Local luxury gets new feel from future fashion icon Thebe Magugu

Impeccably tailored, nostalgic and colourful — the designs of Thebe Magugu have a finger firm on SA’s pulse. Constantly beating new paths with his heartfelt collections threaded from his family’s past, his work is like a palm reading that sketches out life in SA.

With his accolades that have seen him hit runways in Paris and Milan (even during the turbulent lockdown), Magugu is fast becoming the most important local luxury designer.

Taking from his overarching academic themes, his recent collection is a fashion schooling that turned heads at the men's wear mecca in Milan’s Pitti Uomo. Titled Doubtlethink, Magugu took a deep dive into corruption within the African continent and the whistle-blowers who stood up to it.

The project, much like many of his other collections, ropes in many local talents. Doublethink, however, took it one step further with a special collaboration with the Daily Maverick in a special edition of the newspaper that mirrors the designer’s theme.

With his designs taking the world by storm, we unravel the wonderful mind of Magugu to better understand the spirit of this future fashion icon.

You have a highly thought-out approach to the concepts that thread the pieces of your collections together. What becomes the bridge between you and your buyers that ensures the successful sale of each item?

I always believe a product offering is good when you can remove all its story and meaning, and it will still resonate on its own. I think that’s a balance I always try and strike in my clothes. A product is successful when it can sit at an authentic intersection of commerce, meaning, value and intention. 

While crime in our country may be a negative topic to dwell on, it forms part of our story. With that said, what do you hope audiences outside SA can understand about the country from the lens of your designs?

I like to believe my work archives or documents key stories from the country and continent that run the risk of being forgotten — like relics, or totem poles, which track and trace key ideas, people and places. There is also an element of the human condition, which isn’t bound by race, religion, creed or geography. I think my work confronts the ignorant, banal and stereotyped image and shows the nuances and complexity it is to be South African and African. 

What do you feel needs to be done to make a long-lasting change in the state of our nation?

Everything starts in education ... whether it’s learnt formally or by example. This acts like a domino, which enlightens all who it falls upon. It’s like seeing something that changes your life or forced a paradigm shift onto you — you only need to be exposed to it once for you to never forget it. 

I can’t help but think of the immense pressure placed on Gen Y and Z who were expected to be change-makers as beacons of the rainbow nation. Do you feel through your creations you can inspire the necessary need to make changes and do you think that we have a young generation that will enact this rather than repeat the mistakes of those in power?

All I can do is talk about it through my garments, and bring greater awareness to it but I am of the philosophy that one must always act like what they do can change the world, and even though it’s a small contribution, I am playing my part in my capacity as a fashion designer. I think this is the case with creatives across the creative discipline in general [who] are calling themselves to action. 

You will be celebrating a five-year milestone next year since the founding of your house, will there be a celebration?

I am always looking ahead ... so had you not mentioned this, I wouldn’t have thought about it! But yes, if anything, a private celebration to all the friends, family and staff who have made my dream materialise after these few years. I know in my heart there is still so much I want to do, but it’s important to look back and look at the rewards and the devastation one has had to climb through. 

There are young creatives who look at your success at LVMH and the opportunity to show at Pitti as an incredible inspiration, what advice would you give to them in terms of finding success?

One thing I have been thinking a lot about is the idea of purpose — what is yours? I think fashion is at its most powerful when it is responding and addressing an issue and at its weakest when it’s just creating product for product's sake.

Also, it’s important for every designer to carve out and build their universe, what are the values, aesthetics and principles that even if your name isn’t attached to the garment people can associate you with. When I say Athi-Patra Ruga, Banele Khoza, Ib Kamara, Kristin-Lee Moolmanyou, you almost see their work flash in your mind first, and that is what I am referring to.