Feet barely recovered from donning Jimmy Choos all night the night before, fashionistas once again made their way to the Sandton Convention Centre for the second instalment of Audi Joburg Fashion Week. The most exciting news of the day was the announcement of an agreement between the South Africa Broadcasting Corporation (SA’s main broadcaster) and Africa Fashion International (the organizers of Audi Joburg Fashion Week) that SABC 3 on-air presenters would be dressed by various young designers who participated in Audi Joburg Fashion Week. Names like Thula Sindi and Bongiwe Walaza would be broadcast to the millions of viewers watching this lifestyle channel everyday. Brilliant!

Another Mzansi history is Patrice Motsepe (mining mogul and husband to Africa Fashion International Chairperson, Precious Moloi-Motsepe) on the cover of Forbes Top 100, as South Africa’s first black billionaire.

Now onto the catwalks….

KLUK CGdT

The word couture is often thrown around carelessly in fashion but lesser known is that only companies or designers that have been listed on the Paris-based Chambre de commerce et d’industrie de Paris can call their designs haute couture or describe themselves as a couture house.
Kluk CGDT, an amulgamation of two of Mzansi’s most prolific designers- Malcom Kluk and Christiaan Gabriel Du Toit, may not be on this list but under the definition of couture being high-fitted, custom fitting fashion, their designs are the ultimate experience of what homebrewed international couture looks and fits like. Sitting at their show, their designs could show at any fashion week in the world to acclaim. In their Autumn/Winter collection, the pair aptly interpreted the burst of colour that is set to brighten up winter fashion, creating an aura of warmth through hues like cerese, rich browns, red, black, juxtaposed with luxurious and flowing fabrics like satin, chiffon, lace, lace over satin, chiffon with satin etc.. My favourite design(hard to choose as these may have been) was the white layered one shoulder chiffon empire dress as well as the party hat and glittery masks used to accessorise the designs. Check out more from this collection on the designers section of FashionAfrica.com or Click HERE

SUN GODDESS

When you’ve been in the industry for as long as Sun Goddess has, you are confident in the knowledge that not only do you know who your customer is; they know who you are too. They can see your designs from a mile away, even without looking at the label. This reconcilability and loyalty is this label’s biggest blessing and curse. Sun Goddess, the king and queen of pre-colonial African fashion have become way too comfortable and safe in their designs. Hardly a collection goes by without the expected leather corset with flowing skirts - though in their defense, they did make them flared and slanted (as opposed to their usual A-line) this year. Watching the show and being immensely impressed by the first three garments - charcoal denim trench with exaggerated flaps on the back; leather bolero jackets with knee-high socks with pat leather heels, high waist pencil skirts with a bottom flare et al - I couldn’t help but feel that about halfway through creating innovative designs, they either ran out if ideas, or someone reminded them to be safe, again. So for the rest of the show, out came the usual corset and skirt combos, with a drop of innovation every now and again. The concept was to take the woman from the boardroom to a cocktail party and while the work wear was impressive and not as over the top as what you’d expect from Sun Goddess (a good thing), it wasn’t practical for work. A skirt without a slit - how is a girl to climb the corporate ladder?! The challenge that Sun Goddess faces right now is to do what is instinctive for the new generation designers we’ve been seeing - evolve their label to increase its appeal, while still staying true to their intrinsic values. I was really ready to be surprised by Sun Goddess and the only surprise we got was how emaciated the Mangalisos (the creators and owners of Sun Goddess) look. Apparently, they’ve hired a chef and personal trainer to go from flab to fab. Check out more from this collection on the designers section of FashionAfrica.com or Click HERE

See Ya Tomorrow!I’m quite excited about what tomorrow designers will be showing!

- Lelethu Lumkwana

The much-awaited Audi Joburg Autumn/Winter08 Fashion Week made a stylish entrance with a champagne cocktail soiree where media, celebrities and fashionistas rubbed shoulders, swigged sparkling wine with raspberries and made small talk about what they were expecting from this year’s autumn/winter collections.

Audi Joburg Fashion week is establishing itself as the platform for young designers to showcase their talent. And we’re not talking last-minute productions squeezed in after all the good shows when everyone has gone home. These designers are given prime time slots; prime catwalk space and mentorship from industry gurus before fashion week. What I love the most about the influx of fresh blood in fashion is their multicultural outlook, which translates into a global yet proudly South African aesthetic on their designs. This, for us, is the truest reflection of where Mzansi is right now - our concrete roots are firmly in our country but we are also interested in the rest of the world. That being said, however, We think there is still a long way to go in terms of young designers in SA understanding the concept of a collection and producing a show. While most designs got the avante-garde tick, very few of the young designers were able to adequately interpret winter (or autumn) into their collection or tell a story through their show.  The good thing is, as the evening progressed, the shows got better and the clothing more exquisite.

What we drank: JC Le Roux La Vallee

What we ate: Butterfish, shrimp and chicken cocktail eats

Who we listened to: R&B/Soul singer Malik

What was in our swag bags: Christian Lacroix EVIAN water, L’Oreal Paris Volume Shocking Mascara, L’Oreal  De-maq Expert Make-Up Removing Wipes,  L’Oreal Made For Me Naturals lipstick and L’Oreal Lumino Contrast  gloss serum.

DESIGNERS WORTH A NOD

SIPHAKEME NDLOVU

Siphakeme Ndlovu used black, grey and white as her basic palette with chiffon layered dresses; pleated silk bubble minis; high waist dresses with tight bodices, drop waist cotton dresses and silk shift dresses with pleated chiffon layers at the bottom. While we enjoyed the juxtapositon of romantic femininity and power dressing, we thought the collection was still on the summery side. You almost wanted to put a great fitting coat over those cute, tiny dresses of hers!See more from her collection on the designers section of FashionAfrica.com or Click HERE

MOSEWAMOSA

Before her collection, I had yet to see fusion of fabrics and unlikely-paired hues go so well together. Mosewamosa (Sotho for Mose’s dress) used rich browns, velvet, chiffon and silk - think a loose velvet wrap cardi thrown over a chiffon blouse worn with silk shorts. Designs like this and her jersey pleated poloneck dress; a space inspired hooded mauve velvet bolero, multi coloured cocoon knit jersey with purple stockings and the signature design - a velvet empire line wrap goddess gown in mauve and olive green with lilac mesh all elicited a feeling of anti-hibernation - coming out to play in winter, rather than staying in. We loved the fact that you could wear her designs anywhere in the world and you’d not only look gorgeous, but you can layer or unlayer the clothing based on the weather in whatever part of the world you’re in. See more from her collection on the designers section of FashionAfrica.com or Click HERE

AUDREY MOKHARI

The bubblegum of fashion - this collection was cool because, just like its music muse (and soundtrack) pop music, it didn’t take itself too seriously and wasn’t afraid to go wild with colour. You got the feeling that Audrey really had fun making this collection, resulting in sporty chic, colourful denim jumpsuits with retro mod bolero track tops with hoods; bubble jumper dresses in denim; high waist bubble dungaree shorts, accessorized with hairclips, street sneaks worn on one foot - you almost expected one of the models to pop gum as she was posing for the camera! We loved the innovation on the on-trend treggings - denim with rouched sides.  Who said winter should be dull and boring, anyway?

ABIGAIL KEATZ

As innovative and original as we want designers to be, we can’t make them run away from emulating global catwalk trends. The question is, how well can they interpret these? In her collection, Abigail chose two of winter’s strongest trends  - biker chic and equestrian and fused them, resulting in a sensual but edgy collection - brown treggings with leather lining and leather corsets over a white peasant blouse.  Her jackets, drawing from those of tartan wearing Scotsmen were fitted, shirt shaped and multi-belted with oriental necks. She also touched on felt fabric dresses but my ultimate favourite was the high waist denim skirt with studded, high slits. Can you say pitbull in a skirt?!

MARIANNE FASSLER

Wow! This red-haired (make that dreadlocked) fashion veteran has just become ur new FFD (favourite fashion designer).  This woman not only knows what a collection is, she knows how to put together a brilliant, breathtaking show and tell a story through her clothing. Starting off with her signature introduction - fairy dressed children, in this case, wearing mini-versions of the designs to come, Fassler’s collection was inspired by Cape Town born Marlene Dumas, who specializes in distorting portraits of people, life and expressionism in watercolours and ink. Each design took from elements of Dumas’ work, as well as being a social commentary. Fassler did what many designers have not (at least not yet) been able to do - evolve that which is intrinsically South African into something that could walk anywhere in the world, yet still be authentic. Shweshwe (Xhosa ethnic print textile) went bling and fantastical with her colourful embroidery on the huts and face patterns on the fabric. The Venda culture was sampled with colourful, fairy-like chiffon skirts with soft pleats, each layer showing a different hue. The overall theme of Fassler’s collection (in my humble interpretation) was fantasy and fairytale - a quest to boast our femininity in all its wiles and wildness - from leopard print leggings under tassled skirts with broderie-anglaise to high waisted inverted goddess gowns and the LBD (long black dress) with an A-line tassled bottom and florid bodice. Fassler interpreted winter not only in textile use and design, but in colour - the illusion of being warm through wearing warm colours. See more from her collection on the designers section of FashionAfrica.com or Click HERE

MACHERE

The rebel of Mzansi catwalk has made a return after a three year hiatus from fashion. With a new store, a new baby and a new zest for style, Machere emblazoned the catwalks with colour, albeit a bit softer and less ethnic from her usual textiles. With Lil’ Kim as her soundtrack, Machere’s collection screamed - ‘I’m back, I’m bad (the good kind) and I’m taking over the world!’ From Victorian inspired poloneck dresses, mauve off-the shoulder knit dress with soft pleats and drapes, green kanga fabric strapless dress with draping chiffon  - her cocktail dresses are textured and statement making, while still letting your personality take centre stage. Machere understands a womans body - whatever shape or size they may be - and her clothes mould themselves to your body and allow you to wear them your own way. See more from her collection on the designers section of FashionAfrica.com or Click HERE

Can’t wait to see what Day TWO of AJFWK has to offer!

- Lelethu Lumkwana

The ‘Peul Princess’ as she was nicknamed by her colleagues was one of the 1^st African models to successfully make it in the fashion world. She started her modeling career in the 1980s after fleeing to France, after she married and gave birth at the age of 17.

She began modeling first for Thierry Mugler, then Paco Rabanne and Christian Lacroix, and became known as Yves Saint Laurent’s muse, there was no denying her regal beauty and presence on the runway, and was easily one of the best models in France, and an Icon in Guinea.

Katoucha stopped modeling in 1994 to focus on activism against female circumcision, a rite performed in some African nations. Following her success as a model, she started the organization KPLCE - Katoucha pour la lutte contre l’excision (English: Katoucha for the battle against female circumcision), which was very dear to her. At the age of 9, Katoucha was circumcised, and in 2007, she published a book about her personal circumcision experience, “Dans ma chair” (Eng: “In My Flesh“) in France. She also worked as a host for the French Language Television program ‘Top Model’.

She lived on a Houseboat in France, where it is reported she may have accidentally fallen to her death after she got back from a party.

She was born in Conakry, Guinea.

We at FashionAfrica.com are deeply saddened to have lost one our valuable treasures, and pray for Katoucha Rest in Peace.

I like to believe my random searches on Google have led me to good fortune, and therefore, they have become second nature to me. So, there I was one sunny afternoon googling designers of Nigerian descent, and lo and behold, 10% percent of fashion related media in New York went on about a young Nigerian designer who grabbed the headlines from a top American designer during fashion week in 2000. Fast forward to 2007, it was another top English designer that was the victim of her marketing strategy. However controversial her methods, there is no denying the talent behind the label, and the different barriers Lola Faturoti has overcome since she stepped into the fashion industry in the early 90s in New York City.

Lola Faturoti was born in Ondo, Nigeria {West Africa}, where she grew up with her mother and grandmother, who were both tribal chiefs in Ondo state. She is highly influenced by her family background as I came to find out when I met her for the first time at Lotus on Clinton and Stanton in NY, literally next door to where I was residing for the night. Once she stepped in I could just tell it was her from her lovely mix of prints, which was topped off with a cowboy hat.

Lola’s fashion career started like the average fashionista dreams; she was working in New York’s trendy Charivari boutique and wearing her own designs. Customers started inquiring about what she was wearing instead of the designs in the store, and history began to unfold. Lucky for her she had a humble boss in Barbara Weiser, president of the company who took note, and appreciated her unique style, which Lola credits her jet setting mother’s lifestyle who bought loads of clothes when she traveled to fashion capitals like London, Paris, New York, while Lola stayed behind with her grandmother. Saying Lola has fashion running through her veins would be-meaning just that. Lola’s grandmother was a fashion designer in her prime, who helped Lola understand the basics of threading and mixing materials as she does today. Lola assisted her design traditional Nigerian clothes with African luxurious fabrics such as Aso Oke in the very rural days… “I hated it (designing) because I wanted to be out playing instead of picking out seams! That was my first introduction to fashion”, laughs Lola. This came in handy when Barbara Weiser helped her launch her first collection, ushering her into the international spotlight.

After the approval of her first show in NY, and fast success of it all, she took a four-year hiatus from fashion to awaken and perfect her creative vision to come back in April 1999 with a celebrated show that got one of her designs picked by the prestigious Costume Institute at the Metropolitan Museum of Art. She also had a dress showcased in the famous ‘Barneys’ store window, and was recognized as one of the “Best in America” by Amy Spindler of the New York Times Magazine. Of course with all the accolades, you’d think Lola owned the world, and that sponsors and advertisers would practically be banging down her door. You are right - she did and they were knocking hard. Swarovski Crystal was one of her major sponsors who partnered with Andre Leon Talley, and advertising Guru Peter Arnell on her return from her four year hiatus, which produced another, raved about collection. As life would have it for Lola Faturoti, her art director made a mistake that literally cost her. She lost sponsorship from Swarovski, Peter and Andre due to the catty gossip nature of the fashion world. Now with three weeks and no money left before her next show, she did what any regular human being in a desperate situation would, and hit the road!

When I said she hit the road, I meant literally. In February 2000, Lola Faturoti’s designs stole the headlines from Ralph Lauren when she staged her show across the street for the crowd leaving his presentation during fashion week. This led to media frenzy, commending the hustling spirit of Ms. Faturoti. She then decided to relocate to Milan to work on her international presence for another four years. Lola returned to New York City in 2005 launching her comeback collection for Fall-Winter 2007-08. “New York is my city, I love New York. I think when you’re born there’s a city for you, that fits perfectly and I think New York is that for me. The energy, the freedom of New York helps me to be free in my inspiration, to liberate myself.”

The likes of Katherine Hepburn, Miriam Makeba are just a few of her inspirations. She is also influenced by some rock and roll music and she mixes some of her favorite materials like Satin-silk and damask - the African equivalent of which is brocade - like her grandmother did back in the day with various traditional materials. As you see featured in this issue, Lola Faturoti’s Fall /Winter ‘07 - ‘08 collection is another classic. It is apparent that she makes clothes for the irreligious, trendsetting woman, just like her persona dictates. Lola Faturoti is still on a roll and as of September 8th 2007 released her spring/summer 08 line, notoriously of course - as if she would do it any other way - by having a truck displaying a billboard drive around New York City and later stage a presentation in front of Alexander McQueen’s store in Bowery, NY with five models displaying her work. The industry has had its tales of comebacks and rebels, but none stands out to HauTe like this boundary breaking, unconventional, controversial, and extraordinary talent. Don’t call it a comeback! Lola Faturoti has been here, done this, and will definitely be doing a whole lot more.

Transcribed by Yetunde Amolegbe, intern.