Textile and interior designer Glorinah Mabaso’s unique African aesthetic has weaved her place into our homes and corporate décor spaces for the past six years. Through her latest collaboration, Mabaso honours the continent’s ancient tribes and heritage.
The distinguished winner of the Trenery Pattern competition and Nando's Clout designs has added fashion retail genius to her resumé, having collaborated with interior designer Sifiso Shange to create fashion house Fabrosanz.
SMag chats to Mabaso about the Aranda My Africa collaboration, career moves and paying homage to African’s forgotten heritage.
What intrigued you about textile design that made you want to pursue it?
Never thought I would end up in textile design. Thought I would specialise in residential or hospitality projects. It was not until 2016, when my interest in ancient African tribes become apparent. Looking back from a young age, I would watch animation about rediscovering lost kingdoms or finding hidden treasures, not knowing that this interest would lead me on this journey. Since then, I’ve been capturing heritage using the language of pattern design.
How many years have you been in the textile and interior design space?
I have been designing patterns since 2017 and only decided to make it a business in 2018 when I could see its potential and the gap in the market for authentic modern African designs. With interior design it's been for six years, partially working with an architect on corporate refurbishments.
When was the defining point in your career?
Being chosen as one of four winners for the Nando’s Clout industry day and winning the Trenery Pattern design competition. These two competitions where different as the Clout was in tune with interior and product design while Trenery focused on meaningful patterns in fashion. They made me realise that I had the artistry to be fluid across multiple design disciplines.
You dub yourself as an ancient African heritage preserver – how does this define your work?
It might sound really heavy but I am intentional in saying “I'm the mouthpiece to the ancient world”, as I am aware of the fact that Africa is the world and should be celebrated more. This continent is my passion. Rediscovering and translating what was and what is to be can never fade as there are far too many tribes with their own way of life, cultural practices, architecture and language that can to be explored.
Why was the Aranda My Africa collaboration special to you?
The collaboration granted me my wish to to explore jacquard weaving which is a technique that allows for complex, woven-in designs to be incorporated into blankets. In our African tradition blankets are extremely important and are a symbol of respect and dignity. Having my own blanket is incredibly beautiful, especially when someone is wearing it. I feel content that my translation has found a life and home in people’s spaces.
Why was it important to you that the audience experience the heritage of the Namibian Himba people?
I noticed that in South Africa we tend to focus on our own cultures and we lack the ability to open ourselves to the rest of the continent. In the throws, we used symbolism and translations of the Himba’s beauty so that people can relate and understand who they are and where they come from.
Which of the two throws is your favourite?
[Laugh] You can't make a mother choose a favourite child. I love both of them as they represent the colour of the Himba people’s skin, the sunset in the desert and the natural earthy colours of the sand.
What do you envision next for your career?
I would love to get into spaces that I have never been in such as footwear and collaborating with a designer such as Thebe Magugu, who understands how to speak boldly and intellectually about fashion in modern Africa.
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