Faculty of Arts and Design
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Item 'Swag' : an ethnographic study of izikhothane fashion identity(2018) Memela, Busisiwe Sanelisiwe; Madhoo-Chipps, Nirma Dolly; Gaede, RolfSkhothane is defined by ostentatious performances that involve dance, ‘dissing’ and flamboyant dress. The following study identifies and analyses the neo-tribe’s fashion codes in order to understand more thoroughly how and why these are constructed as well as to shed light on subcultural phenomena in South African township culture. The idea of neo-tribes such as skhothane and hip-hop being counterculture has become challenged by the increasing influence of mass culture on the youth -especially in post-apartheid South Africa, where media dictates on lifestyle and identities are continually evolving. This qualitative research project aims at uncovering the stylistic nuances of the Skhothane neo-tribe. It further maps out the factors that inform how the members negotiate and express their identity using fashion. In this respect, phenomenological epistemology was appropriate as it lent itself to the deep inquiry into the culture’s identity from the perspective of its members. The ethnographic research methods of observation, journaling and interview were employed on the study sample of 9 participants belonging to the Italian Gates skhothane crew, in order to explore the fashion identities of Skhothanes. The common defining feature of the Italian Gates skhothane fashion performances is the acquisition and pageant-like display of members’ perceived wealth through colourful Italian branded clothing. In this study’s sample, the practice of vandalism on consumer goods is a rarity and is understood as being an uncommon skhothane performance. Instead, the idea of vandalism being inherent to the culture seems to have gained notoriety through subjective media coverage. The overall findings of the study indicate that the self-reflexive identities of the skhothane Italian Gates group make the participants intertextual authors in their use of luxury clothes to portray the image of their desired affluence and social positions. The existence of the skhothane neo-tribe reaffirms the reality of a postmodern society but more so it demonstrates a shift in the identities of young black South Africans. The study has provided terminologies relevant to neo-tribal phenomena that are defined by consumerism and performance in the context of fashion.Item Aspects of the construction of a politicised female identity in South African fashion photography(2006) Madhoo-Chipps, Nirma Dolly; Kethro, PhilippaThis dissertation questions and expands currently held notions of traditional fashion identities in South African fashion photography. The impetus for this study stems from observations of a relatively low level of political engagement in local fashion photography as compared to other areas of art and design which seem very enunciative of a politics of identity. Investigation of identity politics in South African fashion photography was informed by a staged investigation. Firstly, accounts of a literature review of fashion theory and key theories of identity allow entrenched constructions of fashion representations to be seen as restrictively politicised. Primary investigation of expert fashion views followed. The concepts of hybridity and fluidity in theories of identity were central to the discovery of alternative politicised fashion identitiesItem The development of a model for the interpretation of fashion meaning in South African men's leisurewear(2004) Kethro, Philippa; Stakey, A. R.This study sought to reveal conceptual connections between experienced social reality and garment products as cultural artefacts. Evaluation of the aesthetic fashion appeal of garment products was seen as a specialised interpretive skill. Modelling of essential elements of fashion meaning in South African men's leisurewear aimed to render professional interpretive acumen more widely accessibleItem A narrative self-study : how do I demonstrate my multi-cultural origins in my art of fashion?(2014) Madubela, Thandiwe Elsie; Scott, Lee; Conolly, Joan LucyMy study is a qualitative research self-study. The aim of the study is to demonstrate how my multi-cultural origins have created in me my unique South African-ness and how this uniqueness has manifested in my art of fashion design. As a critically reflective practitioner-researcher trying to improve my professional practice, I have used multiple methodologies to answer the question in the title of my introspective study, “A Narrative Self-Study: How do I demonstrate my multi-cultural origins in my art of fashion?” I have used critical reflection, action research, narrative enquiry, and auto-ethnography to account for how my discovery of my amaXhosa and amaMpondo roots has interacted with my Bosotho-ness, and my Born-again Christian awareness. I have thus transformed my understanding of myself, my values, my beliefs about myself and the world around me. I collected the data in a number of different ways: I reflected on the lived experiences of my childhood; I observed and participated in cultural rituals, and reflected on these lived experiences; I used unstructured interviews to talk to many people who provided information which I recorded using a digital camera and took notes. These experiences and reflections enabled me to develop a Mix-and-Match Fusion Fashion design range of outfits. My Mix-and-Match Fusion Fashion design range incorporates a number of elements which identify with all of my cultural origins. I believe that my Mix-and-Match Fusion Fashion range demonstrates my South African-ness in my art of fashion design. It represents and expresses, symbolizes and celebrates the transition of my beliefs and understanding of my journey of self-discovery involving my five personas. I have used visual methodologies to analyse my designs and employed visual analysis to discuss my findings. I believe that Africans are increasingly proudly wearing and accepting their traditional attire as high fashion. I believe that the design of my Mix-and-Match Fusion Fashion range is suitable for the Southern African market, and demonstrates that I have effectively used my multi-cultural origins to improve my art of fashion.