3 of 2021

                                                                                                            

                                                              Newsletter No. 03 / 5 February 2021                          

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SA creatives’ textile designs to feature in global Trenery collection

Glorinah Khutso Mabaso from Pretoria has been named the winner of the Trenery 2020 Print Competition, and her striking fabric design will feature internationally in Trenery’s February 2021 collection. She will also travel to France to attend a two-week design course at the Paris College of Art.

Trenery’s Australian team was so impressed with the breadth of design talent that they also selected two runner-up designs – by Primrose Charmz, 29, and Agrippa Hlophe, 31 – to also appear in Trenery’s February range.

The Print Competition competition forms part of the fashion brand’s commitment to supporting aspiring talent in the South African art and design community.

The competition was open exclusively to emerging local designers, who were tasked with creating a unique print with a distinct, modern South African interpretation of a sophisticated summer traveller. More than 400 entries were judged by an expert panel that included Visi editor Steve Smith, CEO of the Norval Foundation Elana Brundyn, and the Australia-based Trenery design team.

“The entries surpassed our wildest imaginations. There was an interesting variety of submissions to choose from, but the eventual winners were chosen for their standout designs that also fulfilled the brief. Glorinah’s winning print is bold and eye-catching yet stays true to Trenery’s ethos of timeless, modern simplicity,” says senior textile designer Bree Dhaliwal.
Design inspiration

Mabaso’s winning print, ‘Rain Maker’, was inspired by the first Rain Queen, Maselekwane Modjadji, of the Balobedu people from Limpopo. Her design uses a combination of repetitive lines and circles to reflect raindrops running down a glass window.

“I have always loved history and ancient civilisations. As the only female ruler in the region from 1800-1854, Maselekwane Modjadji was a respected leader in an era when women were not given leadership positions in society. Trenery gave me an incredible platform to represent and visually re-awaken the heritage of these people,” says Mabaso.

An interior design and decorating graduate of the Design School of South Africa, Mabaso has worked for architectural firms and has been recognised for her design excellence in interiors. In 2015, she founded Renaissance, a studio focused on interiors and wallpaper design.

“The ‘Rain Maker’ print got a unanimous vote from all judges, and we are absolutely thrilled to showcase Glorinah’s talent to the world,” says Elouise Brink, Trenery’s senior marketing manager in South Africa.

“It was important to us that the winning designers had a meaningful experience. As part of their prize, they worked closely with the Australian team to learn the step-by-step process involved in transitioning their designs into screen or digitally printed fabric, and finally into pieces for the Autumn/Winter 2021 collection,” explains Brink.

Showcasing SA  talent

Trenery has made it a priority to support young, creative South African talent with its previous Trenery Guild collaborations.

“We are well known for our rich artisan prints and our partnerships with skilled hand block craftspeople in India. In Africa, fabric prints are also a type of artistry used to tell a story – bright colours and patterns represent beliefs, traditions, and desires. It was an obvious progression for us to look to our local design community for inspiration, and to use the competition as an opportunity to showcase South African talent on a global platform,” adds Brink.

The Trenery Print Competition design capsule will be available in store and online from 1 February 2021.  Bizcommunity

Clothing and Textile Competitiveness Programme (CTCP)

The Clothing and Textile Competitiveness Programme (CTCP)(link is external) aims to build capacity among manufacturers and in other areas of the apparel value chain in South Africa, to enable them to effectively supply their customers and compete on a global scale. Such competitiveness encompasses issues of cost, quality, flexibility, reliability, adaptability and the capability to innovate.

After government set a 100% local content requirement, the clothing, textiles, leather and footwear sector saw the reintroduction of products where local production had been discontinued. These include technical fabrics, protective footwear, protective fabrics and chambray fabrics.

This intervention, supported also by the Clothing and Textile Competitiveness Improvement Programme, has contributed to turning the sector around. In response to the flood of cheap clothing imports, government has increased the import duty on clothing to 45% in line with World Trade Organisation regulations

Find out more about the programme from the Department of Trade, Industry and Competition.
the dti Customer Contact Centre
Tel: 0861 843 384

USAID Trade hub to raise garment production in Ghana

The US Agency for International Development (USAID)-funded West Africa Trade & Investment Hub (Trade Hub) will utilize Women’s Global Development and Prosperity (W-GDP) funds to establish a model factory with Ethical Apparel Africa and Maagrace Garment Industries in Ghana’s eastern region. This partnership will accelerate women’s economic empowerment in apparel manufacturing.

The project will set high standards for fair wages and healthy working conditions for 800 new employees and place women in at least 70 per cent of new supervisory and factory jobs, according to a press release from USAID.

This factory will also advance the goals of the Prosper Africa initiative, with increased apparel production primarily satisfying the demand for uniforms for healthcare workers in the United States due to COVID-19.

Ethical Apparel Africa will receive a $1.35-million grant underpinning an equity investment in Maagrace’s Koforidua factory. Co-funded by USAID/Ghana and USAID/West Africa, this partnership will expand Ghana’s apparel manufacturing industry by providing modern equipment and technical expertise to Maagrace.

Once its model factory is fully operational with new equipment and more efficient processes, Ethical Apparel Africa will export $19 million over the next three years, with at least 80 per cent of exports targeting the US market duty-free under the African Growth and Opportunity Act (AGOA).

The partnership will also focus on placing women in supervisory roles to change gender norms in the garment industry and ensure that over 50 percent of factory middle managers are women.

The Trade Hub is a USAID-funded initiative that catalyzes economic growth through co-investing with the private sector to generate new investment, create new jobs, and increase the value of regional and international exports in West Africa.  F2F

Pepkor – change to committee membership

Shareholders and noteholders are referred to the announcement published on SENS on 20 January 2021, advising that Mr J Naidoo had resigned as a non-executive director of Pepkor and as a member of the relevant Pepkor board committees on which he served, with effect from 1 February 2021.

Following the aforementioned resignation, the board of directors of the Company advised that Ms WYN Luhabe has been appointed as a member and chairman of the nomination committee of the Company.

The current membership of the nomination committee and the human resources and remuneration committee is as follows:

Nomination committee
Ms WYN Luhabe (chairman)
Mr JB Cilliers
Mr LJ Du Preez

Human resources and remuneration committee
Mr SH Müller (chairman)
Ms WYN Luhabe
Mr LJ du Preez

Did you know……..

“Fast fashion brands use open-loop production cycles that pollute water and land” (The New York Times, 2019)

Speaking of the sustainability aspect, it’s also essential to know how brands avoid or dispose of waste products in the production process. As sad as it is, a vast majority of fashion retailers do not clean and reuse water from production facilities, using a so-called “open-loop cycle” method. It means that all of the waste goes straight outside to pollute waters and lands. So, the exact opposite of what we want!

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