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endorsement by economic giants such as Pick ‘n Pay and Vodacom to support local clothing enterprises would result in a verifiable “proudly South African” business proposition. Furthermore, creative labelling is vital: consumers could be informed that by purchasing the Sharks products, they would be supporting a local clothing enterprise. Creative labelling helps to create consumer awareness and encourages in the consumer a sense of doing the right thing for the local economy. Source: The Mercury Business Report: 1 June, 2006 120
Appendix Three The following is an example of how South African designers are using South Africa’s political history to portray social activism in their designs. Political Fashion An example of creative innovation using a quintessential South African theme is the launch in 2005 of the Hector Pieterson range of clothing by three local designers. The photographic image of Hector Pieterson being carried away from the centre of the 1976 Soweto riot by comrades became iconic of the youth’s role in the liberation struggle, and has been emblazoned onto “cloth[ing] to tell a story” says designer Zuza Mbatha. “We want national upliftment where the youth buy into a brand name after someone who [has] made their mark.” The 26-year-old Mbatha, with Tshepo Moropa and the half-sister of Hector Pieterson, Sina Molefi, came together to start Abasha Innovations (abasha being the isiZulu word for “youth”). After making contact with the Hector Pieterson Museum in Soweto, Mbatha was put in touch with Pieterson’s mother, to whom he pitched his idea of using the image and name of her son for a range of clothing. After six months, he gained permission. The range, which is aimed at the youth market, consists of T-shirts, sneakers and beanies for men and women. Images on the T-shirts reflect one of Hector Pieterson’s school <strong>report</strong>-cards in black, and among the list of subjects and marks is “Afrikaans” circled in red with a failing mark. Royalties from the usage of Pieterson’s name and image go towards funds for a new orphanage called the Hector Pieterson Orphanage. Mbatha feels that he is not exploiting Hector’s name. “The youth must come up with their own ideas to create jobs.” This start-up business has created employment for five people. Their range of clothing was exhibited at the SA Fashion Week in July 2005 and will be shown at the Old Mutual Vukani Fashion Festival during May 2006 to celebrate the 1976 political events. The Hector Pieterson range is displayed in various private boutiques in Johannesburg. (Govender, 2005) 121
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Declaration This study represents t
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Abstract A fundamental change in th
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8.10 Comments on the Clothing Indus
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CHAPTER ONE Introduction A Sicilian
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esearch on the global clothing and
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2.2 The Global Industry - post-2005
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they are starting to go back home,
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Fashion is acknowledged as a vital
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fashion designers cope with these u
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natural fibres: wool and cotton; ot
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By the 1950s, Durban was the specia
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Lu Jean Clothing, closed its operat
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Due to South Africa being a middle-
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pivotal role in sustaining and deve
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This table shows that there are far
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Late in 2004, SACTWU reported that
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Basic Conditions of Employment Act
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environments, the erratic payment o
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A feature that is advantageous to C
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(Mokopanele, 2006). Deputy Minister
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Figure Three Profits before tax R m
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Further import figures collaborate
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share the space, none showed any in
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CHAPTER FIVE The South African Fash
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eiterated the need for local manufa
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women owners of the South African l
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5.4 China’s entry into high-end f
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6.1 Introducing the Value Chain CHA
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developed. Apparel operations can u
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“ripple effects back into manufac
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Rogerson endorses this view thus: T
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in their designs. Embellishment als
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een very little formal research on
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The owner of a new retail outlet in
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Page 72 and 73: 8.1 Introducing the Designers CHAPT
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Page 78 and 79: Peter Bosman (Interview: 3/7/06) Bo
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Page 90 and 91: manufactured off-shore and resellin
Page 92 and 93: Iqbal (Interview, 18/7/06) was outr
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Page 110 and 111: 9.2 Suppliers Policy Recommendation
Page 112 and 113: 9.5 Cluster Initiatives The cluster
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Page 118 and 119: Appendix One Letter by the research
Page 122 and 123: Primary Interviews with Designers S
Page 124 and 125: "There should also be more engageme
Page 126 and 127: References Ascol, Nina. 2004. The G
Page 128 and 129: Fakude, Gordon. 2000. ‘Informalis
Page 130 and 131: Naidu, Sanusha. 2005. ‘South Afri
Page 132 and 133: Vlok, Etienne. 2006. ‘The Textile
Page 134 and 135: Robbins, Tom. 2006. ‘SA fashion d
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