Latest news with #SAFashionWeek
News24
06-07-2025
- Entertainment
- News24
Vanya Mangaliso, the Sun Goddess Afrochic designer, redefined African fashion
Some would argue that in 2000, the fields to sow the seeds of dreams – when the fashion label Sun Goddess was born – were fertile for any seed to grow and that all it took was innovation and hard work for success to be realised. For Vanya and her husband, Thando Mangaliso, the Sun Goddess label came at a time when Afrocentric sentiment and expression were fast becoming part of our daily lives as we celebrated our democratic freedom. The year 2000 was the second year of president Thabo Mbeki's first term of office, when his programmes such as Vuku'zenzele gave rise to an unprecedented public sentiment that sought to promote African excellence on the global stage. Back then everyone was proud to recite Mbeki's speech, I am an African, that celebrated Africanness and heritage with pride as the winds of his African renaissance blew through the country. On fashion runways, Sun Goddess was sharing the spotlight with labels and designers including Loxion Kulcha, Stoned Cherrie, Darkie, Craig Native, Maya Prass, Julian, Bongiwe Walaza, Clive Rundle, Coleen Eitzen, Palse Homme, Gavin Rajah, Thula Sindi, Ephymol and Lee Shubert. David Tlale, who scooped the Elle Young Talent award in 2003, soon joined to also become a familiar label during SA Fashion Week. The Mangalisos have always been a mainstay on the SA Fashion Week stage and would remain so with their participation in this year's Spring/Summer instalment in April before Vanya's death on 26 June. What defined Sun Goddess, and labels such as Stoned Cherrie and Bongiwe Walaza, was their insistence on inserting their vision of elevating African fabrics and aesthetics into the luxury fashion space. They took the baton from previous pioneers including Nandipha Madikiza, Sister Bucks and Sonwabile Ndamase and succeeded on the world stage. The label loudly and boldly proclaimed that African fashion was about reclaiming our identity and exporting South Africa's cultural excellence to the world. The Vanya and Thando duo had the audacity to re-evaluate the worth of African fashion and did not ask for anyone's permission. It was in how they valued their labour and in the prices they charged for their goods. While detractors complained bitterly about the expensive prices of their items, Vanya's Rosebank store soon became a go-to for parliamentarians for state of the nation address outfits. Successful businesspeople and a burgeoning middle class relied on them to lead the fashion stakes for weddings and important corporate events. The Mount Ayliff-born Vanya told of the humble beginnings of their label when she and her husband started selling skirts from the boot of their car. Their heritage line, elevating the Xhosa umbaco fabrics and pipings, inspired Vanya to question the absence in South African fashion of any expressions of our heritage. She told reporters how, when she grew up as an only child, she always admired her mother's elegant wearing of umbaco. Armed with a Bachelor of Social Sciences from UCT, she started her career in Transnet's logistics division that offered her the opportunity to travel to several countries in the continent. She said the idea to start Sun Goddess as a formidable heritage fashion brand germinated then when she noticed how people from other African countries were proud to wear their own traditional fashion. When I would get off an aeroplane in Nigeria, I would know I was in Nigeria because of their traditional wear. But in South Africa it was not always the case, because fashion did not exist as we know it today. Vanya Mangaliso in an interview with Forbes The explosion of their fashion label saw the duo open four more stores nationwide, including in Cape Town and Durban, to add to their flagship Rosebank store. Back then, all the important functions and events advised guests to wear either black tie or traditional wear. This resulted in a surge of traffic into their stores as everyone tried to own a Sun Goddess outfit. The label carved a space as a luxury heritage fashion brand. This is how their website describes their fashion business ethos. The idea is to harvest stories and images of South African traditions through fashion. Our brand is rooted in heritage stories that celebrate a regal Africa transcending time and fashion. Vanya Mangaliso At their best, Sun Goddess used to employ more than 150 staff nationwide. The award-winning label showed at various international runways on four of the seven continents, including London Fashion Week and Singapore Fashion Week. In 2006 they won the South African Designer/Retailer of the Year. The label also ventured into various production of accessories, including bags and sunglasses. The German newspaper, The Frankfurter Allgemeine Zeitung, once referred to their label as Afro Gucci, which stuck with international fashion writers who used it liberally to describe the luxury of the intricate beadings and the opulence of the labour-intensive garments. Notable personalities who wore the label included R&B singer Goapele, actress Gabrielle Union and actor Dr John Kani, and they regularly collaborated with singer Ringo Madlingozi throughout his career. By 2009, however they had to take a decision to close three stores, as their downsizing journey began. This was due to lack of planning and capacity to manage their fast-growing expansion. Even though they tried to diversify, adding fragrances and headgear collections, the label's journey continued to experience a seesaw in fortunes with various highs and lows. Reports say the duo lost a massive amount of money when their perfume stocks of Goddess and Kumkani were lost in a flooding incident at their Rosebank store. Vanya, the petite and feisty designer was the label's creative director, always the confident spokesperson for the brand. Her husband, the quiet muscle behind their retail concepts, as well as partner and father to their four children. To live their brand, they would often coordinate outfits when appearing at events. Oupa Bopape / Gallo Images Vanya had a beautiful smile as big and blinding as the sun. She rarely stepped out of her home without a doek or fashionable fedora, honouring the traditional custom of covering your head to communicate respect. In the past decade, the label was no longer as prominent on runaway events, even though they were always a staple at the SA Fashion Week. There has been speculation in recent years about the couple's surviving stores and studios struggling to reach the highs seen in the early 2000s. Their physical stores remain at Nelson Mandela Square, The Palace of the Lost City and their studio in Constitutional Hill, Braamfontein. As many businesses saw the need to pivot to e-commerce, to move with the times and adapt to consumer spending after the Covid-19 pandemic, Sun Goddess' survival tactic was to launch and focus on their online store. Instagram Instagram Instagram A look at the main collection highlighted on their online store reveals in many ways a label still trapped in that early 2000s bubble of umbaco skirts and tops with piping details or animal print designs with regal maxi skirts and dresses. The designs have not evolved past 2010 to capture a younger audience who respond to a different fashion revolution. Perhaps it is deliberate to entrench their space as a heritage fashion brand. After all, this is what led the Sun Goddess label to be appreciated by older customers still trapped in the nostalgia of Mbeki's African renaissance era. View this post on Instagram A post shared by SUN GODDESS (@sungoddessafrolux) This year, the label turned 25 and they again showcased their Spring/Summer Langa Lethu collection at the SA Fashion Week this past April. Their collection showed a promise of new things to come in a largely sky-blue line they said was inspired by coastal waters and spiritual baptism. Even though they stayed true to their heritage, it offered glimpses of luring younger buyers with designs of shorter dresses and skirts, dainty materials and other dresses revealing bare shoulders. Was it one of the last times Vanya received a standing ovation from the audience? In her cream platform shoes, a zebra print midi-dress with batwing sleeves incorporating umbaco piping, she walked ahead of her husband, showing gratitude for doing what she loved with her hands clasped together in front of her chest, as if in prayer. Thando, in a black structured suit, followed behind pointing at his wife as if to acknowledge that she was the brains behind the garments or the real star of their Sun Goddess show. The last collection the label posted on their Facebook page, the Mandulo Winter Collection, also featured elements of shorter hemlines and the blend of more romantic materials with animal prints dominating the aesthetic. At the SA Fashion Week in April, Vanya's face was gaunt, but she appeared happy, hiding her battle against cancer, which the public was unaware of. The fashion community learnt of Vanya's death when her label's Instagram page announced last Thursday that the style maverick, who was born on 14 March 1972, died peacefully in her home on 26 June at the age of 53. Her husband of more than 25 years later shared that she had finally succumbed to cancer. Today is the saddest day of my life. My Minty lost her battle with cancer and passed away in my arms yesterday afternoon. Thando Mangaliso Vanya was buried on Saturday, 5 July in a private funeral whose service started at Rosebank Union Church. Her final resting place is the Heroes Acre at Westpark Cemetery. She is survived by her husband and four children: daughter Limani and sons Kwindla, Kwantu and Kumkani.
News24
14-05-2025
- Entertainment
- News24
Lesotho style, Paris dreams: Designer Thabo Makhetha ready to take Basotho heritage global
Thabo Makhetha is a fashion designer who integrates Sotho heritage into her designs, notably using Basotho blankets. From launching her collection in 2011 to showcasing at SA Fashion Week, her milestones include collaborating with Jerry Mofokeng and international recognition with her designs featured at global events. Makhetha focuses on celebrating Basotho culture through bold, impactful designs while aspiring to showcase her work on international platforms in cities like Paris. Once again, celebrated Sotho designer Thabo Makhetha has taken the fashion industry by storm with her latest collection showcased at SA Fashion Week in April, and she has set her sights on international runways. Known for her remarkable use of the Basotho blankets, the designer celebrated heritage once again in her latest collection, featuring the iconic print in pastel colours and various shades of brown. For Makhetha, fashion has always been a huge part of her life and the only plan in terms of a career. 'Fashion is just something that's always been with me,' she told News24. In her early life, Makhetha often heard that her gift for sewing came from her grandmother, Dikeledi, whose name inspired the print in her newest collection, showcased at SA Fashion Week. 'The collection that you also saw now, the print on this 100% cotton is called Dikeledi. That's my grandmother's name. 'People say that I got the gift for sewing from her. It's just always been with me. I've never actually thought about doing anything else. I don't know what else I can do but fashion,' she said. The Dikeledi collection featured the Sotho print on 100% cotton, showcasing a lighter and more versatile evolution of the blanket design. 'It's a translation of a lighter fabric and possibly the future of textiles for Basotho culture in terms of using those beautiful bold prints and colours,' she said. The boldness of Sotho blankets For Makhetha, the designers are meant to make a powerful statement while also putting Sotho in the spotlight both locally and globally. 'It's my story, it's my heritage. It's amazing; it stands out,' she said, adding that the boldness of the blankets is not just about aesthetic appeal but also about making a cultural statement. According to the designer, her journey in the fashion industry started in 2009 after she completed her tertiary studies. Instead of seeking employment and working under someone else, she dived headfirst into building her own brand. Two years later, in 2011, she introduced the celebrated 'Kobo ea Teng' collection, marking her signature use of Sotho blankets. When asked if she thought her work would become successful enough to land on SA Fashion Week's runway, Makhetha said bigger milestones are yet to come. 'We haven't yet gotten to the part where we're having these interviews, and you and I are talking in Paris and all these other foreign locations. So that's the answer to that one,' she grinned. Career milestones and creative collaborations Makhetha's career has seen various significant milestones, with one of her proudest moments being her collaboration with legendary South African actor and director Jerry Mofokeng. The two worked together on 'Hope on a Horse' in Cape Town, an artistic performance blending fashion and storytelling. Mofokeng, who directed the event, praised Makhetha's vision, describing her work as a way of wearing 'the best of yourself on your skin.' Mofokeng, who donned one of Makhetha's pieces for a poetry programme in Cape Town, told News24 about how the garment impacted him. 'Nobody must touch my body except Thabo. And she got me right... really brought the best out of me,' he said. He also applauded Makhetha's ability to redefine traditional Sotho elements, particularly referencing her latest show as a redefinition of 'Tethana,' a Sotho skirt symbolising youthful grace among Basotho maidens. 'There is something in Masoto for the little young maidens called Tethana. She redefined Tethana today. 'That last dress is something for the awards ceremony. It cannot be worn at anything less than that. It requires an event that has lights and cameras,' the veteran actor said in an interview with News24 after the fashion show. Another memorable milestone was when former Elle magazine editor Jackie Burger showcased a Thabo Makhetha cape seated at the front row of a Louis Vuitton fashion show. 'And I think for her, it was that seal of approval to say, 'Girl, you're doing the right thing. Keep going in this way'. And really encouraged me to get to where I'm at now as well,' she said. A celebration of culture and craft Makhetha's SA Fashion Week collection demonstrated her creativity and dedication to preserving and celebrating the Basotho culture. The final dress during her show made a huge impact and was described by Mofokeng as perfect for award ceremonies. This is because it symbolised the grandeur and bold elegance Makhetha is known for. 'That last dress is something for the awards ceremony. It cannot be worn at anything less than that,' he said. 'It requires an event that has lights and cameras.'
IOL News
13-05-2025
- Entertainment
- IOL News
Soweto Fashion Week 2025: A showcase of uncharted creativity and resilience
The 14th edition of Soweto Fashion Week (SFW) concluded its highly anticipated Autumn/Winter 2025 showcase, reaffirming its status as a beacon of South African creativity, resilience, and innovation. Hosted at the iconic Soweto Theatre from May 7 to May 10, the event brought together over 30 designers-both emerging and established, who captivated audiences with collections that seamlessly blended contemporary trends with rich traditional influences. This season's theme, 'Uncharted Creativity,' invited designers to push boundaries and share heartfelt stories through fashion. SFW continues to serve as a vital platform for nurturing local talent and fostering the growth of the South African fashion industry. 'Each season, Soweto Fashion Week strives to provide a vital platform for local designers to showcase their talent and connect with a broader audience. We are committed to fostering growth within the South African fashion industry. Every year, we look forward to presenting collections that are both inspiring and forward-thinking,' said Stephen Manzini, Founder of Soweto Fashion Week. Designer Ayanda Nhlapo made her debut at SA Fashion Week this year under her label, House of Ayanda. Reflecting on the milestone, Nhlapo said the experience marked a powerful new chapter in her journey — one she plans to take global as she sets her sights on expanding her international footprint. 'House of Ayanda is focused on expanding its international presence through cultural collaborations, capsule collections, and digital showcases that highlight African heritage with a modern perspective. Ayanda's style is minimalist with bold Afro-modern touches, while the brand itself embraces expressive, maximalist storytelling through luxurious textures and layered cultural references. 'Future aspirations include establishing House of Ayanda as a heritage brand that reinvents African luxury, opening an atelier and creative residency for emerging designers, and contributing to fashion education.' She said. Renowned designer Sun Goddess described Soweto Fashion Week as more than just a runway event. 'Soweto Fashion Week is more than a showcase- it's a movement and a statement. This event reminds us that South African fashion is not only vibrant but also deeply rooted in our collective spirit. As a brand that hit its 24-year mark this year, I am proud to share pearls of wisdom I've learnt over the years through fashion at the SFW, inspiring the next generation as our way of giving back. I am deeply inspired by the resilience and ingenuity of local talent." The week-long event featured dynamic runway shows, networking opportunities, and creative collaborations, including partnerships with local brands that highlighted the intersection of fashion, culture, and identity. With over 80 models gracing the runway, SFW once again demonstrated its commitment to inclusivity and development, having supported more than 120 designers and 1,000 models since its inception in 2011. 'To support and improve South Africa's fashion industry, there is a need for greater investment in infrastructure, mentorship, and market access, along with stronger connections between fashion, education, and the economy, and a renewed emphasis on preserving and modernising indigenous design knowledge,' Manzini concluded As SFW continues to champion local craftsmanship and design excellence, the Autumn/Winter 2025 showcase stands as a testament to the enduring creativity and resilience of South Africa's fashion community. The Star
Mail & Guardian
01-05-2025
- Entertainment
- Mail & Guardian
The naked truth: Shaldon Kopman and the gentle revolution of African fashion
South African fashion designer Shaldon Kopman If there is one show I look forward to every year at South African Fashion Week, it is Naked Ape. The garments — crisp in structure yet gentle in movement — seem to glide rather than walk. They speak without words, holding stories in their folds. They are not just beautiful; they are cared for, loved even. I attend — by invite, of course — and every time, I leave different. Urban Camo, the collection that was showcased at SA Fashion Week, continues the brand's legacy with fluid tailoring and raw beauty, featuring a collaboration with botanical artist Ira Bekker, whose eco-printed textiles — created using natural pigments from leaves, branches and rusted metal — infuse the collection with richly detailed, tactile and one-of-a-kind patterns. For the longest time, I was drawn to the collection but distant from the creator. I'd watch Shaldon Kopman from afar — always sharp, always understated — taking his bow at the end of his shows. I'd often feel a quiet awe, not so much intimidated by his presence as by the boldness of his choices. There was a fearlessness in his silhouettes, a truth-telling in his tailoring. His clothes did not shout. They whispered deeply. Eventually, I gathered my courage. I called him — a WhatsApp call, if I'm being honest. My wallet wasn't in the best shape that week, and wi-fi would have to do. What I got on the other end of the line was a surprise — not a distant icon, but a man fully alive: 'Hello!' His voice was warm, animated — with a passion as vibrant as the garments he creates. Not monkeying around: South African fashion designer Shaldon Kopman's Naked Ape collection on the runway at this year's South African Fashion brand believes in slow fashion — making garments that last for years, not just one season. 'When the brand was conceptualised, it was more about an evolutionary wardrobe,' he tells me. And just like that, we're in it — no pretence, no over-explaining. Just truth. He's talking about clothes that evolve with you, hold their place in your wardrobe for years, not seasons. 'No compromise when it comes to fabrication,' he says. 'No compromise in tailoring or finishing.' Naked Ape was born in 2010, almost 15 years ago. From the beginning, it's held the kind of integrity that most brands are only now beginning to discover: biodegradable textiles — wool, linen, silks, leathers, bamboo, hemp, cotton, rayon. Textiles that breathe. Materials that return to the earth. A brand built on slow fashion long before it became a survival tactic. Naked Ape is not only sustainable in materials. It is sustainable in soul. Kopman tells me about his move to Johannesburg as a child — from Pietermaritzburg, at the age of nine. 'My eyes were as wide as saucers,' he laughs. What caught those young eyes wasn't just the skyline or the hustle — it was the people. The way they dressed. The way they moved with intention. 'In Kliptown, Soweto, people loved clothing,' he says, the memory as vivid as yesterday. 'To thrive in a community, you need to look good.' There it is again — not vanity, but pride. A belief that self-presentation is not superficial, but cultural. These early lessons seeped into his adult life. As he began to understand his own body — wider shoulders, narrower waist, longer arms — he realised that the clothes available weren't made for him. They weren't made for African men. So, he started tailoring his own. And, after being named GQ Best Dressed Man in 2006, he made a quiet vow — he would wear only what he had designed. Not out of arrogance. Out of necessity. By the third Naked Ape collection in 2011, something had clicked. A cut above: Naked Ape's range of clothing is modern but rooted in African tradition. 'That collection was a defining moment,' he reflects. 'It showed me that there's a proper future here — a well-rooted African brand with strong conceptual ideas.' Lacking fancy machinery, they improvised. That improvisation birthed a new language of style —street tailoring. A genre not quite classic, not quite urban, but fully alive. Grit meets grace. Modern tailoring rooted in African narrative. In his studio, sampling is not a phase — it is the heart. 'That's where the investment is,' Kopman says. The garments undergo an almost sacred process. They are hand-dyed using plant matter, embroidered, printed, beaded. The fabric is not simply worn — it is spoken through. But Kopman is also unflinching about the complexities of the work. 'Fabrication is not always sustainable. That's why we find ourselves in a slow-fashion environment.' In a world that rewards speed, Naked Ape insists on intention. On pause. On reflection. In 2014, he formalised that ethos with a principle he calls 'Ethni Eco2' — ethical economic and ecological. 'People think economical means cheap, but it means least impact. It means 'buy less, wear more'.' He smiles and shrugs, 'Not a great business model … but the right one.' Kopman has a vision that stretches beyond his brand. He speaks about the South African fashion ecosystem with the clarity of someone who has both lived and loved it deeply. 'We are a very creative nation,' he says. 'Like Italy. Like Japan. But they invest in their creative economies.' For Kopman, this is not nostalgia; it's strategy: 'We want 'Made in South Africa' to mean excellence. That requires all of us — designers, buyers, wearers — to commit.' He refuses to accept a polyester landscape for African fashion. Before we end the call, I ask him what he would tell his younger self. He laugh. 'Curb your enthusiasm. Numb your optimism.' He recounts how he once went bankrupt, investing everything in a show. 'That moment forced me to rethink. It made me better. So … just keep on keeping on.' It's a phrase I carry with me long after our conversation ends. Just keep on keeping on. A mantra for the creative soul. For anyone building something meaningful in a world addicted to the quick and the cheap. As I close my notebook, I think again about Naked Ape. About the clothes that move like poetry across a runway. About garments that don't just clothe but commemorate. I think about heritage. About what it means to dress with memory. Kopman is not just dressing bodies — he's dressing consciousness. Stitching identity into fabric. And as long as Naked Ape keeps walking those runways, I'll keep watching. Always by invite.
News24
29-04-2025
- Entertainment
- News24
Thabo Makhetha's SS25 collection is a love letter to Lesotho's vast lands
Thabo Makhetha showcased at SA Fashion Week day two. The collection is reminiscent of what spring and summer in Lesotho looks like. The luxury label has baby clothes and more up their sleeves for the future. Thabo Makhetha-Kwinana has given South Africa luxury women's fashion with a taste of Lesotho for more than 15 years. The latest collection in her eponymous women's wear label features distinct patterns reminiscent of nature and shades of green and brown that represents Thabo and Lesotho's rich lands. The hustle and bustle of fashion season ended after the South African Fashion Week spring/summer 2025 runway shows in Hyde Park, Johannesburg, from 24 to 26 April 2025, with Thabo Makhetha designs showcased on day two. Redefining Basotho culture After the show, Thabo gave TRUELOVE some insight into the inspiration behind the collection. 'I think, for me, when I do collections, you have to balance functionality and creativity. So, what I usually try to do is to have pieces that you could wear every day. But when you showcase it on the runway obviously you want to elevate it, you want to give entertainment and excitement. But obviously, we also see with our showstopper. That's the art and the craft of it that comes out. View this post on Instagram A post shared by Thabo Makhetha (@tmakcc) Thabo continues, 'That last piece really tells the story because we're talking about thethana, which is the maiden skirt that they wear. It's made from a grass reed and then they roll it together. So, we're taking that kind of inspiration and redefining it, making it luxurious, making you look at it in a different way; that's always been the point. 'This is Basotho culture but let's redefine it, let's take the story to the world. Let's get someone in Europe, in Asia, in America, wherever, being able to access our culture and tell the story behind it, not just wear it because it's fashion.' View this post on Instagram A post shared by South African Fashion Week (@safashionweek) When it comes to the specific colours chosen for the collection, Thabo explains how Lesotho's luscious green fields brought alive by its rainfall made a big mark on her inspiration. She says, 'With the colours I chose for this one, it's supposed to be spring/summer and I just thought in Lesotho when it rains, and the mountains are so rich and green and then the rain falls down and almost like on the slate and we see these strong blacks against the green. So, my colours actually just came from that idea of ha ke Lesotho, what does summer and spring actually look like.' View this post on Instagram A post shared by South African Fashion Week (@safashionweek) For the people Not only have Thabo Makhetha designs become popular across the country at locations like the Soko District in Rosebank Mall, the V&A Waterfront in Cape Town and Africa Arise in Sandton, but the brand dipped its toes into homeware with a limited edition tile range with CTM. While Thabo is looking to expanding into homeware, for now she wants to focus on getting her designs to her loyal customers. 'I think I want to focus on getting the product to the people. I've got baby clothes – there are things you haven't seen because I sit, and I make up the stuff and you only see it now and again in moments. So, I think I want to get the stuff out to the people, then after that we'll start looking at moving out more into the CTM and following those things. 'But I think for now the call has been, 'girl, I don't have your stuff. You're not around, where can we find you?' So, let me sort out my tribe, let me sort out them first, and then we'll look into more collaborations thereafter.' View this post on Instagram A post shared by Thabo Makhetha (@tmakcc) To close off a successful show, Thabo leaves us with a few words of wisdom she would tell her younger self if she could. 'You weren't wrong for all off your stubbornness, for all the heartache, for all the doors that were shut in your face, you were not wrong, girl. And I'm saying to me now at this age, keep doing it. Keep going.'
