SA Fashion Week

2011-02-07T04:07:00.000-08:00

Sewing up a storm in Cullinan

Thursday 3 February, Pretoria One of the country’s leading manufacturers of consumer goods, Unilever is offering a number of NGOs around the country a positive start to the year with the opportunity to increase earning power in their communities.

During the next two weeks no less than 400 sewing machines will be donated by SURF to a number of charities in Gauteng and KwaZulu-Natal, empowering women at the NGOs to create an income for themselves and their families.

Ethne Whitley, public affairs manager of Unilever, says handovers have ranged between three and 50 sewing machines at charities throughout the provinces. “It’s a wonderful opportunity to empower women, giving them a good start to 2011.”

Whitley adds, “One of Unilever’s 12 Product of the Year awards winners, SURF is offering NGOs the substance and capacity to help their communities through skills development and increased income.”

The Sizakele Creations project in Cullinan received 10 sewing machines from the SURF team. Sizakele was founded 10 years ago with the aim of empowering community members to improve their sewing skills, income earning capacity and their ability to support themselves.

For the last four years the NGO has been working together with South African Fashion Week’s DAC Fashion Fusion Project. The SAFW focus is on developing designers and fusing design with fashion, and top local designers such as Clive Rundle, Amanda Laird-Cherry and Soda have worked with Sizakele since the project launched.

Ester Scholz, spokesperson for Sizakele, says “Since Sizakele was founded, the group has completed many jobs, large and small, and we would like to see it expand to accommodate more workers, therefore the addition of more sewing machines will be a great advantage.

“At Sizakele Creations, we are always looking to make the most of our opportunities and turn each one into a small victory for our crafters and our creative community.”

Whitley concludes, “SURF’s handover of sewing machines will make a difference to hundreds of families during 2011.”

2010-08-10T04:50:00.000-07:00

“Fashion Week has given my business a push in a positive direction and given me inspiration to continue to be the best designer I can possibly be.”
Tarien Malherbe – Non-European

Lucilla Booyzen Wins Shoprite Checkers Women of the Year Award

2010-07-27T06:35:00.000-07:00

Photograph: Ivan Naude

The title winners of the new Shoprite Checkers Women of the Year Award which searched for exceptional and visionary women achievers, who with determination and foresight are making an impact on the future of fellow South Africans were announced this weekend (Saturday, 24 July 2010) in Johannesburg.

Receiving the Corner Shop to Big Business Makers Award, Ms Booyzen said the Award is an acknowledgement of the impact that SA Fashion Week has had on the SA public at large.

She added: “Our aim is to create awareness in the minds of the SA consumer to the vast creative design resources that are available to them through our emerging design industry and the unlimited opportunities to create thousands of jobs through building SMME’s and luxury brands which is the future of fashion in Africa”.

Ms Booyzen is a stalwart of the South African Fashion Industry and the woman who launched South African Fashion Week (SAFW). It was the first independent showcase for the country’s fashion designers and has contributed substantially to the growth and future of the South African fashion industry locally and abroad.

She has developed a distinctive South African design ethos and culture through SA Fashion Week, which now also incorporates a number of initiatives to encourage skills transfer, foster new partnerships and support empowerment.

The judging panel commented it was a difficult task to choose one winner as all the nominees are formidable and inspiring. “Ms Booyzen however embodied all the aspects of the criteria and has made an indelible mark in her field locally and internationally, not only for herself, but the individuals she has assisted and South Africa at large.”.

Text: Shoprite Checkers Women of the Year Awards. For more information on the awards evening and other winners, please visit: www.womenoftheyear.co.za

2010-07-26T00:35:00.001-07:00

“There is no growth without acknowledgement. SAFW’s concrete foundation has allowed designers to build themselves over the years, refining and redefining their collections over the seasons under the continuous motivation of the architect, Lucilla Booyzen”. - Shaldon Kopman

67 MINUTES FOR MADIBA

2010-07-22T06:08:00.000-07:00

SAFW joined forces with local designers and fashionistas to give their 67 minutes at the Lerato Love home.

Lerato Love Home is based in Malboro Gardens, Johannesburg. The home was opened by Margaret Mokoka to provide care for 90 children who have been abused, abandoned, orphaned or affected by HIV/Aids. She also runs a feeding program that feeds 600 children each day. SAFW invited local designers and fashionistas to give 67 minutes of their time to the Lerato Love Home on Sunday the 18th July. Warm fashion products were donated to the charity along with other useful items such as bedding, duvets, pillows, towels, underwear for children, non perishable foods, clothing, shoes, stationery, toiletries and blankets. SAFW donated fluffy customised blankets to the home.

Photography by Kat Grudko Photography

2010-07-19T00:57:00.000-07:00

“I found that the exhibition in September last year was a great success, not only did we have brilliant sales but I also made fantastic contacts. I found three shops to supply in Johannesburg. I got to meet and network with designers, some at the same stage as me and some more established, as well as the media.
I would definitely exhibit again, not only are the extra sales great, but it’s an amazing platform to connect with customers, designers and the media.”- Stephanie Beyers, Silver Spoon Clothing

2010-07-12T05:51:00.001-07:00

“I made so many contacts and sales at the last exhibition, I was extremely happy with the outcome and the public’s response to my designs.” – Robyn de Klerk

2010-06-28T02:55:00.000-07:00

"Having had the priviledge to take part in both Fashion Week September 2009 and March 2010, I have been given incredible oppurtunities to further my career as a jewellery designer. I have met and built lasting relationships with other designers, and I have been enriched by being exposed to various new concepts and ideas. It is an invaluable experience." - Metaxia Sterianos - Jewellery Designer

2010-06-25T00:57:00.001-07:00

“SA Fashion week was well planned and organized; I believe it is a must for every company in the Fashion Industry.” – Anneas Balt - BALT Wholesale

2010-06-24T01:33:00.000-07:00

“Fashion Week has given my business a push in a positive direction and given me inspiration to continue to be the best designer I can possibly be.”
Tarien Malherbe – Non-European

2010 SOCCER WORLD CUP INSPIRED COLLECTIONS

2010-05-28T01:42:00.000-07:00

To order, please email: madriaan@soda.co.za

SODA

Designer: Anna-Mari Pretorius

Soccer Dress (excl. rosette): R 450.00

Soccer Jacket: R 950.00 & Stretch Skirt: R 250.00

Lapel Dress (excl. rosette): R 550.00

Drawstring Dress (excl. neckpiece): R 500.00

Windmill Brooch: R 75.00

Rosette: R 175.00

Soccer Ball Rosette: R 135.00

K IS FOR KELLY

Designer: Kelly Fisher

SA Flag Vest Dress: R 375.00

SIES! ISABELLE

Designer: Isabelle Carpenter

Halterneck Dress: R 850.00

SOBER

Designer: Tshepo Mafokwane

Soccer Cheerleader Outfit (excl. shoes): R 950.00

RJKAY CREATIONS

Designers: Paledi Segapo and Reginald Molamu

Gerry Dress: R 3 500.00

Bonang Dress: R 2 800.00

OLÉ LEDIMO FOR LOXION KULCA

Designer: Olé Ledimo

Biker Jacket: R 2 500.00

House of Olé Shirt: R 1 500.00

Zulu Mblaselo Pants (Zulu in my Botsotso Collection): R 1 200.00

Loxion Stars: R 250.00

Cap: R 250.00

Soccer Tee (Nike by Olé Ledimo): R 650.00

Zulu Mblaselo Pants (Zulu in my Botsotso Collection): R 1 200.00

Loxion Stars: R 250.00

EPHYMOL

Designer: Ephraim Molingoana

Soccer Shirt: R 380.00

THUNDERSTORM

Designer: Thabo

Jacket: R 800.00

Shirt: R 450.00

Pants: R 450.00

GUILLOTINE

Designer: Lisa Jaffe

Price on Request

CLIVE RUNDLE

Designer: Clive Rundle

Price on Request

Price on Request

SA Fashion Week on YouTube

2010-05-26T02:23:00.000-07:00

http://www.youtube.com/watch?v=L-axAmPNkmE

Team SA Fashion Week Roots for Bafana Bafana

2010-05-19T01:42:00.000-07:00

In the countdown to 2010 kick off, SA Fashion Week United – the models, the designers, the producers, the hair and make-up glamour mechanics – joined local soccer WAGS and celebrities in a fashionable show of support for our boys as they prepare to take on the rest of the world.

The event took place at SA Fashion Week’s home at the Design District in Rosebank at pop-up store, MiBar.

Karen Monk Klijnstra - SS 2010

2010-05-05T03:24:00.000-07:00

Guillotine - SS 2010

2010-05-03T06:32:00.000-07:00

Gugulam - SS 2010

2010-04-30T02:53:00.000-07:00

Ephymol - SS 2010

2010-04-29T04:25:00.000-07:00

LB Talks the 'Paris Experience' with Karen Ter Morshuizen (Lunar) and Malcolm Kluk (KLuK CGDT)

2010-04-21T01:19:00.000-07:00

Karen Talks the 'Paris Experience'

The Paris Collections:

LB: You took part in an exhibition done in conjunction with the Federation Francaise de la Couture’s the Ready to Wear Winter 2010 in Paris – what was required from you?

KM: I had to put together 5 looks for a static exhibition that formed part of a presentation aimed to introduce African designers to the European industry.

LB: The media release, put out by Arise Africa mentioned that one designer will be selected to show at The Spring/Summer 2011 Collections – Should you be selected how will this influence the rest of your career?

KM: In all honesty I don’t know. I am not ready to put on an individual show in Paris just yet. There is too much that has to go into it to just think you can go there and show. You need the right PR, the right press agent, a showroom venue etc, etc, etc.

LB: How has the Paris experience benefited your business?

KM: Every experience that I can gain in learning more about the world industry of fashion can only benefit my business. It makes me wiser and a little bit smarter every time.

LB: What was the most exciting thing about being part of this PR exercise for Arise?

KM: That’s a very interesting way to put the question! Most exciting? Knowing I was going back to Paris and knowing that I was responsible for making my own magic.

LB: What was the most frustrating experience you had while being in Paris?

KM: I chose to not let anything frustrate me, you make of a situation whatever you want and I was very happy to just be there.

LB: What advice would you give to other local designers who want to go overseas and show at international fashion weeks?

KM: Be realistic. You are not going to be an overnight success and nobody cares that you come from South Africa or anywhere else for that matter. Do it for the right reasons and make sure you don’t mess it up.

LB: In your opinion are the SA designers ready to export?

KM: Most no but a handful yes!

At home:

LB: How long have you been designing under the Lunar label?

KM: 15 years

LB: You are one of the few SA designers that have a very successful business in Johannesburg and Cape Town – this obviously takes a lot of experience, business knowledge and passion – what is your advice to designers that want to open their own store?

KM: Opening my first store was the best thing I ever did, but I did it after 10 years of finding my feet with Lunar. I tried bridal, I tried wholesale, I tried consignment, I tried corporate, I tried kids, I even tried sportswear: By the time I went into retail I had a lot of experience and even so I had to learn many lessons along the way and I continue to learn all the time. If designers want to open a store because they think it will solve all their problems they have another thing coming. It doesn’t matter what aspect of the industry you engage in every single one requires hard work and a burning passion.

LB: What do you hate about the fashion industry?

KM: It’s artificial, there is a pretence of glamour.

LB: What do you love about the fashion industry?

KM: Its passion, its intensity, its constant evolution.

LB: Where do you see your business in 5 years?

KM: Lunar will go global. It won’t be the biggest or the greatest brand ever but it will be small, intimate, have integrity and inspire the people that buy it.

LB: How has showing your Collection at SAFW benefitted your business?

KM: SAFW has been very good for us. We have always showed with a specific goal in mind and most times we have achieved what we set out to do. Many of the opportunities that have been presented to us have in some way or another stemmed from being part of SAFW.

Malcolm Talks the 'Paris Experience'

The Paris Collections:

LB: You took part in an exhibition done in conjunction with the Federation Francaise de la Couture’s the Ready to Wear Winter 2010 in Paris – what was required from you?

MK: We were asked to create 5 looks that represented our brand for the A/W 2010 Season RTW as a showcase to gauge response from the media in Paris with the possibility of showing a full show in the future.

LB: The media release, put out by Arise Africa mentioned that one designer will be selected to show at the Spring/Summer 2011 Collections – Should you be selected how will this influence the rest of your career?

MK: I do not think that the French or for that matter the rest of the world are waiting for another designer wherever they may be from. The importance is to look after your customers at home first. There is a difference between showing in Paris which is good for the ego to be accepted on that level, it is good for the business over here as customers recognise that the brand has international relevance and becomes more desirable over here. But, showing in Paris with the intention of selling internationally would mean setting up an office over there to look after press and sales. It would mean focusing wholly on the French industry and answering their needs over local needs.

LB: How has the Paris experience benefited your business?

MK: It was interesting to see that your competition is Chanel, Dior etc - no excuses that we are from Africa and cannot afford what they can. The buyers want the best product that they can sell and the customers want the best quality and style. The exposure to our industry on this level is invaluable to better what we do over here.

LB: What was the most exciting thing about being part of this PR exercise for Arise?

MK: Paris is the first prize in fashion, to be exposed to the best of our industry is amazing.

LB: What was the most frustrating experience you had while being in Paris?

MK: I wish we could have had more press exposure.

LB: What advice would you give to other local designers who want to go overseas and show at international fashion weeks?

MK: Look after your local customers first there is no pot of gold at the end of any rainbow. Be successful here first and then everything else is an added bonus.

LB: In your opinion are the SA designers ready to export?

MK: Quality and consistency is a factor. Few can deliver the quality that the Europeans require. They are also a bit snobbish and prefer clothes to be made in Europe. It would be better for SA designers to set up office over there and perhaps after a few years they will be accepted. Without the support of backing like LVMH, Gucci group etc, it is difficult to compete.

LB: What is the biggest challenge the SA designers have?

MK: We have to make a rand equal a dollar, we have no support from backers and bankers, our customers think that everything from overseas is better and there is little discernment between quality and price.

At home:

LB: How long have you been designing under the Malcolm Kluk label?

MK: This will be 10 years.

MK: I made the mistake thinking “wouldn’t it be lovely to open a store” and found that it was really hard work and distracting from making clothes. You have to be very people oriented and also have staying power. I couldn’t understand when I started why people would buy anywhere else, but you need to build a trust with customers and that takes time.

LB: How did your partnership with CGDT influence your business?

MK: Apart from sharing the workload, Christiaan is very detail oriented, where I look more holistically. He has a great instinct and is a nicer person.

LB: What do you hate about the fashion industry?

MK: There is no logic or system, it is about emotion and feeling and this makes it difficult to be business minded. Also in SA we have been corrupted by politics and tend to glorify those that aren’t schooled for their creativity when they should be learning to survive.

LB: What do you love about the fashion industry?

MK: I have experienced life that I would never have in another industry. I have been challenged like no other and rewarded for it.

LB: Where do you see your business in 5 years?

MK: That is the fashion industry; you can never tell what may happen.

DMClassics - SS 2010

2010-04-21T01:18:00.000-07:00

DFC Couture SS - 2010

2010-04-20T05:31:00.000-07:00

Darkie - SS 2010

2010-04-16T07:22:00.000-07:00

Colleen Eitzen - SS2010

2010-04-15T03:23:00.000-07:00

Chimera - SS2010

2010-04-14T03:54:00.000-07:00

Bianca Warren - SS2010

2010-04-13T05:10:00.001-07:00

Amanda Laird Cherry - SS 2010

2010-04-12T06:49:00.000-07:00

Photographs by Ivan Naude

SAFW in WWD - article by Bambina Wise

2010-04-01T04:21:00.000-07:00

WWD, 13-03-2010

[Epilogue]

2010-03-29T03:37:00.000-07:00

To conclude... after 3 ultra awesome days I can truly say that each and every designer tackled and dissected summer in their own way.

From the re-introduction to old colours that were forgotten about,

to the use of different material,

to metaphorical motives,

to Tarantino films,

to building apparatus,

to shear fun,

to spookasem,

to motown,

to historical icons,

to summer nights and summer breezes,

but most of all... to the city Jozi.

It's been an inspirational experience!

Well done to each and every designer!

This is me, Paris B, signing out... back in September...

maybe...hopefully...we'll see :)

Lovage

Paris B

[Grand Finale]

2010-03-28T01:27:00.000-07:00

The last 3 shows of the evening looked at designers DM Classics, Thunderstorm, Darkie, Ephymol and Sylvester Falata. And boy, am I glad I saw these... the ranges were now also focusing on men and their perfect summer range.

DM Classics

Did you ever watch the film Jackie Brown?

You know, that other Tarantino film that didn't get as much spotlight as Pulp Fiction did?

The one with Robert De Niro? Yup. That one.

This range reminded me of that film - really 'cause it screamed attitude and funk.

Designer Dennis Manthata Maponya used brown like you'd never seen it be used.

From light hazelnut ones to that resembling Godiva chocolates

(Hey, no drooling please - it messes up your keyboard)

Men were dressed from head to toe in that which screamed hard-core and professional.

To suit any business (get the pun?)

It brought about this sense of Evening elegance for any night out on the town, the summer air brushing up against his jacket and licking the edges of your evening dress.

With the colours of chocolate milkshakes to classic caramels, Dennis looked at the warm side to summer and the heat in darker, richer, African colours.

AND... he made me smile by reviving the bow-tie

- I honestly think more men should wear them.

From old school biker jackets, to little black dresses, to tuxedos

- it was like James Bond and James Brown were the siblings we never heard about

Above 2 photos: © Planet Ivan - Ivan Naude

Thunderstorm

Bob the builder, can he fix it? Bob the builder, yes he can!

And yes, yes, yes did designer Thabo Maserumule amaze us with his builder's wear inspired range. Everything down to the last detail was thought out. Every single model had something to do with building apparatus. One would walk in with a hammer in hand, the other with a bag filled with sandwiches and coffee - the worker's lunch.

It was ingenious! Affective, grungy and added to the attitude Thabo wanted to portray.

He brought back the close-to-turquoise blue and clean white.

To me it felt kinda like ice cream soda pop colours with that hard-core builder's cheek intact.

Kinda 70's Motown yet still very modern.

It was interesting that he chose the builder's wear specifically 'cause what I felt that it did, was bring back the question to 'what actually is, a real man?'

The type that builds? Constructs? Changes?

There was this cute...in a sense...hard core image established on the outside, yet with this inner soul on the inside. A real man who loves, cares, nurtures and understands.

It screamed masculinity at every chance it got and experimented with a new concept that succeeded in making us smile, laugh and want the term 'real man' in every context.

Above 2 Photos: © Planet Ivan - Ivan Naude

Darkie

Each year I have the privilege to be blown away by Themba Mngomezulu's work.

And this year proved to be no less.

Darkie combined style and culture this year in a way that old school trends, icons and cultures were revived.

For instance, and thanks to Vincent - who was seated next to me and who I'd just met - the use of the Ndebele culture and art in prints and patterns, revived the culture, which according to Vincent, is slowing dying out and isn't as prominent as it used to be.

This made me smile. Here, you have a designer who isn't just designing clothes, but is multi-taskingly bringing back trends and cultures.

Themba revived the spirit of old historical icons, those who fought for peace and freedom - Malcom X, Martin Luther King Jnr, Gandhi...

all asking the same question repeatedly: Victim, or hero?

It was like a 70's Afro funk revival, so much you'd expect the models to have Afros - but instead screamed attitude and revived a retro Sofia Town.

I then made up the following phrase, Retro African Kitch.

What do you think? I reckon it works :)

There was a revival for this almost golf-like like, the big carrier bags and trippy colours.

It was casual and somewhat Pulp Fiction-y - I dunno, maybe it had something to do with the haunting yet soulful Tom-Watts kind of music.

Full colours to Themba :)

Ephymol

Ephymol designer, Ephraim Molingoana took his inspiration from the streets of Jozi, bringing in waistcoats, linen and earthy shades.

His use of thin and light material portrayed summer's care-free attitude perfectly and breathed as the models moved.

There were moments were old 70's flowers were revived in clothing and this one outfit that reminded me of Scooby Doo - probably 'cause it resembled either character Shaggy or the Van they use to catch monsters in.

- Don't mind me, I love that program.

I must hand it to Ephraim for his impeccable detail and exquisite use of light, wispy fabric.

The dull routine of rolling up a sleeve was now changed into a purposeful move of style. The earthy creams, brown and oranges encompassed summer's warmth and the sands of Africa.

His use of shorts and straw hats made the men look ever-so-cool in light, relaxing clothing.

His range reminded me a lot of that of Paul Smiths - which is a compliment might I add.

Sylvester Falata

Last for the evening and for the event was a range from designer Sylvester Falata.

This range looked at exotic and candy-coated colours that aren't normally used.

This experimentation with colour meant that his range was different, new and completely fresh.

He brought in jumpsuits that stoppped at knee length, in bright exotic colours - cool and easy to wear on a hot day.

Remember how we use to take off our jerseys and tie them around our waists? Yeah, that kinda died in 2002 (well at least for me it did) well, Sylvester brought it back in a way that it was super sexy, attractive and showed summer at every chance it had.

The use of thai silk meant that the clothes were uber comfortable and light for a day out - yet it still portrayed masculinity - don't think it didn't.

There was something interesting he did with the shoulders - you know those pointed flat, outward shoulder guards that the ancient japanese and chinese soldiers had? Yeah it was kinda like that - it brought in a whole new look for the male figure, he looked strong, bold and pretty hard-core I'm not gonna lie.

Buttoned sweaters were used, again to shield those light summer winds and chilly, dew-stained mornings.

And to top it all, was the guest appearance of singer Lira - a beautiful women in a beautiful dress.

Radical :)

Back with epilogue bit later

Lovage

Paris B

[And On The Third Day...]

2010-03-28T00:00:00.000-07:00

The 14h00 Show saw the ranges from Colleen Eitzen, Soda and Terrence Bray .

A very casual and easy wearing group of designs might I add.

Oh and by the by, 'cause I happened to be thinking about this just this morning,

If I tend to come across Li Edelkoort Obsessed, just know that the only reason I keep mentioning her is out of shear gratefulness for what she has done to fashion. As a trend forecaster she has really helped improve the standard of our fashion at the retailers. So yes, just so you know.

Oh and all these ramblings are pure opinion - feel free to agree to disagree :)

Colleen Eitzen

What I sincerely loved about Colleen's range is that her clothes defined easy wearing in every sphere. The clothing reminded me of that which I saw the girls wearing in Greece when I went to all the different islands - which basically is what the range encompassed.

The get-out-of-the-water-slip-something-on feel.

It's easy, it's quick and super comfortable. And every now and then the random pair Converse All Stars to bring back that solid grounding and define the line between just lazy comfort and casual summer. There we hoodies and jumpers all ready to be worn the minute you got out of the water or went outside between twilight and nightfall. She used simple cotton stretch to ensure ultimate comfort. Colours of a grey melange against almost hazelnut browns.

Every now and then if you looked carefully, you'd see a thin layer of grey under the brownish black - very clever as it showed a new dimension to colour when the models walked. The clothing rippled ever so slightly as the body moved from space to space. The tops defined ease and versatility as they hung loosely over the shoulders.

From greys, to powder pinks and browns, to hoodies, pockets, jumpers, belts, folds and frills - sitting there in my clothing, I felt uneasy.

I wanted what the models were wearing - it screamed comfort to the point that I could fall asleep in it.

Colleen is setting out to make her summer majorly comfortable and easy.

Above Photo: © Planet Ivan - Ivan Naude

Soda

Here's what I have to say about designer Anna-Mari Pretorius, way to go with the prints.

Basically, she used prints like faded cartoons of cows and animals - not lots of them all like overlapping, but printed rather big on a dress. It was cheeky, fresh and radiated fun.

(see pics below if you still don't get idea)

She used draw-strings as subtle detail in that you can use it as a belt, a necklace etc. There was this fresh tangerine orange that when juxtaposed against a light, smooth grey, created this 'wow-ing' effect that brought in summer's secrets and scents. The orange was used in strips - either across the shoulder, or at the bottom of a dress. She brought in that Coldplay / Sgt Pepper's jacket where you fasten it across - Very Old School - in a good way that is.

The use of vertical lines in fabrics that ran down a dress brought in that fluidity that the dress encompassed and the structured chaos that Summer brings. (how about that for an oxymoron?)

Anna-Mari explored the art of digital printing onto natural fabric - this is where the animal cartoons come into play - which was genius because it brought about a sense of childlike innocence into this mature femininity of summer.

The printing was faded and subtle so as not to over-do the print that it became too kitch.

(if you get my drift?)

The range was also somewhat sporty and sexy at the same time.

Above Photo: © Planet Ivan - Ivan Naude

Terrence Bray

Designer Terrence Bray explored the dry colour range that we come across in our sub-Saharan neighbouring countries like Namibia. It brought about that dry African feel that was also part of a hot, desert-like summer. The colours reminded me of those found in a Pot-Puree bowl or the dusty surface of a seedpod. Khaki greens were met with rich, dry oranges and browns.

The range encompassed a raw, organic earth feel and the light, dry climates we experience in summer.

Maybe it was the Toto music - I guess the rain's down in Africa - that made me think like this.

Damn Toto.

There was an elegance that Terrence brought about in the hidden folds and sharp lines that made up the dresses. High waisted dressed with belts around the middle meant you could look both professional but easy-going at the same time.

It gave women a complete different sex appeal.

Above Photo: © Planet Ivan - Ivan Naude

Back with the Grand Finale later

Lovage

Paris B

[Good Evening, Summer]

2010-03-27T00:02:00.000-07:00

Well hello there :)

Back again, I promised, with updates on the last 3 shows for a fine, hot, evening in the over-lit Jozi.

Dude, when I mean hot, I mean hot.

The next 3 shows saw designers like Two, Chimera, RjKay Creations, Karen Monk Klijnstra, Gugulam and Loxion Kulca by Ole Ledimo.

Two

First up were the sisters Gina and Caren Waldman. And might I add, was I glad to see some swimwear. I begun to think that people didn't swim in the summer anymore. Gold bikini's, bold and out there. Sexy enough to make you look like you're 'foreign', exotic and definitely something that just walked off the beach in Cannes. The girls brought in that juxtaposition between Beige and Cream, that dark secret-bearing grey and light baby pink.

(My darling mother calls it Nipple pink - I can't help but find more appropriate words)

- By the way, if the adjectives are getting too much, just shout, I'll try better the matter.

Comfortable material was used so that it stretched easily when you walked. Material was left cut as-is and it brought in this ragged chic look against the solid colours. Colours were somewhat industrial and clothing was left to breathe.

Two reinstated simple, yet affective, minimalism.

Chimera

Chimera showed me 2 awesome knew things: one being that of the many faces the colour purple possesses and 2, the beauty of folds - a lot of them.

Designer Bekky Beukes looked at using more than just one belt and how 3 of the same thin belt can be used around a waist. Her clothing was loose and comfortable with the every now and then coat or jacket to shield those sudden summer gusts. There was the use of thinly pressed/creased fabric to create this throw of shear comfort and a hoodie that just falls into place. I liked her use of high-fastened boots and overlapping layers and folds so as to create that cheeky summer evening look. There was also the use of beads in this one dress where they were hung on strands, hundreds just moving with the dress. It was here where I remembered Edelkoort's reference to rain and as the model walked, with the sound of swooshing as the beads brushed one another, I remembered those beaded curtains that are used in doorways and the sound they made when people brushed past them. It was like hearing a rain stick again :)

Gugulam

The 20h00 show saw designer Gugu Mlambo Msomi revive the beauty and shear erotica that the colour red possesses.

Sjoe, that did sound a 'lil steamy didn't it? Don't get any ideas now...

Anyways, moving on..

Gugu's rich range revived a sense of soul in fashion. With the aid of her roots and the insight into what women really want, Gugu created outfits that screamed sex appeal and helped represent the 'woman of our time' - as she puts it.

Her materials danced as the model's walked and her skirts and one piece dresses screamed Proudly bold and proudly woman.

(insert re-enactment of scenes from 'First Wives Club' here)

She had a skirt that looked like it came into contact with Edward Scissorhands and was then left, complete flirtatious cheek intact. She hit us with a bright, arrogant red dress that against the white ramp made the people behind me ghasp - seriously I like totally heard them, no jokes.

Her range screamed summer and her dresses licked the models' ankles.

Karen Monk Klijnstra

I'll give you R100 if you can say that 5 times over fast.

- Ok maybe not.

Lemme just put this into perspective what happened first. I heard Rapper Jack Parow in the background and thinking no-one saw, rapped along, in Afrikaans, when bam!

South African Flag Jacket baby! Black shiny Lycra pants and a jacket that was the national flag.

I was thinking,

'Feels damn awesome to be South African'

And that's exactly what Karen wanted you to say - well more or less along the same lines. Her range encompassed the word cheeky, and played around with the fun that summer actually brings. The nostalgia of looking through photos of you and your friends skinny dipping or the time you got sunburnt on the beach in Cape Town - wait a second, that sounds awfully familiar....Mhmmm

The range was flamboyant and exuberant. Using vivid colours of all kinds, she reminded us that summer is colourful too. So colourful in fact, that one thinks of fresh summer fruits and rain forest toucans and the exotic reef fish you saw snorkeling once (or in the tank at the dentist).

In Edelkoort's words 'tropical fishes are floating canvases of modern art, waiting to be transformed into bathing suits, luxury beach bags and towels'.

I was reminded of the psychedelic madness that was the 60's and 70's, the album covers of Santana's Abraxas and the Beatles' Sgt Peppers. She used two tone dyed denim and placed colour right next to each other so sharply that you saw two tone Ying Yangs split down the middle.

Karen played around with patterns and even a shocking, tennis, ball yellow suit. High-five Karen!

RjKay Creations

Last of this show was the work from designers, Reggie Molamu and Paledi Segapo.

In the words of the boys, this collection 'refected attitude and a thrill with oestentatious silhouettes'. And with the range being named Untitled patterning and prints were used in a way that you sat awe struck wondering what to call it. They looked at green!

Finally! I missed this colour.

African patterns and textiles brought in Edelkoort's inspiration from patterns in the sand left after the flow of tides. The boys brought back blue in its innocence and the use of dots. Not polks dots but small white dots on a white dress - not seen from far but admired from close up.

They revived netting under the layers of dresses and the models looked like Ballerina's.

And finally, men's wear! From low cuts trousers, to shorts to shirts, Rjkay made men look elegantly masculine.

Shear ethno-chic boys :)

Loxion Kulca

Loxion Kulca never ceases to bring alive the African, tribal roots that have influenced fashion. Always confidently changing and adjusting, this summer range had attitude! The last show for Day 2 started with zulu warriors coming in, DIY backpacks and cultural bangles and jewellery. Except with the cheek of wearing all star takkies! Loxion style!

Young and fresh designers Ole Ledimo and Wandi Nzimande revived kitch leopards and the 80's disco colours. Anything casual, hip or funky was right in front of you.

And if funky isn't for you, they brought in industrial, raw overalls that screamed attitude and originality.

The range succeeded in bringing back that party vibe of going out at night or in the day, proudly representing your country and the spirit of being African - no matter your history.

I felt pretty proud.

Last day today, back after 2

Lovage

Paris B

[Day 2...]

2010-03-26T23:51:00.000-07:00

My sincere apologies about the late update. You see, I was somewhat 'taken by force' during the 4 hour break to a certain someone's house;

nevertheless Woolworthes microwave meals are awesome.

So the next show that took place included designers, Rubicon, Sies! Isabelle and Mantsho.

Sies! Isabelle

Bring on the Zip! A fairly amassing apparatus used for attaching two materials together in the way that you can re-attach and part it at any point.

So how about taking the zip that is usually at the back of a dress and putting it onto the front - and in Neon colours too.

Shear originality.

Designer Isabelle Lotter took her organic palette and juxtaposed it with neon, acid highlights. She encompassed femininity by using hour-glass shapes and fresh subtle folds that swayed to-and-fro. Her dresses reminded my of cascading water, falling into place just so and creating 'curvaceous frills that, like ribbon of pleated ruffles, fall into gathered jabots and plunging drapes trickling along the body'

- those would be Edelkoort's words and not mine sadly

She revived peach orange by placing it against marble grey. She brought the fun back in an almost turquoise blue dress

(this is brave I'll have you know, not many like turquoise but Isabelle changed our minds).

And what I loved most was how she accentuated a woman's neck and front profile by having the dress meet around the neck and not on either shoulder. Big pockets that were externally seen on the dress highlighted the hour-glass shape.

And the word comfortable was enhanced by the draw strings that hung loosely from the neck down to the knees.

Appreciate summer in comfort and ease.

Rubicon

Designers Vuyokazi and Raymond Matukane showed us how smooth, feminine and versatile the colour white is. Being an art student I know what different Oil paints are available.

For instance, there's this white they call titanium white and then mixing white and and and...this lists goes on. All for one colour.

This is what Rubicon did. They revived white in summer and helped us remember how fresh it is to wear it under the sun.

Cuts were played around with, from the collar to the off-the-shoulder, to the v-neck and even the round neck. There was an outfit for every occasion.

When talking to the designers after they told me about how they were celebrating 8 years of unwavering local talent. This new look, said Vuyokazi, was a rebirth into easy, comfortable and low-maintenance fashion.

Which made complete sense 'cause summer is care-free and you wouldn't want to your clothing to be the reason you're not enjoying it.

Vuyo also mentioned that the range is flattering yet practical, delicate yet structured.

I found it to be beautifully detailed even down to the piping used. There was a revival in tailored shorts for women and subtle sequences reminiscent to Edelkoort's fish scales and mermaid tails. Thin high waist belts and trouser pockets.

White elegance and attitude at its best.

Mantsho

Can you say John Lennon Revival?

Yup, that's right, those round Lennon glasses were worn by all the models. And to add to the hard-core attitude; army/navy like hats.

This being the shear attitude and tongue and cheek designs from Palesa Mokubung. The raw off-the-cuff culture that was illuminated through her patterns and use of African material made people smile, awe-struck by the originality and confidence. Gold was hinted throughout and clashing colours worked coherently to create work that was a reaction of Palesa's journey in Nigeria. It reminded of tropical fruit and the time I was in Zanzibar.

Everything from exotic summer scents to the night market that I visited with my mother was brought back in a whurl of nostalgic memories. And in a way, I think that's exactly what Mantsho was trying to show - the exotic and hot African countries that we share a continent with.

It also brought about this militaristic look that gave women complete different connotations. No longer were the words airy fairy and wispy used but instead, sexy, grungy and funky.

Lastly, and so as not to leave it out, Pallesa left us in awe with her last outfit.

You know how Jean Paul Gaultier designed those pointy boobs for Madonna?

These were pointy, sharp shoulder pads that pointed upwards and reminded me of some of the shapes seen in the clothing from the Yul Brenner and Deborah Kurr, King and I.

Round of applause :)

Back with last 3 shows later

Lovage

Paris B

Images from SAFW - The Forum Johannesburg

2010-03-26T08:23:00.000-07:00

[Young, Gifted and...Awesome?]

2010-03-26T01:48:00.000-07:00

I hate living on the other side of town - so much because it's traffic nearly made me miss this show. And boy, am I glad I didn't.

Fame starts at a young age - just ask Drew Barrymore. From the cute little girl in E.T. to butt-kicking angel. So it's no surprise that this years Young Designer category would never cease to amaze and shine. If designers like Ella Buter could start here...than any young designer with a dream can.

The show looked at 4 designers, namely: Bianca Warren, Nabella, Silverspoon and Non European.

Bianca Warren

Bianca's use of folds emphasised the fluidity of her work. Her confident technique of layering referred back to Edelkoort's "fashion will embrace the source's fluidity and airy qualities, with light-weight voiles to be cut into weightless layers of skirts".

Her range reminded me of spring's hidden secrets and summer's boldness. Her dresses hung loosely on the models bodies whilst dancing in shades of plum purple, peach orange and ocean blue.

- Don't mind me, I enjoy using adjectives, cute, convenient little things -

Bianca revived the innocence in high waisted skirts and the elegance in light-weight material.

As for Leather? Goth, biker leather is so last 80's. Bianca brought back the faded, soft brown leather and it's ability to juxtapose that of the colour black. Brown, in small quantites is summer's touch of maturity. As for the hippies' input in this? Flowers are back.

No, not the perfect five-petalled ones, but rather a detailed hint of nature.

Nabella

Nabella's influence on oriental colours and prints helped this range gain its momentum. Her outfits were thinly layered to resemble that of calm rivers and peaceful streams. Her lightweight silks and finer chiffons enhanced the flow of material in a stream of fluidity. Faded colours of browns and blues brought about an earthy feel. Rich in nature's source and going back to man's origin. There was a connection between the human being and the richness in earth.

Raw, abundant and rich.

There was this fusion between structured embroidery and care-free silk that brought about a raw quality - one that's not too dry but definitely rich in intensity - yet still bringing up that hint of a summer night sky and warm gusts of wind.

Raw, to the point that the models were barefoot, and there were gem stones stuck onto their stockings - Minimalism I tell you is the way forward.

Silverspoon

Bring on the worker's wear.

There is something so cool about Coco Chanel - and no, it's not cause she somewhat encompasses the epitome of fashion's history, or the fact that I always bring her up.

No it is her introduction of men's wear in women's fashion. Who wears the pants in this family!?

There was an abundance of french influences from pale colours to buttons and cuts.

It was like walking into the ice-cream parlour of your dreams. Pale, subtle marshmellow colours that made the mouth water and the eyes glisten. Never underestimate the power of pale creams and slighty off whites.

Nor can we forget the impact that Chanel's use of trousers have had. In Silverspoon's collection, elegance and business was brought back into fashion.

Trousers are sexy. Point.

And that government school grey?

- Don't mind me I'm at a school where uniform is the last thing on people's minds-

Yeah that too. It's sexy against white.

I kept thinking of Gatsby and his parties... those roaring twenties colours.

And then I pictured myself on the beach in Cannes....

...summer's memory of spring

Non European

The hippy hair band - more than just a way to keep back that long, long, long hair. Instead, a fashion statement. Now, take those hairbands, add in a bow and put it on steroids.

Bam!

You have Non European's, (Tarien Malherbe) signature piece.

In this range there was a constant arrogant use of folds - bold, in-your-face layers and fall-away frills. Denim was brought back with a make over - no longer blue, denim was now an acid yellow. Sour and sharp. When talking to Tarien however she mentioned that the yellow wasn't planned and happened by accident - I congratualed her for that succesful accident if you must know.

There was movement in everything with cheeky cuts and light-weight folds.

Overall...I again feel inspired...fashion, she has a new face and new seeds in the making I'll have you know

Ok I must eat now - pretty ravenous
Back Later

Lovage
Paris B

[The First 2 Shows]

2010-03-25T13:47:00.000-07:00

Amanda Laird Cherry

I have but one word:

Spookasem - or as others know it; candyfloss.

Who remembers it?

Yeah you know, that really thin stuff that tastes good and kinda melts into your mouth?

Yeah that stuff.

This whole range was just that.

Thin, whispy material. But before I get carried away, some history :)

Li Edelkoort said that this year we are going to see water coming back into trends. In her own words, "Fashion will break free with overwhelming fluidity becoming the principle of design"

She mentioned the influence that waves, currents and ripples will have in the 'fluidity of folds' and drapes.

She also mentioned foam. You know, that 'wit skuim' at the edge of the shore?

Yeah, that.

Edelkoort discussed how foam will be influencing thinly knit sweaters and fine foamy layers to shield any sudden summer breeze.

It is clear that fashion is going back to it's source; nature.

Amanda's range this year was inspired by that very concept. There was an overwhelming sense of fluidity, in everything from the way the dress curved the body, to the ghost-like material that brushed by before you noticed. She looked at incorporating summer into her designs and not just inspiring them. The whisps of fabric around the ankles or hips suggested humid summer breezes - those light enough to fall in love with.

There was also an abundance of folds and ripplets (as Edelkoort describes) in stockings and the way dresses fell - almost like a light summer rain.

Her use of colour pallet was also very interesting this year. I'd like to say they were all pale colours but I wouldn't want you imagining baby colours. No. They were almost shy hues of a colour - from light, subtle blues to organic creams and dry khaki's. All, tracing back to our most basic source - nature.

All I kept seeing was a vision of Coco Chanel at the Horse Races - perhaps due to the horse harnesses around the models' heads. Weird you may say but I must say that is always one thing I've loved about Amanda - her trust in experimentation.

New trends. New Ideas. New sources.

When asking Amanda about her range she explained it to be inspired by that of 'Worker's wear'. Overalls and Domestic cleaning aprons - moving to America, her perception on House work had changed. The harnesses, she added (and we were glad she did because at this point, our interpretations seemed pathetic), were to show how the difficulty of house work ways one down.

A wonderful range non the less.

Superella

Gold.

Remember that colour? The one we nearly forgot about?

Superella's show started off with that familiar circus music and a model dancing in onto the ramp with a bunch of gold balloons in the air. I was thinking.... Uh, did I come in through the right door?

Superella, (or better known as Ella Buter an ex-Lisof student) took circus-fun to a whole new level. She brought back the method of putting fun, back into fashion.

Because admit it, sometimes we take it overly too serious.

She looked at shapes like triangles and squares and put them back into the fabrics. The dresses were loose and hanging comfortably on the body. Using black and white in sharp contrast, she brought back the french B+W check and the thinly spaced lines so that the basics of Black and White were revived. Summer was hinted in the way that the clothes fell comfortably off one's body like egyptian cotton or finely made linen.

But most of all and I repeat;

Gold.

Everything about it. From it's multi-purpose usage to it's malleability in the sense that it just goes with anything and creates a contrast. We forget about gold and it's richness and stubborness. The fact that it's far to bold and arrogant to make peace, but also that it says so much about a specific moment or person. It has the ability to change what it touches,

and no this isn't the famous King Midas story - although I must admit, the colour did make him pretty famous.

With Gold, Superella brought back the use of Spray paint - that horrible yet cool stuff that sticks onto nothing you need it to but everything you don't want it to.

She showed that an old pair of takkies can be sprayed into a new, bling pair... Oh and with reference to Martha Stewarts's latest infamous speech at Design Indaba this year

- you can put glitter on anything!

And the best about her show was that she reminded us, not to forget to laugh and to have fun

- no matter how old we are.

Colours, buttons, gold, spray paint; you name it.

Superella revived it.

Guillotine

Here's something awesome I learnt about the colour Black tonight (I seem to be learning about a lot of colours then)

Black, in isolation is terrifying.

No not like, in a bad way but rather in what Guillotine was trying to show

- The Sweetness of Terror

Black is such a rogue colour that it absorbs the very element of light. And that's precisely what the show did when it started off. In total darkness they entered, glow sticks in the hair and a lamp shade in their hands. It brought a whole different meaning to the title 'The unbearable lightness of being' - with emphasis on the 'light'.

Guillotine looked at the beauty of black in isolation with the hint every now and then of a pale hue. The folds mentioned by Edelkoort were seen again in the changing forms of vinyl and leather.

There was also the use of braces

- wait lemme rephrase that; suspenders -

(wouldn't want you thinking bout those teeth things now)

the whole suspender wasn't used but instead just the buckle or just the hint of an elastic.

Guillotine reminded me why black is so easy to wear because it just defines every part of you

- for the better that is.

It reminded me that sometimes we need to let it crease and take its own form.

Not heavy black, but instead moving it into a subtle, whispy form.

Clothing needs to be worn and shown that it is. It moves and breathes and needs to take its own form in its own time.

I can't help but feel inspired.

Truly.

Check you Tomorrow

Lovage

Paris B

[Prologue]

2010-03-25T09:00:00.000-07:00

Just like every story needs a beginning, so does the magician his introduction.
I'm not the magician however.
Just a teen growing up in e'mam Jozi.
And because I have, just like every other teen up here, I understand the city
- correction-
we understand the city.
So it's not wonder that by bringing us an event so close to its heart
- SA Fashion Week Summer Collections (25 - 27 March) -
we understand the city's beauty even more.
From it's 'Explosion in the sky' sunsets, to it's history-stained bulidings, the Chicken Licken round the corner and the constant hum of cars, feet and autumn air;
there's just no better city to host it in.

What sort of ramblin' is this you ask?
My name's Paris
(no, not like the Hilton - kinda leaning more towards the city)
and I'm a teen growing up in Jozi.
I'll be here over the next few days giving you the down-low on what's happening over here at the Turbine Hall in Newtown, JHB.
So swing by, there'll be pics, short summaries of the shows, hope-to-sound-ok insight and more rambling's worth reading for all you fashion junkies.
And if you're looking for some hot 'scandal' gossip,
then forgive me but I must point out that you are on the wrong website.

For those who are sadly missing it this year... this one's for you.

Au Revoir for now,
Amanda Laird Cherry next :)
Back in a bit.

Lovage
Paris B

Iman visits SA!

2010-03-25T02:31:00.000-07:00

The SAFW designers are meeting Iman tonight at an exclusive cocktail party.

LB talks real fashion with Albertus Swanepoel

2010-03-16T01:17:00.000-07:00

LB:	What were the opportunities that came your way that you took and that you are glad about taking?
AS:	I think its important to edit opportunities (follow your gut) in terms of things being offered to you. I’m a stubborn person and so only pursued the things I thought made sense to build my brand.
LB:	You are referred to as New York’s main Milliner. Could you trace the significant steps of your development, beginning in SA to the present?
AS:	I studied Fine Arts at Pretoria University (which I thought gave me a great reference field through the years). After graduating, I went to Leggatts and studied Fashion design for a year. Worked for Marianne Fassler and had my own store for 6 months in Norwood (big mistake!). Arriving in NYC in 1989, life had other plans and I couldn’t continue my career as a fashion designer. After working for a glove maker for several years, I started hat making courses for two years and apprenticed for seven years with Lola. Also two years with a theatrical milliner. As my job is very tactile- I think its very important for someone (like a draper, pattern cutter, designer) to get hands on experience from known, experienced designers. I only got noticed in 2004 after I did hats for the Marc by Marc Jacobs runway show. Being a runner up in the Vogue/CFDA fashion fund competition in 2008 made a huge difference in my career.
LB:	What were your thoughts when you left SA?
AS:	It was a sense of adventure at that point. Yes, I (falsely) thought I was at the top of my career in South Africa and the world, but little did i know the challenges of the international market or what I was up against. Talent is not a competition, but the demands of the international market are very intense. It soon proved to me that I knew very little technically, nor businesswise and was not equipped to compete with the best designers in the world in New York. Many years of self doubt and hardship followed.
LB:	How long did it take you to be noticed in New York?
AS:	It took at least seventeen years before I got really noticed and started to make a name for myself.
LB:	What does it take to get recognised internationally?
AS:	I think one must have a clear vision, have integrity and a sense of perseverance. Never waiver on your goals or your vision on how to build your brand and be prepared to sacrifice a lot to obtain this.
LB:	How many hours do you work a day?
AS:	I work an average of 12 hour days, usually seven days a week; except before and during fashion weeks, when we work 16 hour days. My work never stops for me, where ever I am- I think in terns of my work, how to solve problems and move forward.
LB:	How many staff do you have?
AS:	I have two assistants and use 3 more people as outside contractors.
LB:	If you do not have access to the fashion predictions, how do you keep up with trends?
AS:	I strangely enough, don’t really follow fashion trends in my work. I try to create shapes and forms that I find interesting and challenging. I do follow colour trends (which WWD publishes) and I do look at style.com during the collections (but by that time, my own collection has to be ready.) I get inspired by things outside fashion- architecture, books, opera and ballet, people on the street.
LB:	What is the process from being contacted by a designer to do a hat for the Collections to when it comes out on the runway?
AS:	It works in different ways- some designers give me a specific brief and I execute their ideas for them. Others give me a drawing or inspiration sketch and we collaborate until we are both happy. I make several muslins or mock ups for them in both cases and suggest ways to do it technically. It is usually a two to three week process. As hats are always the last thing they think about, it is very stressful on my part to conclude the process for them and get it runway ready.
LB:	*What did winning the CFDA/Vogue* Fashion Fund Awards mean for your business?**
AS:	Being the first runner up in the Vogue/ CFDA fashion fund competition has probably been the most important thing in my career. It catapulted me to a different level- I got introduced to people I never had access before and in terms of PR ( that I cannot afford myself) it is invaluable. I am now part (in their words) of the Vogue and CFDA club and there is no better 'membership' to have than this! I now have a platform to stand on and to continue building my business. I was also last year nominated for the Swarovski/CFDA Accessory designer of the year; and I don’t think this could have happened if my name wasn’t out there because of the competition.
LB:	What do you hate about this industry?
AS:	I hate the emphasis on celebrity. What we do is a craft and takes many years to perfect, and we are all struggling to some degree. I think celebrities slapping their names on clothing labels diffuse our workmanship and talent. I also think stylists play too big role, especially with runway shows; and it blurs the designer's true vision.
LB:	What do you love about this industry?
AS:	I love the constant tension, the search for the new, and the immense effort it takes to maintain one's place in the industry. Above all, I love the work, the craft. Personally, I’m the happiest creating something in my room. As Alber Elbaz said- "Success is like a perfume – smell it, never sniff it and never drink it."
LB:	Is it realistic for a designer to achieve success in less than 10 years in the international fashion industry?
AS:	Yes I think it is possible with a good PR team and loads of money – hundreds and hundreds of thousands of dollars. The issue is to stay successful, not just achieve it. I did it the grassroots way, without any financial backing or PR.
LB:	What are the South African Designers’ advantages?
AS:	I think South Africans have a vast and untapped source of inspiration. Many Europeans designers (to name a few – Gaultier, Dries van Noten, Galliano and the late McQueen) have been inspired by Africa. There is no reasons the denisons of the country cannot be either – its right in front of them. The fine line is not to create tribal costumes, but modern day fashion. There seem to be a sense of rebirth in the country, some very exciting things happening creatively and its important for a fashion designer to tap into trends- whether it’s architecture, furniture design, technology or fabric research, to push forward and be informed.
LB:	What are their disadvantages?
AS:	I think the sad think is the infra structure is failing. Learning the craft of cutting, constructing and sewing is essential and there a few qualified people to do the training. The lack of good quality fabric is also an issue in the country, but again, one can make a great garment form honest cotton, rather then a piece of cheap imported silk. I think it’s very important for designer in SA to leave the country and train with an oversees company, whether its an internship or employment. Only then will they learn the true skills of being a designer and what it means to run one's own company in the bigger world. Sadly, South Africa is not on the world map of fashion and it’s not a competition, but for those who think they have arrived, there is a huge surprise in the making!
LB:	You opened the Carolina Herrera show – how did it feel?
AS:	It is still very exciting to me to work with the top designers in New York. It still feels unreal in a way. The pressure is immense, especially now with the internet and the knowledge that your work is seen by the whole industry worldwide, every quality of stitch counts.
LB:	Which other designer Collections featured Albertus hats?
AS:	For the Fall 2010 shows I created hats for Narciso Rodriquez, Carolina Herrera, Jill Stuart, Derek Lam, Peter Som, Cushnie et Ochs, Timo Weiland, DKNY, Suno, Reed Krakoff and Nathan Jenden (who shows in London).
LB:	Where do you see yourself in 5 years?
AS:	I’d like to be living in the National Kruger Park! All fantasies aside, I'd like to work more internationally, open my own store and hopefully have more cash to spend!

Albertus Swanepoel - Land Turbans

2010-03-10T03:53:00.000-08:00

http://www.style.com/stylefile/#on-our-radar-albertus-swanepoel-for-timo-wei

View from the Riser - My lowdown on NYFW continues

2010-03-09T02:20:00.000-08:00

by Milisuthando Bongela, Fashion Journalist

Backstage

Having back stage access is second only to being on the front row. I’m willing to state that as a fact. The always-coveted All Access badge twice landed around my neck and I’m still not sure how but I got to go behind the scenes at what were to be my two favourite shows, Rag and Bone and Charlotte Ronson and I also got a pass to Chado Ralph Rucci. I can’t imagine how it would have been if I’d been around to see backstage at shows like Marc Jacobs, Oscar De La Renta and Michael Kors. Backstage is usually where the limited access pre-show party happens because there’s food, drinks and half-naked beautiful people being beautiful. It’s not very different from backstage at say SAFW…it’s just a little more fabulous when you’re a few centimetres from Andre Leon Talley or Sasha Pivovarova.

I was too nervous to go around taking pictures of hair and make-artists that I’d seen on an E True Hollywood Story or on The Style Network so I just stood and watched them work. I did get lots of snaps of Sasha though, she’s one of my favourite models and I just couldn’t help but act like those people who take their camera phones out when they see a celebrity.

The models usually listen to ipods and smoke while the stylist work on them and I find it fascinating how the different H&M artists are able to do the exact same styles on each and every girl. The H&M is usually done before the girls do their show run-through, which is usually an hour or so before the show starts. I got to see the designers and models being interviewed by Fashion TV and other TV stations and I looked for some last minute frantic sewing but I was disappointed to see the clothes arriving in sealed boxes, ready for the show.

View from the Riser - My lowdown on NYFW continues

2010-03-08T03:36:00.000-08:00

by Milisuthando Bongela, Fashion Journalist

Pictures: Milisuthando Bongela

The Shows: Models and The Runway

Sasha Pivovarova - my favourite model in the whole world!

Lara Stone and another model backstage at Rag and Bone. There were so many faces from FTV at this show! They all loved the clothes they were wearing for the show!

Before I left for New York, Lucilla had told me that a New York Fashion Week level fashion show isn’t just a pretty dress party - the runway is the trade floor in which various stocks are sold and exchanged between the different stakeholders. This means that the most important factor is how sellable the clothes are and that depends on which models wear them and how they do so. The models walk tall with uniform speed and style yet each of their personalities is subtly conveyed with every step and turn they make on the runway.

What I enjoyed the most about fashion week is the fact that a considerable number of shows were offsite – I got to see some really special places as a result. Peter Som, Erin Fetherston and Gwen Stefani’s L.A.M.B show were all held at the famous Milk Studios (where I shared an elevator ride with Kirsten Dunst) and each of them were able to balance their transformation of the space with the modest, chic and slick look of the studios.

Lighting played a pivotal role in how the clothes looked on the runway, for instance the off sight shows were more intimate and the clothes were visually attainable whether the lighting was bright or a little dim and it was easier to see different fabrics and cuts. The bigger shows however, needed pristine lighting in order for people in further rows to see. This wasn’t the case at the Arise Africa Show where very dim lighting was the only lighting on a beautiful navy, grey and shimmery taupe runway. Standing behind the last row, I didn’t see the clothes very well but soon forgot the disappointment when I bumped into fellow South Africans Jackie Burger and Pnina Fenster and milliner, Albertus Swanepoel after the show.

Look out for tomorrow's post about Backstage at New York Fashion Week.

View from the Riser - My lowdown on NYFW continues

2010-03-05T00:49:00.000-08:00

by Milisuthando Bongela, Fashion Journalist

Pictures: Milisuthando Bongela

The Media and Celebrities

When the news of Alexander McQueen’s death broke out on the first day of fashion week, I was spot marking at Richard Chai’s Love show and in the next room, Anna Wintour had just ran out of the BCBG MaxAzria show after receiving a text of the news. This obviously created attention and by the time we got out of the show, the air in the lobby was thick with “Did you hear’s” and OMG’s! I was on a strict no lingering diet and had to dash off to the next show, but from what I could see and according to fashion week regulars, that first day was sombre compared to previous seasons. It’s always amazing to see people you always see on TV, magazines and newspapers, especially when you have a deep respect for their work. I was the first spot marker to arrive at the Chado Ralph Rucci show and had an All Access badge, meaning I could go anywhere in the venue. This kind of opportunity isn’t an every day occurrence so I was all over the venue like bubbles in bubbly. Please note that by day two I already knew the uniform: all black and a “I know what I’m doing” look on my face, so when I went backstage I was in my New York uniform…and secretly praying nobody would kick me out.

Sasha Pivovarova - Hair and Make Up Rag and Bone

Liz from Video Fashion - my producer.

Backstage at Rag and Bone. I saw so many famous hair and make-up artists I usually see on The Style Network and E! at this show.

The first person I saw a mere metre away from me was the towering Vogue Editor-at-Large, Andre Leon Talley and I proceeded to let out an audible gasp before calmly scurrying off in the opposite direction on realising that he may have seen my surprised glee. After returning to my marked Video Fashion spot, I also saw Patti Smith, Whoopi Goldberg, Martha Stewart, Nicole Phelps, Miss Jay from America’s Next Top Model and one of the most highly respected fashion journalists in the world, Suze Menkes.

Whoopi Goldberg - people wouldn't stop taking pictures of her.

Suze Menkes - She's one of these most respected (mostly by me) fashion journalists in the world. I wish you could see her hairstyle.

Martha Stewart - honestly the clothes in this show were for the older market.

Andre Leon Talley - Vogue's Editor-At-Large

The combination of celebrities and famous media personalities at these shows adds credibility to the designer as well as the newsworthiness that keeps the media and fashion mills running at parallels with one another. The most important is obviously the presence of the world’s best editors and journalists – these are the people who shape our perceptions of shows, trends and designers.

Look out for Monday's post about the The Shows: Models and The Runway at New York Fashion Week

View from the Riser - My lowdown on NYFW

2010-03-04T01:01:00.000-08:00

by Milisuthando Bongela, Fashion Journalist

Pictures: Milisuthando Bongela

Rag & Bone. Picture: Style.com

Charlotte Ronson. Picture: Style.com

I was most fortunate to attend the Autumn Winter 2010 collections at New York fashion week recently, especially because it was the last time they were held at Bryant Park.

5th Avenue, day one of fashion week. I arrived early so had some time to mill around this famous street.

The Mercedes Benz Lobby. It was 9am and everybody was sooo dressed up.

My first show by young designer, Richard Chai. The news of Alexander McQueen's death broke out during this show.

In 2009, I won the Sanlam SA Fashion Journalism Award and my prize was to attend any fashion event in the world. I chose to go to New York Fashion Week but I didn’t just want to attend the shows as a journalist or a seated guest. I wanted to get closer to the processes behind a fashion show.

Lucilla kindly organised a week-long internship for me at Video Fashion, a 30 year old New York based media company that documents fashion shows during all the major fashion weeks in Europe and America – from back stage to runway to interviews with any designer and celebrity you can think of. My role at Video Fashion was to be a Spot Marker, which is as literal as it reads – I was going to be the person who marks the spot in which the photographer stands at the end of the runway or the Media Riser.

I would get to the shows 2 hours before they started, mark my spot with duct tape and a koki pen and sit on it my spot until my crew arrived. As menial as it seems, this role is very important as it’s the first cog in a very important machine. As many as 40 photographers (still and video) scramble for space on the riser – all with the intention of getting the perfect shot of the models as they first step on the runway!

X Marks the spot - I'd have to sit on my marked spot until my crew arrived 2 hours later

Pre Show at Chado Ralph Rucci, didn't know how popular he was until I saw the celebrities in attendance.

So this is what the riser looks like after I've moved from my spot! The collective sound of all those photos being taken is musical. They don't stop until the last model disappears.

Thought I'd take a pic of the most ubiquitous shoe in NY! These are called Winkle Pickers and they come in all sorts of shapes. Good for the snow, but also very "utilitarian chic"! I had to get me a pair.

I would get to see the magical process of how scores of PR people - chicly clad in black with insanely beautiful shoes – dress up a naked room to look like a designer’s dream platform for showing their latest collections. And here’s what I saw…

Public Relations

A PR Rep for Phillip Lim prepping the venue before the show.

PR people At Phillip Lim dressing up the venue. Please note how dressed up they are.

PR Reps Dressing the showroom at Charlotte Ronson. Again, she wore that dress and heels for about 12 hours.

Unlike it is here, each designer has a PR company that represents the brand and sometimes the actual designer. The PR agency is responsible for the guest list for the show, the seating arrangements, the goody bag preparation and allocation and evidently, the overall look of the show. They have to make sure that the brand signature is subtly but clearly embodied in the set design, meaning they work with lighting and sound technicians as well as the people who do the physical fixing and installation of the set.

Dressing-up Erin Fetherston. It was Valentine's day and all the guests got roses and champers on arrival.

Pre-Show at Charlotte Ronson. They were meticulous about the lighting.

Pre-Show at Lacoste. Everybody got one of these Lacoste books, even us spot-markers but I had to leave mine because it was too heavy. I read it before I left though and it's about the history of the brand.

Ready for the Show at Rag and Bone.

I don’t know whether they all sent a memo to each other, but all the PR people were always impeccably dressed in intimidating black outfits, stockings and vertigo-inducing designer shoes accessorised with handsfree walkie-talkies, clip boards and the authority to check guests in or tick them off. I’ve never seen so many pairs of Christian Louboutin shoes in real life. These were the first faces guests would see and they play an invaluable role in making sure a designer’s vision for his collection is realised. They are at the helm of deciding who is invited to the show, where they sit, who photographs them sitting there and the overall perception that the media and guests leave with after attending that show. There was also the IMG PR who were there to make sure each show is consistent with the standard and protocol of the sponsor and the overall fashion week.

Shoes...

More fabulous shoes!

Me at Phillip Lim...gasping at the shoes.

Look out for tomorrow's post about the Media and Celebrities at New York Fashion Week

Castings with DFC, DMClassics and Thunderstorm are taking place right now!

2010-03-04T00:53:00.001-08:00

2010-03-03T23:13:00.000-08:00

LB talks real fashion with Alexander Koutney

2010-03-03T00:27:00.000-08:00

LB: What were the opportunities that came your way that you took and that you are glad about taking?
AK: It's hard for me separate the bad decisions from the good. Some decisions that seem to have been mislead turned out new opportunities down the road that I could have never foresaw and vice versa.

LB: Could you trace the significant steps of your development, beginning in SA to the present?
AK: Working for Marjan Pejoski, Saint Martins, Showing in London, Moving from flat patterns to Draping, getting in to my first showroom, every collection feels significant right now.

LB: What were your thoughts when you left SA?
AK: I was in a good space when I left South Africa. I just knew there was a marathon to be run that started in South Africa but was going to continue in London and so far has taken me to New York and who knows where it’ll end.

LB: Was it easy to get into St Martins?
AK: Getting in was easy, getting out proved much harder.

LB: What did it mean to study at St Martins versus an SA college?
AK: I never studied fashion in South Africa but I imagine the expectations would be quite different. Siant Martins is very competitive and packed with talent and that’s what makes the fashion world work as well so it’s a good proving ground.

LB: How many hours do you work a day?
AK: 14+

LB: If you do not have access to the fashion predictions, how do you keep up with trends?
AK: It's not just about trend if you want to strike a chord you have to tap deeper. One the skills you need as a designer that stays relevant and doesn’t drop the ball for a season is to have an awareness of what is happening around you in terms of design especially fabric, palette, silhouette etc but also have a knack for determining the cultural zeitgeist as it relates to forthcoming seasons.

LB: Where do you get your inspiration for your next collection?
AK: I’m playing with ideas all the time and I move through ideas quite quickly if something sticks then I develop it. A print, a silhouette, a draping detail or feel, fabric direction, palette, the collection ends up being the strongest of all the defined elements that come together together with an idea that creates the motif. Its quite chaotic but somehow democratic.

LB: What is the value of being in New York versus London?
AK: There are pros and cons. Some practical issues about the two cities, some a function of the 2 systems and underlying creative cultures. For one New York doesn’t have the government and corporate support platforms that London has among other differences. But at the end of the day I live in New York and its been good to me for the most part . This is where I have grow from. I try not to think of what ifs and just get on with it.

Victoria Secrets

LB: How did you get noticed by them?
AK: I made some conceptual accessories for a British Vogue editorial at the request of the stylist Charlotte Stockdale which was shot by Nick Knight. That went well and it turns out Charlotte was the Creative Director for the Victoria Secret Show and it snowed balled from there.

LB: How many garments did you do?
AK: 7 looks

LB: How will this influence the rest of your career?
AK: Well it allowed me to work with some amazing materials. It created awareness of the brand and the challenge is to build on that. I don’t think one show like that changes the game that much it matters more what you produce consistently season by season.

LB: What do you hate about this industry?
AK: Well it’s a conversation but that is very seductive if you feel for clothes and are invested in the power of style and the images it cultivates. But as with all conversations some people speak a lot of shit and that’s annoying to have to listen to.

LB: What do you love about this industry?
AK: It’s a real pleasure to get to make clothes and craft images it’s a real treat to sometimes feel you are contributing to the conversation.

LB: What industry support is there for designers like yourself?
AK: There are a number of platforms that can help your career in New York only one or two showcase events that are worth doing but its best to be well on your way as brand before you rely on these industry tools. At the end of the day you have to survive on your own and everything else is icing.

LB: Is it realistic for a designer to achieve success in less than 10 years in the International fashion industry?
AK: I’ve never seen it. But the press will try the damndest to make you believe the next overnight success.

LB: What are the South African Designers’ advantages?
AK: A different perspective helps.

LB: What are their disadvantages?
AK: Direct access to markets is an obvious but unavoidable problem. I think that Individuality is not recognised and systemically nurtured within an international strategy like many other smaller and somewhat remote countries have achieved.

LB: Where do you see yourself in 5 years?
AK: Right here with bigger sales, a healthy balance sheet, better collections, inspired and motivated.

Avatar

2010-01-28T22:08:00.000-08:00

http://www.nytimes.com/2010/01/29/fashion/29iht-rval.html?ref=fashion
Interesting

Fashion Experience

2010-01-25T06:52:00.000-08:00

Suzy Menkes said on Vimeo in an interview on Fashion blogs that......
“You cannot teach people something they have not experienced” She was talking about Fashion blogging so obviously she was talking about the fashion experience.
This made me think – how does one actually experience fashion or rather on which level must you experience fashion to have an opinion? Could one be thousands and thousands miles away from a designer show or shop and experience the fashion she is referring to? Is reading a fashion magazine a fashion experience – can one learn from looking at a magazine? How does the fashion she is experiencing differ from that we are experiencing in South Africa – on which level are we?
How does one communicate across different levels of fashion experience?
Is she right?
LB

7th Avenue NY - Fashion Avenue

2010-01-21T18:41:00.001-08:00

RjKay celebrates 2010!

2010-01-15T02:52:00.003-08:00

The boys from RjKay just popped into the office to wish us a new year! Check out their customized 2010 soccer shirts! - DA

think about this

2010-01-14T13:12:00.000-08:00

Money can't buy you love or style...

2010-01-14T10:55:00.000-08:00

I found this piece by Hemant Sagar very interesting and in a way what is happening in our country. He was born in Delhi - look him up. LB

Hemant Sagar
To me 2009 was a very strange year. In India we saw a sudden invasion of international Luxury Brands which had already started in the preceding years, but came in full force as a daily option. This branded daily life is something the elders find very quaint and unnecessary and the `youngsters` feel left out without. A sudden imaginary competition of lifestyles many seem not to be able to live without.

Yesterday on the highway driving to a south Delhi dinner I spotted a young fellow driving a Mercedes 500 with a Blackberry firmly in one hand while chatting not only on the phone but also with his girlfriend both dressed like on a state visit to Gucciland ... followed by a black Landrover with four bodyguards carrying walkie talkies. This was a triple combination of modern day India where black money meets status symbols and calls itself Fashion.

Let`s hope 2010 will start bringing in a more subdued approach into understanding Luxury as an article of [daily] consumption.
In the same time we were confronted with a contrary of Luxury, something we never really knew before and was suddenly also a kind of Fashion because of it`s novelty: Recession. Many of my clients loved it. What a great way not to pay your bills with a real excuse at last. All of that was so unconvincing before when flaunting the latest Fendi.

Yet another aspect of Recession and Luxury or would it be more simple to call it `overdoing it` is less business because of a `Fashion Week Overdose` especially where it is not needed or even desired. With retailers in our country being more of real estate developers who rent rack space versus a profession internationally recognised for actual Style I wonder or rather shudder at the mere thought of the outlook of a budding designer who showed a first collection at 2:30 pm on day 3 of the Chandigarh Fashion Week, for example. And the buyers these Fashion Weeks boast of, I am still waiting to see, the big business seems to more of having one…. And the result is weak fashion.

But it does look as if we`re through all of that and world business climate is getting better again ... and we shall be back to spending the cash stashed in the mattresses again without looking suspicious.

New York

2010-01-07T07:29:00.000-08:00

from the Designers to Graffiti in Soho - totally inspired by both - LB

2010-01-07T03:59:00.000-08:00

How cool is this chair if you can call it one? It is in the Moschino store in the Meatpacking District in NY. Moschino once did a show in the 80's I think, in Italy, where he made the models crawl to the front of the runway - in the front they got up as if they have never crawled and walked back - it was the era of Linda Evangelista - in fact she was one of the models if I remember correctly. LB

2010-01-06T21:26:00.000-08:00

I went to the Serizawa – Master of Japanese textile design exhibition in NY and I picked up a similarity between the colours used by him in 1954 (see third picture) and the spot colours that came through in the new spring collections of Stella McCartney, DVF, Prada and to my surprise J Crew a very commercial chain. I loved the combinations of these colours. Your thoughts? LB

New York

2009-12-28T04:38:00.000-08:00

Check this out - http://www.dailycandy.com/new-york/video/78982/Empire-State-of-Mind

Emerging Creatives

2009-12-15T04:44:00.000-08:00

The emerging creative’s to watch out for are (l-r):

Anisa Mpungwe
Christopher Strong
Marize Malan
Megan Perks
Elme Bekker
Amber Jones
Celeste-Lee Arendse
Liza Benson

A red button that is wired

2009-12-13T03:40:00.000-08:00

The fact is we have a red button that is wired to everything. What we do is set about as to see - if when we push - the red button what the results are. So if we push on the red button wired to the rest of the universe we have – like a pebble into a pond – sent out our wave resonance connecting with the universe. We discover we can be deeply tranquil or create our own tsunamis. The idea of a tiny mosquito landing on the surface of the your pond and you having a sense of this happening is to strive for the whisper of the wind – and in fashion sometimes it’s not the tsunami, it’s the whisper in the wind that we are after – we chase and capture into a reality. Clive Rundle

2010 Trends Straight from the SAFW Runway

2009-12-07T06:25:00.000-08:00

Are SAFW designers on par with the trend forecast for 2010 and beyond?

We have taken Li Edelkoort’s trend forecast and matched it with what the SAFW designers showed for Winter 2010. This is the result:

1. There will be more Collaboration between Master Crafter and Designer in the future of fashion – Designers using craft to create their own identity.

(l-r) Amanda Laird Cherry, Colleen Eitzen, Gugulam, Guillotine, Soda and Terrence Bray.

2. The trend to mix different textures are going to be huge - romantic soft fabrics combined with wool, knits and leather – creates a very individual look for the different labels.

(l-r) Gideon, Amanda Laird Cherry, Ephymol, House of Ole, Lunar and Sies! Isabelle.

3. There is a tremendous focus is on on detail within design and combination of fabrics to enhance it.

(l-r) Clive Rundle, Black Coffee, Loxion Kulca and Soul Child.

4. The long day dress as well as full length evening is back.

(l-r) Soda, Amanda Laird Cherry, Colleen Eitzen, and Lunar.

5. Variations of the long pants as well as shorts were features in the Winter Collections – there is a movement away from the very tight to a more loose and comfortable look. Jumpsuits and bodysuits follow this look.

(l-r) Two, Guillotine, Clive Rundle, Soul Child, Blasoen and Colleen Eitzen.

6. The over coat is making a comeback it was featured in most collections – It is a lighter in between seas on overcoat.

Ladies Collections:

(l-r) Lunar, Colleen Eitzen, Gideon, Black Coffee, Blasoen, Sies! Isabelle, Vino and Two.

Mens Collections:

(l-r) House of Ole, Narain Samy, Loxion Kulca and Gideon.

7. Bodices and dresses that leaves the shoulders uncovered – not to be confused with the bustier with lace up at the back moments we had in the past.

(l-r) Lunar, Terrence Bray, Abigail Betz and Soul Child.

8. There will be a lot of print detail on fabric – designers using print to create their specific look.

(l-r) Clive Rundle, Colleen Eitzen, Sies! Isabelle, Amanda Laird Cherry, Ephymol, Loxion Kulca, Narain Samy and Thunderstorm.

9. Masses of shear is coming through – this romantic look is huge for the next season.

(l-r) Clive Rundle, Lunar, Terrence Bray, Soda, Tiaan Nagel, Colleen Eitzen, Gugulam and Gideon.

10. Staggered Hemlines and overlapping layers creating a very interesting look.

(l-r) Gideon, Soul Child, Amanda Laird Cherry and Black Coffee.

11. Ruffles and pleats – this forms part of the romantic look that is coming though.

(l-r) Black Coffee, Soul Child, Two, Terrence Bray, Tiaan Nagel and Vino.

12. Bits and pieces of leather is coming through – this might get even get bigger for the next winter season.

(l-r) Soul Child, Amanda Laird Cherry and Colleen Eitzen.

13. Designers are using Jewel colours to create colour highlights in their Collections.

(l-r) Black Coffee, Guillotine, Ruby, Thunderstorm, Loxion Kulca, Lebo Mash, Soda, Soul Child, Vino and Black Coffee.

14. Mens Suits are detailed – Lunar showed a more relaxed version of the suit. Lots of detail – Clive showed women suits with print on.

(l-r) Thunderstorm, Ephymol, House of Ole, Lunar and Clive Rundle.

15. Caridgans - we have not seen the cardigan for a long time. It is making a come back. Especially since Michelle Obhama wore a cardigan when she met the Queen of England recently.

Ladies collections:

(l-r) Soda and Two.

Mens Collections:

(l-r) lEphymol, Loxion Kulca and House of Ole.

16. Knits should be much bigger in SA, maybe it will come through stronger next winter.

(l-r) Soda, Soda, Gideon and Loxion Kulca.

17. There is a lot of focus on comfort and luxury – consumers want to feel comfortable and luxurious in their designer garment.

(l-r) Blasoen, Lunar, Black Coffee, Colleen Eitzen and Gideon.

18. Black is still playing in the A team.

(l-r) Lunar, Clive Rundle, RjKay Creations, Narain Samy, Soda, Soul Child, Two and Tiaan Nagel.

19. Emphasis on bigger shoulders – more detail in the shoulder design.

(l-r) Clive Rundle, Gideon, Black Coffee, Amanda Laird Cherry, Soul Child and Loxion Kulca.

Xmas Saturday's in Braamfontein

2009-12-04T03:28:00.001-08:00

Three Design Studios & One Restaurant invite you to X-mas Saturday´s in Braamfontein.

Sat 05.12 from 10:00 - 14:00.

X Store - Concept store with international design products & x-mas accessories, at CO-OP.

theDRESSthePANTStheVESTtheHATtheBLOUSEtheSKIRTtheJUMPSUIT
From the collection DECEMBER ESCAPES ME by GUILLOTINE (showing in the willowlamp showroom).

willowlamps - winding down.

Narina Trogon - The Restaurant offers a Brunch and Lunch menue and a bamboo garden.

SAFW Winter Designers - Clive Rundle

2009-12-03T06:49:00.000-08:00

Designer:

Clive Rundle

Label:

Clive Rundle

Established:

1980’s

Brief Biography:

Clive Rundle’s fashion and design brand is renowned for its uncanny design aesthetic. It achieves this through an intelligence which both strengthens the individual’s free expression within the group and lends the individual the group’s power. Like a breath-filled organism that sensitively expands and contracts in response to its environment, his fashion artefacts not only mediate relationships between their architects but express a shared sense of themselves and of their dividual personhood. Some describe his work as architecture in motion, some say it embraces chaos. Others maintain it reconciles the unimaginable with the imaginable, the ugly with the beautiful and makes the mundane fantastic. Clive himself describes his brand like a tree in a global forest, revealing humanity’s interconnectedness.

Winter 2010:

A Lesbian Wedding with an Italian grandmother’s washing instruction attached: only wear quality fabric, always keep your heels in good repair, rather than a variety of clothes made from cheap fabric, invest in fewer quality pieces you can interchange, protect your clothes with an apron if you work in them.

Key Words:

Re-engineered

Take away

Hand-crafted

Odd

Not a lesbian in sight

Retail:

Clive Rundle store, Shop 12, The Firs, Rosebank, Johannesburg.

Website:

www.cliverundle.co.za

Conversations in the business of life

2009-11-25T04:10:00.000-08:00

The confusion of conversation

“What you think you heard wasn’t what I meant to say.”

What I meant to say
What I thought I said, and
What I actually said

Didn’t come out the way I intended

What you thought you heard, was
What you wanted to hear, not
What was actually said, or
What was really meant

What I wish I had said
And what I wanted you to hear
Is now such a jumble
Of confused thoughts and mixed emotions

The judgements and assumptions surrounding conversations
Move like shifting dessert sands
Each of us an island
Choked
Stuck in our own rightness

Unable to listen, frightened to hear, we
Tear ourselves with anxiety
Longing to free our souls’ true words
In honest clarity

Give me the courage to speak from my heart
With love and compassion
And honest intent
May you do likewise and both of us hear, sensitively,
Our realness.

Charlotte Lavine

SAFW Winter Designers - Black Coffee

2009-11-25T02:34:00.001-08:00

Designers:

Jacques van der Watt and Danica Lepen

Label:

Black Coffee

Est. Date:

1998

Brief Biography:

Black Coffee consistently gives local fashion a distinctive face with its deeply referential, meticulously engineered and ultimately divergent approach. Their design ethos embraces contrast and re-shapes traditions with an intuitive twist. The result is mysteriously familiar yet refreshingly unique occupying a space somewhere between history and imagination. Black Coffee has shown at South African Fashion Week, Cape Town Fashion Week and San Francisco Fashion Week. The label has been nominated five times for the SA Fashion Awards and has won twice (in 2001 and 2007). It received the coveted Mercedes Benz Art Award for 2009.

Retail:

Black Coffee in Bamboo Centre, Melville, Johannesburg

Website:

www.blackcoffee.co.za

SAFW Winter Designers - Amanda Laird Cherry

2009-11-24T05:22:00.000-08:00

Designer:

Amanda Laird Cherry

Label:

Amanda Laird Cherry

Est. Date:

1996

Design Training:

Durban University of Technology

Brief Biography:

After completing her studies, Amanda worked at a boutique before opening her own business. A year later she was approached by Instinct Surfwear International to run their design studio and after eight years, she launched her own label. In addition to being part owner of The Space stores, she designs for Big Blue under the Cubaverra label.

Retail:

The Space

India Jane

Soho

Big Blue