Mzukisi Mbane- A decade of storytelling through fashion design

When you have a powerful dream, unwavering passion and relentless drive you become an unstoppable force. Mzukisi, born and raised in Khayelitsha, is a self taught fashion designer whose journey in the industry began a decade ago. His brand went through various iterations, previously known as Swagger Diaries, to become what it is today. The name Imprint ZA was born due to the impact the fashion industry had on him. Describing it as imprinting on him and how the designs will leave an “imprint” on the wearer.

Having had the privilege of knowing Mzukisi throughout my career at GLAMOUR, I have consistently been awestruck by his unwavering passion and dedication to his craft. My attendance at a number of his runway presentations has allowed me to witness first-hand the transformative power of his creations. I can attest to the fact that his offerings undeniably leave a lasting imprint, transcending fleeting trends to deliver garments that resonate deeply with those who experience them. His work is a testament to his unique vision and the powerful narrative he weaves into every collection, making Imprint ZA a brand that stands out for its authenticity and artistic integrity.

fashion

Shopping: Spring edit

We chat to the celebrated designer on what it means to reach the 10-year milestone in his career and what steps are necessary to ensure a thriving and successful fashion ecosystem.

GLAMOUR: This year is a milestone year as you celebrate 10 years of being in the fashion industry. What have been the most valuable lessons you have learned?

Mzukisi Mbane: I think the most valuable lesson I’ve learned within the 10 years of being in the industry is the importance of being consistent with your brand message and what your brand stands for. When I started the brand it was not the easiest; African fashion wasn’t a trend and it wasn’t seen as a desirable aesthetic. So it meant I had to do a lot of having to convince people and myself that what I wanted to communicate was meant to be heard. That there was a place for Imprint. Something that has changed over the years is now every brand is embracing African storytelling. Everyone is creating print and following the “Africa is a global trend. The second lesson is understanding that it takes a village [to grow a brand]. I owe my ability to build Imprint to the brand it has become to all the people who have shown me that it’s okay to ask for help and yes when you allow people who can do something that you can’t you can actually go far. I’ve had help from people like Monde who showed me the importance of PR and brand identity in building the name, with help from my family who contributed the little they had so I could buy fabrics and essentials I needed. I’ve been helped by friends who came in and were my employees when I couldn’t afford to pay anyone else. This all taught me that it does take a village…

G: Signature to your brand is definitely the use of bold prints. What motivated you to showcase prints?

MM: When I started Imprint, I knew I wanted to create a brand that told African stories. I was drawn to prints as being that tool, as it was used by our ancestors to tell these stories. And I think it was when I looked more into African print history, the stories that Imprint would be telling as well as the futuristic take on things. This is when I decided I wanted to create my own prints and have the print be bold, expressive and unapologetic expression of these stories. In a way these prints are more than just colour and more than bold. I see them as ways of me archiving our African stories.

G: Every collection you design, from its nascent concept to its final unveiling, appears to emanate from a deeply personal, almost introspective wellspring. Looking back, was this always the ideal you strived for, or did this personal approach to design evolve organically?

MM: I think from when I started this, something I’ve always told myself is that I wanted my work to be an honest representation of who I am, where I am from and how I see the world. My very first collection at SA Menswear Week SS2015 was titled “Our Root” — a collection that integrated the concept of who we are, where we come from and the conclusion that although we may be in different places, have different races with different ways of expressing ourselves, we as a people all share our roots. And I think this as a starting point allowed me to produce my Mercedes Benz Cape Town Fashion Week SS15 Women’s collection called “My Soul Dances to the Beat Of My Lullaby” where I told my story in fashion and how my mother shaped the person I am. It has always been my intention for the brand to be personal and honest.

G: You’ve travelled across the world showcasing your designs. How receptive have other markets been to your design aesthetic?

MM: It has honestly been a beautiful experience. My first thought when I started travelling was that I would have to do a lot of convincing for people outside of South Africa to even afford me the opportunity for my work to be looked at as worthy of being in their spaces. Instead, the first time I had an international show I felt the love immediately. The people showed so much interest in what Imprint was trying to communicate. Thereafter, I found myself having to grow faster than I thought, because with this it meant I had to start looking at ways to make sure that people from all over the world were able to access the brand, buy from where they are and are able to be part of the Imprint story.

G: Now, as a more seasoned fashion designer and business owner, what do you feel is lacking in the fashion industry in Africa and what do you believe could be the solution?

MM: I think, more than anything, South Africa and the African continent has the best fashion talent in the world — and the rest of the world seems to know that. Many of us are being celebrated internationally; getting opportunities to grow our brands and businesses. However, South Africa doesn’t seem to know that. This can be seen in how the fashion industry is still seemingly not listening to our voices or trying to understand what works for us. Rather it’s their way or no way. Because of this, many platforms that are meant to sell, present and promote fashion have died. None of them are getting away with doing whatever works for them while designers pay the price. I think the best way to solve this and other industry issues that we have is to allow designers to have a voice in how they want their work to be presented, seen and sold. Secondly, treat fashion as a business, not just for fashion week but rather for everyone in the fashion value chain. This will allow everyone to be heard and it will allow for other businesses to be part of our industry with finance and resources that will help the industry grow. Lastly, the South African fashion industry is not regulated and that needs to change. There’s no one protecting the designers, the stylists, the models or the production workers. This leaves us in a space where we are more easily abused, with no access to network within theindustry; [people in the fashion industry] are abused, overworked and everyone is being undermined and underpaid.

Fashion Designer Mzukisi wearing his own designs

G: How can South Africans better show up to support local designers?

MM: The biggest way to show up and support local designers is by buying local without expecting it to be cheaper than fast-fashion imports. Wear local with pride and continuously advocate for buying local. This way everyone understands that buying local is not just supporting the designer but rather feeding the whole value chain, supporting local sustainable job creation.

G: I recently came across a past issue of GLAMOUR where you were featured as one of the designers that were on the rise. Do you still have the same passion and enthusiasm for the industry as you had then?

MM: Ah, that is beautiful. It’s always such a beautiful reminder going back to moments like those. Honestly, I do believe the industry has not changed for the best — with it being harder now to start and build a brand than it was before. But I’m still very passionate and enthusiastic for our fashion industry. I think it’s that passion and enthusiasm that lead me to be so vocal about these issues, show up for my fellow designers and be a champion of local artistry. I think I’m one of the few South African designers who buy from local designers and wear those brands with pride. I believe in all of us.

G: What has been the most significant piece of clothing that you have ever designed and why?

MM: The most significant piece that I’ve ever designed has got to be a dress I created a few years ago for AFI Cape Town Fashion Week. It was a red and white wedding gown that went on to be a finalist nominated for Design Indaba’s Most Beautiful Object in South Africa.

G: How have you managed to navigate the world of social media where everyone is now a stylist, fashion designer and creative director.

MM: One thing about me: I have always been very comfortable with designing my own pieces, putting them together and styling them for my own shows and shoots. In doing so, I’ve always been comfortable in knowing that whoever I decide to bring to my brand or whoever approaches us for work needs to be able to show that they are who they claim to be. The 10 years I’ve spent in the industry definitely comes in handy when it comes to deciding who is just doing things for clout and who actually has put the work in and has the talent to back up who they say they are.

G: Lastly, what are your hopes for the future of your brand?

MM: I want to grow Imprint to be one of the most recognised and respected Afro-futurist luxury brands in Africa not just South Africa. I want the world to look at Africa and respect what Africa has to offer. For Imprint to be one of those reasons [change needs to happen]. When this vision comes to fruition, I want the brand to be full-on fashion, home and lifestyle. Not limited to one thing, which something we’ve started to build with our space, Imprint Ikhaya, and our offering of furniture too.