50 minute read
HON by AFI: Issue 1- SPRING
Publisher’s Note
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Welcome to the first edition of African Fashion International’s new digital magazine- HON by AFI. As you may be aware, AFI has over the years set itself a big, audacious hairy goal to champion African fashion and be the leading purveyor of Pan-African talents and creativity. AFI does this by harnessing our continent’s creative capital; translating this into cultural, social, and economic success for our designers and artisans; and ensuring that consumers have access to this vast talent through AFI Fashion Weeks.
In our quest for excellence in customer service, AFI launched a physical store House of Nala at The Leonardo in Sandton – as well as an ecommerce platform. Excited by this company growth, we have recruited top talent to ensure a great ecosystem that nurtures creative skill, both established and emerging. In Africa, the fashion and cultural industry is still in incubation and growth stages, and with this comes flexibility to challenge longheld standards of style and commerce.
Currently, the African fashion industry makes up less than 2% of the global industry trade. Banyana Banyana, the Champions of Africa, understand this disparity. They understand the business case – that growing investment and eliminating inequalities can be beneficial to society – but more than business they understand the moral and social necessity of promoting and aligning our actions to values such as equality and inclusivity.
At AFI we have spent 15 years building the best, one stop lifestyle platform for consumers looking for unique African fashion and guiding sellers reach a global, premium market. The latest introduction to the AFI brand is this digital publication, which aims to educate audiences, publicise talent, tell stories and share thought leadership, thereby contributing to transforming the industry from Africa to the diaspora.
AFI remains an optimistic celebrator of Africa’s creative gifts. While many may see this year as doom and gloom for African designers and retailers, we create a safety net for all stakeholders allowing them to build and grow through a crisis instead of succumbing to it.
Note Editor’s
One thing I have realized over the years is fashion thrives when people fall in love with it. And it’s through the emotions that fashion evokes, that we can then go on and tell stories.
When we started conceptualizing the HON by AFI digital magazine, the aim was simpletelling stories of what designers and creatives in the African continent and the diaspora are doing. It is to show the world how brilliant and necessary African creatives are in the global fashion industry. And we are using fashion to tell the story of African excellence.
And what better way to show this African excellence than to have some of the reigning CAF Women’s Cup of Nations champions, Banyana Banyana as the cover stars of our inaugural issue?
Just before the shoot, seeing their faces light up as they first spotted the garments they were wearing, was a thrill. It was a full circle moment- it was them being finally recognized as the stars they are, being shot in the highest urban bar in Africa, decked out in the finest African designers.
And that is the power of fashion.
A person who understands the role fashion can play in society, is 2021’s AFI Fastrack Young Designer of The Year, Shamyra Moodley. With her brand, LaaniRaani, she is leading the fashion sustainability conversation in the continent and reminds us of the importance of looking after our environment by making better choices with our clothes. Her story is one of the highlights of this edition.
Fittingly, she was also one of the designers who showcased at the ground-breaking AFI Womenswear Fashion Collective in Abu Dhabi during the Forbes 30/50 Summit, which has been a highlight of her career in fashion so far. I am certain you will enjoy our report on AFI’s participation in the Forbes 30/50 Summit as well.
It’s been exciting putting together the pages of the first issue of HON and it’s been particularly important that we launch during a season that is all about new thingsSpring.
I look forward to HON having stories that will leave you inspired, and introduce you to interesting people doing impressive things in the African fashion industry, while also helping you make better choices when shopping.
Buhle Mbonambi Editor
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Since winning AFI Fastrack, life has been a flurry of “OMG” moments and the frenetic ticking off, of bucket-list items which had never ever before been considered. CNN filming me in my home was cool. They gave me free rein to be myself. That kind of freedom is incredibly liberating and has inspired so many others to break free of what society (and the fashion industry) expects you to be. The funniest thing was during the interview, I joked that “I have a collection ready, should Milan, Paris, or London wish to give me a call!” An hour later I get a call that I have been invited to make my international debut in Abu Dhabi, together with Forbes and AFI.
Attending and showcasing at the Forbes and AFI show in Abu Dhabi in March, was magical. It was a reminder of what is good in the world and the army of women fiercely setting out to make change possible. To hear their diverse stories and have them receive and relate to mine using the medium of fashion has been exactly what I needed. It was a signal that I am most certainly on the right track. I have always been guided by my heart and this is the confirmation I needed to keep doing it. Fashion can often feel fickle, but this was the perfect platform to inject purposeand passion back into fashion.
Sustainability is a major conversation in the fashion industry. I have managed to make sure that LaaniRaani is a truly sustainable brand that my clientele can trust because sustainability is all I know and it’s what I have always practiced without even knowing the term existed. Every piece is hand-made, home-made, and unique using vintage and donated fabric. Every button, every zip, and every bead is taken off an old garment and blended into the next art piece. Every scrap off the floor today goes into whatever I will create tomorrow.
I take the time to think of how you will wear every piece, for many years to come, how it will adapt as the season’s change and over the years you and your body evolve. My clients become family; I get to know them and their journey.
A little piece of me is there with them on their wedding day, when you take the podium to deliver that speech, take the stage to dance, and on the days you want to feel bloody fabulous. I make clever clothes for clever humans with stories and substance.
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Inside the AFI Womenswear Fashion Collective in Abu Dhabi
f a total stranger had walked inside the African Fashion International offices in February and March, they would have been shocked by the flurry of activity. However, for us, it was a normal day in the office. Even though the atmosphere was a little tense, it was to be expected. After all, AFI was taking AFI Fashion Week Cape Town to Abu Dhabi.
Initially I wasn’t going. I was going to hold the fort in South Africa and play the support role as my colleagues created content around the fashion showcase and masterclass at the Forbes 30/50 Summit to mark International Women’s Day.
I will admit at being a bit sad that I wasn’t going to travel with
the team. Beyond it being an opportunity to travel, it was going to be a chance for me to see an incredible showcase of PanAfrican designers platforming their creations to the most powerful women in the world. As a young woman, I wanted to be in the room during the 4-day gathering of global leaders – all of whom form part of the Forbes 30 Under 30 and 50 Over 50 community.
I thought of how attendees would be so lucky to experience the coming together of some of the most powerful global leaders, including honourees from Forbes 30 Under 30 and 50 Over 50 lists, with the mission of forming world-changing alliances. And then the keynote speeches and in-conversations with influential women like Hillary Rodham Clinton, HRH Princess Lamia bint Majid alSaud, Tyra Banks, Huda Kattan of
Olwethu Mbane
Photography: Simon Deiner
Designer: Eric Raisina
Designer: Sober Design House
Supermodel: Paulina Porizkova in Sara Tamimi
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Designer: Sara Tamimi
Huda Beauty and AFI’s Dr Precious Moloi-Motsepe.
I had already resigned myself for what I was going to be doingplanning, creating and curating digital content, particularly for AFI’s social media channels that I will be receiving from the team in Abu Dhabi as it dropped. And then it happened. I was going to Abu Dhabi! Did I lose my mind? Oh absolutely. On arrival, I finally got why everyone is so obsessed with the UAE. There was no way that anyone could avoid feasting their eyes and marvelling at the architecture and how modern the country and its cities are. When we finally arrived at the Saadiyat Rotana Resort & Villas, I quickly forgot that we were in the dessert. The beach villas were travel goals, boasting an aesthetic of casual elegance meets contemporary decor. I was in heaven.
As we got ready for the AFI Womenswear Fashion Collective, I couldn’t help but think of how much of a big deal this was. Here was an opportunity for African designers from all four corners of the continent, to show off their talents to an audience of powerful and I dare say, wealthy women. It was inspiring that these designers were about to remind the world of the unique offerings of African designers and why they were some of the best in the world.
As the lights dimmed on the circular tables dotted around the resort’s garden, the models started appearing on the raised platforms, eliciting approving murmurs. You could see the stylish guests already getting excited with the fashion on offer. From Eric Raisina’s haute texture, LaaniRaani’s sustainable fashion, Christie Brown’s ultra feminine power looks, to Marie Louis Bishara’s couture and Sober Design House’s printed maxi dresses. It indeed was a showcase that reminded the world of the talents of African designers.
The occasion also marked the return of supermodel Paulina Porizkova to the catwalk, closing
the show in a vibrant Sara Tamimi dress and overcoat, with raucous applause from the audience providing the stamp of approval we needed- AFI had hosted a brilliant show.
Dr Precious Moloi-Motsepe, in an orange garment by Eric Raisina, took to the stage after the fashion showcase and spoke about fashion being a big industry in financial terms and how Africa provides something unique in the market. And the guests got it. Watching them being in awe of the garments, from the craftmanship to the textiles used, was a marvel. I was even prouder seeing some garments being snapped up at the pop-up store the following day.
As we got ready to return home, I took stock of everything I experienced, from the adrenaline rush of us preparing for the showcase, the inspiring conversations between powerful women, to seeing the AFI team work hard to produce a world class show in a foreign country. It was then that I realised one thing: there’s more to the fashion industry than what many people think. I guess Miranda Priestly was right.
Events are an important part of Marketing, Communications and Stakeholder Relationship Strategies and can be a great way to form emotional connections with customers and stakeholders.
Events provide an opportunity to grow brand awareness, build authentic customer profiles, and drive traffic and sales.
Designer: Christie Brown
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Banyana Stars SPRING to the top
Stylists: Keneuoe Mhletswa, Thulani Mlambo and Zanele Sebele. Banyana Banyana dressed by La Jaqueta and Franc Elis for House of Nala
Buhle Mbonambi had a conversation about style, passion, football, and equality with the stars of Banyana Banyana
COVER STORY
Photography: Blaq Smith
s the elevator ascends to the 57th floor of The Leonardo in Sandton, only one thing occupies my mind- I hope it won’t be too cold.
I sigh in relief when the doors finally open and we are met by the sun’s blinding rays and the whole of Johannesburg is spread out in front of us.
It’s just after 9 o’clock on a Monday morning and photographer to the stars, Blaq Smith and I, are doing a quick recce at Alto 234, the highest rooftop bar in Africa. I finally get the hype- the view is breath-taking.
57 floors below, four members of Banyana Banyana’s CAF Women’s African Cup of Nations winning squad, are getting ready for the photoshoot. As our styling team presents the clothes from the House of Nala Spring 2022 collection, their reactions are worthy of being captured on video for posterity.
“Green?” questions Andile Dlamini, the goalkeeper. “I don’t know. I mean, this suit is nice, but I don’t know if I can pull it off.”
Her teammates, Thalea Smidt (midfielder), Bambanani Mbane (midfielder) and Melinda Kgadiete (forward), burst out laughing and convince her she can rock it. Eventually they all pick out the garments they think will best suit them and most importantly, their aesthetic. They want to look believable, but still stylish.
It’s great to see them in control of their image and knowing what they want, which is testament to the drive they had at the WAFCON which led to them winning. But they are also amenable to try something different and surprise their teammates.
There’s an easy rapport between them. They rag on each other as they get their hair and make-up done, which is not a common occurrence. As Thalea gets a manicure, they mock her, with Bambanani calling her Beyonce. Thalea simply rolls her eyes, laughs, and teases her teammates back
about the bright colours they were about to wear.
It isn’t surprising that they get along so well. After all they spend enough time together when on country duty as Banyana Banyana players and as members of the Sundowns Ladies Club. They have won many tournaments playing for both teams.
And it’s this easy camaraderie that’s on show when they make their way to Alto 234, with a 360-degree view of Johannesburg spread out in front of them.
“Sindizela phezulu”, Andile says, eliciting laughter from her teammates. Which is fitting, of course. Where better to shoot the African champs wearing the finest African designers, than at the highest urban bar in Africa?
There’s still some shock that we have effectively rolled out the red carpet for them for this shoot. It reminded them of their reception when they arrived at OR Tambo International after winning the tournament and they were met by thousands at the international arrivals court.
“I’ll never forget that moment and I don’t think it’s possible for us to ever forget it,” Melinda says. “It was a happy moment. I didn’t realise how big a deal winning the tournament was until we got to the airport.”
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A
Andile and Thalea in House of Nala
Andile in Siko Republik for House of Nala
Scan to shop Banyana Banyana looks
Thalea was also taken aback by the reception. “I think the return home just made it more evident the magnitude of Banyana’s victory in Morocco. That’s when the moment sunk in that ‘hey, you guys actually achieved something of great magnitude’,” she said.
While Andile loved the celebration at the airport, the moment the referee blew the whistle signifying that South Africa had won the tournament was the biggest moment of her life.
“More than anything, I was relieved. Winning this tournament was something I have always prayed for; something I have always striven for as a football player. It is a moment I will always think about,” Andile says.
“Getting the gold medal and realising that the award for goalkeeper of the tournament is also coming, was great. I mean, football is all about stats, but I soon forgot about all that. It became all about finally being able to build a house for my mother and finally having a stable life, financially. As much as we play for gold medals, we also play for the life changing experiences.”
And Bambanani? It was such an overwhelming moment that she wept.
“Going back to that moment is still unreal because I couldn’t believe what had just happened. I just fell and cried. Janine (Van Wyk, the Banyana Banyana captain) came to me and reminded me just how much I had wanted this. It was still unbelievable that I had to ask her for confirmation if we had really won or it was a dream,” she says.
“I still haven’t moved on from that moment of us winning. It still hasn’t sunk in for me. It’s going to take a long time for me to come to terms that we won the competition, and, in a way, we managed to unite the country during this difficult period.”
One of the toughest journeys for the team, is how little support they were receiving from the public and the lack of equal pay. Hence when they won, it was such an important moment for them, one where they could finally prove to South Africans that they deserve to be supported and be paid what they deserve.
“It was so exciting seeing my team members so happy. We fought like soldiers to win the tournament and luckily, we were mentally fit, thanks to Coach Desiree (Ellis). But it was really a tough journey to get here. When we won, all those emotions of our preparations and how difficult the journey has been for us, came back.” Bambanani says.
“I think us winning allowed many to realise that it is about time that Banyana Banyana and women’s football is taken seriously in South Africa. And I am excited that soon many of us will have sponsors. I am hopeful. They have seen the hard work we have been constantly doing as a team. We have proven ourselves. I think it is time.”
Their win has undoubtedly created interest in women’s football and with new fans, there is the challenge of making sure that interest doesn’t wane.
“Everyone is talking about women’s football now and the number of people coming to the stadiums has gone up,” Melinda says. “I have noticed that people recognise us now, others even stop us on the streets. People are finally taking interest in us and our sport. I mean we’ve been achieving good things in the past we won Cosafa so many times and we have always qualified for the WAFCON. So, with us winning the tournament I hope this time things will change.”
Thalea hopes that the interest comes with an opportunity for them to partner with brands, like other sports players.
“I am expecting that, and I hope
that corporate companies will jump to invest in the women’s game, and us as individual brands because we are indeed marketable. I think brands have a great opportunity to partner with us.”
When it comes to equal pay, she says that in certain aspects there is progress, but there are a lot of considerations that need to be taken when having the conversation.
“Firstly, it must start with there being more sponsorship opportunities for the women’s game. As women, we will always voice our desires for equal pay, and we will always shout for investment when given the opportunity. I sincerely hope we can reach those strides while I’m still playing the game. But for now, the fight continues.”
The most important thing about their win, Andile says, is how it has helped change the perceptions of women’s football. “It has changed a lot of things. It has changed how women in football are being seen in the country. We have given hope to girls and boys that it is possible to succeed, even against the odds we face. I just pray that we get
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Melinda and Bambanani in House of Nala
more endorsements. There’s so much we bring to the table. We are passionate, we can drive things and we are winners. Winners need to be celebrated.”
But the increased attention also means that more people will be watching for any mistakes they make.
“It has also increased the attention we are getting with our games, whether it is domestic football or playing for the national side,” Andile says. “And that’s partly why I am not
too focused on our win- that has happened already. We now need to focus on what’s next and make sure we don’t disappoint our new fans.”
Their next big goal is to make it into the national team for the 2023 FIFA Women’s World Cup in Australia and New Zealand next July, which I am certain will be top of mind as they embrace their newfound stardom.
When Blaq Smith takes the final shot, they look every inch the superstars they are certainly becoming. It’s fitting that they are all wearing sunglasses- the future is indeed blindingly bright.
Top Left | Melinda, Top Center | Thalea, Top Right | Bambanani
Bottom
In
| Andile and Thalea dressed by La Jaqueta, Melinda and Bambanani dressed by Frans Elis
Siko Republik for House of Nala
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Inside AFI’s 2nd Power To Empower experience
African Fashion International’s Power To Empower was a celebration of South African women who continue to chart their own way to incredible success
Buhle Mbonambi
National Women’s Month was closed off with a bang as African Fashion International hosted the second annual Power To Empower experience.
It was a gathering that was all about celebrating women successfully driving their vision, while creating an environment where women from all walks of life could break bread together and share information to further each other.
“This is a powerful way for us as women to gather and come together in solidarity,” Dr Precious Moloi-Motsepe, the Founder and Executive Chairperson of AFI said as she opened the gathering and welcomed guests.
“August is a month where we commemorate the 20 000 women who marched to Pretoria to protest
and pass laws. We carry the baton now and it’s up to us to make sure that we become what you have always dreamt to be.”
The Power To Empower experience began with a driving experience at the Jaguar Land Rover Experience Centre, where attendees were able to their adventurous side. Guests were able to experience the luxury Jaguar and Land Rover vehicles during an experience that covered a range of driving disciplines from defensive driving, handling, skid control, slaloms, and cornering.
While some guests were enjoying the driving experience, others attended the Motsepe Foundation’s Golden Circle finale.
Golden Circle is a Motsepe Foundation platform that seeks to discover and grow youth-owned, tech-enabled enterprises. Officially
launched during Youth Month, the Motsepe Foundation has since hosted three entrepreneurial pitch sessions and allocated R400 000 in capital to emerging businesses, garnering the interest of hundreds of young entrepreneurs from across the country.
During Power To Empower, Motsepe Foundation selected three women-owned start-ups to pitch to high profile judges with business experience.
LeeConnect, founded by 22-year-old Lindelwa Mahlalela, offers online mentorship to grade 12 learners amongst other necessary services. Mahlalela won the overall R80 000 capital injection for her enterprise while the runners-up, Digital Girl
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Africa and Enlighten Edu, won R40 000 in capital each.
The highlight for many attendees, was the Fireside Chats where the keynote speakers shared vignettes of their journeys in entrepreneurship and life. The running theme for all of them was how they used their life lessons to successfully drive the vision they had for themselves.
To kick off the Fireside Chats, guests watched the pre-recorded interview that Dr Precious had with Banyana Banyana stars, Andile Dlamini, Melinda Kgadiete and Thalea Smidt. Initially, they were to be in attendance, called up for national duty and had to prepare for their match against Brazil.
Lindiwe Matlali then spoke to Nzinga Qunta about the importance of understanding social entrepreneurship and its role in society.
“Social entrepreneurship is all about caring. You need to have a heart for you to be successful as an social entrepreneur,” she said. “You will meet people who are in need and so you need to understand that if social entrepreneurship is what you want to do, then you need to be willing to support the people you come across.”
Her final words spoke to the importance of driving your vision.
“Work hard and be good at what you do. You need to be excellent, because you never know who is watching. Be so good that people cannot ignore you.”
Dr Precious then invited her contemporaries, Dr Anna Mokgokong and Louisa Mojela on stage, who shared their inspirational stories of entrepreneurship.
“Adversity brings forth opportunity,” Dr Anna said, as she relayed her story on how she became an
entrepreneur during her first year as a medical student. After not receiving pocket money from her mother, she took matters into her hands and started selling handbags.
“Before I graduated, I had my own store,” she said, to rapturous applause.
She also shared her lessons in entrepreneurship and the importance of protecting your intellectual property.
“Some of us have walked the long and painful road and swam in shark infested waters, ready to swallow you. So I would advise all you entrepreneurs to pause before you leap. It is so important to understand the dynamics of your product and the market you are in. Rather seek advice, particularly legal advice and ask what to do before having meetings with external people.
Be patient and protect your ideasdon’t run and leap before you have legally secured your business,” she said.
Louisa Mojela, urged the attendees to do their bit to unite they country through working together with men.
“We all have a responsibility to build our country and we have to bring our partners along as well.”
Even so, she said, women need to remember that they have the power to drive their vision without waiting to be invited by men.
“We don’t need men to invite us to come to the table. We can set and prepare our own tables. For us to be successful, we need to invite other women. Unity is our strength,” she said.
“And that also means that as we persevere and are resilient to fight for our dreams, we dare not forget the communities we operate in. Make sure that they become part of your empowerment schemes. It’s not right to companies to create wealth at the expense of the people around them.”
Power To Empower was MCed by Nandi Madida, while Nhlanhla Mafu had the guests dancing up a storm as she performed Mafikizolo hits.
The event ended with the House of Nala Spring 2022 Collection fashion show, which featured the latest designs from David Tlale, Refiloe Mocwa, Tumi Captivating, Suitability, Jessica Jane La Jaqueta, and Gavin Rajah.
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House of Nala
That’s what’s Spring signifies for many. It’s a season that’s about all things becoming alive again, where nature becomes a kaleidoscope of colour, and a feeling of hope returns after the dreariness of winter.
We start feeling happier, and even with the constant threat of hay fever, we still venture out, ready to revel in the new season.
A new season also means that, our clothing changes. As the mercury rises, we slowly start peeling off the layers (a big winter trend) and show off our interpretation of the fashion trends of the new season by starting to wear what trend analysts have predicted will be on trend.
Words by Buhle Mbonambi
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VIVID SHADES
Bright colours are a mood booster and leave one with a happy feeling, thanks to the dopamine released by the brain. It’s a no-brainer that we will see more vivid colour in stores- think various shades of blues, purples, orange, and greens. From the boldest shades to the lighter pastel variants, colour is key this spring.
THE BODY
After hiding our bodies for the better part of three years, this season requires us to start embracing every part of our body. From the ab-fab crop top vests, shirts and even sweaters, to the micro-mini skirts, skorts, short shorts and playsuits that allow you to show off your legs and cut-outs, the body is taking centre stage this season.
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Scan to shop House of Nala Spring 2022 Collection
STUDIO 54
When Beyonce released the cover of her latest album, Renaissance, where she is sitting on a crystal horse, it brought back the images of perennial style icon, Bianca Jagger arriving at Studio 54 on a white horse. The album is an homage to disco, dance and house music, a confirmation of how much of a key trend disco is this season. Get party-ready looks in various sparkling textures, like heavily embellished styles, sequins, crystals, chainmail, sheer and lamé.
EXAGGERATED FITS
While the showing off the body is great, not everyone is ready to do that. There are ways to hide the parts of your body you are not comfortable revealing, while still looking stylish. Enter the oversized fit. However, the trick is to get the proportions right lest you look like you are drowning in the outfit. It’s all about striking a balance. Rock an oversized shirt and blazer, with slim fit bottoms.
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WHITEAs an antithesis to all the bold colours on offer this spring, many may use white garments as the blank canvas that allows you to accessorise with all the other trends of the season. But white will stand on its own and can make as much of a statement as the vivid colours we will see this season. The trick is to choose interesting textures and fabrics that give your white look that extra edge. From tassels and macrame to just a simple minimalist look, white will be the go-to trend for fashionistas looking to make a statement without looking over the top.
ART INSPIRED PRINTS
Fashion, they say, is living art and this season art gets a big focus. From prints that look like paint splatters, brush strokes and scribblings, to graphic prints, it’s all about celebrating the vibrancy of the season. A trend for the truly brave and expressive, this is a bold look that will need as much chutzpah to pull it off.
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AFI FastrAck AlUmni, Thebe Magugu IS A GLOBAL FASHION ICON
here’s something about Thebe Magugu that makes you take a moment to pause and reflect on what is possible when time, op portunity, talent, and hard work come together. And while you re flect, you can’t help but think just how much of an ordinary person he is.
Few African designers have had the level of success that Thebe has. And yet even with all that success, he is humble. It is still a surprise to many that Thebe still resides in South Africa, instead of Paris, even after achieving glob al success and being the fashion industry’s wunderkind.
But when you look at it makes sense. The Thebe Magugu brand aesthetic is informed by his expe riences in South Africa and by ex tension, the African continent. He references what he knows in his designs, which is what brings that
authenticity to his work. He has been a contributor to changing the Western world’s perception of what African fashion is.
His work has always been centred around his community and home town, Kimberly.
This also explains his humility- he was raised to respect everyone and have that quality that every African has: ubuntu.
Thebe was a finalist during the AFI Fastrack Young Designer of the Year competition in 2015.
AFI Fastrack is a development platform for emerging designers who then go on to be extensive ly mentored in the business of fashion through a range of devel opment opportunities presented through AFI’s various marketing and event platforms.
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Thebe Magugu/ Delali Ayivi
Thebe Magugu
Buhle Mbonambi
Four years later, in 2019, he won one of the most important fash ion competitions, the LVMH Prize, making him the first African de signer to win.
The two competitions allowed him to prove his mettle as not only a talented designer but one who has something important to say. He provides something different in the fashion industry that no one else is doing.
It is a testament to his character, talent, and how likable he is that the Glow Studios in Riviera, Johan nesburg, had just over a hundred people to fete the designer as he announced his participation in a special feature published in the September issue of US Vogue. Anna Wintour invited Pierpaolo Piccioli of Valentino and Thebe to be part of the fashion bible’s dress-swap initiative, which sees designers reimagine each oth er’s designs to remake it in their brand’s aesthetic.
Thebe sent over a chartreuse trench coat and trouser suit, while Pierpaolo sent a cerise pink haute couture gown from Valentino’s Spring 2018 collection. They each
took apart these garments to create something new in their brand’s aesthetic. Thebe stayed true to his brand ethos, creating a couture-level, parka with exagger ated bubble sleeves with a blouse worn underneath, and an isicho lo headdress inspired by Queen Nandi of the Zulu nation, with a logo merging the Valentino and Thebe Magugu brands.
Pierpaolo reconstructed the trench and trousers to create a luxurious cape and trousers.
It is an exciting exploration of finding new ways of interpreting each designer’s culture and style of working.
Thebe’s talent has allowed him to be seen as one of the designers who are regarded as the future masters of the fashion industry. His designs are filled with themes and details that borrow from Africa’s rich history and he views Africa from a lens that celebrates the richness of the continent, even with its problems. And even with the issues that engulf the conti nent, there are still some beautiful stories to tell.
Thebe Magugu is one of them.
Thebe Magugu/ Delali Ayivi
Thebe Magugu
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Fashion & Sustainability:
Dr Precious Moloi-Motsepe
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Now Is The Right Time
limate change, and the escalating impact of rising temperatures, is the main sustainability challenge we face in our generation. We need to adapt our cities and their infrastructure for extreme events such as these floods, and for gradual changes, such as sea level rise and altered weather patterns.
Sustainability and inclusion must be the priorities for all societies and economies over the next decades. The tragic impact of the KZN floods earlier this year, the loss of lives and homes and hope, drive home the urgency of getting it right.
As we have seen with Covid-19, it is the poorer and more vulnerable segments of our society who suffer most when adverse shocks occur.
Disasters often exacerbate exclusion. On the other hand, societies that are more inclusive can respond more decisively and cohesively when disasters do strike.
The climate change challenge is particularly difficult because we will increasingly be required to deal with immediate crises whilst also putting in place a new energy framework and new ways of doing business that prevent accelerating future crises.
In South Africa, but also in other countries, this will need to be done whilst creating jobs for youthful populations and addressing other essential dimensions of economic and social inclusion.
The good news is that, in many sectors, there are win-win opportunities, new ways of doing business where integrating ecological sustainability also unlocks growth and jobs potential.
I am not thinking only of the more immediate ‘green economy’ candidates such as renewable energy, but also of industries where a combination of technological advancements, changes in consumer values and an emerging shift in favour of regionalization and localization have created a transformative potential we can and must harness.
Historically, fashion value chains have generated large-scale emissions because they have stretched across the globe; the marketing message has often been one of whimsy and excess in consumption; materials have been synthetic and have polluted our oceans and ground-soil, and regional inequities have meant that developing economies have, more often than not, provided raw materials and factory labour, as well s being the dumping grounds for
discarded items.
African Fashion International (AFI) was formed to bring a stronger African voice and presence to global fashion, and to do so sustainably. There are four interrelated themes that make me believe now is the right time for the changes we need.
Firstly, technological advances are shaking up the structure of the fashion industry: the easy dominance of the larger, more established fashion houses, which rested on the need for large reservoirs of capital, equipment and access to cheap labour and raw materials, is being challenged by innovations (often digital innovations) in design, materials, production, marketing and sales. This has opened the field to the creativity and disruptive perspectives of smaller and emerging players.
Secondly, there is a real interest, globally, in an emerging 21st century African identity, an identity shaped through dialogue between past and present, young and old, urban and rural, modern and traditional, men and women. Contemporary African fashion, and its creative work more generally, is informed by these complex interplays, and is all the better for it, and it is work that intrigues others too.
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Third, there is an important shift in values amongst consumers: ethical consumption is becoming more and more important, and the availability of, for example, information about company behaviour means consumers can inform themselves and support the values they believe in through what they buy. Ecological values are a prominent part of this ethical consumption, and this trend can only increase in importance.
Fourth, trade in African fashion, and clothing and textiles more generally, has been largely with wealthier Northern economies, which has relegated us to only particular segments of the value chain. As our free trade area picks up momentum, and given a growing intellectual recognition to rethink the balance between globalization and localization, more space will open for governments to support local industrialization and develop local and regional hubs.
This means we can strengthen and grow local clothing and textile manufacturing, and jobs in it, which in South Africa as well as elsewhere has been in decline for some time.
Rethinking one way we can contribute to changed mindsets and, from that, changed priorities in our relations with the planet.
We must recognize that much remains to be done. My request is that all of us do our best, as producers, consumers, parents, citizens, as people on a planet with finite resources, to bring about the changes we need, if we are to secure a sustainable and inclusive path for ourselves and those who come after us.
This article was first published in TWYG
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Masa Mara
Using Fashion to tell Stories of our Heritage
Olwethu Mbane
t’s incredible how as culture evolves it remains a foundational point of reference to many. It provides a sense of belonging and allows for one to establish a sense of identity in a world full of opinions, beliefs, and tradition. There’s a saying that, as humanbeings, we have been created to serve different purposes. That is why it is deemed a priority to figure out who you are. What makes you, you?
Tracing the ancestral family-chain is the closest step in drawing one closer to their inner-being. Therefore “ukuzithutha” is imperative in traditional ceremonies like “umbulelo”, “imigidi” and so on, that’s at least what I’ve been taught growing up before the freedom that came with being a grown-up, formulating my own meaning of being alive and life itself.
The enriching stories that would be told by great-grandmothers, outside the house with people surrounding the burning fire in villages were like “jokes” to pass time and prepare children for bedtime. However, looking back those sessions were meant to groom, discipline and share wisdom to the next generation of societal leaders.
Africans have always been excellent storytellers. The culture of storytelling continues to be a tradition in the continent and one way we see it, is through clothing. Fashion plays a critical role in improving people’s lives; more than just aesthetically. It provides job opportunities, it acts as a mirror and reflects reality to bring about change or to celebrate, it is another form of escapism from reality for many and provides intense therapy as well. As broad as fashion may be, it is within us to determine which direction it takes.
The House of Nala Heritage Month
edit features garments that show just how designers have used their culture to continue telling stories through fashion.
It is an opportunity to celebrate our heritage using designs from African designers.
Take Thabo Makhetha’s coats, wraps and capes, for instance, where she uses the traditional Basotho Seana Marena blanket. Her latest collection is titled Kobo Ea Bohali and she has designed her garments paying homage to traditional dress, while also showing how cultural artefacts can be used in a modern setting.
Beads have always been the goto accessory for most cultures.
Ghana’s Aphia Sakyi’s has taken it further by designing accessories that are a modern take on traditional neckpieces and capes.
The handmade multi-coloured accessories made with carefully selected African printed materials and make as much of a statement
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as beads do.
South Africa’s Jessica Jane has been heavily inspired by the traditional Xhosa umbhaco and has modernised it by designing graphic prints on the fabric. This has given her designs a youthful edge, making it appeal to a wider audience, while staying true to the culture.
Lufi-D, whose printed garments are popular with couples looking for matching looks, has released a collection that boasts a modern design aesthetic and will appeal to the younger consumer, while still looking appropriate for traditional gatherings. It’s a brand that tells a story about accessible African luxury through its use of Ankara fabric.
The Masa Mara brand has always been on a quest to discover and embrace Africa’s authentic identity, breaking continental barriers through fashion. The Rwandan designer recently represented African Fashion International at the inaugural AfriCarribean Trade and Investment Forum in Barbados.
Masa Mara offers unique pieces that inspires African social discourse. This is what attracted AFI to his work in the first place. His youthful and bold patterns will have you wear Masa Mara with pride, wearing your identity with pride sets you apart from the crowd.
Kenyan jewellery designer, Adele Dejak’s pieces are deliberately handmade to narrate significant stories about Africa and its raw talent, all executed by the hands of ordinary people, producing worldclass products, and utilizing the simplest processes.
Dejak once shared what “fire” symbolises - a deep sense of passion. She goes on to share that although it can destroy, it alternatively provides a warm environment that enables creativity, where various concepts are welcomed and given a chance to materialise into tangible and precious items like gold translating into jewellery for personal adornment.
Nkosi Ceramics have also taken that traditional art of clay to make beautiful items that are uniquely African. Founded by Gwen Nkosi, Nkosi Ceramics pieces depict a story in a very colourful and vibrant manner. This creative process, along with pride in the original design, ensures that no two pieces are ever alike.
Africa is indeed rich in culture and minerals that produce pieces that are not necessarily identical, which reflects how we are as human beings; different and unique. The resistance to tarnish as individuals should be embraced just like fire and gold. And for our differences to be embraced for a more progressive life.
If we’re pinning this to an economical framework, it only makes sense why consumers are likely to gravitate towards designer items more. It just feels purposeful to be part of a relatable story, one truly feels the connection.
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Thabo Makhetha
CELEBRATING AFRICA’S DESIGN EXCELLENCE
The Victoria & Albert Museum’s ‘Africa Fashion’ is a belated celebration of Africa’s contribution to the global fashion world, reports
Buhle Mbonambi
he Victoria & Albert Museum’s exhibition on African fashion has been one of the most anticipated in the world of art and fashion. For those who have been avidly following the growth of African fashion, it’s a ‘finally’ moment. And for those who have not, it’s an opportunity for them to see just how much of a contribution the African continent has played in global fashion.
The first time I heard about the exhibition, I was nervous. So many things can go wrong with the curation of an exhibition. I immediately thought back to the criticisms that 2015’s China: Through the Looking Glass exhibition at the New York Metropolitan Museum of Art’s
Costume Institute faced. Many were mindful to point out the cultural appropriation issue the theme of the Met Gala and the exhibition presented, how it was the fashion industry pandering to the Chinese luxury consumer in the hopes that it will result on
What the exhibition did, more than anything, was to introduce the world to a slew of Chinese designers like Guo Pei, she of the famous Rihanna robe, and China’s top stars and influential brand ambassadors like Fan Bingbing. That exhibition is still one of the most successful in the museum’s modern history and there are high hopes that the V&A’s Africa Fashion exhibition will be just that.
them spending more on Western luxury brands than they were already doing.
However, the museum was quick to allay fears, saying that the exhibition was to contextualise the impact of Chinese art and culture on Western fashion.
Curated by Dr Christine Checinska, the exhibition opened on July 04 and will run until April 16, 2023. Checinska is the of African and African Diaspora Fashion at the V&A.
In a press release, the museum says the exhibition spans mid20th century to contemporary creatives through photographs, textiles, music, and the visual arts.
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Victoria and Albert Museum, London
“Africa Fashion explores the vitality and global impact of a fashion scene as dynamic and varied as the continent itself. Curator of forthcoming exhibition Africa Fashion, celebrating the irresistible creativity, ingenuity, and unstoppable global impact of contemporary African fashions.”
It is, honestly, about time. For decades, the fashion world has been looking to Africa for inspiration and taking from the continent without any shame. From the fabrics and prints, dyes and culture, Africa has been impacting global fashion without being given the recognition.
“African fashion is something that has existed forever,” Checinska said in a video by the museum introducing the exhibition. “It is something that has been a part of us. African fashion is the future; African fashion is now.”
There have been instances of textiles indigenous to African countries being used in a manner
that leads to accusations of cultural appropriation. While some in the global fashion industry may allude to how African countries not having solid fashion bodies and associations that protect the works of designers has led to their works being copied, it still is no excuse.
Of significance is that Africa Fashion features designers who have previously collaborated with African Fashion International.
South Africa’s Thebe Magugu, who was a finalist at the AFI Fastrack Designer of the Year Competition in 2015 before going on to be the first African designer to win the prestigious LVMH Prize in 2019, is one of the featured designers. Ghana’s Christie Brown, who has showcased with AFI as recently as March in Abu Dhabi, is also featured.
Other designers who have showcased under the AFI banner included in the exhibition are Neo Mofammere’s brand, Nao Serati and Rich Mnisi.
AFI prides itself in creating a network for designers, exposing them to a global audience and customer base.
This exhibition is a step in the right direction by respected art body, to pay homage to an industry that has oft been taken for granted and not given the respect it deserves.
It is exciting that it is curated by a person of African descent, who knows the important of Africans telling their own authentic stories.
“(The exhibition is about) Documenting and showcasing our history and culture,” Magugu said in the video introducing the exhibition.
“I feel like there’s so many facets of what we have been through as a continent and as a country, that people don’t actually understand. It’s often that our story has been told by other people and I feel like now more than ever, African designers are really taking charge.”
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Victoria and Albert Museum, London
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Fashion Re-Imagined Anew
Introducing HON’s In-House Collection
Buhle Mbonambi
hen bales of clothing washed up on the beach es of Accra, Ghana in July, environ mentalists, society, and the fash ion industry were concerned.
Was this finally the moment of reckoning the world needed to see the effect of super consum erism? Has chasing the next big trend and not caring about the impact on the environment finally going to make us care?
These questions, sadly, are yet to be answered. Seeing all that used clothing strewn all over the Gha naian beach- which it has been confirmed was originally from the United Kingdom- was a sure sign that the sustainable fashion con versation is still very far from be ing effective.
Not that there hasn’t been any effort. In the heady days of the Covid-19 pandemic, experts en couraged fashion lovers to repur pose clothing they already owned, to reimagine them anew.
High-end department stores like the UK’s Harrods, are already pro viding a service to, in a way, revive your existing items to give them new life. And now AFI’s House of Nala is doing the same.
In 2014, AFI launched AFI Prive, which was at first, a pop-up store to sell African designer garments fresh from the runway. This was before AFI launched an in-house range and e-commerce plattform. Beautiful pieces were produced and lapped up by fashionistas.
These were classic garments that could help one build both their corporate and event wear ward robe. They were pieces that one
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could easily wear for work and after-work drinks, with a change of a few items.
Now in the spirit of sustainabili ty, AFI is launching the House of Nala in-house collection, boasting timeless pieces from the original AFI Prive collections, that have been updated to fit the modern House of Nala client. Designers, Thulani Mlambo and Keneuoe Mhletswa have updated the gar ments, giving them new life and a chance to shine in the spotlight again.
Responsible for providing a be spoke service to House of Nala clients, Mlambo and Mhletswa are experienced fashion design ers who are passionate about the importance of sustainability, espe cially since the African continent is the de facto dumping ground for used clothing.
“When I first saw the garments, I saw the potential they have and how we can update them for what today’s fashion consumer wants
in their closets. Based on our audience, we have curated a very commercial friendly collection, one we expect to fly off the rails,” Mhletswa said.
Mlambo shares her sentiments.
“We have done research on what today’s fashion consumer desires, getting different silhouettes and size curve so this collection ap peals to a wider demographic,” Mlambo said.
“Seeing all these garments in our vision to revive the in-house brand, was a great starting point. The world is calling for the fash ion industry to adopt sustainable ways of operating. That is our aim with this collection, to not create waste, but to identify what we have here and find a way to bring the garments to life.”
The House of Nala Classics Collec tion features the ever-on-trend classic cardigan jackets, each boasting couture-level beading; biker jackets that can be worn up or down; blouses in various fabrics, textures, cuts, and colours; dresses that are still on trend today and many other items.
Each garment has been improved, updated, and re-imagined and will be available at House of Nala at The Leonardo and the e-com merce store, this spring.
Scan to shop House of Nala in-house collection
the return of festival style
Buhle Mbonambi
Beyond the artist performances, music festivals have always been a platform where people truly explore their personal style. Nothing is ever too much at festivals, hence we see people pile on the accessories, layer up as much as they can and use the occasion to try new things.
Festival style has evolved into being a showcase of bold looks that will make you stand out from other attendees.
With the world slowly going back to its pre-Covid best, music and lifestyle festivals are returning.
Earlier this year, TV personality, Luthando Shosha made a concerted effort to wear South African designers at the Coachella Festival in California.
People noticed her and were asking for details on who made her garments.
She also documented how she bumped into people wearing designs by MaXhosa Africa, showing just how much international reach the brand has today.
Many are looking forward to attending the highly anticipated festivals, like the Oasis Festival in Morocco, Nyege Nyege in Uganda, The Felabration Festival in Nigeria, Rocking The Daisies in South Africa and AfroNation in Ghana.
With all these festivals, there’s an obvious need to wear garments that not only showcase personal style, but also just how innovative African designers are.
From kimonos and shirts, to headgear, shoes, accessories, and denim, festival season is all about expressing your personal style.
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