Africa brought its own unique take on black dandyism to the biggest night in fashion, blending cultural pride with bold fashion statements.
African stars embraced the 2025 Met Gala theme, Superfine: Tailoring Black Style, and represented our fashion history while doing so. The event celebrated the impact of dandyism and black men’s style on tailoring and menswear.
This year, Africa didn’t just get a seat at the table. It bought the whole thing.
In a historic first, Africa Fashion International (AFI), a marketing, retail and development organisation, was a sponsor at the Met Gala. Founder, Dr Precious Moloi-Motsepe, walked the red carpet wearing custom David Tlale.
Her presence wasn’t just symbolic, it was a powerful statement of Africa’s growing influence on global fashion. As a South African lover of fashion, seeing her on that red carpet made me proud.
My three standout guests from the continent were the African giant himself Burna Boy, songstress Tems, and South Africa’s own Nomzamo Mbatha, who all interpreted the theme through looks that merged cultural pride and global fashion trends.
Styled by British-Ghanaian designer Ozwald Boateng, Burna Boy looked dapper in a sharply tailored red suit and oxblood cape made of eel skin.
He told Vogue that his look was a nod to his roots in the Niger Delta. “The eel and fish in general are the lifeblood of my people. They symbolise survival, spirit, and the flow of tradition through generations,” he said.
Tems stunned in a dramatic blue gown with a mermaid-style hem, also styled by Boateng. The peacock print at first glance reminded me of the traditional shweshwe fabric found in South Africa.
Her braided hairstyle topped off her interpretation of Afro-dandyism. “I wanted to express this theme in a way that was true to me and paying homage to my West African roots,” she told Harper’s Bazaar.
Wearing a bold burgundy two-piece outfit by MmusoMaxwell was Nomzamo Mbatha, who attended as the AFI red carpet correspondent. The crème de la crème of her look was the intricate updo that screamed unapologetically African.
While many guests focused their outfits on European tailoring, these African stars reminded us that black dandyism was never just imported, it’s long been alive in Africa.
In Congo, the sapeurs have turned heads since the 1960s, wearing brightly coloured suits and shoes from designer labels, that they often purchased against the odds.
Their style isn’t just about flair, it’s defiance. A way for men across generations to make a statement of joy and pride amid their difficult circumstances.
In 1950s South Africa, swenkas became a popular subculture among Zulu migrant workers, wearing tailored suits, fedora hats, and patterned ties. They competed in fashion competitions that showcased their dignity, against the backdrop of a dehumanising apartheid regime.
By the 2010s, skhothanes took centre stage. They were flashy and fearless, and known for their dance battles (and those infamous Carvela shoes).
These subcultures show that African men have used fashion to speak volumes, long before any Met Gala invitation.
This year’s theme was about more than just fashion, it was about retelling our history through style.
FEATURED IMAGE: African stars brought their own cultural flair to the Met Gala’s theme of ‘Superfine: Tailoring Black Style’. Graphic: Mbali Khumalo
Pope Leo XIV may be American, but his impact will be felt across the globe. He is here to lead all Catholics, not just his countrymen.
As a lifelong Catholic, I too watched the chimney of the Sistine Chapel on May 8, with anticipation. After one unsuccessful vote, white smoke finally billowed, the bells rang, and the Catholic world waited to meet its new pope.
This moment, usually marked by unity and reverence, quickly shifted into a debate.
Not about faith, but about nationality.
For the first time in history, the Pope is American, and this has stoked political anxiety. Pope Leo XIV, formerly Cardinal Robert Francis Prevost, has barely had time to settle into the papacy, and his past is already being dissected with a fervour we haven’t seen before, for a new pope.
His voting history and perceived ideological leanings are being examined with a scrutiny that one would expect for a political candidate, not for a faith leader. Those doing the digging are not just internet sleuths or political fanatics. Respected media houses have joined in too, legitimising this politicisation of the new pope.
Al Jazeera reported that according to Pope Leo ‘s voter information, his party affiliation is undeclared, but “he voted in the 2012, 2014 and 2016 Republican primaries”, which implies a connection with the Republican party. A primary is an election that political parties in the United States use to select candidates for the general election. The New York Times, ABC News and NBC News also reported on the Pope’s recent voting record.
This response is not entirely surprising. America has become an extremely politically divisive nation, so a global figure of authority coming from that landscape is bound to be scrutinised.
Understanding the Pope’s views on contentious issues like abortion, violence caused by war or political strife, contraception, refugees, or the role of women in the church is very important. After all, these views will ultimately shape the direction he chooses to steer the church. They will also impact every single member, especially young Catholics like me, who reconcile their faith with modern life every day.
However, it is important that his views are not seen as an extension of the American voice.
The Pope is not a symbol of American Catholicism. He is the spiritual leader of over a billion Catholics across the world. Reducing his leadership to being defined by American political discourse undermines the universality of the Catholic church.
The Pope’s influence is rooted in Rome, not in Washington.
Roman Catholic values should be the foundation of his leadership, not his personal beliefs (whatever they may be).
In his first Sunday address on May 11, I was impressed that he called for a ceasefire in Gaza, boldly saying “I would also like to address the powerful people of the world, repeating the always current call, no more war”.
On May 12, during the first news conference of his pontificate, he reaffirmed the church’s solidarity with journalists who have been imprisoned for calling out injustices. As a budding journalist, this endeared me to him to even more.
I anticipate that he will remain focused on the moral issues of our time, as he should.
The relevance of his leadership will be measured not by his country of origin, but by how well he advocates for justice, dignity for all, and peace on Earth.
FEATURED IMAGE: Mbali Khumalo, 2025 Wits Vuvuzela journalist. Photo: File/Paul Botes.
When degrading women is the punchline, what does that reveal about the audience laughing along?
“Minnie’s pretty bro. Why can’t she keep a man?”
“Bro, I’m telling you man. There’s got to be something wrong with her. Maybe her coochie smells or something. You know this happens, bro, it happens, especially with the hot girls.”
“Mac, what if she can’t cook?”
That’s not an out-of-character quote or a harmless joke gone too far. It’s yet another example of the routine misogyny that fuels Podcast and Chill, the cult-like podcast and online show that’s been trading integrity for views since 2018.
On April 24, Podcast and Chill co-hosts Macgyver Mukwevho “MacG” and Sol Phenduka once again crossed the line between edgy commentary and outright misogyny. While discussing media personality Minnie Dlamini’s recent breakup with businessman Brian Monaisa, the conversation quickly spiralled into provocative territory as the pair speculated on the reasons for their split.
This is not new or surprising. This is exactly what a large amount of South African entertainment has become – a breeding ground for lazy, degrading speech against women dressed up as unfiltered commentary.
The irony came fast and loud when, on April 28, Moja Love condemned MacG’s remarks. Yes, that Moja Love. The channel that built its brand on exploiting poor, vulnerable and black South Africans, suddenly wants to be the voice of reason.
The same Moja Love that the Broadcasting Complaints Commission of South Africa (BCCSA) fined in 2023 for airing scenes of domestic violence on Isencane Lengane without trigger warnings or adequate support for the abused being filmed. The same broadcaster that aired Uyajola 9/9, a show that turns toxic relationships into Sunday night entertainment.
Spare us the moral high ground.
Where are the gatekeepers? Unfazed, it seems. By carrying Moja Love and MacG’s content, broadcasters like DStv fail to uphold the principles of the BCCSA’s code of conduct.
This code protects viewers from harmful content and ensures fair and balanced programming. It states that broadcasting licensees must “exercise exceptional care and consideration in matters involving the privacy, dignity and reputation of individuals.”
The code goes on to expressly state that licensees “must not broadcast material which […] sanctions, promotes or glamorises violence or unlawful conduct based on race, national or ethnic origin, colour, religion, [or] gender.”
Let’s be honest. Podcast and Chill isn’t the disease, it’s the symptom. The South African entertainment industry has fallen in love with controversy because outrage pays. Misogyny and vulgarity are now marketed as “being real.” The uglier the take, the better the numbers.
Podcast and Chill is one of the most consumed shows in the country, with 1.57 million subscribers on YouTube. Moja Love still pulls audiences despite constant public backlash.
So what does this say about us? Is our appetite for entertainment so bottomless that we’ll swallow anything, even casual violence or gender-based humiliation?
We’re not just bystanders. We’re complicit.
If the South African entertainment industry won’t change, then maybe the public should change the channel.
Or at the very least, ask ourselves, “why are we still watching?”
FEATURED IMAGE: Podcast and Chill co-hosts MacG and Sol Phenduka have ignited another sexism scandal, this time taking aim at actress Minnie Dlamini. Graphic: Mbali Khumalo
Ten years after students demanded change, The Fall is back on stage, bringing the unfinished fight for free, decolonised education back under the spotlight.
The play returns to The Market Theatre, features three original cast members and new talent.
Performances ignite the stage from April 9 to May 4.
A post-performance dialogue raised the uncomfortable question “was it worth it?”, as students continue to face barriers to decolonised and accessible education.
A powerful reimagining of The Fall, an internationally acclaimed protest play, opened at The Market Theatre in Johannesburg on Wednesday, April 9. The award-winning production challenges systemic oppression by spotlighting the voices and experiences of students who, in 2015, took to the streets demanding that the government make good on its promise to open the doors of learning and culture.
The play was originally created by eight University of Cape Town students in the aftermath of the #RhodesMustFall movement and the toppling of the statue of colonialist Cecil John Rhodes. Running until May 4, the new production is being presented by theatre company, The Theatre Duo, and Wits Drama for Life. It reunites three of the original student creators with a fresh cast, reworking the script and staging for a new generation of audiences still grappling with access and transformation at universities.
Opening night’s post-performance dialogue brought these issues to life. Wits University student Mzizi Khulu said, “We’re inheriting the same mentality of our forefathers. We’re still complaining, striking, and protesting. Do we really feel that Fees Must Fall mattered at all?”
Conversely, University of Johannesburg student Mpho Moilwa said, “We’ve been trying, we’ve been striking, we’ve been putting our bodies on the line for this movement, and nothing is changing.”
Students have their say on the impact of the Fees Must Fall movement. Photo: Mbali Khumalo
The Fall’s raw, collaborative format brings authenticity to the stage, blending personal testimony with performance. Sizwesandile Mnisi, original writer and cast member said, “When we first wrote this play, we inserted a lot of ourselves, along with research and archetypes that we saw in the movement. Doing this play ten years later, I too feel a sense of hopelessness that it can still speak so loudly. It’s beautiful that it resonates, but it’s also a problem that it does.”
Audience member Philadelphia Sithole emphasised the importance of theatre in recording our history. “We almost forgot Fees Must Fall. This piece is so powerful because it forces us to question what kind of society we want to have,” she said.
The Fall is a powerful reminder that the fight for access and decolonisation in higher education is still unfinished.
FEATURED IMAGE: Drama for Life Creative Research Hub Director, Hamish Mabala Neill, facilitates the post-performance dialogue. Photo: Mbali Khumalo
Societal expectations and experiences can often place pressure on people’s relationships. With Valentine’s Day coming up we have asked individuals questions about their views on certain relationship dynamics especially when it comes to the most anticipated day of the year for some lovers, Valentines Day. Viewers shared their beliefs and Siyanda and Katlego talk about […]
