South Africa Fashion Week (SAFW) is embarking on a transformative journey, announcing a strategic hiatus to fundamentally rethink its operations. This pivotal decision, driven by the evolving landscape of the fashion industry, will see the organization unveil a completely new direction in January 2026. The future vision includes a comprehensive digital launch, followed by an innovative blend of live and online presentations, alongside targeted digital marketing and compelling storytelling, all set to commence in April 2026.
For years, fashion weeks have served as crucial platforms for designers to present their collections to a global audience of buyers, journalists, and critics, playing a vital role in both marketing and sales. However, organizers in South Africa recognized that the conventional fashion week structure had become increasingly disconnected from the current realities of fashion creation and commerce. Lucilla Booyzen, the founder and director of SAFW, articulated that after nearly three decades at the forefront of the South African designer fashion industry, she observed a significant shift in its dynamics. She highlighted the growing instability within the supply chain, which led to unpredictable, costly, and unsustainable fabric sourcing. Concurrently, production expenses escalated while opportunities for emerging designer brands to gain visibility and retail presence diminished. Booyzen concluded that the traditional format of staging two major seasonal shows was no longer viable or aligned with these new industry conditions.
The COVID-19 pandemic further accelerated these changes, pushing many South African designers to innovate their retail strategies. They increasingly turned to direct-to-consumer sales through social media platforms like Instagram and WhatsApp, bypassing traditional retail channels. Booyzen emphasized that the previous fashion week model was designed for a different era, one with a slower pace and a distinct operational framework. It became evident that for SAFW to maintain its leadership and effectively serve the industry, a profound evolution was necessary. This perspective resonates with similar challenges faced by other regional fashion weeks, such as Stockholm Fashion Week, which also underwent a temporary hiatus before its eventual return with renewed government support, albeit on a leaner schedule. A persistent challenge for SAFW has been securing adequate sponsorship, as it operates without government or institutional funding, relying solely on corporate backing in a competitive landscape where sports often command a larger share of sponsorship investments.
Booyzen, in collaboration with a dedicated team of creative strategists, industry consultants, and business advisors, is actively working to transform SAFW into a hybrid platform. This new model will seamlessly integrate physical and digital experiences, transcending the concept of a singular event to become a continuous, year-round ecosystem. The core focus will be on digital storytelling, enhancing designer visibility, and facilitating meaningful market access both domestically and internationally. This will be achieved through strategic retail partnerships, collaborations across art and design disciplines, educational initiatives, and innovative digital content creation.
The announcement of SAFW's 'strategic pause' initially generated considerable discussion within South Africa's fashion community. As one of the oldest and most prominent fashion weeks, SAFW has historically attracted esteemed local designers like Thebe Magugu, Lukhanyo Mdingi, and Mmusomaxwell, connecting them with major local and regional retailers and media outlets. Furthermore, SAFW has fostered significant international collaborations, including its Fashion Bridges initiative with Camera Nazionale della Moda Italiana (CNMI) and the Italian embassy, which provides South African designers with opportunities to showcase their collections at Milan Fashion Week. While the initial reaction from fashion critics was surprise, there is a prevailing sentiment that this recalibration will ultimately lead to positive outcomes, drawing parallels with the struggles encountered by other international fashion weeks.
Lezanne Viviers, a Johannesburg-based designer and a regular participant at SAFW since launching her brand, Viviers, in 2019, agrees that a reevaluation of the format is long overdue. She contends that the traditional approach of producing large collections twice a year is no longer relevant for her brand or for others striving for greater sustainability. This challenge, she notes, extends beyond South African brands to impact young international designers as well. Viviers advocates for a shift towards creating capsule collections or focusing on signature styles, rather than relentlessly pursuing fleeting trends. She believes this vision aligns more closely with how the industry should operate, emphasizing made-to-measure garments and a return to a more personalized, couture-salon approach. Viviers observes that her clients value intimacy and connection, which translates to hosting exclusive gatherings with top clients, buyers, and press, offering direct interaction with the designer.
Proponents argue that fashion week still holds significant value in South Africa. Jackie May, founder and director of Twyg, a Cape Town-based non-profit media and events platform, asserts that the runway format remains crucial for designers who are cultivating a following and establishing their market presence. She views fashion weeks as vital 'third spaces' where communities can connect and network. Booyzen confirms that she is actively engaging with designers, attentively listening to their feedback, and plans to involve the broader industry. She stresses that the success of this transformation hinges on a collective commitment from all stakeholders, including long-term engagement from local retailers to support South African design, consistent media coverage of authentic talent, sponsors investing in both visibility and impact, and global partners recognizing the strength of South African creativity. Booyzen firmly states that this is not the end of SAFW, but rather a necessary evolution. This next chapter, she explains, is dedicated to ensuring that SAFW flourishes in a world that has significantly changed since its inception 28 years ago.