Designer and founder of Imprint ZA Mzukisi Mbane takes Africa to the world,
GLENFIDDICH CHOSE SELF TAUGHT FASHION DESIGNER AND FOUNDER of Imprint ZA Mzukisi Mbane to reinterpret its Grande Couronne filigree. The whisky brand has collaborated with artistic mavericks from 19 countries, including South Africa, Nigeria, Germany and the UK, to produce beautiful interpretations of the Grande Couronne bottle design.
Mbane shares his approach to composition, and how Imprint ZA informed his signature South African interpretation.
GQ: What’s “crowning the moment – my natural hair, my pride and glory”, and what does it mean to you?
Mzukisi Mbane: Whenever an African woman puts on a garment, it’s not complete until her crown is on, meaning she’s wearing her natural hair with pride. »
GQ: What’s your interpretation of Grande couronne?
MM: It was challenging because the Grande Couronne and Glenfiddich as a brand, what it stood for, and where it came from didn’t connect with Imprint ZA. But the idea of two worlds coming together was what attracted me to it, and it allowed me to explore what luxury means to Imprint ZA: it’s in our bold colours, beautiful stories and heritage. Print and colour didn’t matter so much as ensuring the aesthetics or elements typical of Imprint ZA’S prints were visible. So, if you look at the print, you see there’s still that original, rich imprint that’s inspired by geometric prints from the Design Indaba. Gold symbolises African culture, and the particular shade of green we’ve used is synonymous with our brand. So, it was about these two worlds coming together beautifully, celebrating and complementing one another.
GQ: You’re one of 19 designers with whom Glenfiddich chose to collaborate. MM: It was insane. I got a call from a representative from the brand who told me they’d followed our brand and had done their research and then presented it to their global team, who loved my story and what Imprint ZA represented. But, more than anything, what sold my brand was its story, and that’s what this entire collaboration is about, focusing on how art brings storytelling and two worlds together. So, that was the crazy element.
Its magnitude only hit me when Glenfiddich started posting on Instagram, and it took me back to how I got into fashion and what it means to me. It gives me a stamp of approval and assures me that I’m one step closer to what I want to achieve. Imprint ZA is an internationally celebrated brand. So, for Glenfiddich to choose me and love my story and what I show the rest of the world was amazing.
GQ: You were an accountant before you became a designer.
MM: I always knew I’d end up in fashion, though not as a designer. I thought I’d be a CA
‘luxury is in our bold colours, beautiful stories and heritage’
and have people working for me. But in my final year of study, I decided to start sewing. My mother sewed, and she was supportive. She told me that as long as I finished my studies, I could do whatever I wanted. I think that stems from the fact she grew up in a strict home environment where her options were limited. She also instilled the belief that you must commit to finishing what you started to get what you want.
GQ: how has imprint Za evolved?
MM: It’s changed dramatically. It started home-based, small and creating custom pieces before I moved to a studio in Cape Town. At the moment, I’m not establishing or trying to understand what Imprint ZA is about, figuring out what I want to communicate through it or who my clients are; I’ve already done most of that in Cape Town. Now, we’re mostly selling in Joburg, where I connect with clients and see where my clothes end up. It’s weird how opportunities have arisen because when I started in fashion, I never saw myself collaborating with other brands.
GQ: how has covid-19 changed the way you run your business, and what advice do you have for people who’re inspired by you, follow your journey and want to follow in your footsteps?
MM: At the beginning of Covid-19, I’d just moved to Joburg and had begun reimagining where I fitted in. I was open to change. We no longer needed physical spaces, so my clients began to appreciate the concept of creating and investing in mostly virtual content and became more comfortable with looking to Instagram for fresh content and shopping online. Before Covid-19, many clients didn’t trust the online process, but I realised they’re more comfortable buying from someone they can connect with beyond their devices. An online store is also cheaper to run and easier to maintain than a physical one. You can be at home but still feel like you’re connected to the rest of the world.
GQ: What is your dream for imprint Za?
MM: At the moment, we supply products to a boutique outside Africa. I want to open physical stores internationally, where clients from the US, Germany or anywhere else in the world could connect with Imprint ZA. Through my collaboration with Glenfiddich, I’ve started doing things outside my usual product range, which is cool. I’d also love to get into interior design. There are lots of things I’d like to have under the Imprint ZA umbrella.
GQ: our cover star, elsa Majimbo, wore some of the looks from your collaboration.
MM: Elsa’s the hottest African talent right now. What I love about her is that she communicates with people from all walks of life yet taps into luxury. Her collaborations with Valentino and Fenty are great examples. She represents the avenues I’d like Imprint ZA to inhabit. The moment she put on our garment, something just happened. When I create garments, come up with the design, I don’t see what it becomes until someone puts it on. Also, the energy worked when she put it on. She was on a different stage, and she saw herself and her brand differently. It was beautiful and magical.
GQ: how many garments did you make?
MM: A unisex gown, jumpsuit and some additional pieces including a luggage set that’ll be available on auction to raise funds for beneficiaries of The Challengers Club (glenfiddichchallengersclub.co.za).
‘When i create Garments, come up With the design, i don’t see What it becomes until someone puts it on’