COLLATERAL BEAUTY (4th Edition)

I’ve always wondered about the splendour of beauty. It evokes emotion, becomes subjective, allows itself to be transcendental, preys onto our own vices, and embodies pure spirituality. Beauty is quite a personal journey for everyone. You find it in the most unlikeliest of times and you never expect it. It shows up when you need it the most, and it always soothes the soul. Fashion is one of my companions of beauty- and I’m still learning about it.

Growing up, I’ve always felt a sense of beauty in clothing. I appreciated how garments made me feel (and still do).

From the cut of my uncles double-breasted tailored ochre suit, to the way my mothers sequin peep-toe kitten heel became iridescent in direct sunlight, or the way my grandmother’s vintage batik silk scarf delicately floated in the air when left to its own devices. That’s where I subconsciously understood the science of art, and how it would play a big part of my life.

The science of art is simple, you only need to feel it. And when that happens, everything that is created will be organic. Take our cover feature with Pichulick for instance, the brand was created from this very principle and it resonates to its success. All the accessories we shot have a story behind them which speaks to what the brand represents and how they resonate with their client base.

As you all would know, Ilaph’lam Afrikan Fashion Journal was created to embrace and promote predominantly African fashion creatives from all walks of life. We strive to preserve content that is created by Africans for the rest of the world. The journey has been tough and oh-so beautiful, and I’ve met and worked with radiant energies that have allowed me to be who I am, and I do hope that I have done the same for them.

2018 has been a glorious year of learning, working and movement for me. I started in the helms as a lone ranger, trying to find my way in the fashion industry, and this has allowed me to create content with the most talented human beings known to man. The sense of collateral beauty came at a time when I felt I needed it the most, and by God’s grace, it happened in the most organic way possible. We have been creating a lot of narratives that speaks to the African diaspora pertaining to cultural appropriation, gender fluidity and fashion propaganda. There’s still a lot to uncover and a lot to learn, and Ilaph’lam AFJ is ready for it all.

On a note that is a bitter sweet, the Collateral Beauty issue will be the last one I’ll be apart of as the editor-in-chief. Its been a tug of war with myself pertaining to this decision, but it is needed. I am so grateful and humbled for the opportunity that Ilaph’lam Afrikan Fashion Journal bestowed to me. It came in a time whereby I didn’t even know that I was capable of leading a publication since by background is in the sciences.

I want to thank all the wonderful creatives that have invested their time and efforts in support to the vision. You guys have worked long days and long nights creating, reading and allowing yourselves to be part of a movement. The magazine is still in its infancy, yet it’s going to be here for a very long time. To our readers , thank you from the bottom of my heart for your support and constructive critique, it has been a wealth of knowledge that money can’t buy. Keep on loving, supporting and investing your time and efforts to the magazine. Without you, creatives would be nothing.

I leave Ilaph’lam AFJ in the capable hands of a rising and shining star. She has been with me as a fashion editor since the second edition and has created stellar editorials for the magazine and for her personal work. Thobeka Mbane is a fashion creative that spreads love and light in her work that transcends fashion. She creates emotion. She’ll be in the helms from now on. As you all have supported me in my journey with the publication, I plead that you do the same for her. Her vision and prowess for the publication will be a moment of splendour.

As for me, my journey in fashion will never end. I still have a lot of stories to tell, places to be and people to work with. So watch this space, there are things brewing and I can’t wait for you all to see. May God grace the energies that are (and will be) a part of the magazine. Thank you, ngiyabonga, merci and ndiyabulela.

Fashionably yours.

Sifiso Mahlangu Editor-In-Chief

CONTENTS

The Team

Founder

Anam Xinwa

Editor-In-Chief Sifiso Mahlangu

Fashion Editor Thobeka Mbane

Layout/Graphic Designer Wellington Nyanda Copy Editor Tshimo Maputla

Photographers

Alexandros Paterimos David Blaq Motsomotso Eunice Driver Youri Sunguza Sam-Clinton Obed

Writers

Zwakele Mbanjwa Tshimo Maputla Sipho Ntlapho Jane Morrison Illustrator

Wellington Nyanda

A TRIP HOME

Photography Youri Sunguza Creative Direction Youri Sunguza George Pailman Make-up George Pailman Muse George Pailman

On the corner of De Beer and Juta street in buzzing Braamfontein (aka ”Braam”), a youthful district of Johannesburg, SouthAfrica, lives culture.Asub-culture.An urban aristocracy, where ad-libs and 'drip' are your wealth and grant you a place among lords.

On an odd weekday, the streets of Braam echo with crude beat productions that would fill Zaytoven with pride. The electric blue exteriors of the Kitchener’s Carvery Bar find themselves as temple walls to a society of braided side-shaven heads and moonbags It is where young men adorned in thrift fashion with arms pumping, uttering an intentional “Skrr” over a beat produced in makeshift studios that double as bedrooms somewhere in black suburbia, are lords – Braam Lords. Calling this endemic to Johannesburg, or even South Africa might be an anthropological faux pas. Trap music historians would punish me for not paying homage to the pioneering that the African diaspora engages in there by the land of the free and home of the brave – America. But the story of how trap music and thrifting gave birth to the Braam Lord phenomenon is a very South African tale where adornment in the midst of sociological profanity is our bread and butter Braam Lords are an example of art forms coming together to produce a lifestyle. We live in a time where durags and moonbags provide a sense of belonging. Though the idea is not unique, it is important for deepening our understanding of the modern social construct of belonging, using art as a tool of understanding. Sub-cultures in the world of art are the nexus that forebears’new ways of being. It is the collaboration, used loosely, of art forms. Think bootleg pants and disco music, umblaselo and maskandi music, Dr Martens and gothic Rock; in all these cases art forms came together to produce something more than art – it created culture. Braam Lordism is yet another example of how art forms can collaborate. The idea of creative collaboration is one understood traditionally from a lens where creatives with different styles merge their styles within the same art form or where the collaborative result lands within a single art form, i.e. Yohji Yamamoto andAdidas with fashion; Nasty C and Shekinah in music; Warhol and Basquiat in paintings. Even when you consider cases of trans-art collaborations they rarely change our ways of being and end up as trendy campaigns for public relations, with the odd exception of artists that possess artistic multilocality – able to operate in multiple art forms respectively and simultaneously, like Kanye West. The story of the Braam Lord is one of the ascension of art into culture. Braam Lords are patrons of Trap music, and the aspirational model of trap music, influenced by Hip Hop, drives how they consume fashion. Trap influencers like Gucci Mane and Migos produce imagery of excess and luxury brand consumption. However, sociological barriers like class and affordability are overwhelming in the SouthAfrican context and prevent complete assimilation to the image proposed. It is the single most reason thrifting is a big part of Braam Lordism. It provides the unique opportunity to possess luxury brands, or quality fashion pieces, at an incomparable affordability. Second hand pieces find themselves on the streets of downtown Johannesburg by the numbers. Young people from all classes of society get the opportunity to possess good quality fashion pieces for the price of digging in hills of clothes and a good wash. This is a clear win for the conversation around fashion waste. But even more so a way of life for many who want the opulence of luxury fashion at an affordable price. Of course, one must consider the fit of a piece and the kind of pieces they manage to procure. This is where the subculture thrives. During the thrift scramble in the streets of downtown Johannesburg, the focus is often on securing good quality pieces rather than what it will align with in your wardrobe. It is typical to walk away from a thrifting session with a pair of dad trainers, an oversized suit and a moonbag – maybe even a pair of sunglasses.

The ingenuity of the Braam Lord is in how they can curate these odd pieces to create a new look. The moonbag becomes the trendy waist belt to tame the oversized blazer, where getting an outfit tailored is a treat that not many can afford in the context of a clothing budget that must stretch as far as possible – in the name of 'drip' of course. The dad trainers may be excused for sneakers and what can’t be spun as an edgy fashion moment will be fixed by the sunglasses. The use of these odd pieces together reminds me of the trap adlib effect. The odd offshoot of an ad-lib creates a new layer to the musical production that elevates the sound. If you think about it, this provides an interesting lens to consider how the oddity of certain elements of the Braam Lord look layer it akin to the musical production they love so much. An oversized suit may be “ad-libbed” by a moon bag and dad trainers. A look born out of a melange of aspiration to Trap music culture, sociological context and a commitment to 'drip' It’s easy to overlook the Braam Lord as an anthropological phenomenon in the name of fads, however what underpins the subculture is a union of art forms. Fashion and music are only two, the subculture expands to photography, printmaking and other art forms that entitle Braam Lords their space among the subcultures of Johannesburg. When navigating those electric blue exteriors and graffitied walls of De Beer and Juta Street, look out for them and remember that you’re in the midst of Lords – Skrrr!

WORDS BY Zwakele Mbanjwa

LE ON CHAUKE

What are you currently working on?

Well I haven't planned a project as yet, but I can say I'm working on a series of abstract collages which I'm planning on exhibiting soon.

What inspiration of yours set this project in motion?

The love of earth and growing, the love of exploring different parts of my brain and creating. I became diversified and in constant flux, I love experimenting and i've always had some visual incentives, a sensation, an emotion that becomes a feeling that I want to revive digitally.

Is it correct in saying it’s a very personal piece?

Yes, because it comes from the fundamental nature that was affected by what millennials went through with regards race and gender based issues and mostly my personal experiences.

What challenges are you currently facing, and how do you plan to overcome them?

I'm currently facing challanges with equipment and finances, but my main concern is capital because wow printing doesn't come cheap at all and finding curators that could actually view my craft and possibly work on something, however I plan on pushing and work twice as hard to overcome my challanges and attract people that are willing g to get inspired.

Have you considered looking at it from a different angle? In other words, have you experimented with unorthodox/new methods on this project?

My work is abstract and I try to always reflect on traditional methods which enphesises belonging, and that shows in my work.

When do you expect to reach the final product?

Hopefully towards the end of the year, by then I will have enough works to plan my solo-exhibition.

Would you say that this will be one of your best works to date? If so, how will it compare to your previous creations?

Its similar to the art I've done before, my art carries the same elements that enable me to be consistent with the stories i tell and the ones I'm still trying to tell.

TARA DEACON

What are you currently working on?

I am creating a new body of work for my solo show in Lisbon, exploring the theme of Return to my family home in South Africa.

What inspiration of yours set this project in motion?

I left my homeland of South Africa to live in Berlin 5 years ago, with yearly trips back. My last visit encompassed being present for small moments in my childhood home, as well as memories of time spent there as a child. As my parents move onto a new chapter of their life by selling the house, I have had to come to terms with the fact that I my not be able to physically be reminded of this special place now that I go back. The body of work captures overlooked moments and memories with how I see things through my eyes as an ever changing and growing adult.

Is it correct in saying it’s a very personal piece? Absolutely.

What challenges are you currently facing, and how do you plan to overcome them?

During my time back home, I used my sketchbook to documents my immediate surroundings and attempted to capture the essence of the sounds, smells and atmosphere. Now that I am back in Berlin working on my show, I find it hard to place myself in the memories of that time and create pieces that authentically reflect what I was experiencing.

Have you considered looking at it from a different angle? In other words, have you experimented with Unorthodox/new methods on this project?

I have started to Skype and message my mother and father, vicariously living through them as they relish in the last moments of the home that hold so many memories. This has allowed me to creates paintings from memories that are deep down and need to be reignited

When do you expect to reach the final product? Hopefully by Mid April.

Would you say that this will be one of your best works to date? If so, how will it compare to your previous creations?

Perhaps so. Exploring this theme has allowed me to close a certain chapter of my life, and at the same time push the boundaries of exaggeration and not being afraid to add more color, pattern and vibrance to my pieces.

@taradeacon

MOLEBOGE MOKGOSI

What are you currently working on?

Right now I am working on series of semi-abstract work that has no specific theme. I paint what I feel and I don’t name any of my artworks so as not to have any influence on the interpretation of my paintings. To be specific I am working on surreal painting about suicide but I don’t want to give away too much information.

What inspiration of yours set this project in motion?

I am mostly inspired by music. I listen to very deep and dark trap music like $uicideboys andGhostemane when I am painting which make it easier for me to manifest my feelings in to art. I am also inspired by the people around me, their views about certain issues like sexuality and mental illnesses have a great influence on my art.

Is it correct in saying it’s a very personal piece?

to a certain extent it is a personal piece as I have been affected by suicide in most of my life and I know that I am not the only one so I am not doing this for myself but for every person who has been affected by suicide.

What challenges are you currently facing, and how do you plan to overcome them?

Right now I am experimenting with new paints like Gouache which I am very unfamiliar with. It is a very hard medium to work with in terms of blending colours and creating fine details. I believe every time I practice is a step closer to perfection which is my plan of overcoming my challenge.

Have you considered looking at it from a different angle? In other words, have you experimented with unorthodox/new methods on this project? I have tried using different tools for different textures that I want to achieve. I also have tried using my fingers and I was very underwhelmed with the results. I am yet to find alternative tools to use in my project and hope for the best.

When do you expect to reach the final product? Art is time consuming on its own, very detailed paintings can take me up to 30hrs in total to finish but as this is a personal project I expect to finish it in the next 3 weeks.

Would you say that this will be one of your best works to date? If so, how will it compare to your previous creations?

I whole heartedly believe that it will be my best work ever as It has some personal value to it. My previous artworks are related to current issues and I partly connect to them but this current project is what I fully connect to.

GIFTED AND CURSED

Photography

Sam-Clinton Obed Photography Assistant Coz Control Creative Direction Sadam Khalfan Styling Sadam Khalfan Muse Emmanuel Tchawi Aboubakary Ali

TARA DEACON

What is a muse to you?

The free and kindred spirit of someone who is positive, enthusiastic and cuious

Who’s your favourite female and male model, and why?

Naomi Shimada for her vivacious attitude and persona and Marcel J Fritz for his soft feminine gaze and femininity

What do you love and hate about the modelling industry?

I think the modelling industry is changing a lot, now embracing models imperfections and those with disabilities aswell . Its says a lot about the industry that beauty ideas are changing. However, I still strongly feel there is a huge stigma attached the the modelling industry and the “ideal” weight and body size.

Runway or editorial, and why?

Editorial, because personally I feel it allows more room for play and spontaneity

If you were given the opportunity to grace the cover of a major independent magazine besides ours, which one would it be, and why?

Buffalo Zine, for the way it exposes youth culture and nostalgia.

Do you feel that the modelling industry gives enough opportunities for models like yourself?

Absolutely! Especialy being between Berlin and Johannesburg, the modelling opportunities are more progressive and dismiss to the norm.

Which renowned fashion photographer would you love to work with, and why?

Berlin based Iga Drobisz for the way she captures dreamy , feminine and contemporary images that embody a naïve gracefullness

LISLE COLLINS

What is a muse to you?

A muse is a source of inspiration. Someone that can conjour up ones desire to create. Whether its something beautiful or gritty.

Who’s your favourite female and male model, and why?

I absolutely love Adwoa Aboa. She is the quintessential cool girl that comes to mind. I love that she is such a chameleon in all her editorial shoots. And although she’s on the shorter side for runway, he walk kills it every damn time. I think of her as a millennial supermodel.

Brandon Browne, is a non binary model from Cape Town. Who I look towards are the future of fashion. They’re really beautiful and keeps growing from strength to strength from cape town fashion week to bangkok fashion week. They are setting fashion killer strides and its beautiful.

What do you love and hate about the modelling industry?

It irks me that the industry is so temperamental. But, so is fashion and trends, and the industry is going to reflect that. Because the modeling industry is aesthetical it breeds a culture of scrutiny and an insensitivity to ones looks because they’re under one giant microscope. What I do love goes hand in hand with what I dislike, and that is because of the fast pace temperament. The modeling industry is constantly scouting and looking for new faces. There’s something romantic about the whole whirlwind.

Runway or editorial, and why?

Wow, this is such a difficult question. Its like Sophie’s Choice! Runway will always be my first love. It was my first gig, my first modeling job. The thrill of it all is so exciting. I love the show that is happening backstage, the show that the audience cannot see. Stepping onto that runway all the nerves fall away and you just gotta strut. There’s something very theatrical about runway shows.

If you were given the opportunity to grace the cover of a major independent magazine besides ours, which one would it be, and why?

I’ve never passed an issue of LOVE magazine and not looked twice. The covers are always so provocative, so iconic and the editorial pages are glorious.

Do you feel that the modelling industry gives enough opportunities for models like yourself?

Internationally? Yes. Locally? No. Locally we’re not there yet. There is a very linear perception of what a model is. Certain brands and institutions are not ready to break that pattern, so they like something safe and safe I am not. But, there is a new wave of change and a lot of that is credited to independent fashion journals and niche agencies. They’re changing the face (and body) of models. Its pretty amazing to witness the shake-up. That’s what keeps me optimistic.

Which renowned fashion photographer would you love to work with, and why?

Matthew Rolston, is a wizard! The images he creates are so magical. He has such an acute eye, as a photographer he has his finger on the pulse for everything on his set. He creates a symphony and the results are iconic.

“Clothes are meant to be worn” says fashion designer extraordinaire Yves Saint Laurent. And how one wears them is relative to their mood, lifestyle, and ultimately- their willingness to look unique. Many people choose to purchase fast fashion or ready-to-wear pieces because of how the garments are comfortable. Some people want to break free from daily expectations. They want to define themselves outside societal norms that dictate how garments should be worn, and in doing so, they spotlight the realm of avant-garde fashion. Here are two formidable fashion designers that cater for all the bizarre:

THIERRY MUGLER:

Named the “Designer of the Year” in 1974, his success story shines brightly with acclaimed collections, ingenious fashion shows that he conceived and curated, painting-like photos that he created himself, short films, video clips and films.

Going against folkloric, unstructured fashion, the collection had an urban, sexy, flirty vibe, confident in itself. It exuded ultra- femininity, a dramatization of the everyday unveiling of a woman.

“I ALWAYS TRY TO CONVEY SENSATIONS, A SENTIMENT... I ALWAYS TELL STORIES, STORIES ABOUT MEN AND WOMEN, INSPIRED BY ALL THE POISONOUS FLOWERS AND MISCHIEVOUS CREATURES OF THE MYTHOLOGICAL WORLD.”

The formative aesthetic expressed in the works of Thierry Mugler was characterized by the eroticism and the futurism. The eroticism was specified into the sexualism, primitivism and fetishism, and those of futurism were divided into a narrative and the grotesque. The eroticism was based on the design concept on the body of woman.

CLIVE RUNDLE:

Dubbed the godfather of Construction, Clive Rundle is unparalleled visual depth par excellence. His use of luxurious one-of-a-kind fabric paired with impeccable detailing garners extraordinary pieces that stand the test of time. As one of the fore fathers of contemporary fashion design in South Africa, he’s complex structural nature of intricate garment processing is unparalleled. These include cutting, hand-dying, hand-printing and elaborate embellishment. As such, each piece is unique and not easily reproduced; his clientele (businesswomen) are his biggest support and love his clothes because they make a statement without try too hard.

Part of the brands success comes from the numerous local and international exhibitions that have housed his garments. In 2018 Clive was invited to attend and exhibit at the Commonwealth Fashion Exchange in London at the Buckingham Palace. In our shores, his garments were showcased at the Zeitz MOCAA in Cape Town. They were part of the SAFW (South African Fashion Week) 21st exhibition that celebrated 21 years of the institutions existence.

Couture creates beauty that speaks to a greater target audience who appreciate high quality clothing for everyday use.Avant-garde fashion is for the dreamers. They appreciate the highest form of craftsmanship which encompasses the flair of art and the construction of science, and how they harmoniously exist with each other celebrates the joy of creating.

WORDS BY JANE MORRISON

Authenticity cultivates the courage to be imperfect and vulnerable.

We have to believe that we are fundamentally worthy of love and acceptance, and in doing so, we represent one’s true nature or beliefs in a spiritual, kind and dynamic way. This is testament to what Katherine Pichulick and her team embody; the essence of selflessness and love that champions what the brand stands for.

PICHULIK

THE ESSENCE OF BEAUTY

Created in 2013, Pichulick is a womenswear jewelry and accessories brand that celebrates self-reflection. “The brand connects to all women (and men or whatever someone identifies themselves as) who are truthful to themselves and expresses this in the most organic way possible.” says Katherine. They honour stories that are embedded in Africa. One particular story that resonated with me is about the abalone. I remember learning about the abalone in primary school and how poaching them is legal on South African coastal lines. In the inside, they’re shells are breathtakingly iridescent which makes them more than desirable to poachers and enthusiasts alike.

To honour their memory, Pichulick has created abalone shell shaped earrings that are made from brass cast with 22 karat gold plating. They’re fluid design captures how the beauty of the earrings can go from day to night with no fuss. The abalone is considered the ears of the ocean and “… these earrings serve to remind us to listen to our internal tide. Know the rhythms that sustain you, when to rest, when to create, and when to express yourself.”she adds.

Growing up, Katherine always knew that being an entrepreneur would be her chosen journey. “I grew up in a family of entrepreneurs. I learned from a young age that I needed to be self-sufficient, create and cultivate my own opportunities. My mom taught me this. As a single parent in the PR industry, I would always watch my mom being incredibly fierce and bold in working a fulltime job, and yet building a rich life of artistic friends and interesting holidays.” she says.

Katherine’s inception of the brand came from her whimsical childhood memories that speak to how she is and how Pichulick is represented.” I grew up in the late 80s early 90s when there was a lot of costume jewelry. My mom was a bohemian spirit that tried to find a corporate pathway, and in doing so, she also started her own business to make more money. Her dress sense was quite artistic. Her bohemian style of dress influenced me into initially starting a business of statement jewelry because when I was small, I would delicately wrap myself with her exquisite scarfs from her treasure chest and would adorn myself with her clip-on earrings. That really made me who I am.” she reminisces.

With a background in fine art and patisserie, Katherine enjoyed fashion but more in a crafting, cultural perspective and handmade artisanal spaces. This garnered the inspiration to read art and history books, visit museums, invest in knowing about anthropology and seeing sociological elements and artefacts.

“This helped me to understand how imagery, ceremony and ritualistic philosophies showcase ethnographical art forms. I have been blessed to be able to travel the world and seeing different spaces, materials and cultures My insight on natural environments like the Karoo, and seeing places of worship such as in India have allowed me to be inspired and invest in knowing how humans interact with each other. This lead to my realization on how it is really important to stay true to who you are, no matter the trials and tribulations that the world might have.” she says.

Furthermore, what inspires her is not any specific tradition or cultural heritage, it’s the similarity that spans all of them. “Whether you are going to the Middle East, North Africa or to South Asia, inspiration is always there. Jewelry has given all of us an agency to connect to something spiritual which are steeped through rituals or cultural ceremonies. This in turn connects us to God.” she adds.

With her team behind her all the way, Katherine always strives to create jewelry that has a narrative through their materials, shapes and symbolism on how the colours of the stones and the materials the brand uses. This relates to how a person can think about one's life by being authentic, kind and connecting to the world.

Pichulick is about family, and nothing says more than family like Katherine’s team.” I feel that we are all working together. We are all in alignment and there’s a sense of flow. I love that the people I work with are actualizing their potential and growth, this makes me so proud.” she says. Pichulick represents being a champion of kindness, inclusivity and meaning. This also translates to their clientele. “ The brand connects to a clientele that is non-denominational and is really inclusive. What I’ve always felt is that we have never been about a specific demographics. We don’t discern through age, colour, size or religious background. Our clients have a certain spirit of being self-reflective, inspired, working on themselves, and being kind and open-minded.” Katherine adds.

The future looks very bright for Pichulick. With a new collection coming soon, the brand has a beautiful key retailer partnership in the USA. Katherine is moving studios to the East City: inside the City of Cape Town. They’ll be taking the top floor of an old heritage site that forms part of District Six. “ We will be opening our space for people to view and experience our flagship store over the weekend. You can sit within our beautiful courtyard and have a coffee and be able to view how the accessories are made. That is really important to the brand that people will be able to purchase and they’ll have an intimate relationship with what Pichulick’s offers.” she says

"I’ve learned that there is no better way to invite more grace, gratitude and joy into our lives than by mindfully practicing authenticity” says Brene Brown. This is one of the many woman that Katherine resonates with in more ways than one." I have always been inspired by powerful and mindful woman. They've taught me a lot on how to connect to my surrounds in a multilayered manner. From Oprah Winfrey to Letta Mbuli (just to name a few), these resilient women have not only shaped me and my team, but the world over. Just like clothing, jewelry is meant to be worn, and in doing so, they embody ones energy and how it is reflected to the world. I for one am connected to the message that Pichulick stands for. We need more clothing and accessory brands that resonate with our surroundings and ourselves in this way.

Depending on how long you’ve had a keen interest in fashion, you may or may not remember a time when the lines were clearly drawn. In short, the idea has been punted as: “fast fashion” = bad, while “timeless fashion” = good. The former was - and for many, still is - considered a hindrance to the ethical standards of the industry. A result of big corporations using designer fashion ideas to turn out mammoth profits in the consumer-driven modern world. All while the more ethically-focused latter option represents consideration for the wider impact of fashion on the world.

Is there a wrong or right option? The lines are blurring more and more as time passes. It’s not as simple as choosing one or the other anymore, but you can always weigh your options better when you know what they are. Let’s start by zoning in on each concept to really grasp what they mean for you, the fashion industry and (yup, you guessed it) the whole world.

Getting Familiar With The Differences & Intersections Between The Two

Close your eyes and use your imagination for a moment. (No, not those eyes - you need them to read what’s coming up. Try closing your mind’s eye, just for effect). We’re going to throw the relevant fashion terms used throughout the article in your direction and see what comes to mind when you read them. You don’t need to be a fashion guru to know what they mean. All you need to do is take a direct cue from the wording and see what you can come up with. We’ll fill in the blanks for a clearer picture. Ready? Set? Go!

Fast fashion:

If you guessed that fast fashion is something along the lines of fleeting trends, you’re on the right track. However, the term has more to do with the production and distribution of the clothing than its longevity - even though the two may be linked to some extent.

In a way, you can draw parallels between the fast food and fast fashion industries. Both are produced in mass volumes, sold at cheap prices and easily accessible to the everyday person. International franchises, such as H&M, Cotton On and Zara are prime examples of the global fast fashion wave. Locally, we also have Mr Price, Legit and Truworths on the list. Walk into any one of these stores and you’ll see a reflection of the latest runway trends. Only, they’re available on a much larger scales than designer boutiques offer and at more affordable price points.

What’s the result? The spread of the culture of disposable fashion, if you will. Consumers have so many options that they end up buying even the stuff they don’t really want or need. This puts pressure on design houses when it comes to clothing design, production and distributionwhich brings us to the next point.

Timeless fashion:

You probably guessed that timeless fashion has something to do with classic or exclusive designs that transcend passing trends. If that’s the case, you were right for the most part. Yet, there’s more to timeless fashion - or the “slow fashion” movement, as some call it - than meets the eye.

This end of the fashion spectrum aims to slow down the urge to cater to consumerism. It’s concerned with where designs are sourced from, how they are produced and allowing time and space for creativity. Most timeless fashion designers dedicate their efforts towards creating great quality,unique garments in cycles.

The idea is to slow down the production process to counteract consumerist culture. Not only does this do wonders for buyers’ wardrobes - it’s better for the environment as well. Small-scale production comes with less carbon emmissions (no need for a massive factory) and curbs wasteful buying.

Where Fast Meets Timeless Fashion

There’s no universal right or wrong when it comes to the two. Why do the masses continue to to buy fast fashion? Well, largely because it’s what they can afford. Not everyone has access to timeless fashion, which is why the fast side of things is thriving. There’s no law agaist mixing up your wardrobe to include items from both ends of the spectrum and everywhere in between. You can find a healthy balance by being more conscious when choosing what to buy. If you have access to both, it’s a matter of prioritising what matters most to you.

How You Can Approach Your Fashion Decisions To Make The Right Ones

Your choice of clothing will depend on what you consider as a priority and you’re entitled to determining that for yourself. We can’t tell you what to go for, but here’s a list of questions to ask yourself before you purchase any new clothes.

#1: “Do I really need this item?”

Don’t just buy something because you can. Next time, think it through so that you avoid feeding into the consumerist machine at your own expense.

# 2: “How does this affect the designer and others in the bigger picture?”

Fashion is supposed to bring you joy and bring the designer profits. Make sure your decision to buy from a fast fashion chain doesn’t rob the designer of that.

#3: “Am I prepared to compromise on quality uniqueness?”

If you’d rather not replace an item every other month, a timeless fashion house is usually the best place to go for great quality. Try boutiques that stock from both ends of the spectrum and makes comparisons before you decide.

At the end of the day, it’s about where your priorities and moral compass leads you. The debate has more grey areas than ever, and it’s up to you - and nobody else - to decide where you stand.

WORDS BY Tshimologo Maputla

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