CONTENTS

INDULGE textiles to buy, collect or simply admire 54 WEAVING Contemporary Makers on the Loom Hiroko Takeda and Karin Carlander 78 SHOP TALK Jane Audas Goes Shopping at Merchant & Mills 96 SWATCH Favourite Fabric No 48 Kappie GLOBAL textiles from around the world 12 HIT THE SPOT Leopard Frocks Rocks South African Fashion by Sarah E. Braddock Clarke photography by Reze Bonna 18 NO STUFFED SHIRT Fashioning the self: Mandela and the Madiba by Lydia Caston photography by Louise Gubb ANECDOTE textiles that touch our lives 44 PUSH ME PULL ME Will Cruickshank puts a Personal Spin on Bobbin Winding by Ptolemy Mann 50 THE LOEWE DOWN Loewe Foundation Craft Prize by Corinne Julius 58 HERE'S MUD IN YOUR EYE Mudcloth is a way for young creatives to make a living by Keith Recker photography by David Crookes and Adriaan Louw, Courtesy of Design Network Africa and Trevyn McGowan 74 SOLDIER ON Patching up the Military by Sarah Jane Downing ATTIRE critical reporting of fashion trends 22 ZIG ZAG The Patterned Knits of Laduma Ngxokolo by Katy Bevan photography by Andile Buka styling by Bee Diamondhead 26 FROM THE MOUNTAINS TO THE STREETS The Basotho Blanket by Jeannie Walker photography by Ed Suter 66 FAKE OR FORTUNE Carly Glovinski’s trompe l’oeil Life Interview by Grace Warde-Aldam INDUSTRY from craft to commerce 30 OUT OF AFRICA A Cultural Safari in South Africa by David Bellamy illustration by Jenny Bower 32 RAINBOW NATION Textile Design in South Africa by Robert Irwin and Magie Relph 40 DOWN TO THE WIRE David Arment Talks Telephone Wire Baskets photography by Andrew Cerino COHABIT stunning interiors beautifully photographed 37 MOTHER TONGUE The Ndebeles’ Fluent Visual Language by Peter Rich photography by Ed Suter

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high-quality materials so that the items could be passed down to the next generation.’ The Maxhosa range has not gone unrecognised in the design world. In 2010 Ngxokolo won the national leg of a competition by the Society of Dyers and Colourists, earning him a trip to London, prize money and the Veronica Bell Trophy. Then in 2015 he received the inaugural Vogue Italia Scouting for Africa prize. In 2016 Design Indaba declared a black and white Maxhosa shawl to be the ‘Most Beautiful Object in South Africa’ (MBOISA). This shawl is inspired by umngqusho, a Xhosa staple mixture of maize and beans, that is also reported to have been Nelson Mandela’s favourite dish. Ngxokolo’s MaXhosa project is creating a home market for their product as well as a worldwide brand. John Kani and Atandwa Kani, father and son actors from the successful Black Panther film, were dressed by Ngxokolo for the American premiere in Los Angeles and photographed by the world’s press wearing traditional Xhosa dress. Success brings the problem of plagiarism. The MaXhosa range has been copied by other brands in South Africa, including allegedly by the Spanish company Zara who brought out a range of socks that look astonishingly similar to some designed by Ngxokolo. With his MaXhosa project, Ngxokolo is making a significant contribution to preserving interest in his traditional Xhosa culture while updating it for the next generation. Katy Bevan S

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would mean removing the ‘traditional’ element which was a mark of distinction. Finally, ‘made in’ was removed, while ‘England’ remained, and thus the name became Victoria England, often accompanied by a crest motif. This crest is a reference to the three ostrich feathers of the Prince of Wales, who paid a visit to the people of Lesotho in 1925, an event that was celebrated enthusiastically. The locals refer to this blanket as ‘lesiba’ (meaning ‘feathers’). Many of the ‘traditional’ designs have demonstrated their continual popularity, remaining unchanged over many decades. There are a number of patterns that carry African names, such as Mbalo Matross. It is possible that this name may reference seafaring and sailors, as the blankets are thought to be associated with Durban harbour in Kwa-Zulu Natal. The name Matlama was associated with a prestigious shawl

made only for women. A design called Mamohato (meaning ‘Queen’), acknowledges patronage from the Lesotho Queen in the 1980’s. While continuity and tradition are important to the prestige of the blankets, at times their names and motifs have responded to global events. During World War II images of aeroplanes and bombs began to appear, both as a reflection of contemporary events, and as symbols of power, bravery and conquest. Aspects of agricultural life have also been incorporated into patterns. The appearance of maize implies fertility, while the cabbage leaf represents prosperity. Blankets are popular across the population, and are worn by men, women and children. There are some variations in how they are worn. Men fasten the blanket on the right shoulder leaving the arm free, while women fasten the blanket or shawl in the middle of the bosom. This enables her to

nurse her child easily and carry out her domestic activities. Smaller blankets are produced for children, and for adults blankets can vary in size from something quite small, to large enough to cover a single bed. It has been said that the Basotho blanket is such a ubiquitous sight in Lesotho that its origins are hardly queried. It is worn at all manner of occasions, worn with as much ease in humble dwellings and in more prestigious environments. These blankets, with their patterns and titles, bring gravitas and symbolism, as well as style. Perhaps the greatest significance of this distinctive blanket is that an adopted item of European derivation has become an object of cultural and traditional distinction amongst the people of the mountain Kingdom. Men, women and children have one or many in their possession emphasising the importance of the blanket in their lives. Jeannie Walker

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Clothing is experienced both personally and collectively. It is often the first thing we notice about someone and exploring it helps to trace key historical moments. A New York Times article from 1997 titled ‘He's got the style’ discusses Nelson Mandela's Madiba shirts at great length. It dramatically opens: ‘It's official. Nelson Mandela is not just a living saint; he's a fashion statement.’ Five years after Nelson Mandela passed away the Madiba shirt still holds cultural significance in its home country and beyond. It is now avidly marketed across Pinterest boards, tourist stalls and vintage boutiques, but its influence goes far beyond the fashion industry. Behind the Plate glass at the Leake Street Gallery’s Mandela: The Official Exhibition, the Madiba shirts appear as rays of light in a deeply emotional display. They glow amongst harrowing images of segregated South Africa and the coarse prison mattresses from Robben Island. The bold colours and graphic patterns highlight the wearer’s commitment to his country and his contagious hope for change. Dress was an evocative political tool for Mandela’s public image. In the 1950s, he sported darker tailored suits. During the Rivonia Trial that led to his imprisonment in 1964, he wore a Thembu tribe leopard skin kaross cloak and a beaded necklace. The Madiba shirt, titled after Mandela’s Xhosa clan name, is no different in its connotations. After 27 years in a prison uniform, the striking shirt became a permanent part of Mandela’s wardrobe as he eschewed the4 Lou

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