Stoned Cherrie
blends images of boxing champions, beauty queens, and musicians from Drum,
a magazine that was extremely popular in the 1950s, integrating them into
contemporary
fashion styles (Nuttall, 2004: 436) Various emblems and prints depict
Steve Biko and shebeen queens have enabled a blend of traditional design,
South
African history and modern urban design, which is projected at “an
expressly
cosmopolitan target audience” (Nuttall, 2004: 436). For this unique blend
of design,
Stoned Cherrie has been hailed as “a true South African brand” by the
Programme Director of the South African Fashion Week, Dion Chang (2005).
In terms of business development, whilst Nkensani believes that black
economic
empowerment must be a central feature of the Stoned Cherrie business
strategy, the core criteria for employment is level of skill rather than
racial considerations.
This approach is emphasized by Nkensani’s philosophy that ‘being
African is not about being black’. Indeed, until recently, one of the
major designers
employed at Stoned Cherrie was a white woman (Cameron, 2004). All
production
of Stoned Cherrie clothing is outsourced to local manufacturers either in
The domestic high income South African market is the core of Stoned
Cherrie’s
current business. Currently, Stoned Cherrie does not export its products.
Nkensani
has taken the strategic decision to first build the enterprise and brand
with a solid
foundation in the South African market. Future planning for Stoned Cherrie
does
include potential initiatives to market their goods, particularly in Japan
grow their market, both locally and internationally, as well as to
diversify into the
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