Klaas in Session come Fashion Week 2015

When I first got word that Mercedes-Benz had decided to, once again, take up the mantle of chief sponsor for Fashion Week in Cape Town in association with Africa Fashion International, I got so excited. Theirs is a brand that thrives on marketing a kind of lifestyle which straddles the fence between middle class decadence and attainable rich luxury. Such an approach results in cultivating more tasteful pallets within its current and potential consumers, regarding automobiles as well as fashion, travel, art, and more.

From the 30th July – 01st August 2015 the annual Mercedes-Benz Fashion Week: Cape Town will take place. It has a new location, a new PR & Communication agency handling media (which I hope will mean more politeness, efficiency and better handling of us media folk) and old friends designing collections I hope breathe utter newness into contemporary African style. As I’ve constantly mentioned in previous commentary, each year many designers fall short of my expectations to be innovative. They regurgitate already established global fashion trends; too lazy to either bring their own twist to them, or think beyond the predictable.

As a fashion aficionado I have spent each Fashion Week drenched in feathers, ruffles, leather etc. from different fashion designers’ adorable, edgy, inspired, and well-suited apparel. This year I’ll be watching a whole slew of catwalk shows dressed in Ruff Tung and other Proudly South African fashion houses.

I have partnered with Uber to offer YOU a free first ride! Arrive in style with Uber and Klaas in Session! All first-time Uber users can sign up here with the promotional code: UberKlaasyCT to receive a FREE first ride up to R150.To request your ride, simply download the free application for iPhone, Android, Blackberry 7, Windows Phone, or visit the mobile site: m.uber.com.

Stay tuned for more news about The Dictator of Taste schooling you in all things tasteful while in Cape Town, South Africa.

Till then?


Full Mercedes-Benz Fashion Week: Cape Town Schedule

Tickets are available online via Webtickets.co.za and entry ranges from R100p/p and R250p/p depending on the show.

5pm:  Goose Homme/Xipixi 6:10pm: Lalesso 10am: David Tlale
6:10pm: Marianne Fraser 7:20pm: Michelle Ludek + W35T 3pm: Lazuli/Imprint
7:20pm: Sterfania Morland 8:30pm: Dax Martin 4pm: Danielle Margueax/ Lara Klawikowski
8:30pm: Habits 9:45pm:Ruald Rheeder/ Craig Native 5:10pm: AFI Next Generation
9:30pm Adriaan Kuiters + Jody Paulsen 6:20pm: Tart/Shana
7:30pm: Leigh Schubert/Ruff Tung
8:45pm: Kluk CDGT

What’s for breakfast? Amiamo

You cant fault me for indulging my taste-buds and tummy at every opportunity. I simply cannot be without a solid meal with lovely tastes working well to put me into a truly spectacular food coma.


Today I had breakfast at Amiamo Cafe in Port Elizabeth, and while their menu may be short; they take no short cuts in dishing my preferences.

Today I had a Grande Dark Hot Chocolate, which is for the true chocolate connoisseurs. It has just the right amount of consistency and richness.

IMG_3614  I had a breakfast with 2 fried eggs, 2 rashers of bacon, 2 hash browns, mushrooms, and served with chips and 2 slices of toast.IMG_3617 It was lovely, and my mom agrees.

We give a solid 7/10

The necessity of foreign cinema approaching the South African film market differently

The South African cinematic market operates under different parameters , and as such, should be approached differently. If the primary goals are to raise awareness and educate, to entertain purely within the limitations of a genre, to push ones love of filmmaking into cult status, or whether one wishes for their cinematic contribution to ultimately gain blockbuster status, different approaches customized to the locale become a necessity. People in South Africa, as a broad generalization, have a certain predisposition for certain movie genres, actors and the like.

Thee South African History Organization (2000) noted events that were key in South Africa’s associations with world cinema. A significant amount of  these events were intrinsically tied to race and the history of North America’s film industry. South African audiences were exposed to approximately 60 films which were predominantly in Afrikaans from 1956-1962, according to thee National Film and Video Foundation(2014). Based on the year 2000 report by the National Film and Video Foundation, the 70s exposed the juxtaposition in the treatment of South African film audiences from areas of film screening to the content – all due to racial discrimination.

Olwethu-Thando Klaas(2014:15) stated that: “the big distribution companies chose to show Hollywood and European films predominantly in the 80s. The reasoning behind this action was the accompanying of film marketing that was well-funded and polished – almost guaranteeing profits from the spectators who were attracted to the marketing campaigns. This resulted in South African audiences not being as exposed to South African and African films, but rather foreign films.” 

The deduction made by the National Film and Video Foundation was that the underdeveloped cinema audience of South Africa is owed to a deficiency of non-white South Africans cinema-going culture, prices of tickets at cinemas, and a lacking amount of content which is relevant.(Klaas, 2014) Low disposable income factors greatly in the way South African prioritize things. I have grown up with movies, and have watched a whole bunch of films at Ster Kinekor since the age of 4. I used to go to the cinema regularly, and was not bound to enjoying them during holidays and weekends alone. During university, and even today, I do not have ANY disposable income. So I prioritize the major North American science fiction blockbusters I love for when I have complimentary tickets to use after opening week.

I adore pop culture!

…and unfortunately, global pop culture has fallen into a state of banality wherein a rotation of recycled trends cycles with no end in sight. There is nothing new that is created, simply Retro-styling in ideal pastiche. As its come to be, fiction with no historical chronicle is deemed much of a risk to be invested in by media Juggernauts. Over the past 50 years it is destination narrative involving the progression of humanity that has saturated the minds of newborn audiences and screenwriters. So embedded is this notion of destination narrative that we now know no other reality, rejecting even the theorizing of any such alternative.

Through my research, I have discovered that South African audiences choose to watch films predominantly for pleasure, and seeing a film by a bona fide actor/actress whose past films have appealed greatly to the watcher. South African audiences do not have a distinct conception of genres, save comedy, “but they have a clear idea of the facets of film production that appeal to their gratification.”(Klaas, 2014)

It is imperative for foreign film industry folk to acknowledge their lack of insight, or even lack of caring, for South African markets. There is actually potential to profit greatly here. Indie films, documentary films, arthouse and film noir will not flourish here. There is simply no audience and industrial interest for them. However, South African audiences are enamored with the glamour of blockbuster film releases – and therein lies the key! I have several ideas for how foreign cinema should approach the South African cinema market differently.

…but that’s a post for another time.