Abstract

This research report explores the uses of textiles as a reference in creating contemporary jewellery, particularly Isishweshwe fabric. Isishweshwe is a printed dyed cotton fabric widely used for South African traditional clothing produced by Da Gama Textiles in King Williamstown, South Africa, originates in Europe. This paper is based on a self-reflective action research that involves planning, action, observation, and reflection.
This paper consists of research based on the history of indigenisation of the Isishweshwe/blueprint in Southern Africa by Professor Juliette Leeb-du Toit. It also consists of different characteristics found in the history of Isishweshwe like the importance of the fabric in cultural significance, the Isishweshwe design names and the discovering of the fabric motifs. I found myself interested in researching more about the fabric motifs to help me create my body of work.
This paper will show the development of my findings from the important characteristics of Isishweshwe fabric, to finding geometric fabric motifs more appealing and worth working with in creating contemporary jewellery. It will also show how African people have adapted Isishweshwe fabric as part of their cultural usage.

Introduction

This is my journey through researching and designing a body of work inspired by Isishweshwe fabric. Isishweshwe fabric defined as a printed dyed cotton fabric widely used for South African clothing. This research report aims to investigate how Isishweshwe and other African fabrics are used in different cultures and how Isishweshwe fabric has become a part of what  African people's use for their cultural identities. I will be using the action research to develop a collection of contemporary jewellery inspired by the visual and non-visual aspects of Isishweshwe fabric. This research report consists of three chapters:

• Chapter one where I have to define the terminology in my working title and discuss contemporary jewellery with relates to my work.
• Chapter two consists of a literature review of the work of other artists and jewellers I have used as reference this research.
• Chapter three speaks about the jewellery pieces and prototypes I have created throughout this journey.

Conclusion for Chapter Three

In this chapter, I have discussed my body of work and I am very pleased with the outcome. In creating this body of work I have faced many challenging's and one of the biggest challenges has to do with being stuck on one idea and not allowing myself to think outside of the box. With my jewellery pieces that I have made I'm happy to say that I can see the growth/development from the first piece of jewellery I made to the very last. Hence I take b-tech as a foundation phase of discovering your style and interest in jewellery. I also took it as a matter of developing your techniques and finding your strongest field in manufacturing and designing jewellery. I think I have an idea of what I want to focus on in the future and that is looking more into fashion. I want to find a fashion field that excites me the most with relevant elements and aspects that I can use to create fashion jewellery.

Conclusion for Chapter Two

In this chapter, I have looked at different contemporary jewellers, artists and fashion designers. Out of all the artists I have mentioned I realised that I have taken different aspects of their work which relates to my interest. The different aspects I have looked at is the concept of how fabric is being used, the unique techniques and the methods used in their work. I have taken all these aspects into consideration and they have helped me in creating the body of work in chapter three.

Conclusion

Having had the opportunity to research and learn more about Isishweshwe fabric and its significate. I have discovered that it was and still is used for only one main purpose which is making traditional clothing wear and other fashion garments.
I have also discovered that the line between garments and jewellery is vague because according to Metcalf (1998: 2) jewellery is impossible to separate from the presence of a living person, most jewellery is made to be worn or imagined being worn. Traditionally, jewellery is made to be attached to the body or clothing (ibid). I have realised that I may have taken aspects from the garments, but the jewellery that I have made is to be worn in the body and also as a statement piece to complete the look when it is worn.
The main purpose or the driving force behind my research was so that I could be able to better understand the history of the origins of Isishweshwe and its significate and be able to use that new-found knowledge towards creating jewellery that holds a strong meaning behind it. Even though I didn't use the actual fabric but for me to be able to design and manufacture my jewellery, I had to use different aspects of the fabric, from the patterns, colours, and texture to the visual aspects I looked at in fashion. I have tried to incorporate all these aspects in my jewellery and I think I have a concept I would like to pursue in the future.

Introduction to Chapter Three

In this chapter, I will discuss how I  have used Isishweshwe fabric as inspiration to create contemporary jewellery.  I have used patterns, colours, and texture from the fabric and I will discuss how I have incorporated these aspects in my work. I have shown the work of other jewellers and fashion designers in chapter two to give an overview of the style of work that I produced in this chapter, with specific elements taken from their work. Then I will discuss the design process and the techniques I have used and also show the development through prototypes.

Conclusion for Chapter One

I have looked at different types of African fabrics and I have noticed that these fabrics are not only used for clothing, but they are used for different purposes in different cultures. I have focused mainly on Isishweshwe fabric because it is one of the fabrics that was introduced to me at a younger age as part of  my traditional clothing collection.
For the past few years, I have only known Isishweshwe as a South African fabric and only used by the African people. Having the research done and learning about the origins of Isishweshwe, I have realised that African people have not only adapted certain aspects of the fabric, but we have made it our own. African people saw the need to use this fabric as part of our national identity.

Isishweshwe and Ankara fabrics worn in a traditional ceremony

Figure 1- Nkabinde, M., (2019). Isishweshwe and Ankara garments.

This is a picture of me and the bride wearing Isishweshwe and Ankara fabrics. It was a traditional ceremony called Umembeso were the groom buys gifts(blankets) for the brides family and they respectfully dress their bride as a sign of how she should dress when traditional ceremonies take place in the groom's house.

Anglo Plat Prototype

Figure 1- Nkabinde, M., (2019). Silver Earrings.

This is a pair of silver earrings with cubic zircon set in a tube setting, prototype for the Anglo Platinum Competition. The theme was Your Love Has Gone Platinum and we had to design any piece of jewellery that relates with your b-tech topic. I decided to work with a motif called the CD for the patterns punched on the metal, I drew different designs to choose from then I chose the one that works out nicely. When I read the brief I knew exactly what I would use as my reference because early on this year I attended a traditional ceremony called Umembeso and I tend to interpret umembeso as the start of all the good things. Where big commitments are made and where your relationship starts to blossom.
I had used the folded element from the dress worn by the bride and I also abstract few elements from the head-wrap, how it forms those curves at the edges and the whole three-dimensional form the head-wrap create. I had to test how the folding was going to work with copper first before making the prototype, and I was very happy with the results, I had to make sure I used a thin plate so I can get nice curves. This pair of earrings represent all the struggles and all the good times you get in a relationship before the commitment. I wanted to make something that withholds the good and the bad in one but with a beautiful look on the outside.

Punched Disks

Figure 1- Nkabinde, M., (2018). Silver and Brass disks.

This was the first exploration I did for my b-tech, punched and drilled silver and brass disks. Since I wanted to work with patterns, colours and texture from isishweshwe fabric, I thought of how I could transfer patterns from the fabric into metal. Then I came up with an idea to use punching and drilling as a technique to use for this exploration. I started off by using a thick plate for the disks and I would use a divider to mark where to drill and punch. The first disk didn't work out because I was still trying to figure out how to space the holes evenly and trying to get familiar with the punching technique.

In disk two and three I decided to use different sized drill bits and I also made my plate slightly bigger to allow the pattern to spread out evenly. I made the fourth disk just to see how different metals react to punching and drilling.

Twirling Punched Earrings

Figure 1- Nkabinde, M., (2018). Twirling Punched Earrings. Silver.

These are silver twirling earrings, a prototype for the Anglo Platinum 2018 competition themed: Blessings of Love. I had to design a pair of earrings that fit with my b-tech topic and also incorporate the theme given. I had been exploring and working with punching and I found a perfect reference in Isishweshwe fabric motifs which is called the guinea fowl spots(impangele) which I thought fitted perfectly with the theme. Guinea fowl spots(impangele) are black and white spots which I would say to me they represent the ups and downs in a relationship.

I had used the pattern template from the previous test pieces and prototypes but I decided to punch the patterns in different directions to represent the spots and the different stages you get in a relationship. The patterns punched in a very thin plate and I would allow the punch to go through the plate to allow the metal to form fluted edges. If you put the earrings together the hooks form a circular shape which symbolizes infinity. I made these earrings because I wanted to show different stages in a relationship using punching and patterns from Isishweshwe to give visual aspects of how fabric can be used in another medium.

Introduction to Chapter One

In chapter one, I will be defining the terminologies of my working title which is Using Isishweshwe to create Contemporary Jewellery. To make sure the reader has an understanding of the idea that will be discussed throughout this report. Firstly I will discuss the history of Isishweshwe including the important characteristics, the naming, fabric motifs, and the uses of Isishweshwe. I will also look at other African wax prints to give another perspective view of the important characteristics of the fabrics other than fashion.  Then I will discuss contemporary jewellery according to Metcalf and Den Besten with relates to my work.

Punched Disks Earrings

Figure 1- Nkabinde, M., (2018). Silver Punched Earrings.

This was the first pair of silver earrings I made for my b-tech after having a difficult time finding the starting point for my work. I started with four test pieces where I had done different variations of punching, where I decided to draw the pattern in Rhino 3D first before punching it out. I started by punching and drilling to indicate different colours in the patterns and I would use a steel block and masking tape to hold the disk in place. I noticed that the metal wasn't doing what I was hoping to get, which was more of a visual look of a fabric. Then I was advised by my lecturer to use a wood block instead of a steel block just to explore different ways and see how the metal reacts.

I wasn't really pleased with the outcome of these earrings because they were flat they didn't have any three-dimensional feel or look at all, but I was happy at how the punching looked like and you could actually see the flow of the patterns. This motivated me to look into a three-dimensional form and see how I can incorporate it in my work. 

Fabric Earrings

Figure 1- Nkabinde, M., (2019). Copper and Silver Earrings.

This is a pair of copper and silver earrings also inspired by the and visual aspects in Nkosi's garments collection. When I made this pair of earrings I had an idea of how I can use the actual fabric in my jewellery or how I can make my jewellery a replica of isishweshwe fabric.

I had used a thin copper plate and a piece of cloth for roll-milling to get the texture then I used my hands and a pair of pliers here and there to get that folded look. The concept derived from the collar necklace I made as a statement piece with different aspects abstracted from Nkosi's garments. The reason why I made this pair of earrings because I wanted to find different ways to capture the beauty of the fabric through the visual aspects found in fashion or used in fashion.

The Fluted Collection

Figure 1- Nkabinde, M. (2019). Fluted Earrings.

Figure 2- Nkabinde, M., (2019). Silver Fluted Pendant.

This is a silver fluted collection, inspired by the Fluted Swaddle. For this pendant, I had used the concept of folding and interlaced technique from the Platinum(finalist) earrings I made. Which had a punched out pattern on them but for this collection I wanted the overall shape to dominate more and not have patterns to interfere with the design. Firstly I start by bending the small S- shapes before interlacing them together without soldering to create this three-dimensional form, which I then soldered the thick wire to make a pendant and I added copper hooks for the earrings.

The reason why I made this collection because I wanted to capture the simplicity and the cleanness of the edges you get in fashion garments. I also wanted to capture the different folds and curves you get in the fabric when it is used as a headwrap. 

Other Fabrics: African Wax Prints

Young (2016: 306) states that African wax prints, also known as Ankara or Dutch wax prints are colourful African cloths. The cloth is an important part of the material culture in Africa especially in the lives of women where it serves multifaceted roles in daily life. The cloth offers mystical protection against dangerous forces in society and holds deep spiritual meanings when used as part of rituals. African wax prints are prized possessions bestowed at life-changing events, such as coming-of-age ceremonies, customary marriage rites and baby naming ceremonies(ibid).
African wax prints are produced in various colours with intricate geometric or floral patterns see figure 1. It is mainly used for traditional clothing but the fashion industries have also adapted the African wax prints. As I have mentioned the offers of the cloth I want to emphasize the importance of the cloth as part of the African culture.

Figure 1- Amooti Sharing Africa. (2017). Ankara Fabric. Wax Print. [ONLINE]

Isishweshwe

Isishweshwe is a printed dyed cotton fabric widely used for traditional South African clothing. According to Collins (2015), this fabric has been worn in traditional ceremonies in rural areas, for important occasions and national festivities. The fabric is now produced in various colours including the original indigo, red and brown, and a variety of shapes including diamonds, squares, stripes floral and circular geometric patterns (ibid).

Figure 2- Urbanstax. (2019). 7 Indigo Isishweshwe Quarters.[ONLINE]

:

Introduction

In Chapter two I will be looking at three relevant contemporary jewellers, two artists and one fashion designer. I have chosen these jewellers, artists and fashion designer because their work relates to different aspects of the jewellery I create.

Contemporary Jewellers

• Ann Cole Jewellery - She uses a punching technique inspired by her surroundings.
• Julie Blyfield - She uses punching, chasing and repousse techniques and also create three-dimensional forms by folding.
• Hombisa Jewellery - He uses the milky way technique to emphasize or to create different images and patterns.

Artists

• Clement Mmaduako Nwafor - He emphasizes the importance of the cloth as part of African culture.
• Katanu Kay Sanna - She uses the African wax prints in another medium other than fashion.

Fashion Designer

• Khosi Nkosi - I will be looking at the visual aspects of the designed garments, the design elements and principles.

Fabric Motifs

A motif is "a decorative image or design, especially a repeated one forming a pattern" (Lexico Dictionary, 2019).

Motifs are repeated in different ways to create patterns and these patterns are repeated to create a design. They are often inspired by nature and "are also closely linked to natural, cultural, religious and socio-economic factor prevailing in any society"(Pheto-Moeti et al. 2017: 28).

I think fabric motifs designs can be classified as:

• Geometric
• Natural

Geometric Motifs

These motifs include lines in various forms, such as vertical, horizontal, diagonal and curved. They create fabric designs, such as stripes, plaids, checks, circles and other associated designs, see figure 1.

Figure 2 is an example of the geometric motifs in Isishweshwe fabrics.

Figure 1-Buckley, C., (2012). Geometric Motifs. [ONLINE]

Figure 2- French Connection, (2007). Mixed Masala. Different Isishweshwe Patterns. [ONLINE]

Natural Motifs

They portray a direct replica of things as they exist in nature, such as flowers on trees, animals, human figures and other natural things, see Figure 4 is an example of a natural motif used fabric.

Figure 4- Digital Wax Print., (2012). Ukhozi. Isishweshwe with a Picture of an Eagle. [ONLINE]

Contemporary Jewellery

The word Contemporary is defined as the "present times or belonging to the same time"(Lexico Dictionary). I have looked at den Besten's(2011: 9) paper where he states that "contemporary jewellery indicates that it is made now and that it is 'of our time' whereas it covers a period that spans at least forty-five years". Yes contemporary jewellery is made now but they are different categories you need to look at before applying the word contemporary in your work

Categories of Contemporary Jewellery

In the list below den Besten identifies the various categories that jewellery can fit into:

1. Contemporary - Jewellery that is made now and here

2. Studio Jewellery - Jewellery that is produced by individuals in their studios

3. Art Jewellery - Jewellery that indicates that either art and jewellery are similar or that jewellery as an art form.

4. Research Jewellery - Jewellery that can be explained as a way to describe the artistic process.

5. Jewellery Design - Jewellery that is designed by the designer who doesn't manufacture it.

6. Author Jewellery - Jewellery made by an individual and bears the stamp of his or her artistry and vision.

The most relevant categories I will be looking at are studio and author jewellery
The aim for studio jewellers is to "control every aspect of producing a piece of jewellery from original idea to finished work"(den Besten 2011: 10). I think that studio jewellery is a big part of the contemporary jewellery I create.
According to de Besten (2011: 10-11), author jewellery is made by a single jeweller and bears the stamp of their artists and his/her vision. The idea is that there is an ongoing artistic 'standard or reference' that can progress from one collection to the next (ibid). Finding an ongoing theme and developing relevant techniques in my work is another contemporary jewellery quality I will be considering.

Tradition and Culture

"Traditions represent a critical piece of our culture. They help form the structure and foundation of our families and our society. They remind us that we are part of a history that defines our past, shapes who we are today and who we are likely to become"(Sonnenberg. 2015: 1)

In the article, Difference between Culture and Tradition (2017: para.1 line1) culture discussed as a complex concept that incorporates the combination of people's values, beliefs and personal interests. It is what defines a group of people living in a certain area of the globe or people who share a type of heritage.

According to Leeb-du Toit(2017: 9), black South Africans have, in particular,  been adamant that the Isishweshwe cloth represents a salient part of their culture. Culture is important because it allows people to maintain a unique social identity and have common interests, while others may have customs that differ greatly from another. As a whole, culture is conclusive of human growth as a society and it is not based on genetics alone. Whereas traditions are a part of the cultural cluster of human actions.

Punched out disks with melted beads

Figure 1- Nkabinde, M,. (2018). Silver with glass beads disks.

These are silver punched disks with melted glass beads. Inspired by Hombisa's milky way technique. I wanted to add colour in my jewellery then I thought of how I could use the concept of the milky way technique in my own style, that is when I discovered the beads melting technique. I used a very thin plate, with patterns punched out using a pattern template I drew in rhino. Then the hard part comes where I have to place each bead in the punched out holes, making sure they are in the right place before I heat it up. It takes some time before the beads melt completely and they show a nice colour transformation when the metal is hot and when it has cooled down.

The reason why I had done this experiment because I wanted to find another way of adding colour in my work other than stringing beads on. I really liked the outcome these disks and I didn't want to make any jewellery piece out of it because I wouldn't be able to hold it up against the light to see the beautiful effect it has with the different colour coordination.

Fabric Texture on Copper forms

Figure 1- Nkabinde, M., (2019). Copper and Silver collar necklace.

Figure 2- Nkabinde, M., (2019). Copper and Silver collar necklace.

This is a copper and silver collar necklace inspired by the visual aspects of Nkosi's garments collection. When I mention the visual aspects I'm referring to the layered and three-dimensional forms. When I made this collar necklace I had no idea what the outcome maybe because I didn't plan or design this necklace. I just thought of how I could use the actual fabric in my jewellery other than having a piece of fabric stuck somewhere.
I decided to use a thin copper plate so I can be able to fold it in a form of how the tailors fold their fabrics. Then I decided to use the actual isishweshwe fabric to get the texture into copper by using the roll-milling technique. Folding the piece of copper was a bit challenging because I had to make sure that is it folded equally, the spaces in between are even. I ended up not getting the even folds, which made me realise that I am working with a different medium which is metal and I won't get the exact result as you do with fabric. It will take lots of practice to get it right but I am happy with the result because I've learnt that you cant approach things the same way as other people are doing it you might have to find your own approach to make something work.

Reference List

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Amooti Sharing Africa. 2017. Ankara Fabric: Wax Print (image). Available: https://www.amooti.org/blog/Ankara-fabric/ (Accessed 6 October 2019).

Ann Cole Jewellery. 2017. Shwe-shwe Platinum Earrings (image). Available: https://www.instagram.com/p/BbOpTCOAEkV/ (Accessed 8 October 2019)

Ann Cole Jewellery. 2018. Wabi Sabi: Copper Cuff (image). Available: https://www.instagram.com/p/BnqOKW2lx6i/ (Accessed 8 October 2019).

Ann Cole Jewellery. 2019. Imprinting Tools (image). Available: https://www.instagram.com/stories/highlights/18007395160192544/?hl=en (Accessed 8 October 2019).

Anon. King of Lesotho(image). Available: https://en.wikipedia.org/wiki/Moshoeshoe_I (Accessed 1 October 2019).

 Hombisa Jewellery. 2017. Available: https://hombisa.com/ (Accessed 4 September 2019).

Artisanray. 2017. The Original Lion (image). Available: https://artisanray.wordpress.com/2017/04/02/by-katanu-kay-kenya/ (Accessed 7 October 2019).

Blyfield, J. 1957. Gallery Funaki (images). Available: https://galleryfunaki.com.au/artists/julie-blyfield/ (Accessed 3 October 2019).

Buckley, C. D. 2012. Geometric Motifs (image). Available: https://www.researchgate.net/figure/Geometric-motifs-from-cast-bronze-drums-from-the-Dong-Son-culture_fig21_234000360 (Accessed 4 October 2019).

Coleman, T. n.d. Ann Cole Jewellery. Available: http://anncolejewellery.com/#about-us (Accessed 7 October 2019).

Collaert, J.ca 1600. Stradanus (image). Available: https://www.metmuseum.org/art/collection/search/659685  (Accessed 29 September 2019).

Collins, K. 2015. The Amazing History of  The Shweshwe Cloth (blog). Available: https://blog.londolozi.com/2015/11/10/41544/ (11 October 2019).


Den Besten, L. 2011. On Jewellery: A Compendium of International Art Jewellery. Germany: Anorldsche Art Publishers.

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Feagins, L. 2011. Julie Blyfield-Interview. The Design Files (blog). Available: https://thedesignfiles.net/2011/02/interview-julie-blyfield/ (Accessed 4 September 2019).

French Collection. 2007. .African Fabrics: Isishweshwe (images). Available:https://www.french-nc.com/shop/Fabrics/African-Fabrics/Shweshwe-South-Africa.htm (2 October 2019).

Leeb-du Toit, J.2017. Isishweshwe: The History of the Indigenisation of Blueprint in Southern Africa. Pietermaritzburg, South Africa: University of KwaZulu- Natal Press.

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Metcalf. B. 1998. On The Nature of Jewellery.

Nkosi, K. Stretch seShweshwe (image). Available: https://khosinkosi.wixsite.com/khosinkosi/whats-in-store(Accessed 7 October 2019).

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Orubo, D. 2017. African Prints. Available: https://www.konbini.com/ng/inspiration/19-year-old-katanu-kay-beautifully-merges-east-african-fabric-with-her-paintings/ (Accessed 7 October 2019).

Pheto-Moeti, B., Riekert, D. M. and Pelser, A. J. 2017. Perceptions of Seshoesheo Fabric, Naming and Meanings of Motifs on Fabric. Journal of Consumer Sciences. 54(2): 24-28. Available: https://www.ajol.info/index.php/jfecs/article/viewFile/156131/145750 (Accessed 1 October 2019).

Skinner, D. 2013. Contemporary Jewellery in Perspective. New York: An Imprint of Sterling Publishing.

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Stewart, J. 2018. Nigerian Artist Create Realistic Oil Portraits Incorporating Colourful Local Fabric. Available: https://mymodernmet.com/clement-mmaduako-nwafor-nigerian-artist/ (7 October 2019).

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Hombisa Jewellery

Hombisa (to decorate, in Xhosa,) was founded in 2008 by Vincent Lourens. Lourens is a contemporary jeweller living in Stellenbosch, South Africa. He has been developing and expanding his skills for the last 18 years and has created a unique and instantly recognisable style drawn from the broad array of his interests, influences, and inspirations. (Hombisa Jewellery. 2017)

"The source of inspiration for many of the jewellery pieces in his collection comes straight from nature (figure 1). Whether it is a fern leaf, an ocean wave or a sea shell, anything can serve as a starting point to create something new and unique. It allows him to make powerful items of adornment, jewellery that evokes feelings and emotions to the wearer". (Hombisa Jewellery. 2017)

Figure 1- Hombisa Jewellery., (2010). Dandelion Pendant. African Blackwood, 18ct Yellow Gold, Silver, .50 Point Yellow and .40 Cognac Diamond. [ONLINE]

Lourens (2017) developed a technique called The Milky Way. He works with selected exotic and African hardwoods. Holes as tiny as 0.2 mm are drilled, which are then painstakingly filled with precious metal wire one hole at a time. The effect this creates is similar to looking at the scattering of the stars in the African night sky (figure 2).

Figure 2- Hombisa Jewellery., (2009). The Galaxy. African Blackwood, 18ct White Gold, Silver and .60 Point Yellow Diamond Pendant. [ONLINE]

 A link can be drawn between Lourens jewellery and my work. The milky way technique has been his style of recognition, I have taken the technique idea, developed it and made it my own. He also uses inspiration from his surroundings including patterns taken from Isishweshwe and that is similar to how I use Isishweshwe as my source of inspiration. The picture below shows how he interprets the Shweshwe patterns, uses his techniques to create jewellery with an African feel.

Figure 3- Hombisa Jewellery., (2010). Shweshwe Earrings. 18ct Yellow Gold and Sterling Silver with 10 Point Brilliant Diamonds set in  Makassar Ebony. [ONLINE]

Julie Blyfield

According to Feagins (2011), Julie Blyfield is a well-known  Australian artist. Blyfield's work is based on the realm of nature around her. She manages to capture what is beautiful and unique about Australian natural landscape and uses that as a starting point (ibid).

Blyfield connects with her organic finds intimately. She does this by sketching, making paper prototypes and transforming them into metal using traditional metalwork techniques. She creates jewellery and vessels in pure and sterling silver, textured by hand using fine steel tools to create intricate surface patterns. Blyfield focuses on the texture aspects of her finds by utilizing metal punching, chasing and repousse techniques to create three-dimensional forms which are folded and interlaced together, see Figure 1. Each piece is then finished in the most beautiful muted colours using enamel and wax. (Feagins, 2011)

Figure 1- Blyfield, J., (2010). Scintilla Series. Silver Vessels. [ONLINE]

She captures the aspects of the landscape by using exquisite coloured enamels and wax that hints the botanical specimens she's inspired by see Figure 2.

Figure 2- Blyfield, J., (2009). Pressed Desert Plant Brooches. Blackened Silver, Paint and Wax. [ONLINE]

There are a few similarities between Blyfield's work and my own. Firstly it is how she reinterprets and transforms her organic finds into metal. Some of the techniques she uses in her work are the same as the ones I am using where she creates three-dimensional objects by folding and also but punching patterns out to create texture see Figure 3.

Figure 3- Blyfield, J. (2014). Earrings. Sterling Silver, Blackened Silver and Gold Plated Silver. [ONLINE]

Anglo Plat 2019

Figure 1- Nkabinde, M., (2019). Fluted Swaddle. Platinum Earrings.

These are platinum earrings with cubic zirconia set in a tube setting, designed for the Anglo Platinum Competition 2019. Which I was selected to be one of the finalists. I had to change the metal thickness only from the silver prototype to make sure that I had enough metal to work with. I really enjoyed this project because we were given a  theme: Your Love Has Gone Platinum which I think I interpreted it in an understandable way that relates to my work.

Here is the free writing I had to do that goes with my piece:

These beautiful earrings were inspired by Isishweshwe fabric. “It is a printed dyed cotton fabric widely used for traditional South African clothing.” I have taken patterns from this fabric to design a simple yet meaningful pair of earrings. It was uniquely handcrafted for a young man named Nkanyiso that intends to give these earrings as a gift for his beautiful soon to be wife Senhle, on their special day called Umembeso. It is when the groom’s family buy gifts for the bride’s family and the bride does the same.

Umembeso is a symbol of a remarkable and meaningful journey that Nkanyiso and Senhle are about to take. It is a way of showing mutual respect and commitment to each other. During this ceremony, the family dresses the bride in a respective way that they would want her to look in the future.

Nkanyiso and Senhle are both young and modern but they stick to traditions that they learned growing up. They have been living together and planning this ceremony, then Nkanyiso thought of how he could bring the whole concept of a head wrap into something elegant yet a statement that his wife can wear on her big day or any other day. A headwrap is a sign of respect to her in-laws and husband therefore, I have used the idea of how the fabric folds and curl as a head wrap into a unique pair of earrings that symbolizes respect, genuine and authentic love.

I have used patterns from the head wrap fabric as my main focus, I decided to punch out patterns that are inspired by Isishweshwe into metal and I have used the concept of the fold-up fabric as an overall pattern to create the swirly and fluted look in the earrings. Platinum is a symbol of everlasting and pure love because it doesn’t tarnish it is always shiny and keeping the spark alive.

Anglo Platinum 2018

Figure 1- Nkabinde, M., (2019). The Seed: Imbewu. Platinum with glass beads.

This is a pair of platinum earrings, designed for the Anglo Platinum Competition(2018). Inspired by the guinea fowl spots(impangele) fabric motif. I wanted to do the melted beads technique which is inspired by Hombisa's milky way technique but due to technique restrictions, I had to change the idea. I then decided to add beads on the edges to add colour and to emphasis the good times in a relationship.

Naming Of Isishweshwe

Before it came to South Africa it was known as the German Print which was imported from Europe to meet the demand of the German settler women, hence the name German Print appeared. The fabric was then introduced to South Africa by the German settlers, where the name seshoeshoe appeared.

The name appears to have emerged in Lesotho by the early 20 centuries, associated both with the
name and deeds of Lesotho's founder, Moshoeshoe 1. seShoeshoe later become more widely known
throughout South Africa as Isishweshwe (an isiZulu phonetic variant)
(Leeb-du Toit 1995; Pheto-Moeti 2005).

The Historical Origins of Isishweshwe

I have looked at the historical origins of Isishweshwe to help me and the reader understand or to have an idea of how the blue cloth was discovered in South Africa. According to Pheto- Moeti (2017: 25) Isishweshwe or blue cloth originated in Europe from cloth imported from India. During the 19th century, the European textile manufacturers developed a printing style on indigo-dyed cotton fabric see Figure 1 because the plant used for indigo dye could not grow in the cold European climate (ibid).

Figure 1: The Invention of Copper Engraving, plate 19

Pheto- Moeti et al (2017: 25) states that around 1890 a German factory developed a synthetic indigo dye that is still used today. The fabric was manufactured and printed in Czechoslovakia and Hungary by Gustav Deutsch, who migrated to England in the 1930s. Where the factory was later bought by Blue Printers Ltd in Wigan. Four companies were producing this print style,
the largest being Spruce Manufacturing which produced the most popular brand name of Three Cats, which was exported to South Africa
The blue cloth was introduced to South Africa by the German Settlers in 1858/9 after they settled in the Eastern Cape and Natal. The fabric was imported from Europe to meet the demand of the German settler women, African women had gradually replaced their animal skin garments with cotton ones, they began to dress in European style dresses see figure 2&3

Figure 2- Xhosa Traditional Clothing. [ONLINE]

Figure 3-  European Garments. [ONLINE].

Isishweshwe Design Names

According to Leeb- du Toit (2017: 260) naming isishweshwe design is a significant aspect of their indigenisation over time. Owners of textiles outlets throughout Southern African have contributed
largely to this naming, thereby facilitating their ordering and identification of isishweshwe designs for customers, although many designs remain unnamed. Design names have been created by Sotho-speakers and the names of specific patterns appear to have developed by the association. The dot pattern is linked to the spots of the guinea fowl, which is called the Terantala see figure 2, the rounded floriated shape to the cabbage(moroko) see figure 1, jagged lines to a rope(ropo) see figure 3 and other designs have been closely based on local Sotho mural traditions (ibid).

                

                         Figure 1- French Connection. (2007).
                      Cabbages(moroko). [ONLINE]

     

        Figure 2- French Connection. (2007).
     Guinea fowl(Terantala).[ONLINE]

                                              

                                                           Figure 3- French Connection. (2007). Rope(ropo). [ONLINE]

Pheto-Moeti (2017: 28) states that the type of design or pattern on the fabric all act as signs and carry social meanings. Motifs and colour of fabric may communicate some ritual see figure 4. Symbols are also vehicles with which it is possible to visually present thoughts, experience and concepts (ibid).

Figure 4- French Connection. (2007). Spears circle or wheels. [ONLINE]

Isishweshwe has common designs that range from floral and stripes to diamonds, square and circular designs see figure 5&6. I am mainly focusing on circular designs see figure 7&8 where "the names and meanings originate from historical events, individual achievements and certain qualities
of plant and animal life" (Pheto-Moeti et al. 2017: 28).

                    

                         Figure 5- French Connection. (2007).
                      Lightning(umbani). [ONLINE]

Figure 6- French Connection. (2007).
Fans(sefehla moea). [ONLINE]

 

    Figure 7-French Connection. (2007).
 CDs (idiski). [ONLINE]

         

Figure 8- French Connection. (2007).
 Windmills. [ONLINE]