When we talk  African luxury, what exactly do we mean? This was the opening question posed by Garreth Van Niekerk, co-founder of Capitec Handmade Africa, during our warm and unscripted conversation. It’s a question that lingers at the heart of this annual celebration of African design, offering a fresh take on luxury that centres on craftsmanship, sustainability, and storytelling; showcased in its unequivocal curation reminiscent of the pain staking  journey of  shaking multiple  frozen braai packs to find the best pieces that the market has to offer… a journey that ends with love for serving a community with the finest that you can literally get your hands on.

As we thaw into the deeper conversation that brings us here, it becomes increasingly clear that for Garreth, luxury is not about extravagance but about authenticity. “Travelling across Africa to source these products is a dream job for me,” he says, reflecting on the journey that brought him to this point. Under his leadership, Capitec Handmade Africa has become a platform for high-quality African craftsmanship, connecting artisans to global markets.

Garreth envisions building an “Etsy for African products”—a digital marketplace that bridges the gap between artisans and consumers, making authentic handmade products more accessible. “This would lower the cost implications and increase global accessibility to African craftsmanship,” he explains.

Showcasing Africa’s Creative Talent

“The collection at Capitec Handmade Africa was a mix of our classic ready-to-wear items, such as our Classic Glotto Saddle pants, which pay homage to Botswana’s cowboy or herdboy culture, alongside our handmade crochet hats and limited-edition pride skirts. We aim to create garments that reflect African fauna and flora while embedding narrative and functionality into every piece.”

This ethos resonates with the event’s core values of promoting sustainable African fashion and empowering artisans. You can read our full interview with Glotto’s founder here.

Another standout brand was Berry Homeware, led by founders Katleho and Neo, siblings who are making waves in the home décor space where “every item is created locally, using the finest quality materials”. Their bold and sensuous products reflect a commitment to craftsmanship, with each piece telling a story. Don’t miss their exclusive interview here.

So Who is Garreth Van Niekerk?

Garreth Van Niekerk is a multifaceted creative professional celebrated for his contributions as a curator, creative director, and advocate for African design. He co-founded Capitec Handmade Africa, a platform that champions authentic African craftsmanship and sustainable practices, alongside Lesley Hudson.

Garreth’s career began in journalism, where he honed his storytelling skills as a writer and editor. His roles included time as an editor for Wanted Online, where he focused on design, art, and the evolving luxury market. In a 2022 interview with Wanted Magazine, Garreth emphasised his passion for design and the stories that bring products to life, underscoring his commitment to sustainable African narratives.

His expertise extends to creative direction and product curation, where he has worked with some of South Africa’s most notable brands and publications. Garreth’s diverse skill set includes creative strategy, concept development, and storytelling. He has played a pivotal role in elevating African luxury by connecting artisans with global markets and fostering an appreciation for the continent’s rich design heritage.

Beyond Capitec Handmade Africa, Garreth serves as the co-director of Decorex Africa, a major design exhibition, further solidifying his influence in the creative industry. His personal and professional mission aligns with preserving and amplifying African narratives through design, storytelling, and innovation.

His work continues to reshape global perceptions of African luxury, placing craftsmanship and community at the forefront.

Capitec’s Role in Promoting African Craftsmanship

Capitec Bank plays a pivotal role in this journey. Patel, from Capitec’s events team, emphasises the bank’s commitment to showcasing African talent and fostering sustainability. Patel noted how the event aligns with Capitec’s vision of empowering communities and promoting local craftsmanship globally.

In closing

As Africa continues to make its mark on the global stage, events like Capitec Handmade Africa are leading the way in redefining luxury. Under the stewardship of Garreth Van Niekerk and Lesley Hudson, the event isn’t just about showcasing beautiful products—it’s about changing perceptions, empowering artisans, and building a sustainable future for African design.

An Interview with Mboko Basiami, Founder and Creative Director of Glotto

At the intersection of heritage, craftsmanship, and modernity stands Glotto, a fashion brand that is not just creating clothing but telling stories that resonate deeply with Africa’s cultural fabric. Mboko Basiami, the visionary behind the brand, draws inspiration from her own Setswana and Kalanga roots, weaving them into a tapestry of contemporary African fashion that bridges generations, geographies, and identities. In this exclusive interview, Basiami opens up about the essence of Glotto, its rise to prominence, and the journey that brought the brand to Capitec Handmade Africa, one of the continent’s premier platforms for showcasing authentic African design.

Q: Glotto… Please tell us what’s in the name.

A: The name Glotto originates from “Glottology,” which is the study of languages and tongues. It resonates deeply with our brand’s essence—creating fashion that speaks to the multilingual and diverse African heritage. Just as languages connect people across borders, Glotto aims to unify cultures, stories, and craftsmanship through design. The name also reflects my personal journey as a Motswana and Kalanga, and our shared history across Botswana, Zimbabwe, Lesotho, and South Africa. It’s a reminder of how interconnected we are as a people.

Q: How did the opportunity to showcase and sell your work at Capitec Handmade Africa come about?

A: The opportunity to showcase at Capitec Handmade Africa came as a result of Glotto’s increasing recognition in the African fashion space. We had already gained traction through New York Fashion Week, and platforms like Forbes 30 Under 30 and other industry accolades opened doors to new networks. Capitec Handmade Africa reached out to us through the WOKE Africa team after their internal market research highlighted Glotto as a rising brand. The platform aligns perfectly with our ethos—focused on ethical, Afrocentric, and inclusive fashion. It’s a space where we can test the South African market and build momentum ahead of our physical retail launch in 2025.

Q: How does this platform align with your brand and vision?

A: Capitec Handmade Africa is an ideal platform for Glotto. It’s not just about the design; it’s about the story behind each piece. The platform emphasizes handmade, sustainable practices and cultural authenticity—values that Glotto holds dear. It allows us to test the market and connect with people who truly value craftsmanship and ethical fashion. This aligns perfectly with our focus on slow fashion and authentic storytelling, which we believe can contribute to a circular economy through fashion tourism and innovative design.

Q: Please tell us more about the collection we saw at Capitec Handmade Africa. What inspired it?

A: The collection showcased at Capitec Handmade Africa was a blend of classic Glotto pieces and newer designs. We featured our signature Glotto Saddle pants, which pay homage to Botswana’s herdboy culture, alongside our corduroy collection and handmade crochet hats. We also released our limited-edition rainbow pride skirts, which were launched a year ago in response to Botswana decriminalizing same-sex relationships. Every Glotto garment carries a narrative of functionality, rooted in the symbolism of African fauna and flora. We used earthy tones, textured fabrics, and natural prints to connect with the land and its stories

Mboko Basiami | Capitec handmadeAFRICA

Q: As a creative director, what stories do you want to tell through your work with Glotto?

A: Through Glotto, I want to tell the story of a new African Renaissance—a movement where we reclaim our narratives in the global fashion landscape. My collections reflect the rich diversity of Botswana, which sits at the heart of the SADC region, and also draw inspiration from surrounding cultures that have influenced my creative vision. Our work speaks to Pan-African unity, the evolution from traditional societies to entrepreneurial and creative ones, and Botswana’s journey from dependency on diamonds to embracing creative industries. Each design carries messages of genderless fashion, inclusivity, and the power of craftsmanship.

Q: Where is Glotto as a business now compared to the early stages?
A: Glotto has come a long way since its early days when I was selling halter tops in my campus dorm room. We’ve grown to be voted as one of Botswana’s most admired brands, and we made history by being the first brand from Botswana to showcase at New York Fashion Week. Today, we’re in the phase of expanding regionally and continentally. We’re working on increasing our retail presence, building sustainable Pan-African value chains, and exploring new areas like agrifashion and textile manufacturing. It’s an exciting time as we continue to evolve and build our community, the Glotto Gid Family.

courtesy of Glotto website

Q: What drives you to wake up every morning and do what you do?

A: What drives me every day is the desire to build a lasting legacy—something that is authentically Motswana, African, and globally relevant. The African youthquake is real, and we’re seeing the impact of creatives like Uncle Waffles and Thebe Magugu. It’s a pivotal moment for African fashion, and I believe it’s our time to reshape how the world perceives African aesthetics. Knowing that our work is part of a larger movement makes every challenge worthwhile. And, of course, the incredible support of the Glotto Gid Family keeps me motivated.

Q: How can people get in touch with Glotto?

A: We’re always open to collaborations and new connections! You can visit our website at www.glottobrand.com, or reach us by email at info@glottobrand.com or admin@glottobrand.com. We’re also active on social media under the handles Glottobrand and Glotto.

Through her vision and tireless dedication, Mboko Basiami is leading Glotto on a path of cultural and fashion transformation. By bridging the gap between heritage and modernity, she is redefining the future of African fashion—one story at a time.

Connecting with Glotto

For those looking to connect with Glotto, whether through collaborations or inquiries, Basiami invites them to reach out via their website at www.glottobrand.com or through email at info@glottobrand.com. Glotto can also be found on social media under the handles Glottobrand and Glotto.

Through Glotto, Mboko Basiami isn’t just creating fashion; she’s cultivating a movement, inspiring others to see the power of African storytelling through design.

Chappies is a bubblegum brand that was introduced to South Africa in the late 1940s; Spearheaded and created by Arthur Ginsburg while working for Chapelat Sweets (no prizes for where the name Chappies was derived from). It is an iconic brand/product that has existed for many decades before any of us were born and yet has been a sticky thread that connects parts of our lifestyles and childhoods. From its unwavering affordability to being detested by our parents, this brand coloured our lives, filling it with vibrant memories that continue to connect us as South Africans from different races, environments and backgrounds.

Shelflife, an online as well as brick and mortar streetwear store with deep roots in graffiti and sneaker culture has collaborated with the Chappies brand to bring about a special collaboration that is close to our hearts. Conversations about the collaboration started all the way in 2008 through Shelflife and Dr.Zulu and after 13 years of discussions and major challenges the Shelflife x Chappies capsule was born; to celebrate a proudly South African legacy where street culture connects to our history and heritage through one of our most iconic brands.

We’d like to introduce to you the Shelflife x Chappies capsule which includes tees, shorts, hats, footwear, jackets, bottles, pins inspired by streetwear, sportswear, Chappies’ various fruity flavours, Chappies comic strips, graffiti and loads more.

Psst, their models are all actual retailers and stockists of Chappies bubblegum, contributing to a whopping 6.8 million pieces sold per day!

Check out the capsule below:

While writing this article I came across gems of facts about Chappies that I thought might “blow” your mind, for instance, DID YOU KNOW:

1.     That a cartoon chipmunk was inserted under “Chappies” on the wrapper. It was felt that rural black children who possibly couldn’t read needed to distinguish the real Chappies from any substitutes on the market, and the chipmunk was distinctive. The wrapper still contains the chipmunk today.

2.     That the brand was exported to Zambia, the Congo and Zimbabwe and in the late 1970s, Chappies held 90% of the market.

3.     That Chappies became the biggest volume seller in South Africa. Just like Coca Cola was to be found in every nook and cranny, so Chappies was everywhere…

Big things often have small beginnings, similar to baby sea turtles digging themselves out of the sand and instinctively beginning their journey of exploring and growing within a vast world. Much of the same can be said about this young brand from a small coastal town of Margate in Kwazulu Natal; with humble beginnings and a classic touch. We caught up with founder Siseko Mhlana to find out more about Lost Turtle and the inner workings of his clothing brand.

First and foremost, tell us about yourself and where youʼre from.

I’m Siseko Mhlana from Margate on the South Coast of Kwa-Zulu Natal.

Tell us about your brand, Lost Turtle… why such a name? How did it come about?

The name came about while I was talking to my manager at the surf shop I used to work at as we were discussing the history and meaning behind the names of the brands that were out there that didn’t make sense at the time but are dearly loved now.  I noticed that you could name your brand anything and as long as its core ethos resonated with the community you want to represent and are willing to champion.

How long has it been out here?

The brand has been around since early 2019 with the first 10 t-shirts being released in July, and I haven’t looked back since.

What inspires you to create?

At first, it was trying to make stuff that looked cool but over time I evolved to be inspired by everyone that I met and interacted with from being able to travel for a couple of years.

How would you describe the style of art that you imprint on the apparel?

Lost Turtle is a skate/surf brand heavily inspired and influenced by what the locals choose to wear and how they choose to wear any piece.  I love the style and look of old school prints as they work as storyboards and posters to say something.

Who would you say is the target market for the brand?

I don’t really have a specific demographic as the brand has slowly evolved, and with so doing I have noticed that people have grown with us and we have attracted more people.

Your vision for Lost Turtle,  Where would you like to see it 5-10 years from now?

I would like to have a handful of flagship stores around the world that can help me uplift smaller, local brands and give them international exposure.  I wouldn’t mind having a dedicated team to help grow the brand from strength to strength.

With the COVID pandemic being the new norm, what are the current challenges of running a streetwear business during such times?  Also, what do you anticipate post-COVID? 

It’s been crazy as a lot of the things that I had planned had to be pushed back or just completely cancelled.  I took the multiple lockdowns and hindrances as little breathers for me to learn and to re-think my approach to how I ran everything.  There are some challenges that will still hinder the brand and many others as well.  I am hopeful though and walk away with plenty of inspiration for future releases.

What separates your brand from other independent streetwear/culture brands in SA?

To be honest I would have to say it’s the community that the brand has been adopted into.  Not having a strict demographic that I focus on has allowed the brand to be easily adopted by those who come across it.  We don’t chase the crowd and that seems to have set us apart from everyone.  I am grateful for the community.

Whatʼs currently in the works that we can expect to see next from Lost Turtle?

I got some stuff cooking in the kitchen and just released an Instagram Filter called Stolen Moments with Lyle Minnaar and Lost Turtle Tapes Volume 3 curated by Your Uncle Garry.  There are many little projects that are going to be dropping soon so stay tuned.

As the brains behind Lost Turtle, what need or desire do you think you are fulfilling with this brand?

I am hoping that when someone finds out that the brand started out as a simple idea from a guy in a small town, they are inspired to do something of their own.  Ultimately, I am hoping that this brand can rally the lost turtles out there together and give them a place and common ground to push themselves further.

Follow Lost Turtle on IG: @lost_turtle_apparel

Last night I waited with bated breath as Photographer Kgomotso Neto flung a carrot dead in front of our eyes and told us to wait. The “carrot” came in the form of captivating video snippets which featured models with rich brown skin draped in crisp pastel colours. The subjects all turned their heads to a nostalgic and at some parts eery mbaqanga song.

I scoured the web and stalked his social media pages in search of a stitch of clarity and finally clicked on a youtube link thinking I’d find a longer video or perhaps a better understanding of what I was experiencing. I was met by a black screen with a count down clock and at that point, I decided that I don’t like carrots.

Finally, the anticipation is over, the full video is out and it’s not about carrots but about a much more personal story that many black South Africans can relate to. The story of getting your hair done on the streets or a banged up salon so that you can turn heads in your hood, school or your fancy office block. Here’s what Kgomotso had to say about the story behind the beautifully captured “Turning Heads” fashion film.

“I’ve always had my hair cut in the streets or at a local barber in my neighbourhood. The experience is always similar and the process of getting my hair cut is almost always the same – paging through a fashion magazine while waiting for my turn, getting seated on a swivel chair or if I’m in the street, it’s most likely to be a small colourful plastic chair. Once it’s my turn, the barber would first throw a protective sheet over my shoulders before he proceeds to clean the clippers with mentholated spirit and a tooth brush. He would then begin to cut my hair, I usually go for a chiskop. When he is done, he would hand me a small mirror so I can look at myself and see if I’m satisfied with his work. This is just my experience with cutting hair.

A lot of people go through different experiences when grooming themselves in street salons. Some go to have their hair straightened with a relaxer cream such as Sofn’free, some to get braids/wigs, others to just wash their hair and the process is always different for what you’re getting treated for, but the result tends to always be the same – when you’re done, you leave feeling good about yourself and chances are you might Turn Heads along the way.” Neto explains. 

This film is far from a one-man project and was pulled together by this powerhouse of a crew, check them out on IG:

Production : @ubuso.tv
Director : @Kgomotso_Neto
DOP: @tony_baggott 
Music : @mvziou – Stimela SeGolide
Editor : @superfortyfour1331 
Stylist : @didintlen 
MUA : @mamello_mokhele 
Model 1 : @dimpho.mashile 
Model 2: @zoe_pluto 
Producer : Chris Briggs
Grade : @nic_apostoli
Mix : @audiophilepost