As a culture strategist and stylist, it’s without a doubt that Thobeka Mbane is a tastemaker. For over a decade, she’s had a hand in engineering some of the most iconic images of glitterati such as Black Coffee, Elsa Majimbo, Sho Madjozi and Zozibini Tunzi, fashioned in the best of regional design talents like Orange Culture, RICH MNISI, Viviers Studio and MMUSOMAXWELL for everything from music videos to Vogue editorials. But more than just a go-to wardrobe aficionado, the Tastemaker Award winner at the 2024 Twyg Sustainable Fashion Awards is at the forefront of advocating for a fairer and more inclusive South African fashion system.
Thobeka Mbane who explores themes such as sexuality, decadence, intimacy and identity, won the Tastemaker Award at the Twyg Sustainable Fashion Awards 2024. Photo: Dan Carter
In December last year, Business of Fashion described 2024 as the year fashion backtracked on diversity, equity and inclusion (DEI). Vogue Business shared a similar sentiment months prior, preceding the repeated appointments of white, male creative directors and the closure of DEI departments at major fashion brands. Further regression is likely to follow the new President of the United States’ attack on DEI programmes.
In the wake of George Floyd, the 2020s saw a reckoning in the fashion industry. From citizens to media, fashion stakeholders demanded inclusivity, representation and transparency both in front and behind the scenes. The industry was quick to respond—perhaps, in many instances, too quickly, with appointments, programs and pledges that have since become nothing more than vanity projects and marketing stunts.
It’s with tastemakers just like Thobeka leading the vanguard that we’ll find ourselves on the right side of the future
Several of these efforts—such as hiring initiatives, funding for POC creatives, and sustainability programs—have been scaled back in the past two to three years, with a lack of revenue often credited as the cause despite a McKinsey & Company report proving otherwise. While these are American and Euro-centric findings, it remains prudent for Africa’s emerging industry to learn from the mistakes of the old guard. As the youngest player in fashion, we’re uniquely unburdened with decades and centuries of unlearning and transformation as our Euro-American counterparts. And it’s with tastemakers like Thobeka leading the vanguard that we’ll find ourselves on the right side of the future.
Thobeka uses fashion to explore themes of sexuality, decadence, intimacy and identity. Photo: Dan Carter
As a Black South African woman living with a disability, these issues are close to home. This is reflected in her work. In projects like Monarch, Fashion as Resistance and The Bold Ones, Thobeka explores themes of sexuality, decadence, intimacy and identity. “Fashion transcends aesthetics; it’s rebellion, self-expression, and empowerment,” Thobeka writes in one of her posts. “It proclaims: ‘We exist, we resist, and we are powerful.’” Even in more commercial endeavours, her work is easily identifiable by how seamlessly she brings in culturally specific elements, always in tandem with African designers.
The Eastern Cape native began her working life in financial crime. “I used to help colleagues pick clothes because they liked my style,” she reveals. “But at the time I didn’t know I could do it for money until I met a designer who invited me to a market in Soweto. I met so many creatives who later became friends.”
An integral feature of Thobeka’s work is collaboration. It’s a tired adage that your net worth is your network but in an industry as small as ours, it’s invaluable to make friends and create your opportunities. She built up her portfolio, sometimes doing up to four test shoots a day, with fellow now-renowned creatives such as David Blaq, Ben Moyo, Beezy Braids, Alison Swank-Owen, and Sister Bozza. “I met friends who also were trying to figure it out and decide on what they wanted to do. We decided to get together and collaborate together to build our careers.”
The stylist committed to sourcing from young brand, and brands prioritising eco-friendly materials, fair labour practices and waste reduction. Photo: Dan Carter
Now, she continually pays it forward, remaining on the lookout for new talent to feature in her work. “I’m always searching for new clothes because of my job. I spot them through social media, fashion week and sometimes going to pop-ups and local markets.”
Thobeka maintains a steadfast dedication to sourcing from brands prioritising eco-friendly materials, fair labour practices and waste reduction. “I also love choosing pre-owned pieces to upcycle.” Her experience with a variety of independent designers and small-scale brands has shown her the biggest issues facing the local industry: “A lot of challenges are resources and business skills. I think we need to have more open talks about the business of fashion to give more young creatives tools to equip them to understand the market and the business of fashion.”
To this end, last year Thobeka was appointed to curate a show of up-and-coming Johannesburg designers for South African Menswear Week. Dubbed The Jozi Collective, Siyababa, Afrikan Swiss, N.O.T.E, and MacGale made their debut, injecting the Mother City with Joburg edge. “These are some of the brands that believed in me when I first started out and would allow me to source from their brands. They’re still working hard trying to create opportunities for themselves and I wanted to try to be that ladder for this opportunity,” Thobeka shared.
Thobeka is raising awareness about fashion and brands that don’t offer suitable clothes for people with disabilities. Photo: Dan Carter
Even for someone as established as Thobeka herself, there is still work to do. Reflecting on what it’s like to be a stylist with a disability she adds, “The work environment is never considerate, from having a workstation that is upstairs with no ramps or elevators to not approving assistants for jobs. As a result I end up having to pay most assistants from my own pocket.”
Few brands offer clothing designed for people with disabilities, such as magnetic closures, adjustable hemlines, or seated-wear designs
Likewise on the consumer end, brands have work to do. “Few brands offer clothing designed for people with disabilities, such as magnetic closures, adjustable hemlines, or seated-wear designs. Many brands fail to provide inclusive size options, excluding people with disabilities who may require specialised sizing. Insufficient product information can make it difficult for people with disabilities to make informed purchasing decisions.”
There are several economic and social justifications for a more inclusive industry to be made but at the simplest level, it’s only rational that fashion, which affects every single person on this planet, caters to every person on this planet. Cultural commentator, Rian Phin, recently expressed that the future of fashion is sincerity. In the wake of generative AI, a turbulent economy, and an increasingly divided society, we yearn more and more for authenticity and connection. Thobeka’s work and existence is proof of how rising tides lift all boats—in her ability to champion her own narratives and experiences, she’s directly and indirectly made space for others to do the same.
After accepting her Tastemaker Award, Thobeka had this to say on Instagram: “…Slowly the industry is opening up to people living with disabilities and I hope everyone that lives with a disability feels seen and represented and that they know that in a world full of doubt for people like us they can still do it and do it well… We should stay advocating for industry-wide equity and diversity which should already exist, and [be] authentic as well as outspoken about our experiences boldly and shamelessly.”
Credits
- Photographs: Dan Carter
- Styling: Thobeka Mbane
- Hair and make up: Skye Aesthetics
Thobeka Mbane was presented with the Tastemaker Award by Khensani Mohlatlole. Photo: The Dollie House
