKAWAX. EBENE CHIC. NATTY KONGO MLKREATIONS. NACHO JEWELS.

    Visual Arts

    LAURIE-ANNE BRACCIANO. ASHLEY STRAKER. HANEEKS. PRINTED SOLES. LEA PALOMA. MARY CREA ART. KIRIIKOO PINEAPPLES.

    Beauty and other categories

    REAL B COSMETICS. KISSORO TRIBAL GAMES. NYEUSI CREA LOCKS. MELLE LEE ZA. SERGE KPONTON.

    My incredible journey at the Art’Press Yourself festival was made possible thanks to the French Institute of South Africa.

  • Umlilo and Whyt Lyon – Glory Bois

    One of the most visually opulent artists working today, Umlilo has been winning ears and hearts with their bold fusion of kwaito, rap and bubblegum pop. Since their debut EP in 2013, Umlilo’s project has been exploring the tragedies and triumphs of life in a world of repressive gender politics. Their artistic comrades in the struggle is the Johannesburg electro-rap Stash Crew. Frustrated by the erasure of LGBTQ identity in mainstream culture, they combined their talents in 2016 with the “Queer Galactic Alliance” world tour, thrilling audiences with raucous live shows in Brazil and Germany. Their aim was to attack the Death Star of toxic conservatism, promoting “glitter anarchy” on the streets.

    The performance collaboration has extended into the new DL Boi a song and video featuring Umlilo and Stash Crew rapper Whyt Lyon. The music video is an extravaganza of fashion and movement. Filmed in Melville’s Glory nightclub, it intercuts grainy, VHS-style scenes of nightlife with crystal clear choreography, conceptualised to show off “Joburg’s fiercest queer talent”. Directed by Jono Kay, its choreography scenes focus on internationally renowned performers Henk Opperman and Lllewellyn Lulubelle Mnguni. The intensive costuming was provided by designer Caroline Olavarrieta, with makeup by Orli Meiri and Dylosaurus Rex creating a world of glamorous retrofuturism.

    The lushness of the images complements the driving simplicity of the song itself. DL Boi is a massive-sounding pop song, with a relentless beat throbbing like strobe lights under a chorus hook of “If you want me let you know”. It sounds instantly classic, like hearing a forgotten house anthem from the early ’90s. The song’s title references a ‘down low brother’, a closeted gay man trying to secretly hook up with gay men. In the hands of Umlilo and Whyt Lyon, this scenario becomes a tale of brash self-assertion, delivered with utterly compelling visual and musical flair.

  • 10 years of Moonchild

    “My mom has special powers, she sees stuff before it happens. So she’s an inyanga [healer in Xhosa]. Inyanga also means the moon, so instead of being a child of a healer I choose the moon. It’s about being the child of someone with a special gift,” explains Moonchild Sanelly when asked about her stage name. Born in the Eastern Cape, she was surrounded by jazz thanks to her mother who was a jazz singer and owned a jazz tavern. Weekends were spent at her grandmother’s home where her cousins who were Kwaito dancers would practice. Along with hip hop, these were the sounds she was exposed to as a child.

    Moonchild Sanelly always had a desire to be on stage. Singing and dancing from a young age it was in high school that she formed a group with a few of her friends and started performing Spice Girls covers at school assemblies. “I was a stage kid. I don’t remember thinking about becoming a singer one day. It was just one of those things, I’m going to be on stage, period.”

    Moving to Durban in 2005 to study fashion, her first performances were as a poet in 2006. While she can’t remember being introduced as anything else other than Moonchild, officially  Moonchild the artist was born in 2007.  Instead of trying to fit into the typical rhyme scheme or poetry mold she would let the characters she became on stage guide her performances. This led her to getting a regular slot on King Siso’s show on Kakasi FM. Already as a poet she was already subconsciously engaging with acts of female empowerment. “There was always some form of empowerment, without even me knowing I was empowering. I was just standing up for women. It was just me being myself.“

    Moonchild Sanelly describes her bold style as ghetto funk, a combination of music, fashion and dance. Her performances are energetic and sexy, with Moonchild Sanelly never standing still. Explaining her performances Moonchild says that, “this is how you lose your mind. This is when you lose your morals. This is when you are just free. And then you bring out the girl you always are.” Her lyrics are in a mixture of Xhosa and English and are a reflection of her authentic voice. “It’s literally the way I speak so I’m super expressive that way.“

    The past year has seen her collaborate with a variety of artists which she views as an opportunity to expose people to her music that would otherwise have not been exposed to her work. “I don’t want to change my sound. I want to be myself. But then there are people that will never be exposed to that.” The approach seems to be paying off as more people are starting to take note of her talents. “It’s working out nicely because now people hear one verse in a feature and they go back to the actual album. They know my music because the verse in the feature is already different.“

    Her long list of collaborations include three tracks on DJ Maphorisa’s upcoming compilation, including a track with Shimza  and DJ Maphorisa as well as one with Rude Boyz. Meanwhile her current single ‘F- Boyz’ is getting the grime treatment and will be released in the UK. She’s also got a track with Japan-based Weird Together alongside Kwesta coming out, while her track with Original Swimming Party, ‘Biggest Curse’, is getting an international release. Finally her track ‘Yhu’ with The Kiffness is currently on radio rotation. “There’s a lot of music,” says Moonchild excitedly.

    With so much music in the works an album is not a priority for Moonchild at the moment. “I feel like the features I’ve got are an album on their own. Before I even drop anything. I’ve no pressure to drop an album for next year. I’m definitely doing EPs.” Next year also sees Moonchild going on tour. While several destinations are on the cards, London is confirmed. With her voice reaching so many markets it’s only matter of time before Moonchild Sanelly becomes a household name.

    Credits:

    Photography & styling by Jamal Nxedlana

    Hair & makeup by Orli Oh

    Styling assistant – Lebogang Ramfate

  • ‘Bigger, Rounder, Blacker’ // Body Positivity with Rochelle Brock

    ‘Bigger, Rounder, Blacker’ // Body Positivity with Rochelle Brock

    Rochelle Brock is a young photographer of colour from Brooklyn, New York. With her brand Fat Leopard Photography she has been revolutionizing the concept of the ideal body type. Her work challenges conventional beauty standards in America featuring beautiful curvy women of colour styled in the latest fashion trends. Here I will analyse Rochelle’s methodology and technique.

    Her work can be deemed out of the ordinary by the way in which she documents the confidence that radiates from her models. Using colour palettes that shift from very vibrant tones to nitty gritty and the concrete jungle, Rochelle seems to have an uncanny know-how of evoking mood with her colour choices. While Rochelle’s work focuses predominantly on the bodies of women of colour and their curves she does not leave out slimmer body types and some of her series’ revolve around slim women.

    Photograph from ‘Kidnap snap’

    Rochelle has an amazing ability to move from a studio set up with soft defused light and pastels that amplify her subjects to a more documentary style of shooting which is an outstanding achievement to ascertain as so many photographers are stuck in one form of image creation.

    Rochelle’s motivation behind celebrating marginalized body types came from her frustration with not seeing her own body type represented in any fashion campaigns and she set out to change that. Today, Rochelle has worked on various fashion campaigns and is a true ambassador of body positivity who expresses that she wants a bigger, rounder, blacker movement.

    Photograph from ‘Jarae Hollieway’

    What Rochelle enjoys about the body positive movement is that it has helped her come to terms with her own body shape and love herself for all that she is. Her advice to women who have larger body types is this, “Take up more space. If we don’t fit the ideal norm in society or even in the BOPO movement, we need to make sure we step into that “room” when we get the chance. Take up space and be heard!”

    Femme photographers like Rochelle are actively trying to normalize larger body types and the fact that this kind of intervention is necessary is dismaying. Why should larger women have to fight or campaign or have movements for body positivity and acceptance when they are already beautiful? I am thankful for the body positive movement, as this is a societal problem that requires resolve. I do hope that with time the movement will have a larger impact and create more change into what is considered the ideal body type. Fair and accurate representation of all women is the norm that we need to strive for. All women are beautiful, and that’s that.

    Photograph from ‘Jarae Hollieway’
    Photograph from ‘Girls Girls Girls’
    Photograph from ‘Girls Girls Girls’

     

     

  • adidas EQT // cultural parallels between two urban landscapes

    In 1991 adidas turned to its history, providing “everything that is essential and nothing that is not” and so the EQT came to be. From its home in Berlin, the EQT symbolised the best of adidas, focusing on performance, comfort and protection to meet athletic needs. This shift in thinking has been carried over throughout the years at adidas where “premium materials, purposeful construction and the adidas trefoil” have made the EQT one of the iconic Originals.

    The EQT campaign aims to celebrate Detroit’s current cultural renaissance by drawing parallels between that city and Berlin. Taking cultural and city histories as a point of departure, there are significant similarities between Johannesburg and Detroit which can be identified through dance styles and the histories of life beyond divestment and dilapidated buildings. As adidas recognized in their development of the EQT, going back and highlighting the foundations can breathe life back into once forgotten spaces and cultural contributions, and present the possibility of a re-imagined future.

    Detroit Michigan is a city with a rich history, once functioning as the heartbeat of the U.S. auto industry and the birthplace of Motown records. Detroit, which was once the fourth largest city in America became the largest city ever to file for bankruptcy. The Motor City has closed down its factories, an underclass has formed and the city has been left behind. Many of Detroit’s buildings that once stood beautiful and proud have become urban forests. To get an insider’s perspective on the downfall of the motor city we did an interview with artist Ashley Cook who grew up in Harrison Township, Metro-Detroit.

    “The ‘white flight’ movement began well before I was born, in the early 70s. By the 1990s, Detroit was extremely desolate; there were few job opportunities. It was not until 2008, with the national economic crisis, that I started to see and feel the struggle. The situation is complex and has many facets including racism, xenophobia, class and economic privilege,” Ashley explained.

    For Ashley, what she has seen materialize in Detroit is an indication of the social and racial issues that need to be addressed and resolved before change is possible.“When a community of people are left by their governing force to fend for themselves, they eventually learn to survive and thrive with autonomy.”

    Thinking about Johannesburg’s inner city history of ‘white flight’ and decaying buildings, it echoes the sense of struggle, emptiness and a feeling of being left behind that Ashley highlights.

    Bertrams is one of the oldest areas in Johannesburg and today you can still find landmarks that indicate the wealth that was once in this suburb, these being fragmented and run down mansions.  Another inner city suburb in Johannesburg that has negative connotations connected to it such as being ‘unsafe’ and has become badly rundown is Hillbrow. When Hillbrow was conceptualized as a suburb the initial idea was for it to be a residential area, distinct from early Johannesburg’s industrial bustle, a site for health infrastructure in Johannesburg. Over the years it has been caught up in racial tensions, fear, poverty and chaos.

    While this may seem like doom and gloom, both of these cities have lives that have exist beyond their stories of forgotten spaces. This is signified by the dance styles that have emerged from these cities, namely Detroit Jit and Pantsula. These two styles quite fittingly have similar rhythmic movements and have an emphasis on footwork.

    Starting as a street style in the 70s by three brothers known as The Jitterbugs, Detroit Jit involves intense body movements, with sneakers allowing rapid foot and ankle movements. With the influence of hip hop the dance style has evolved, and jit battles have become part of this culture. Pantsula is a popular dance style in Johannesburg, which follows a similar emphasis on theatrical footwork. Born in the townships, pantsula carries a rhythmic speed which has been translated into a culture and fashion sense.

    The shoot aimed to highlight the life that exists in the city beyond the decay, and to acknowledge the cultural contributions of jit and pantsula, both of which make the foot movements the shining star of the dance.

    Pantsula and music duo Amadando were photographed outside beautiful abandoned buildings in the Johannesburg CBD. The duo moved to Johannesburg and brought with them moves from the Durban dance style, local. They have masterfully combined these with pantsula and 3 step, and have become well embedded in Johannesburg’s dance scene. They were also featured on Okmalumkoolkat’s single ‘Gqi!’ and are pairing their dance with the music they produce.

    Through the technique called Photogrammetry, and as a direct visual representation of the connections between Detroit and Johannesburg, images of Detroit’s abandoned buildings by photographer Tony Katai have been incorporated into the Johannesburg editorial to reflect the beauty, the decay and the possibilities both cities hold.

    Models: Sifiso Bright Dlamini & Andile Siyangaphi

    Post production: Lex Trickett

    Photography & Styling: Jamal Nxedlana

    Makeup: Orli Meiri

     

  • Not Seen Store – where functionality and style meet

    Luke Maritz is the creator of Not Seen Store, the Cape Town based brand, locally hand crafted and inspired by counter culture, youth culture, streetwear and graffiti. On edge and not on hype.

    Not Seen has recently launched its online store that is designed exceedingly well. Navigation is easy, the typography selected for the overall feel is wonderful and so is the logo design. Of course what mostly drew my attention was the actual design of the products and their superb lookbooks.

    In conversation I had with the creator and owner of the brand he mentioned that his branding concept was created initially as an idea to provide an online platform to buy and resell products like analogue cameras. Maritz continues by saying that due to continuous positive reaction his brand quickly developed into what it is today.

    PRODUCT 1 NTSN

    What I find so undeniably intriguing about Not Seen is the fact that Maritz not only designs the products which consists of roadmap bags, fanny packs and rain ponchos, he also does all the styling and photography of the lookbooks himself. His label is a personally directed branding concept. Maritz is an incredibly talented individual with not only the gift of a photographer’s eye but a key sense of design and color combinations. He is bringing out an extremely vivid edginess in his brand that has become his signature. Maritz is not just an entrepreneur. He is an artist.

    Not Seen focuses predominantly on the roadmap bag and fanny pack, which has been making its way back onto the streets and the runways of the fashion world since 2015 as a unique way of carrying essentials.

    What all Not Seen’s products have in common is their minimalist design using primary colors and black. The products are durable and well constructed. These designs can be used to customize quite a number of different ensembles as can be seen when looking at how Maritz styles his lookbooks. What is striking about this branding concept is how Maritz keeps it proudly South African by using Cape Town’s natural environments as well as cityscape as the backdrop for his lookbooks.

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    His choice of models subtly reminds me of the type of models American Apparel often steered towards; they fit the “street brand” image incredibly well and have an edgy, rebel teen look to them that is setting the tone for this off beat brand.

    The most important thing to recognize about Maritz’ brainchild is that it is intended to add value to the consumers daily experience. In Luke’s own words, his brand is not hype and is here to stay. Not Seen Store is already making waves and I look forward to seeing the vision grow.

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  • IAMISIGO SS17 IDENTITY collection

    The striking fusion of audacious and minimal design aesthetic has been brilliantly executed again by designer, Bubu Ogisi in her latest IAMISIGO SS17 collection, IDENTITY. Delightfully voluminous yet playfully hugging the feminine frame, the construction of the shades of red, white and navy blue pieces are bound to Ogisi’s cultural heritage.

    The Identity collection is inspired by the Itsekiri people of Warri, a people who pride themselves of their food, dress and dance. The Itsekiri people’s famous tribal dance, Omoko, is the pulse of this collection.

    An Omoko dancer confidently enchants the crowd with a grand layered arrangement of scarves and bells tied around the waist while performing a unique waist wriggling technique.

    Reminiscent of an Omoko dancer’s ensemble, the pieces of this collection are beautifully layered with ruffles, bell shaped sleeves and the tasteful tying together of material to create various silhouettes.

    You can now freely indulge in the exuberant lookbook and fashion film for the IDENTITY collection. Moreover, the independent brand, IAMISIGO, which is primarily based in Lagos, has pieces available in its Johannesburg, Lusaka, Accra, Addis Ababa and Paris retail stores.

     

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    Lookbook Credits:

    Photography Joe Penney

    Production and Styling Compozition Studios

    Art Direction BOFC

    Model Ifeoma Nwobu

  • Glitter Betty – fashion for the cheeky and playful

    Fashion label Glitter Betty from up-and-coming designer Khensani Mohlatlole exemplifies all things young and fun. Inspired by babes like Fela Gucci and Desire Marea from FAKA, she conjures up whimsical, textured garments and accessories.

    Glitter Betty started from Khensani’s obsession with thrift shopping and upcycling in high school and became an extension of a her blog Glitter Daiquiri. With her currently studying fashion, the label has transitioned from  upcycling to the creation of her own designs. Khensani has always been drawn to glitter, and anything reminiscent of fun, sparkle and eccentricity. Khensani describes her label as the meeting point between cute, sexy and quirky. “That’s what I wanted the name and idea [for the label] to give off.”. Her latest collection channels the spirits of Cher, Diana Ross and Grace Jones with cheeky silhouettes that subvert the assumed subtly and romance of sheer, velvet and satin.

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    Reflecting on how she interprets her audience, Khensani explained that, “People are more interested in the fact that there clothes are ethically made, they know who made them and that everything they are getting is unique, not just trend-happy, fast fashion.”. This is reflected in her approach to try and create clothing that means something. She is interested in new ways we can reinvent fashion and strip it of being strictly women’s wear or menswear. She is thinking about creating gender-neutral collections this year. “It’s more liberating,” she continues, “You’re not confined to a certain number of silhouettes or fabrics. It’s about what you feel looks good and putting it on a body.”.

    She has recently partnered up with Botswana brand by Mboko Basiami, Glotto. “We have both been on each other’s radar but she took the plunge and contacted me. We both dress the same type of person but in different ways,” Khensani explained. At the moment they are sharing space on Glitter Betty’s online store, but have plans to work on a collection together to be released later this year.

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    Check out the Glitter Betty Instagram page or website to view the latest collection and to an eye out for her collaboration with Glotto.

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  • Ouma, Africa and Embroidering the City – In Conversation with Daisie Jo Grobler

    A palette of prints. Donned in military style and elegance. An army jacket paired with a sheer shade of scarlet. A cascading overlay. Feminine wisps of blonde hair, gathered in gentle twists at the top of her head. Upon first meeting Daisie, I was struck with wonderment by such an eclectic congregation of cloth and whimsy. The spirit of her playful articulation seemed to be embedded in every garment.

    One can trace some of these eccentricities back to the cultural context of the rural Free State in which she grew up. The juxtaposition of ‘traditional’ Basotho garb and the tailored Chanel suits worn by expatriates had always intrigued Daisie. She fondly refers to her grandmother as Ouma – the matriarchal catalyst who sparked her love for fashion. The thread seems to run thick in her blood. Ouma was a master embroiderer and exposure to the collection of jewel-coloured cottons inspired Daisie onto the path of embellished design – utilizing sewing and knitting in her work.

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    “I like to bring in a part of my heritage”says Daisie. “My Ouma was a very big part of my life. Her flower gardens & embroidery still inspire me today.” She is also a fervent believer in the relationship between hard work and opportunity and quotes Laduma Ngxokolo, “Hard work opens any doors. Also, people should not focus on the success of external subjects but focus on themselves and their own work, as everyone is unique.’”

    It is clear the Daisie centers her professional practice around an inter-disciplinary diligence and dedication. After completing her studies at the Elizabeth Galloway Academy of Fashion Design she joined the team of Marianne Fassler last year. “I love being part of the creative process at Leopard Frock.” Although she feels it unnecessary to limit herself to one specific engagement and mode of working within the industry. In her work, she strives to combine beauty and sophistication with a playful edge. “I believe in putting passion and love into everything.”

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    Daisie also uses the process of art and collage divisively to filter information, “It is a means to sort through and file and put into order….throwing out the junk mail and summarizing ideas and influences.” Her immersive practice is conscious of, “concepts changing and growing as the world around me changes. We live in an ever-changing environment and each new challenge is inspired by the time slot it is happening in.”

    The Whole is Greater than the Sum of its Parts is a group exhibition with a focus on collage featuring work by Daisie and other artists. The exhibition runs from the 2nd -28th  of February at the Kalashnikovv Gallery.

    “I am the combined effort of everything and everyone around me.”

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