Bubblegum Club

Tag: inanda

  • Sindiso Khumalo // cross-continent textile design

    Tropical prints for flowing satin frocks. Multicoloured striped jumpsuits with delicate ruffle sleeves. Summer will definitely appreciate being greeted by womxn in the Sindiso Khumalo SS18 collection, Inanda.

    Before completing her Masters in Design for Textile Futures, Sindiso Khumalo studied architecture at UCT and worked at offices of architect David Adjaye in London. Her background in architecture is an undercurrent that acts as a seam that ties together the inspiration she draws from her rich Zulu and Ndebele culture, as well as the Bauhaus and Memphis Movement.

    Khumalo’s debut SS13 collection showcased at the the Elle Magazine Rising Star Competition in 2012 catapulted her talent into the fashion world’s eye. Stretching her production and design process between South Africa and the UK has not only allowed for a larger consumer base, but has also opened up the exponential growth of self-titled label.

    “I believe fashion can become an empowering agent by creating a positive economic activities in otherwise marginalized parts of the world,” Sindiso expressed in an interview with JANET + GEORGE. Producing her textiles in a sustainable manner is a major factor in her design process. This includes working with NGOs in South Africa to develop sustainable textiles, making her label more than just about clothes.

    To view the full collection check out the Sindiso Khumalo website.

    Credits:

    Art direction and photography by Jonathan Kope

    Art direction and styling by Gabrielle Kannemeyer

    Hair and makeup by Suaad Jeppie

    Model – Olivia Sang

  • Inandawood- Grassroots Horror

    Inanda is a sprawling township outside Durban, which at different points in its history was the home of both Mathama Ghandi and John Dube, the first president of the ANC.  And, as the new short film Inandawood documents, it is now a home for independent filmmaking.  A network of amateur directors and actors, centred around Vukani Ndebele, have been building a pulp library of low-budget productions which feature stories of rampant Satanists, shape-shifting serial killers and brazen gangsters.

    When a young Ndebele was confronted by the lack of film-making opportunities around him, he decided to do it for himself. As shown in the documentary, his first major project was Thomas is Back, centred on a zombie returning to the township to wreak havoc. The film blew up through word of mouth, with copies being circulated throughout the country. The success propelled him into even more projects. And rather than copying Hollywood horror tropes, the films take their lurid inspiration from local mythology and urban legends.  His artistic example has encouraged others in Inanda and surrounding townships like Umlazi and Kwa Mashu  to release their own work, inspired by his no-budget approach of using amateur crews and available resources.

    But this no frills approach doesn’t indicate that Inanda filmmakers are just out to make a quick buck. As Inandawood clearly demonstrates, these works are inspired by a pure passion to entertain, put together by creative people with no direct access to the infrastructure of movie production.  The short film is reminiscent of acclaimed feature documentary American Movie, which focuses on aspiring horror director Mark Borchardt.  Both works are tributes to the power of film, as they highlight artists making their work in the face of difficulties and restrictions.  Along with documenting a regional scene, Inandawood is an innovative work in its own right, edited with floating text and distorted sound effects.  This playful style conveys the gritty enthusiasm of its source material perfectly.  Despite considerable resources, there are far too many SA movies which reflect a dour, social realist perspective which seems uninterested in the possibilities of film as a medium. Unsurprisingly, they have failed to connect with either local or international audiences.  By showing what can be done with little resources, these  films reveal that it’s not about money. It’s about imagination.  At the same time, the KZN  scene has an authenticity which can’t be replicated by bigger budget works, revealing both the realties and the nightmares of the people who watch it with stark clarity.