#ndebele dress

[bestshirtcanbuy]

South Africa Knitting Pattern Ugly Sweater

South Africa Knitting Pattern Ugly Sweater: The Perfect Gift for Everyone When it comes to finding the perfect gift, South Africa knitting pattern ugly sweaters for men and women are a delightful choice. With a unique blend of traditional African designs and cozy comfort, these sweaters offer a truly special and thoughtful present for any occasion. South Africa is a country known for its rich cultural heritage and vibrant arts and crafts scene. The knitting patterns used for these ugly sweaters showcase the country's diverse tapestry of traditions, including Zulu, Xhosa, and Ndebele motifs, among others. These patterns incorporate vibrant colors, geometric shapes, and intricate detailing that adds a touch of African authenticity to the sweaters. What makes these ugly sweaters even more appealing is their versatility. Whether it's a birthday, anniversary, or holiday gift, these sweaters are suitable for both men and women. They come in a range of sizes and styles, ensuring a perfect fit for anyone on your gifting list. For men, South Africa knitting pattern ugly sweaters offer a stylish way to embrace their African roots while staying warm during the winter months. The bold patterns and colors make a statement, turning an ordinary outfit into a fabulous one. Whether paired with jeans or dressed up for a special occasion, these sweaters are guaranteed to catch attention and spark conversations. Similarly, women can also enjoy the unique charm of South Africa knitting pattern ugly sweaters. The intricate details and vibrant colors can turn a simple outfit into a fashion-forward ensemble. They can be paired with skirts, jeans, or leggings, allowing for endless possibilities of creating a personalized and trendy look. Moreover, these sweaters are not just a fashion statement but also a symbol of cultural appreciation. By wearing them, one can proudly display their admiration for South Africa's artistic heritage and contribute to supporting local artisans and crafters who create these beautiful garments by hand. In addition to being a thoughtful gift for individuals, South Africa knitting pattern ugly sweaters are also great for group gifting. They make for fantastic matching outfits for family photoshoots, holiday parties, or even as team uniforms for sports events. The vibrant colors and unique patterns will surely help create memorable moments and foster a sense of unity and togetherness. Whether you're searching for a gift for a loved one or looking to treat yourself to something special, South Africa knitting pattern ugly sweaters are a perfect choice. They embody the spirit of African artistry, warmth, and comfort, making them a delightful addition to anyone's wardrobe. So, why not celebrate the beauty of South Africa's craft traditions and surprise someone with a truly unique and meaningful gift they will cherish for years to come?

Get it here : South Africa Knitting Pattern Ugly Sweater

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#UglyChristmasSweater

[lboogie1906]

Ruth E. Carter (born April 10, 1960) is a costume designer for film and television, with over 40 films to her credit, she is regarded as having mastered the look of multiple periods and genres in envisioning the clothing and overall appearance of a character or performer. During her 30-year-plus film career, she has been nominated four times for the Academy Award for Best Costume Design, for her work on Malcolm X (1992), Amistad (1997), and her most recent work on Black Panther (2018), and Black Panther: Wakanda Forever (2022); for her work on Black Panther, she won the award and became the first African-American to win an Academy Award in that category. In 2023 she won the same award again, this time for Black Panther: Wakanda Forever. This made her the first African American woman to win two Academy Awards.

She graduated from Hampton Institute with a BA. She began her career working as an intern in her hometown of Springfield, Massachusetts, and at the Santa Fe Opera. She moved to Los Angeles in 1986. While working at the Los Angeles Theater Center, she met director Spike Lee, who hired her for his films, School Daze (1988), Do the Right Thing (1989), Mo’ Better Blues (1990), Jungle Fever (1991), Oldboy (2013), Da Sweet Blood of Jesus (2014), and Chi-Raq (2015).

She has worked with legendary directors such as Steven Spielberg and John Singleton and has dressed actors from Denzel Washington to Josh Brolin, and actresses from Angela Bassett to Jane Fonda.

She is known for her work on What’s Love Got to Do with It (1993), Serenity (2005), Four Brothers (2005), Sparkle (2012), The Butler (2013), and Selma (2014). She has designed costumes Being Mary Jane.

Her costumes were inspired by many traditional African garments, including those of the Maasai and Ndebele people. She traveled to southern Africa to draw aesthetic inspirations and received permission to incorporate traditional Lesotho designs into the film’s costumes. She received a star on the Hollywood Walk of Fame in the film category. #africanhistory365 #africanexcellence #alphakappaalpha

[sos-ndebele]

Section 2: Fashion Range

2.1 Conceptual Framework: The fashion range developed by Nkosana embodies the essence of Ndebele mural paintings and the visual language presented in Ditema tsa Dinoko. This collection seeks to harmonize traditional aesthetics with contemporary design, creating garments that celebrate Ndebele artistry while captivating the modern fashion audience. The range comprises four key categories: apparel, accessories, footwear, and jewelry.

2.2 Apparel: The apparel collection embraces the vibrant colors, geometric patterns, and symbolic motifs found in Ndebele mural art. Silhouettes are inspired by both traditional Ndebele attire, such as the isicholo headpiece and the umbhaco dress, as well as contemporary fashion trends. Bold prints and meticulous embroidery techniques are employed to replicate the intricate details of Ndebele wall paintings. Fabrics are carefully selected to ensure both visual impact and comfort, with references to sustainable materials and innovative textiles that align with the ethos of major fashion brands focused on ethical fashion.

References:

The use of traditional attire and contemporary silhouettes can be observed in the work of South African designer Laduma Ngxokolo for his brand Maxhosa Africa, which celebrates Xhosa heritage through modern knitwear designs (Ngxokolo, 2019).

Sustainability and innovative textiles are integral to the collections of Stella McCartney, who incorporates ethical and eco-friendly materials into her designs, setting an example for sustainable fashion practices (Stella McCartney, 2020).

2.3 Accessories: The accessories collection complements the apparel range, showcasing Ndebele-inspired motifs in various forms. Handbags, clutches, and belts feature intricate beadwork and embroidery, incorporating vibrant colors and geometric patterns synonymous with Ndebele art. Footwear designs draw inspiration from traditional Ndebele beadwork, with intricately beaded sandals and modern reinterpretations of moccasins and veldskoene. The use of sustainable materials, such as upcycled leather and natural fibers, aligns with the values of major fashion brands committed to environmental responsibility.

References:

The incorporation of traditional craft techniques in accessories can be observed in the work of Colombian designer Silvia Tcherassi, known for her artisanal handbags and intricate embellishments (Tcherassi, 2018).

Sustainability in footwear design is exemplified by brands like Veja, which utilizes eco-friendly materials and ethical production methods in their sneakers (Veja, 2020).

2.4 Jewelry: The jewelry collection captures the essence of Ndebele cultural adornment, featuring statement pieces that reflect the geometric patterns and intricate beadwork seen in Ndebele mural art. Necklaces, earrings, and bracelets are crafted using a combination of traditional beadwork techniques and contemporary metalwork. Precious metals, gemstones, and vibrant beads are incorporated to create striking and symbolic designs that pay homage to Ndebele heritage. The jewelry range also explores sustainable practices, such as the use of ethically sourced materials and responsible manufacturing processes.

References:

The integration of traditional craft techniques and contemporary design in jewelry can be seen in the work of Nigerian jeweler Adele Dejak, known for her bold and innovative pieces that draw inspiration from African heritage (Dejak, 2019).

Sustainable practices in jewelry design are exemplified by brands like Chopard, which champions responsible sourcing of precious metals and gems in their creations (Chopard, 2021).

By incorporating these design elements and referencing the practices of major international fashion brands, Nkosana's fashion range embraces the rich cultural heritage of Ndebele mural art and Ditema tsa Dinoko, ensuring a collection that is both aesthetically captivating and academically grounded.

[mabriga]

Makhaola Ndebele joins Scandal! as Reggie Pheko

Makhaola Ndebele joins Scandal! as Reggie Pheko

Makhaola Ndebele joins Scandal! on Monday, 31 October. Well known actor Makhaola Ndebele joins the hit soapie in the role of Reggie, an art tutor to Khanyi Jewel. Reggie is good looking and old-fashioned, a gentleman to just about everyone. Measured and always neatly dressed, Reggie’s wealth allowed him to retire fairly young although he chooses to live a surprisingly modest life. After…

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[thefashioncycle]

Left: Ndebele woman from South Africa in traditional dress.

Right: Look from Guo Pei Spring 2018 runway show.

#fashion #fashion inspiration #traditional fashion #traditional dress #ndebele #ndebele woman #ndebele dress #guo pei #spring 2018 #fashion show #runway show #guo pei spring 2018

[jeannepompadour]

A woman from the Ndebele tribe in South Africa carrying a traditional beer container

#south Africa #ndebele #tribal #mdpafrika #mdpcostume #african dress

[canmom]

Toku x Tarsem Tuesday Twenty-Two: The Fall & Immortals

Good Tuesday my friends! Tonight we’re hitting another on the ‘long overdue movie rec’ list, with Tarsem Singh!

To give a brief intro (which seems... honestly like I’m pretty sure most of my friends are way ahead of me on this guy, but it has become the tradition), Tarsem Singh Dhandwar is an Indian director who became prominent in the American music video industry in the 90s, before stepping into US feature films in 2000 with The Cell (so far the only one that I’ve seen thanks to @mogsk​ - a very dubious serial-killer story wrapping some astonishingly beautiful, abstract dream exploration sequences). But this was all, @lyravelocity​ tells me, essentially an elaborate warmup to his passion movie project The Fall, which was finally finished in 2006.

So what’s his deal? He’s known for his incredibly visually lush, intricate, baroque style of shooting. In part thanks to his long-time collaboration with Japanese costume designer Eiko Ishioka (until, sadly, her death in 2012), you can generally recognise a Tarsem Singh production by elaborately composed shots - either very stark with big blocks of colour or full of different layers of movement - and a great confidence with striking abstract and symbolic imagery calling after his music video work, along grand locations, clever editing... and, OK, mostly by someone being draped in loads and loads of cloth.

Also here’s a scene where he guros a horse, one of the more memorable in The Cell (more so in context). (It’s a tragedy honestly, that movie would work so much better as a short film without most of the dialogue, keeping most of the dream sequences and maybe a voiceless bit of how they enter the dreams bc that’s pretty striking as well. Alas the ‘vaguely genderous but not too much’ serial killer police procedural shit inbetween is sooo tiring.)

You can get a bit of a taste of his style in his music videos - one of the highlights maybe being that of Sweet Lullaby by Deep Forest:

...which intercuts colourful images of various people dressed up in Varanasi, India with more monochrome images of Soviet, US and Chinese architecture, all linked by a small girl going around framing pictures with a wooden block. Confusingly there is another music video for this song which is sometimes attributed to Singh (e.g. in the above playlist, and on Wikipedia), but IMDb says Singh directed the one I’ve embedded and attributes the other, earlier video of the Ndebele boy to David Lodge.

That said, Singh really came into his own once he had movie scale budgets to play with. So instead let me embed a fanvid someone did of The Cell.

Well, if The Cell could be seen as Tarsem taking a pretty conventional Hollywood horror story and injecting it with that sweet juicy Imagery he can do so well, hopefully his later projects is where things get really good... and that brings us to The Fall.

I mentioned above that all those ads and music videos were warmup for The Fall... and by that I mean more specifically that he used them to get access to shooting locations that would otherwise be impossibly expensive. Wiki writes:

According to the director's remarks on the DVD release of the film, Tarsem Singh largely financed the film with his own funds, determined to make the film according to his own vision, and paid members of the cast and crew on an equal basis rather than in more typical Hollywood fashion.

Singh's commentary indicates the film was made over a period of four years and incorporates footage shot in more than 20 countries, including India, Indonesia (Bali), Italy, France, Spain, Namibia, China (PRC), and numerous others, a few of which are not listed in the credits. Singh stressed the importance of on-location filming and lack of special effects in interviews because he found that modern techniques would not age well in comparison. He reportedly only took advertising jobs in places that he wanted to do location scouting for, and would fly out cast members to shoot scenes for the film using the same crew as he did for commercials.[7] Singh's focus on striking visuals combined with his commitment against using special effects when shooting scenes of the blue city in Jodhpur, as he provided locals with blue paint to refresh the paint on their houses.[8] This alternative to post-production effects resulted in the vibrant blue of the city in the film. Another location, the contemporary South African mental hospital which represents an early 20th-century Los Angeles hospital (the principal setting throughout the film) remained operational (in a separate wing) during filming, according to the DVD commentaries.[9]

So what was this all in service of?

The Fall is set up on two levels: a suicidal stuntman in an early 20th-century hospital wants a young Romanian girl Alexandria to steal morphine for him; hoping to bring her around, he spins her a story about her namesake, Alexander the Great, introducing a story within a story which is Alexandria’s imagination of the narrative being told. So it’s about the complexity of interpretation/communication and authorial control over the ‘reality’ of fiction, familiar territory to anyone who’s thought too hard about tabletop roleplaying games... and also a chance for Tarsem to go absolutely all out indulging his filmmaker’s tricks and use of colour and all those places he got to shoot.

I can tell you what the critics thought (kinda mixed: lot of love for the visuals but a lot of them apparently got bored?? are they like 4) but tbh the only opinion I’m interested in here is @lyravelocity​ and she loved it so I am hyped to the eyeballs.

Our second film takes the visual spectacle in another direction. Immortals (2011) gives Singh doing a spin on Greek mythology (though an original story rather than a direct adaptation). if you search for gifs you mostly find people were excited to gif the film’s shirtless guys, among them the Witcher guy who they have playing Theseus, and whoever this is...

...but compared a certain other ‘shirtless guys in cloaks doing highly stylised Hellenic violence’ film, this one hopefully has the virtue of not nakedly being fascist propaganda! Instead, well, Singh’s description of the aesthetic project he was pursuing sounds absolutely fascinating:

"Basically, Caravaggio meets Fight Club. It's a really hardcore action film done in Renaissance painting style. I want to see how that goes; it's turned into something really cool. I'm going for a very contemporary look on top of that so I'm kind of going with, you know, Renaissance time with electricity. So it's a bit like Baz Luhrmann doing Romeo + Juliet in Mexico; it's just taking a particular Greek tale and half (make it contemporary) and telling it."[11]

The critics generally seem to have felt that Tarsem’s visuals couldn’t save a tedious story, but hopefully they’re wrong, and regardless, I want to see it just out of curiosity about the aesthetic territory it’s able to find, you know? The more images to cross-pollinate...

Watching the trailer, you can definitely see this was made during the brief 3D filming fad, with lots of shots composed with different moving layers to show off the gimmick. (Toku Tuesday/Animation Night Theatres does not support 3D, so we’ll have to watch it flat.)  The Hollywood dialogue certainly does detract from those visuals... I’m almost tempted to try and track down the Greek dub. But we’ll see...

Our final feature is the much-overdue catchup on Kamen Rider Revice, which is apparently really hitting its stride now! So once we’ve seen lush Singh visuals we can settle in for some catboys.

Whatever-this-is-now Tuesday will start in about three hours at 7pm UK time, and we’ll watch Immortals first so @mogsk​ can get in in time for The Fall. Hopefully I’ll be able to get another animation out before that point, I’ll be streaming progress in the meantime!

#toku tuesday #tarsem singh

[snarky-art]

My enchantix redesigns that I’ve had laying around for a while. I’m going through my computer to try and clear up space and came across some winx stuff. I haven’t done the wings for them still to this day in any finalized way because they are very intimidating to me lmao. Some info here on how enchantix outfits and fairy outfits work as well as the inspirations for the clothes for each of the characters below! I’m going to include some more individual design notes from my sketchbook later too.

In my version of the winx redo, all fairy transformations have to do with a sense of self to an extent. The more sure and secure of oneself one is, the more likely certain parts of the outfits are to carry over to the other transformations. For example: I have multiple transformations for Daphne that I’ve done, but there are a lot of traits carried over in the designs (her tirar, her color scheme, cut of cloth, etc) since she was always very self assured in who she was. She was Marion and Oritel’s daughter, future queen of Domino, and the keeper of The Dragon Flame and she was going to become as strong as she could for her people and the universe so she could use The Dragon Flame as best as possible. (I swear I’ll upload her stuff at some point they’ve been collecting dust for literal years now sskdjkjfla).

The same can’t really be said of the girls here, and that’s fine too. Aisha is the one with the most confidence in who she is and that shows here in the carrying over of her metal accents (arm bands, a metal ring at her waist, albeit with a jewel in it this time) and the cloth that goes across her chest and wraps around her waist.

Another thing that can influence the appearance of a fairy transformation is closeness with another individual. Aisha at this point already knows she likes Musa (I’m going to upload a post after this going more in depth on their relationship in my version) and her double buns are influenced by that since that’s one of the main ways Musa likes to style her hair (she also helped Aisha really perfect how to do the hairstyle and as that was one of the first thigs Aisha ever really did with a friend after Anne left when she was young and not including the pixies, so it holds a lot of sentimental value to her. Musa was the one who went out of her way a LOT more than anyone else to try and get Aisha comfortable with everything. The other girls did too of course but Musa just kind of gets how it feels to be alone more than they do so they really understood each other.) Musa in turn also has armbands like Aisha and some cloth hanging from the tie around her waist in a way similar to the cloth trail around Aisha’s.

Bloom also has similar armor to Stella because of this, since Stella is Bloom’s closest friend out of the 6 and is the one who introduced her to magic and what it can mean to be a fairy.

Enchantix in itself works basically the same as it does in the show, and as the main focus of it is to save someone from your planet so you can become a guardian of it (there can be multiple guardians for a homeworld too. I always thought it was weird that it was implied there can only be one. The guardian fairies of a planet act as a protective council of sorts. They are expected to place the priority of protecting life on the planet above all else and sometimes align themselves with royalty as advisors for things if they it is requested of them by the royalty, but they are expected to be willing to break ties with any allegiance if the leader is doing things that upset the balance of the planet and enact cruelty, not that guardians have always done that in the past). As a result, it is tied closely to the culture of their homeworld, or the culture that the fairy is from if the planet doesn’t have a largely homogenous one.

Musa is based off of Chinese and Japanese culture, which is a really broad statement I know since there is so much that goes into those countries, but I tried my best to have it line up with the clothes she wears in the show and it seemed to be similar to that (and obviously her homeplanet is clearly inspired by Asia). Similar to what her original skirt seemed to be, the pants are inspired by paper lanterns, and the upper shirt part is inspired by the tops of dresses during the late tang dynasty. The design of the belt she has, although I didn’t really do a close up of it, is braided similarly to shimenawa (a rope used in ritual purification in the Shinto religion). She has an open lotus blossom that her hair is in the middle of that holds her buns in place and her makeup is based off of the Tang Dynasty and the little hair piece she has acting as her tiara thing (all the girls had one so I tried to carry that over) is based off of Quing dynasty hair styles specifically but like, similar hairstyles were used in other eras too I just liked those specifically.

Flora’s is based off of Mexican style clothes. The top part is based off of Folklorico dresses and the petal style I used for it is based off of marigold petals, which are used to lead deceased loved ones to the families shrine during Day of the Dead. Her makeup is also based off of designs seen on calaveras. Her head piece is a flower crown which is now a common staple seen in women’s fashion during festivals due to Freda Kahlo and her hair is divided into two parts. The upper part is pulled back into a braid that has a vine weaved in with it, which I took inspiration from hairstyles down there that thread ribbon into the braids.

Aisha’s was a trip to figure out. So her homeplanet really is,, something. There’s some middle eastern influence (her name is also Arabic), her mom and her when she was younger wore some 1500s style renaissance clothes, and also they have a shaman that seems to be based off of African medicine men, and then also there are mermaids wearing European style armor, so I had to do some looking around to figure out what I wanted to do here. In the end I went with Moroccan and Zulu style clothing overall with a few other influences as well and tried to mesh them together. The headpiece and the sash/hood are based off of women’s head dresses in Morocco and the facepaint, arm and leg bands are based off of traditional Zulu attire. Cowrie shells are on the bottom of the leg and arm bands as they are used in Zulu attire in the same place as well sometimes, but also because a lot of African cultures see cowries as being representative as gateways to the spirit world (a lot of cultures have the spirit world and afterlife tied to the ocean). Her stack of necklaces are based off of the necklaces worn by the people Ndebele people of South Africa. Her shorts and top are rimmed with silver and the shape of the attire itself is meant to be athletic and practical for her. It is covered in fish scales. Her ears are a different color here than they were in her winx transformation also. That isn’t an enchantix thing but a biology thing I have made up in my head for Androsian people. The fins start off a light shade and then over time settle into a darker color, which is what it will permanently be.

Tecna’s outfit is ready for the cold. For the longest time we didn’t know anything about her homeworld except that it was cold, so, anyway Russia and Siberia lmao. The green lines on her body suit have light moving through them also which I just thought was a neat idea because technology is a thing. Her glasses aren’t a permanent part of the outfit also. They come out if she wants to concentrate her magic to do something very technical and intense. I thought it would be a nice way to carry over that faceshield thing she sometimes used in her winx form. Her physical features btw are based off of the Nenets people of Siberia.

Stella’s outfit is Greek based because I’m not original and I don’t know why almost all of us collectively agreed Solaria is Greco-Roman but we sure did do it. Maybe it’s because of the word Sol being in it.

Bloom’s is just,, European lol. Domino is a Renaissance Era place it feels like (probably because of her mom’s ermine stoat cape). So there. There are some similarities of hers with Daphne’s inadvertently (family ties can influence things sometimes too, which can be seen in the Bloom and Daphne comparison sheet on my blog), but Bloom doesn’t know that. When Daphne eventually does see her in her enchantix outfit during the time of or before the movie (which does happen in my version but with a LOT of changes. Daphne still talks to Bloom though and helps out like in the movie) you bet your bottom she takes a second to collect herself (happy to see the bond is strong enough that it did manifest physically in a way, sad because she remembers what it was like to once have that transformation and the general bittersweet longing for the time before shit hit the fan. I have so much stuff about Daphne I need to upload some of it soon).

So yeah! Thanks for coming to my Ted Talk:)

#Winx #bloom winx club #daphne winx #winx club #winx fanart #winx stella #winx bloom #winx musa #winx flora #winx tecna #winx layla #winx aisha #enchantix #winx rewrite #winx reboot #winx remake #winx redesign #bloom #flora #stella #aisha #layla #musa #tecna #lore #worldbuilding #art #my art

[k00276504]

Play

These are some of the pieces that were done together alongside the one of the Ndebele Native with the golden rings on his neck and the golden eyes, in the middle we see the colours change from red to light purples and blues, I wanted to play with where the character was going next on his travels, and I thought I would give him a traditional overall that I designed myself, my own playful development of our traditional clothes. This for me was a moment of afro futurism, where I saw my tribe in the future wearing designs I had made travelling through space and playing with new environments. Space was now on my mind whilst doing the play project. Where are black people going to be in space, I thought?

In the first picture I posed against another big piece I had done with the 3D head dress I made that I used in the video where I was dancing

I also started playing with circles and triangles, drawing with them to see what I could make. I did this because those are two important shapes to me as a an African it reminds me of the pyramids and also of the circle shaped mud huts. The circle is a very important symbol in our culture because of its representation of life. I wanted to start exploring more into this as I went on

[iol247]

Imagine if the manager was a white male

Clicks to lay formal complaint after man in traditional dress told to leave Midrand shopping centre

Pharmacy chain Clicks said it was left 'embarrassed' by the actions of a Boulders Shopping Centre manager, and that its own store manager had to step in

BY TIMESLIVE - 25 March 2021 - 09:10

A manager at the Boulders Shopping Centre in Midrand confronted a man dressed in traditional Ndebele attire and asked him to leave a Clicks store in the mall. The man was finally allowed to continue shopping after a Clicks manager intervened, the pharmacy chain said. Image: Screengrab

Clicks pharmacy will be issuing a “formal complaint” after a manager at the Boulders Shopping Centre told a customer that he was not dressed decently and asked him to leave.

In a video circulating on social media, the man is seen in traditional Ndebele attire. At the entrance to a store, the man is confronted by another man — later identified as a centre manager — who asked him to leave.

“Let's cut a long story short,” the manager says. “We've got a right of admission. I don't condone this in my mall.”

A woman, who appears to be the one filming the altercation, says: “This is Africa. You can't tell someone what to do or what to wear at which mall.”

The manager then implies that the man was dressed indecently, saying that the mall was “a public place” — to which the man says: “You are wearing Western; I am wearing African.”

The manager ultimately says this is “my mall” and refused the man entry.

Pharmacy chain Clicks — whose store in the mall was the scene of the incident — said that it would be taking action, as it was left “embarrassed” by the manager's actions.

In a statement on its official Twitter account, Clicks said that its store manager intervened and the man was allowed to continue shopping.

“Clicks Midrand Boulders did not ask a customer dressed in traditional Ndebele attire to leave the Clicks store. The centre manager of Boulders, accompanied by Boulders Centre security, entered the Clicks store and demanded that the customer leave.

“The Clicks store manager intervened and asked the centre manager to leave. The customer was allowed to continue shopping.

“We are extremely embarrassed by the centre manager's behaviour and will be putting in a formal complaint,” Clicks said in a statement.

TimesLIVE

[southafricanshirtswomen-blog]

An Introduction To South African Conventional Gown

South African Shirts women

South Africa�s varied combination of cultures, ethnic teams and religions has offered rise to some assortment of common gown. In African cultures for instance, age and social standing is reflected while in the apparel somebody wears. Listed here, we acquire a look with the a variety of kinds of standard have on located in South Africa.

Xhosa

The Xhosa lifestyle incorporates a elaborate costume code knowledgeable by a person�s social standing, and options lovely beadwork and printed materials. Typically, women�s clothing and accessories display different levels of daily life.

Their principal goods of garments include very long skirts and aprons in attractive printed or embroidered materials. Elaborate beaded necklaces identified as ithumbu are worn all around the neck, too as beaded bracelets and anklets. The iqhiya or headband is usually worn by married women of all ages. To complete the ensemble, embroidered capes or blankets are worn close to the shoulders.

Xhosa adult men customarily filled the roles of warrior, hunter and stockman and as a result, animal skin formed a vital component in their regular have on. On distinctive situations embroidered skirts are worn with a rectangular cloth in excess of the remaining shoulder, or possibly a tunic and strands of beaded necklaces.

Zulu

In Zulu culture, girls also don unique attire at unique stages of their life. Only one younger female wears her hair shorter and only a quick grass-reed skirt embellished with beads, whilst engaged gals will include their breasts and grow their hair.

A married girl handles her whole system to point that she is spoken for. She wears a thick cowhide skirt that has been softened with animal extra fat and charcoal. Ordinarily, ladies protected their bosom with a fabric, but these days cotton vests or beaded bras are worn along with beaded necklaces.

By far the most legendary adornment are circular-shaped hats named izicolo, which happen to be worn by married girls. These hats have been traditionally product of grass and cotton and calculated up to a metre throughout to shield the wearer within the solar.

Zulu guys historically dress in animal skins and feathers. Simply because the Zulu revere leopards since the king of all predators, only royalty are allowed to use leopard pores and skin. A entrance apron (isinene) along with a rear apron (ibheshu) are worn to protect the genitals and buttocks. The tufts of a cow�s tail termed amashoba are worn within the higher arms and down below the knees to present the looks of increased bulk. Headbands are only worn by married adult males.

Ndebele

The Ndebele tribe are renowned for their intricate beadwork and brightly colored residences painted in placing geometric types. The leading factor of Ndebele women�s have on is really an apron. Girls don tiny beaded aprons, although more mature women have on isiphephetu, a beaded apron provided to them by their moms, and isigolwani that are thick beaded hoops worn all-around their necks, arms, legs and waistline.

Married women of all ages wear lengthier aprons manufactured from hardened pores and skin which can be lavishly adorned in geometric designs. Additionally they don isigolwani and copper rings called idzilla about the neck, ankles and arms. Ladies and single girls usually tend not to protect their breasts, whilst married gals deal with their upper bodies with blankets in multi-coloured stripes or beaded patterns.

Ndebele gentlemen wear animal pores and skin aprons and beaded breast-plates or iporiyana which hangs in the neck. The iporiyana is a image of manhood and is also specified into a younger gentleman by his father right after he has been through initiation. Animal skin headbands and ankle bands may also be worn along with a cape.

Venda

Venda girls ordinarily don a shedo, a small apron which addresses the pubic place. When girls build breasts, they put on a nwenda for the waistline or all-around a single shoulder, which can be made from brightly colored striped cloth. Beaded necklaces, bangles and headbands will also be worn.

Venda boys and adult men historically wore a loin-cloth called a tsindi. The tsindi is really a triangular bit of animal skin covering the entrance, handed amongst the legs and tied on the back. In colder temperature, they also wore a cloak more than their shoulders. Nowadays Venda gentlemen often have on shirts comprised of nwenda cloth paired with trousers.

Tsonga (Shangaan)

The Tsonga-Shangaan tribe is really an offshoot of your Zulu tribe and are predominantly found in southern Mozambique along with the northern provinces of South Africa. Usually, Tsonga gentlemen wear animal skins, although the ladies dress in beads and colourful collected skirts called xibelani, which shake every time they dance.

Indian

Indian South Africans have always preserved their cultural heritage, languages and religious beliefs, currently being possibly Christian, Hindu or Muslim. Western garments is worn from day to day, even though traditional Indian dress which include beautiful embroidered saris and sherwanis are frequently reserved for exclusive instances like weddings.

Cape Malay

Cape Malay refers to an ethnic group who were being brought to South Africa from South-East Asia through the slave trade. In Cape City, the Cape Malay neighborhood is predominantly Muslim. Like Indian South Africans, Cape Malay people today put on primarily Western garments in daily life and their classic attire to mosque, madrassah and for specific celebrations.

[sos-ndebele]

Nkosana: A Contemporary Voyage Through Ndebele Artistry

Introduction: We present the proposal for Nkosana, a visionary fashion brand that transcends boundaries and celebrates the profound beauty and cultural heritage of Ndebele mural paintings and the iconic Ditema tsa Dinoko script. Our aim is to create a fashion collection that not only honors the legacy of Ndebele art but also showcases its visual language in a fresh and contemporary manner. By meticulously integrating the intricate motifs, vibrant colors, and symbolic elements of Ndebele art into our designs, we aspire to captivate the fashion world while fostering a deeper appreciation for Ndebele culture.

Section 1: Concept Development 1.1 Inspirational Journey: Nkosana draws inspiration from an immersive journey through the heartland of Ndebele culture, where we explore the ancient mural art and decode the enigmatic script of Ditema tsa Dinoko. This journey allows us to delve into the history, stories, and symbolism behind Ndebele art, providing a rich foundation for our collection's narrative and design development.

1.2 Storytelling and Symbolism: The collection will tell a captivating story through its designs, reflecting the symbolic elements found in Ndebele art. We will meticulously select motifs such as sunbursts, zigzags, and animal shapes, each carrying its own significance in Ndebele culture. By infusing these symbols into our garments, we will weave a tapestry of meaning and invite wearers to connect with the profound narratives embedded within Ndebele art.

Section 2: Fashion Range 2.1 Silhouettes and Structures: Nkosana's fashion range will encompass a diverse array of silhouettes and structures, merging traditional Ndebele aesthetics with contemporary fashion sensibilities. From flowing dresses with asymmetrical hems to tailored jackets with geometric accents, each piece will exude a harmonious blend of cultural heritage and modern elegance.

2.2 Color Palette and Textiles: Drawing inspiration from the vibrant color palette of Ndebele mural art, our collection will showcase a dynamic spectrum of hues. Bold primary colors like fiery reds, royal blues, and vibrant yellows will be juxtaposed with earthy tones to create a striking visual impact. We will employ luxurious textiles, including silk, organza, and handwoven fabrics, to ensure the highest quality and a tactile connection to Ndebele craftsmanship.

2.3 Prints and Embellishments: The collection will feature custom-designed prints that intricately depict the geometric motifs and patterns found in Ndebele mural art. These prints will be thoughtfully applied to various garments, preserving the precision and complexity of Ditema tsa Dinoko. Furthermore, embellishments such as hand-beading and embroidery techniques will add dimension and texture to selected pieces, paying homage to the meticulous beadwork traditionally associated with Ndebele culture.

2.4 Innovative Draping and Manipulation: Exploring the fusion of Ndebele aesthetics and contemporary fashion, Nkosana will experiment with innovative draping and fabric manipulation techniques. These design elements will infuse movement, depth, and sculptural forms into the collection, echoing the dynamic energy and visual storytelling of Ndebele mural art.

3.2 Ndebele Heritage as a Global Fashion Trend: Nkosana aims to position Ndebele art and culture as a global fashion trend, similar to the success stories of other indigenous aesthetics that have permeated the fashion world. Taking inspiration from successful brands that have celebrated diverse cultures, such as Maison Margiela's exploration of African tribal art and Gucci's collaboration with indigenous artisans, we will infuse Ndebele heritage into the mainstream fashion landscape.

3.3 Collaborative Partnerships: To ensure authenticity and cultural sensitivity, Nkosana will forge collaborative partnerships with Ndebele artists, artisans, and cultural practitioners. By involving them in the design process, we will honor their expertise, preserve traditional techniques, and empower local communities. Additionally, partnerships with international fashion influencers and tastemakers will amplify the reach and visibility of the Ndebele aesthetic.

Section 4: Runway Show and Brand Experience 4.1 Immersive Runway Experience: Nkosana's runway show will be a sensorial journey into the heart of Ndebele art and culture. The venue will be transformed into a vibrant tableau, with large-scale projections of Ndebele mural art, live performances of traditional music and dance, and immersive storytelling through visuals and narration. The choreography of the models will be designed to highlight the unique patterns and symbolism of Ndebele artistry.

4.2 Innovative Technology Integration: Nkosana will leverage cutting-edge technology to enhance the runway experience. Augmented reality (AR) and virtual reality (VR) elements will be incorporated to bring Ndebele mural art to life, allowing attendees to explore the intricate details of the patterns and engage with the stories behind each design. Customized mobile applications will provide interactive features, enabling guests to learn more about Ndebele culture, the meaning of the motifs, and the significance of Ditema tsa Dinoko.

4.3 Artistic Collaborations: To create a holistic brand experience, Nkosana will collaborate with contemporary artists and designers who share a passion for Ndebele art and culture. These collaborations will result in limited-edition capsule collections, art installations, and interactive exhibitions, establishing Nkosana as a platform for fostering artistic exchange and promoting Ndebele heritage globally.

Conclusion: Nkosana's fashion brand, inspired by Ndebele mural paintings and the captivating Ditema tsa Dinoko script, seeks to create a groundbreaking collection that reimagines traditional aesthetics for the modern world. By combining innovative design techniques, ethical collaborations, and immersive brand experiences, Nkosana will position Ndebele artistry at the forefront of the global fashion industry. Through our commitment to cultural preservation and empowerment, we aim to uplift Ndebele heritage while contributing to the evolving narrative of fashion and identity.

[globalnewsafrica]

South Africa mall manager suspended for barring shopper in traditional wear

South Africa mall manager suspended for barring shopper in traditional wear

The manager of a South African mall was suspended Thursday for asking a shopper in traditional ethnic dress to leave a store, saying the attire was “not decent”. A video recording of the incident at the Boulders Shopping Centre in Johannesburg was widely circulated among outraged social media users on Wednesday. Ndebele women in traditional attire. Photo credit: File The footage shows the manager…

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#Ndebele #South Africa

[sssfinditfast]

https://www.news24.com/news24/SouthAfrica/News/watch-man-in-ndebele-attire-told-to-leave-clicks-store-for-dressing-indecently-20210325 https://www.instagram.com/p/CM1tAYLgOCo/?igshid=1lfsjk0kmapd7

[nkosiyaboncube3]

Sandra Ndebele is not stopping, she is back with a sting troemandeejaytimes.com  Sandra Ndebele is not stopping, she is back with a sting. She literally owned the local social media streets this week as most people posted about her, acknowledging her good looks and well-endowed body. Much-loved musician, Sandra Ndebele who had been on a hiatus since the start of the lockdown in March this year, this month reminded people of her existence through a series of captivating images. The singer-cum-dancer fired warning shots on July 9 when she updated her Facebook profile picture and cover photo with professional images by Puzzle Moments, one of the best photo studios in Bulawayo. The vivacious artiste was clad in a black dress that suited her well with accessories including a watch, sunglasses and necklace complementing the look. Basically, she looked like a boss as even the pose, suggested so. Also, having been working on her body for the past couple of months, it was clear she was a woman embracing her body and proud of the results. This was only the beginning of more to come as she, from that day, posted a series of jaw-dropping images of different looks, captivating her thousands of followers. These were not just general pictures. It was clear she was a woman on a mission to remind people of her existence.  And certainly, she accomplished her mission and likely even got more than she bargained for as people are still talking about her with various memes of some of her photos emerging. Several artists have been posting about her, chief among them Carl Joshua Ncube, Nceku and Jah Signal as well as Internet sensations — Thomas Chizhanje and Wellence Mujuru, complimenting her looks. Women, who really comment on other women’s pictures, especially positively, have been at the forefront, commendingSandy for inspiring and representing them well. A Zimdancehall song in her honour has also been composed and is getting rave reviews. Generally, there is a lot of hype around her with her social media pages getting a lot of traffic as people browse the images and anticipate for more releases. (at Zimbabwe, Matabeleland South, Zimbabwe) https://www.instagram.com/p/CDQhV1WJgH7/?igshid=199s01kny7s46

[liveindiatimes]

Fashion in the times of Covid-19: Style-conscious Africans turn compulsory masks into fashion accessories - fashion and trends

https://www.liveindiatimes.com/fashion-in-the-times-of-covid-19-style-conscious-africans-turn-compulsory-masks-into-fashion-accessories-fashion-and-trends/

Nigerian fashion designer Sefiya Diejomaoh likes to wear bright, bold clothes to match her personality. She believes a global pandemic should not get in the way of her sense of style.

The mask she wears, which has become compulsory attire as Nigeria tries to stop the spread of the novel coronavirus, is the centrepiece of her ensemble. Gold-coloured and studded with sparkling diamante jewels, it matches her floor-length dress.

“When you come out in a stylish mask or with an accessory such as this, it doesn’t seem as though we’re fighting a war. It seems more fun,” said Diejomaoh, as she dresses at her home in Lagos to meet a client.

Fashion designer Sophie Zinga poses with a face mask, which she designed as a protective measure to stem the growing spread of the coronavirus disease (COVID-19), at her workshop in Dakar, Senegal May 14, 2020. Picture taken May 14, 2020. REUTERS/Christophe Van Der Perre ( REUTERS )

Many African countries have made it compulsory to wear masks in public to prevent the spread of the sometimes fatal COVID-19 respiratory disease.

Fashion lovers in the continent’s biggest cities are combining style and safety by donning colourful masks, sometimes coordinating the fabric with their outfits.

The push to make masks stylish has taken off in other parts of the world. In places like Lebanon, businesses have switched from the production of furniture and clothing to striking masks.

In Africa, the trend is proving a boon to local tailors and designers who are making the masks.

Fashion designer Sophie Zinga, based in Senegal’s capital, Dakar, said she decided to create masks from organic cotton after realizing that some form of protective clothing measures could be needed for the next two years.

“We are going to have to adapt and live with this virus,” she said.

“As a fashion designer I think we are going to have to integrate each outfit with fashion masks,” added Zinga, who created a digital platform, fashionfightscovid19.com, for the masks.

Far from Dakar, in South Africa’s commercial hub of Johannesburg, upmarket leather accessories store Inga Atelier is creating masks.

In a country that has imposed some of Africa’s most stringent lockdown measures and has been left reeling from the economic impact, the company’s creative director said the move made sense.

“My business has been heavily affected in such a sense that the retail is on lockdown,” said Inga Gubeka. “There was a big shortage, we realised, of masks that can be usable every day without having to throw it away.”

Her company’s masks combine leather with multicoloured fabrics including traditional South African Ndebele prints.

Back in Nigeria’s Lagos, as she adjusted her glimmering gold mask before setting out into sub-Saharan Africa’s most populous city of 20 million people, Diejomaoh said a small piece of fabric had become a way to express herself.

“People going around in surgical masks is depressing,” she said. “I have to maintain status quo and who I am despite the situation.”

(This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed. )

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