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Between 10and5 takes a behind the scenes look at the Good Good Good runway show at SA Menswear Week SS18. 

“Recognised as a functional menswear brand, since its inception in 2016 Good Good Good has struck a balance between streetwear and traditional menswear. Created by Daniel Sher and Paige Smith, the brand was made to fit “men of all sizes”. Playing on print and texture, stripes, denim and cotton fused for their SS17/18 collection, while stand alone pieces came together with a capsule collaboration alongside Capetonian artist David Brits. Shown at South African Menswear Week this past weekend, with a clear aesthetic and ease to looks, their collection was gender neutral as well. With everything handmade in Cape Town, 10and5 caught up with Daniel and David about what happened behind the scenes of their freshest collection.”

See full article here.


Capsule collection in collaboration with menswear brand Good Good Good launches at SA Menswear Week SS18.



Garments from my recent collaboration with menswear label Good Good Good have been featured in the latest edition of Business Day’s Wanted Magazine


What an honour it is to be featured in Vogue Italia‘s roundup of looks from SA Menswear Week AW17! See the full article here.



The Good Good Good X David Brits Capsule Collection is featured in a round-up of the best looks from SA Menswear Week AW17 Collection in The Way of Us. See the full article here.

Photographs: Luke Kuisis – Styling: Akim Jardine  – Model: Kayden Hesketh 



I was asked some questions by Design Indaba about the recent capsule collection I did with menswear label Good Good Good. See the full article here and my full answers to their questions below. 


As a fine artist, how are you contributing to the Good Good Good collection at the SA Menswear Week?

About three months ago I was approached by Daniel Sher of Good Good Good. He had seen an exhibition of mine that I had recently opened at the Hazard Gallery in Johannesburg. Inspired by the “snake abstract” motifs I was then exploring in screen prints, stained glass sculpture and mural work, he asked me if I would be interested in creating a capsule collection to premier at SA Menswear Week.  I created an all over printed fabric that has been made into shirts, shirts and trousers, created hand-painted fabric for parka jackets, and graphic t-shirts inspired by the life and archive of my late grandfather, one of South Africa’s top snake catchers and reptile experts.

How has your experience working on a clothing line been?

In my years as student at Michaelis School of Fine Art, I was fascinated by the symbolic power of fabric. I made many artworks out of various kinds of material –  particularly the old South African flag  – from things like Apartheid-era army uniforms and vaalkomberse. It has been incredible to pick up on that line of exploration again. I have really enjoyed the process of taking a the “snake abstract” motif and transforming it into something that can be worn, not just hung on a wall. The first time I walked into the factory where the Good Good Good garments are made I was hit by a great feeling of awe and surprise. This was combined with a sudden, deep appreciation and magic affinity for the enormous collaborative process that it takes to produce just one item of clothing. 

Why the snakes? And has it been important for you to establish a strong and recognisable visual language with the snakes?

My grandfather John Wood was one of South Africa’s most prominent reptile experts, snake catchers and snake show-men. Over a period of sixty years he caught thousands of snakes, spiders, scorpions, lizards and frogs for both medical research and the development of snake and spider antivenoms. Wood was a prolific poet, photographer and filmmaker, and shared his great passion for reptiles through these mediums as well as with his traveling snake show, which toured the country from the 1950ies to the 1970ies.

The snake motif was something that first occurred in linocuts for an exhibition that I made in homage to the life of my grandfather held at SMITH Gallery at the end of 2015.

Are you interested/planning on any other themes?

With each creative project that I take on, my methods of working and the appearance of the art naturally alter. This is something that is seldom pre-planned. I am currently working on a series of large-scale sculptures made from carbon fibre. At the end of March this year I will make my debut in theatre as the writer and director of “Song of the Sea”, a musical performance commemorating the 100th year anniversary of the sinking of the SS Mendi. The SS Mendi was a troop carrier in WW1 transporting members of the Native Labour Contingent to Europe, dispatched to aid the Allied war effort on the Western Front. En route to France their ship sank in the English Channel in February 1917, killing 646 of the men on board –  607 black troops, 29 crew and 10 white officers –  the greatest loss of life through accident in South African naval history.

Good Good Good is extremely excited to have showcased its first runway collection at the recent Lexus SA Menswear Week AW17 Collection. The collection features a standalone Good Good Good collection as well as a collaborative capsule with the very talented Cape Town artist, David Brits

For the collaboration, Brits created a series of all-over prints and graphics inspired by snakes and reptiles. A large portion of Brits’ recent body of art revolves around exploring the life of his late grandfather, John Wood, who was one of South Africa’s most prominent reptile experts, snake catchers and snake show-men. Over a period of sixty years Wood caught thousands of snakes, spiders, scorpions, lizards and frogs for both medical research and the development of snake and spider anti venoms.

“After I received the call to showcase at SA Menswear Week, I decided that part of my collection should involve collaboration with a South African artist,” said Daniel Sher, Founder and Creative Director of Good Good Good. “ Even though we had not yet met, I had been admiring David Brits’ work for some time.  Then after David’s solo exhibition at The Hazard Gallery in Johannesburg, I reached out to the director of The Cosmopolitan, Jonathan Freemantle, who very kindly put us in touch. David was instantly enthusiastic to collaborate on the capsule and he has maintained this attitude throughout our period of working together. It’s been inspiring to collaborate very closely with someone who is so passionate and hard working, and it amazes me that he does this all while wearing a big and genuine smile.”

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