001. This organization specializes in working with unemployed artists and craftspeople, providing them with opportunities for self-employment and economic upliftment and the ability to earn a sustainable living. They focus on working with some of the poorest communities in KwaZulu Natal and work with rural women, the youth, the disabled, unemployed and persons affected by HIV and AIDS. Their core purpose is to promote and preserve the creative efforts of artists and crafters, to better the quality of their lives and to ensure that they are able to earn a sustainable living from their creativity and craftsmanship.

002. The Zulu are recognized for their beadwork both locally and internationally. Although rich in natural beauty and heritage Kwa-Zulu Natal (situated on the east coast of South Africa) is plagued with unemployment and poverty. The women that make this jewellery range come from the surrounds of Durban and their work gives them a platform for their beadwork skills as well as a means to support themselves and their families. These beadmakers take traditional Zulu beadwork to new levels by combining traditional skill with contemporary designs, creating jewellery that delights the senses with their richness and colour. The group was founded in 1985 and the founder’s vision was to empower local women through the art of beadwork. This vision is now a reality as their work provides the women with a stable income and all the women have bank accounts and have learned the skills of how to manage their money. Many of the women currently with the group have been there since inception and a number of new women have joined the group over the years to meet the growing demand for the products.

003. The Zulu are recognized for their beadwork both locally and internationally. Although rich in natural beauty and heritage Kwa-Zulu Natal (situated on the east coast of South Africa) is plagued with unemployment and poverty. The women that make this jewellery range come from the surrounds of Durban and their work gives them a platform for their beadwork skills as well as a means to support themselves and their families. These beadmakers take traditional Zulu beadwork to new levels by combining traditional skill with contemporary designs, creating jewellery that delights the senses with their richness and colour. The group was founded in 1985 and the founder’s vision was to empower local women through the art of beadwork. This vision is now a reality as their work provides the women with a stable income and all the women have bank accounts and have learned the skills of how to manage their money. Many of the women currently with the group have been there since inception and a number of new women have joined the group over the years to meet the growing demand for the products.

004. This organization specializes in working with unemployed artists and craftspeople, providing them with opportunities for self-employment and economic upliftment and the ability to earn a sustainable living. They focus on working with some of the poorest communities in KwaZulu Natal and work with rural women, the youth, the disabled, unemployed and persons affected by HIV and AIDS. Their core purpose is to promote and preserve the creative efforts of artists and crafters, to better the quality of their lives and to ensure that they are able to earn a sustainable living from their creativity and craftsmanship.

005. This range is inspired by traditional Ndebele surface adornment (such as the colourful geometric wall murals) as well as beaded jewellery and neckrings that married Ndebele women wear. This young designer created these pieces as a result of her research in Cultural Studies, focusing on traditional Ndebele surface design and body adornment; and chose to work with felt as a medium with which to create wearable art. The range aims to create a future aesthetic which incorporates the traditional design elements of African body adornment while redefining the cultural barriers that certain traditional dress might create. The concept behind the range is to question cultural biases and our perception of what is ‘Foreign’ or ‘Alien’. The designer empowers women living in poverty by training them in high-end jewellery-making skills. This supplements their income and enables them to provide for their families.

006. Working with some pioneers of Africa such as artist Barbara Tyrrell, Photographer Jurgen Schaderburg, to traditional Shangaan women this company features the art works for African artists and photographers highlighting Africa’s vibrant life and culture and sharing their love of its people.

007. This small, very creative business is based at the foot of the mountains in a rural village in the Western Cape of South Africa, and specializes in creating unique high-end handmade products (in particular, chandeliers) using natural materials embellished with beads, crystals and other interesting pieces. Inspired by the forms and shapes of the Jacaranda seedpods which were lying on the streets of a nearby town which is graced by avenues of Jacaranda trees, the founder started experimenting with them and the magic began. Now, the seedpods are collected by local residents, then cleaned and processed in their workshop before being strung into exquisite chandeliers. This labour-intensive process creates more employment opportunities - desperately needed in this small rural community.

008. This small, very creative business is based at the foot of the mountains in a rural village in the Western Cape of South Africa, and specializes in creating unique high-end handmade products. Hand-painted Kaftans and tops, cut for a loose fit, are perfect for hot summers, and grace any figure, anywhere, anytime. Together with local ladies from the village, the Kaftans and tops are made in their studio, using a high quality woven viscose, 100 % natural fibre. All their motifs are inspired by natural and ethnic designs, and painted by the team who are well-trained and highly-skilled. The fabric paintings are permanently heat sealed and fully machine washable.

009. Situated in KwaZulu Natal, this business has, since 1997, been producing and marketing a range beautiful, innovative, uniquely African gifts made by teams of local South African and African crafters working in the urban areas. These crafters have many years experience in their specific traditional forms of African arts and crafts and are able to produce beautiful, complex, unique designs using galvanized wire and glass beads. Connecting buyers to local African crafters, their vision is to form partnerships with communities of crafters, encouraging them to express their creativity by marrying contemporary design and traditional craft in an environment that supports a sustainable income for talented local artists and their famililes. Currently, about 50 women and 30 men work in a variety of mediums to produce a wide range of quality handmade gifts. Their crafters work from their homes, which enables them to combine the craft work with their normal routines eg looking after children, cooking, tending crops and other daily chores.

010. A social enterprise based in Swaziland, Southern Africa was founded in 1991 by a woman who wished to follow her passion of creating batiks, as well as offering sustainable work opportunities for women. Since then, this vision has evolved into a thriving enterprise employing 35 artisans full time. To foster a nurturing work environment, they follow core values of transparency, accountability and TEAM. Team stands for Together Everyone Achieves More, which the consider the key to their success.  Their vision is to be a leading example, in Swaziland and beyond, of a social enterprise using thought leadership and innovation to empower women and develop the batik art form. They also focus on LAUGHTER and LOVE; believing that every person needs a safe space where they can share stories, laugh together, and care for each other.

011. This small, very creative business is based at the foot of the mountains in a rural village in the Western Cape of South Africa, and specializes in creating unique high-end handmade products (in particular, chandeliers) using natural materials embellished with beads, crystals and other interesting pieces. Inspired by the forms and shapes of the Jacaranda seedpods which were lying on the streets of a nearby town which is graced by avenues of Jacaranda trees, the founder started experimenting with them and the magic began. Now, the seedpods are collected by local residents, then cleaned and processed in their workshop before being strung into exquisite chandeliers. This labour-intensive process creates more employment opportunities - desperately needed in this small rural community.

012. Charles is a talented crafts person from Uganda who had been working with horns, making buttons for a supplier in Italy for many years. He also produced handles for shaving brushes and trophies. When he met with Corinne - a French woman married to a Humanitarian Aid worker - his path would change. Having lived in numerous countries such as Haiti, Ethiopia, Djibouti, Pakistan, Afghanistan, and the DRC; Corinne, who loves art and is curious about people and what they do, identified his talent and started to work with him updating designs and adding a wonderful jewellery range to his repertoire.

013. Creative talent, a strong design background, advertising experience and world travels are the driving force behind this business's energy. Cape Town based and inspired by nature, these hand-made pieces are distinctive and unique, designed with an independent woman in mind – someone who is confident in her own style. Set in unique combinations of materials, this jewellery constantly pushes the boundaries of conventional jewellery design to create imaginative pieceswithout compromising on quality and craftsmanship. The designer's obsession with creating ‘something from nothing’ has made her collection an eclectic mix of materials and could be anything from bone and resin, silver and semi-precious stones to a shell collected on a beach stroll, which are then set in unique combinations for once-off designs. Although the ultimate in modernity there is something reminiscent of the jewellery, that allows women to accent their look with unexpected style.

014. This necklace is made from a seed commonly known as the African Dream Herb or Snuff Box Sea Bean, which is found on the east and Southern African beaches having grown on river and estuary banks in swamp forests. They have a thick and durable seed coat which allows them to survive lengthy periods of immersion in seawater. The species is employed in African traditional medicine to induce vivid dreams, enabling communication with the spirit world. The inner meat of the seed would be either consumed directly; or chopped, dried, mixed with other herbs like tobacco and smoked just before sleep to induce the desired dreams.

015. Part of an exclusive collection made especially for piece by Master Beader Beauty.

016. One-of-a-kind - part of an exclusive collection made especially for piece by Master Beader Beauty.

017. This organization specializes in working with unemployed artists and craftspeople, providing them with opportunities for self-employment and economic upliftment and the ability to earn a sustainable living. They focus on working with some of the poorest communities in KwaZulu Natal and work with rural women, the youth, the disabled, unemployed and persons affected by HIV and AIDS. Their core purpose is to promote and preserve the creative efforts of artists and crafters, to better the quality of their lives and to ensure that they are able to earn a sustainable living from their creativity and craftsmanship.

018. Among the hills of Msinga - one of South Africa’s poorest and most arid areas, lives a group of crafters who produce some extraordinary work in beads, copper wire, and recently gold and sterling silver. There are few families who have no experience of violence, AIDS and the deadly mulit-drug-resistant form of TB. Crafters mainly work from home, sharing loss as well as laughter. Some are innovators, some are plodders but most are still bound by tribal tradition. Each woman specializes in different items. Some are needlewomen making jewellery, others work with fine gauge industrial copper wire making items such as woven beaded eggs, bangles and different kinds of bowls. Both beadwork and wirework are traditional crafts – the wirework in particular, being a link with a decorative tradition that goes back almost 1000 years. In many instances, the crafters are the breadwinners in their families, and they support many livelihoods. Almost half of the crafters are widows, observing their three year mourning period by wearing black, grey or white – a colour denoting their status and setting them apart at social events. Even in good times it is more than work – it is an expression of the spirit, a hope for happiness and their products have certainly brought happiness to many people across the globe.

019. This Cape Town based designer has loved sewing and making things since childhood, and is always creating something. She travelled the world after completing a degree in Home Economics at the University of Stellenbosch. Living in Germany for several years gave her ample opportunity to hone her skills in various crafts. She is a button fanatic and is forever finding new ways to create jewellery and accessories, using some of her thousands of buttons which she avidly collects and has a dedicated crafter who producer the products for her.

020. This Cape Town-based dye house and design studio specialises in South African wool and mohair.  After an MBA at Insead, a stint at Luis Vuitton Moet Hennessy in Paris, and a successful career as a strategy consultant, this entrepreneur returned to Cape Town and took up knitting again; experimenting with texture, patterns and colour. Frustrated at not being able to find suitable wool locally, she decided to start spinning and dyeing her own; and these products are the result.

021. This Cape Town based design studio and production house creates handmade handbags and accessories using soft, natural and exotic leathers. In 2008 when the designer embarked on her career in fashion design, she was inspired by the texture of ostrich leather and the tactile elegance of crocodile skin and saw the potential to work with them. Surprised by how difficult it was to find accessories that utilized natural and exotic leathers she created her own bespoke range of affordable and aspirational luxury leather accessories and this is how the business began. The crocodile cuffs are made from farmed crocodile and the skins are sourced from credible and responsible farmers.

022. Inspired by the history, skill, and aesthetics of the Zulu women’s work; and informed by international fashion trends; this brand that takes the essence of Africanism and re-imagines it; shifting the traditional to the fashionable with playful and trendy twists. Elements of possibility and luck form as much a part of the process, as the skill and detail that goes into the design.

023. Daan lives on the west coast of South Africa in a small fishing village and is surrounded unspoiled beaches, prolific birdlife and beautiful nature. His passion is wood and creating handmade wooden birds. He walks on the beach daily to gather driftwood. When asked about why he made the birds his reply (in a VERY broad accent) was, "Elke keer as ek op die strand loop sien ek die voeltjies en hulle is ALTYD doenig. En hulle is altyd gelukkig. En hulle leer vir my dat as ek doenig is sal ek gelukkig wees!“ (When I walk on the beach, I always see the birds and they are always busy and they are always happy. Their lesson to me is if you want to be happy you must keep busy!”) And Daan walks this talk as he keeps busy making the birds and is always upbeat.

024. Established in Cape Town, since 1998 by a wonderful French woman, this company specialises in jewellery which is inspired by contemporary African bead work, organic elements available in that part of the world, and global fashion trends. The creativity is endless , the products appealing and have a humour of their own. They are produced by women from a local informal settlement who have been trained by the designer and this enables them to take care of themselves and their families.

025. Established in Cape Town, since 1998 by a wonderful French woman, this company specialises in jewellery which is inspired by contemporary African bead work, organic elements available in that part of the world, and global fashion trends. The creativity is endless , the products appealing and have a humour of their own. They are produced by women from a local informal settlement who have been trained by the designer and this enables them to take care of themselves and their families.

026. These bright necklaces are made by a Shangaan woman who comes to Johannesburg in the mielie season to sell her wares, which she cooks on a coal brazier made from an old drum. The Shangaan traditional attire is easily recognizable because of the bright colourful wraps which are worn across the body.

027. This contemporary range of jewellery is uniquely designed using industrial metals and is both contemporary and timeless. This jewellery artist /designer is passionate about steel, semi-precious and precious metals and incorporates additional materials such as rubber, wood, ceramic and acrylic in the items that she creates.

028. A self-help, income generation and skills development initiative amongst women living in the deep rural hamlet of Ingwavuma in the Lebombo Mountains in ZwaZulu Natal, this group supplies high quality, artistic greeting cards, picture frames and clothing. Begun with 27 members in September 2001, it has now grown to include more than 400 members. With a dynamic vision for the future, this is an exciting and inspirational development initiative; and the dedication, talent and social and emotional connectedness amongst the members is impressive. Focused around a small cluster of shops and amenities, the settlement lies scattered over a 60km radius and supports around 120 000 inhabitants. Poverty is deeply rooted, and social problems like alcoholism and teenage pregnancy and HIV infection are widespread. This organisation operates as a business enterprise, with annually-audited financial statements. Each day’s work is powered by their aims to: create beautiful products to a consistently high standard, encourage one another to have hope and a vision for the future, actively support vulnerable persons amongst them, and raise awareness of HIV\/AIDS and encourage positive living.

029. Each vessel is handmade from 100% pure cotton rope and are coil sewn and are coated with bees wax for protection. Every vessel is unique and has slight variations from each other, and is made with love in Cape Town.

030. Founded in 1990 as a ministry of the local methodist church, as a response to the then Minister’s conviction that the church needed to play their part in the emerging HIV pandemic, this income generation project helps those in need regain Hope and Dignity by getting them to use their creativity to earn an income. At present, the organisation acts as an agent for over 300 crafters. As the HIV/AIDS pandemic increases more families are turning to them for help, and recieve training in different crafts. The goods are marketed and sales support is provided. The project has proven that with the right care and access to medication lives can be turned around. They have found that economic empowerment is one of the most important factors in fighting this pandemic because as it gives the crafters the opportunity to look to the future. In doing so they take ownership of their disease and have something to live for. The health benefits of this alone can never be underestimated.

031. Situated in a seaside town in the Western Cape, these talented producers use their talent and training to produce unique ceramic pieces which reflect Southern African culture. It is a small team which pays attention to detail, makes good use of their fine hand skills and take a great sense of pride in their work. Each piece is individually crafted and no two are alike. They make their own clay and most pieces are made from slabs using a slab roller and are fired in electric kilns for both bisque and glaze firings - up to 1260 degrees centigrade. Because of the size of the team lead times are long and volumes are small, which make these products highly collectable.

032. Among the hills of Msinga - one of South Africa’s poorest and most arid areas, lives a group of crafters who produce some extraordinary work in beads, copper wire, and recently gold and sterling silver. There are few families who have no experience of violence, AIDS and the deadly mulit-drug-resistant form of TB. Crafters mainly work from home, sharing loss as well as laughter. Some are innovators, some are plodders but most are still bound by tribal tradition. Each woman specializes in different items. Some are needlewomen making jewellery, others work with fine gauge industrial copper wire making items such as woven beaded eggs, bangles and different kinds of bowls. Both beadwork and wirework are traditional crafts – the wirework in particular, being a link with a decorative tradition that goes back almost 1000 years. In many instances, the crafters are the breadwinners in their families, and they support many livelihoods. Almost half of the crafters are widows, observing their three year mourning period by wearing black, grey or white – a colour denoting their status and setting them apart at social events. Even in good times it is more than work – it is an expression of the spirit, a hope for happiness and their products have certainly brought happiness to many people across the globe.

033. A spin off from an NGO which was established in 2007 to work with marginalized youth and their families in Swaziland; the inspiration behind this group was an early widowed Mother who struggled to bring up her own children before going on to support her son in caring for hundreds of orphaned boys. A paralled was drawn between this woman and the women in Swaziland and the bead project was developed to provide flexible working opportunities, paying a fair wage and enabling each woman to provide for her family. Today it is a thriving small enterprise working with over 25 women from informal urban settlements who carefully and lovingly craft each accessory by hand. The women are constantly trained to combine their traditional skills with new techniques, fostering creativity and promoting skill sharing amongst them. Using Fair Trade principles the enterprise strives to create products that are beautifully unique and each piece is handcrafted from beginning to end by a woman and the varying colours and shapes embody and celebrates the very beauty of the handmade process, allowing each product to be as individual as their customer.

034. A spin off from an NGO which was established in 2007 to work with marginalized youth and their families in Swaziland; the inspiration behind this group was an early widowed Mother who struggled to bring up her own children before going on to support her son in caring for hundreds of orphaned boys. A paralled was drawn between this woman and the women in Swaziland and the bead project was developed to provide flexible working opportunities, paying a fair wage and enabling each woman to provide for her family. Today it is a thriving small enterprise working with over 25 women from informal urban settlements who carefully and lovingly craft each accessory by hand. The women are constantly trained to combine their traditional skills with new techniques, fostering creativity and promoting skill sharing amongst them. Using Fair Trade principles the enterprise strives to create products that are beautifully unique and each piece is handcrafted from beginning to end by a woman and the varying colours and shapes embody and celebrates the very beauty of the handmade process, allowing each product to be as individual as their customer.

035. This legendary business roots began in the 1970’s in a mud hut selling handmade clothes, accessories and anti-apartheid literature. As it grew, the founder was inspired to focus on hand-woven products and ventured into the mountains where the Lutindzi grass grows wild. Her vision was to give Swazi women independence, a voice and in 1992 this enterprise was founded with a vision to empower women in some of the most remote areas of Swaziland and has evolved into a handcraft company and design brand that uses creativity to ignite change on a community level. A role model in Social Enterprise and world class handcraft, while also addressing the wider community needs by running health and education programmes for their artisans and their communities they are now working with over 770 artisans in 53 communities across the country and selling those women’s products to retailers around the world.

036. This family owned business situated in North Eastern KwaZulu Natal (KZN) trades a range of African fibre products, beaded products and other locally produced handicrafts. It is best known for trading hand woven Zulu baskets made from Ilala Palm fibres, produced traditionally by women in the Zululand and Maputaland regions. They commission and buy handmade products from a range of communities in the region and either wholesale or retail the products through their own shop and is the largest wholesaler of hand-woven crafts in South Africa. It has played an important role in keeping handcraft skills alive in Northern KZN through an age where the local market for these products for home use has diminished to almost nothing. It also provides income generation opportunities for more than 2000 people in the predominantly rural region that has very few employment opportunities. Furthermore in supplying traditional Zulu handicrafts to overseas markets, they have played an important role in profiling South African products and cultural artefacts.

037. Majolandile Dyalvane, founder of IMISO Ceramics, was born 25 September 1978 in the small village of Ngobozana near Qobo-Qobo in the Eastern Cape. In 1996 he enrolled at Sivuyile Techincal College in Guglethu in Cape Town to study art, and graduated top of his class. In 1999 he was offered employment at the Potters Shop and Studio, painting ceramics. Due to exceptional work, he receieved a scholarship to further his studies at the Nelson Mandela Metropolitan University where he enrolled for a Ceramic Design couse, and graduated successfully Cum Laude, recieving a National Diploma in Ceramic Design in 2003. As a well-traveled designer, he prides himself as being South Africa and presetns it through his work at every opportunity. clay gives him the ability to create something beautiful, valuable and usable with four elements of life: Earth, Water, Air and Fire.

038. This South African wholesaler supplies a unique range of quality handicrafts and curios created in partnership with traditional craftsmen, women and rural workgroups. The designs are a result of collaborations with individual artisans and community based projects based in Southern Africa, and showcase the traditional skills from different areas. This partnership empowers the crafts people and makes a difference to their communities.Their focus is on quality, on delivery and on bringing new and different products to the marketplace – many of which have traditional roots, but are modified to meet the needs of a contemporary market.

039. Founded in 1987 as a non-profit development organisation committed to sustainable enterprise development in rural areas of South Africa, their current focus is on food and craft production. With 22 full-time employees, they directly work with between 3,000 and 5,000 rural people at any one time, towards an objective of creating sustainable and independent craft enterprises. They recognise that a common expectation by craft development organisations is that craft producers are expected to take on the roles of administrators, financial managers and marketers, and is focusing on the establishment of secondary co-operatives which will manage the marketing, administration and financial management on behalf of geographically selected primary craft co-operatives, the latter being the craft producer groups. An initiative to address the challenges of transport in rural areas is currently being developed. Their activities include product development and basic business skills training, ensuring fair trade and promoting environmental responsibility.

040. On the southern tip of Africa lies the town of Oudtshoorn, the ostrich capital of the world – where these majestic flightless birds have roamed the plains of this beautiful Klein Karoo district for centuries. This arid, sunny environment is also the home of the world's foremost producer of ostrich related products, since 1945. They supply more than 65% of all ostrich meat, leather, feathers and egg shell products found on international markets. The company is also a leader in the game leather industry of South Africa, and they are excited and passionate about ostrich products and wish to share this majestic bird's natural beauty and exquisite qualities. They cater for world class markets in fashion and personal wear. Their collection of products includes handmade and delicately precision-crafted fashion accessories, interior decorations, gifts and curios at affordable prices.

041. In 2006 this company grew to include mentoring a group of women who were part of a self-help initiative creating employment for women in Soweto. The accessories and jewellery (created using old buttons) are specifically designed using low tech methods so that the women can work from home in their own time and thereby avoid an expensive and time consuming work commute. There are presently six women employed more or less on a full-time basis, and several small studio manufacturers have, or are currently using the group to manufacture their products. The organisation has successfully marketed the products to the UK, US, Japan, and Switzerland. The company also acts as an intermediate between small studio manufacturers and export clients to collate and expedite orders for the export market. More recently, they have been working on collaboration with various designers to bring different products into their offering

042. This luxurious and elegant collection of shawls, scarves and throws uses the finest and purest quality of pure kid mohair; embodying love and soft femininity. All yarn is sourced from the Karoo and spun in the designer's hometown of Port Elizabeth. Each exquisite knitwear piece is made in Cape Town by local knitters and factories and handfinished in a studio there. Embodying a passion for design and respect for the natural world, this designer was nominated as one of the Top 5 Rising Stars for 2013 by House and Leisure magazine, and has showcased her collection at the Cape Town Design Indaba.

043. Specialising in both traditional and contemporary Ndebele Beadwork, all their beadworkers are rural Ndebele women who live mostly in remote areas where there are very few job opportunities. This commercial outlet has enabled more than 70 Ndebele women from very poor economic circumstances to earn an independent income. The Ndebele are one of the smallest tribes in South Africa, and the women are of the most colourful and distinctive in their dress and adornment. The beadwork worn during the different life stages indicates the individual’s status within the community at any given time. Beadwork is one of the oldest and most elemental of the decorative arts, and in terms of colour and design, there are few other crafts that compare with the beadwork of the Ndebele women. The Ndebele share the same Nguni roots as the Zulu, but split from the original tribe in the sixteenth century as a result of rivalry over chieftainships. Displaced and dispersed several times, through tribal fights and later, the opportunistic interests of the apartheid government, the Ndebele people were finally settled in a remote and bare place that became known as KwaNdebele – the place of the Ndebele. The women of the Ndzundza clan (known as the Southern Ndebele) are the practitioners of the remarkable mural painting and exquisite bead work for which the Ndebele are renowned. The social structure is patriarchal and the females have a very limited status within the community. These Ndebele women work individually from their homes in rural KwaNdebele, and in doing so are able to care for their children and retain their traditional lifestyles at the same time.

044. Cabbage and pumpkin in felt

045. A small family run business based on their farm overlooking the beautiful bays of Vleeisbaai and Canon on the eastern coastline of South Africa, uses natural texture and shapes, combined with the latest materials and technology, to design and manufacture unique high quality ostrich egg-related products for a discerning audience. Ostrich eggs are as unique as our finger prints, with genetic codes inprinted on the rough texture of every egg giving the parents direct information to their own eggs. They use these textured designs to enhance the natural beauty of each and every egg to produce items that can never be duplicated.

046. Ostrich eggshell bead making is a 40 000 year-old tradition according to archaeological studies. Bushmen living in Namibia today are still making beads much the same way as their ancestors did thousands of years ago. The beads were fashioned into simple pieces of body adornment and exchanged as gifts by the original hunter-gatherers who roamed Southern Africa. Today, however, the making of ostrich eggshell jewellery is an important source of income for several Ju/’hoansi and !Kung communities in Namibia. The shards of ostrich eggs (sourced from commercial ostrich farms) are broken into tiny pieces. Each piece is rounded by chipping the edges with a piece of metal or nail clippers. The beads are sometimes placed into tiny holes carved into a block of wood or onto a stone or piece of leather. Holes are drilled using a handmade tool – usually a sharpened piece of metal attached to a long wooden stick. The stick is then rolled between the palms of the hands to create a twisting movement that etches into the ostrich eggshell bead. The beads are strung on a piece of sinew and then the edges further smoothed using hide or a grinding stone. Ostrich eggshell jewellery is worn during cultural dances but has mostly been replaced with glass beads. These bracelets, made from recycled PVC, are traditionally worn by the Ovahimba people in the Kunene region but it is not unusual to see people wearing them in the North Central, Kavango and Zambezi regions as well. The Ovahimba are semi-nomadic pastoralists, and like semi-nomadic tribes the world over, they love to adorn themselves both for aesthetic purposes and to denote age set and marital status. Fashions change depending on what materials can be sourced and it is not uncommon to find brass (from mortar casings discarded by the military), zips, thumbtacks and the plastic from shampoo bottles integrated into the jewellery. One theory suggests that the PVC piping replaced horn and ivory. It is, however, more likely a case of creative recycling when building development increased in this remote region. The recycled pipe is cut into shape and the design etched into the plastic. Various patinas exist naturally or are added by burying the PVC or colouring the designs with natural ochre and fat or commercial paints. The PVC is then heated and shaped into the bracelet.

047. A small private family business established in 1985 produces a range of ceramic products which are inspired by the environment, architecture, landscape and nature. The complement of seventy dedicated staff collectively brings ideas to life through quality item-by-item limited quality manufacturing. The product team comprises assemblers, finishers, mould makers, sprayers, technicians, turners and various other contributory occupations. This small business has grown over the years providing training and expertise to the team enabling them to share their gifts and talents with the world.

048. Designed and crafted in Cape Town, South Africa, this range of jewellery is inspired by the intimate relationship  women have with jewellery; and made by a team of brave women who are inspired by making bold jewellery for other brave women. If this brand was a person, she would have a wicked sense of humour, a strong yet inspired presence. Kind, wise eyes that speak of many journeys through exotic lands. She would smell the way jasmine smells in Johannesburg at the end of winter -promising spring. She would taste of pomegranates from Granada and rose syrup from Morrocco.

049. A fine arts graduate started her business at the turn of the century as a dream to create beautiful and unique products and to grow the prominence of the South African design sector globally. The studio at the foot of Table Mountain, was the first of its kind in developing hide leather manufacture in Cape Town, and has been creating meaningful employment and training dedicated artisans since its inception. The passion of the artisans continues to inspire their clients, and is the foundation of the business’s ongoing evolution and success. It is the people who make the business what it is. From humble beginnings when the business was conceptualized and started in the spare room of a rented apartment to the design and manufacture studio they have today, the focus has always been Africa and its people. They are determined to keep the dying skill of handcrafting at the forefront of economic empowerment, and it is the skill and dedication of the artisans that the company is invested in as their contribution. To grow this family and brand they strive to provide products and service that are globally competitive and in line with fair trade principals. Their belief in the beauty, resilience and dedication of Africa and its people is translated into a product that exemplifies all these amazing attributes. A happy, productive and evolving environment that is respectful of the people in our lives, of the community we are part of, of the planet we live in and the impact we have on it.

050. Origins of telephone wire basketry is traced back to the Zulu watchman in the urban areas who wove scraps of coloured and wire around their traditional sticks. As with other craft traditions, these objects soon became more intricate in design and this technique was applied to the making of beer pot covers (izimbenge),which were traditionally woven from palm or grass. Today an even greater variety in technique exists, in this instance individual expression has extended to the making of larger wire bowls and baskets (ukhamba) with an incredible variety in shape and colour. In the northern part of Kwazulu Natal, lies a farm which borders on tribal land in an area which is steeped in history and culture. The people in the area survive on subsistence farming, money sent down from the cities by the few migrant workers who are still able to find work, and on government grants and pensions. Unemployment in this area is put at close to 80%. In 1996 a local farmer decided to take action to restore hope and pride to the people through using their traditional skills to manufacture crafts at home with a specific focus on men and youth. The skill of telephone wire weaving was taught and currently over 700 people have been taught this marketable skill. The baskets that are produced are sold all over the world spreading the message of the potential and creativity which South Africa has in abundance. Not all the weavers are active on a full time basis – some produce in order to get enough money to get them to the cities to find work. In addition, crops and livestock take precedence and when it is time to harvest this comes first. However many have grabbed this opportunity and besides supporting their families on their handiwork, some are also using their skill to gather enough money to pay lobola (bride price) which usually requires an initial payment of at least two head of cattle. Some of the older boys are using this money to pay for education. Their lives have been enriched through their hand skills and creativity and their baskets have been taken all over the world. In addition, this old Zulu tradition has been kept alive. The growth in demand for these products has impacted on the wire manufacturers who are now manufacturing wire coated in fashion colours to meet market trends - an interesting example of how the growth of one sector can influence another.

051. This design studio based in Plettenberg Bay produces beautifully made cast sculptural and textural concrete products. Adding a unique design aesthetic to an otherwise industrial material, the design approach is simplicity in form and function, remaining true to the material. There is a definite sense of crafted detail and a considered finish in the work, which makes meaningful connections with people.

052. This group’s founder worked in the apartheid era 'homelands' with children suffering from disabilities, but found that most were also experiencing severe malnutrition, as their parents could not provide for them. Leaving the healthcare field, she decided to launch a series of income generating activities for these parents; with this particualar initiative born in 2004, and aimed at giving disadvantaged South Africans a means to support themselves and their families. Since that time, more than one hundred women have worked with the project, earning enough money to put their children through school, build houses and keep food on the table. Currently 40 women from different cultural backgrounds work together to craft the groups’ innovative products. The artisans come into the workshop once or twice a week where they receive raw materials and instructions. To perform the craft work, they return to their homes, where they can look after their children and households and save money by not traveling every day.

053. Cape Town must surely be the most beautiful place on the planet and the team draws on this natural beauty that surrounds them, for inspiration. A long time ago, in a garage not so far away, two ex-advertising creatives decided they’ve had enough of the madness and took their fate into their own hands. Since then they have gone from one tiny trestle to a highly productive – and mostly organized – studio (above the garage, but still). They believe in doing things the good ol’ fashioned way – which means each and every design starts its life on a piece of paper where it gets the love and attention it deserves before it grows up to become part of their gorgeous range. They’re a small core team, who make use of two production teams, and as they grow, spread the love by empowering them to employ more and more people from the local communities. They love what they do and hope this always shows in the end result – and that when you take one of their pieces home it will give you as much pleasure as they had in creating it.

054. In the rural village in the vicinity of Upington in the Northern Cape, lives a skilled papier-mâché engineer, crafter and painter. In 2002 he started his own craft enterprise making funky fish, worms and other small objects. These are all made with wood and paper and filled with sand from the desert. Each is hand painted in striking colours and with a distinctive pattern. Their work has caught the imagination of many and these fish are gracing homes in far corners of the world.

055. Thabo Makhetha is a South African fashion designer specialising in women’s wear. She is best known for her pret-a-porter range of winter capes inspired and made from traditional Basotho blankets, known as Kobo by Thabo Makhetha. In 2012 whilst attending the Durban July, South Africa’s premier horse racing and fashion event, she was awarded Best Dressed Female. The event’s theme was Royalty and her Basotho blanket coat caught the attention of socialites, celebrities and fashion editors. Spurred by the media interest in the “blanket coat” she showcased a collection titled Kobo Ea Bohali (Blankets of Prestige) at the 2013 Design Indaba Expo in Cape Town and was soon hailed as one of the emerging creatives to look out for. Kobo by Thabo Makhetha features regularly in leading fashion magazines such as ELLE, Marie Claire, Grazia, and Women and Home (SA). Internationally her work has been covered in the New York Post (USA), Wall Street Journal (USA) and numerous fashion blogs. Thabo Makhetha has garnered numerous awards and accolades. In 2014 she made her runway debut at Vancouver Fashion Week in Canada, where she was praised for the quality and creativity of her work. She was listed as one of the Top 40 under 40 Business Leaders of 2014 by the Nelson Mandela Bay Business Chamber, and the Arts & Culture Trust of South Africa honoured her with the 2014 Impact Award for Design. In 2015 she showcased at South Africa Fashion Week for the first time and is sure to become a key feature of leading fashion events for years to come.

056. This organisation creates high quality, unique hand-crafted accessories using sustainable natural fibres. With a passion for excellence and respect for the earth, these remarkable women create beautiful handmade products centered around the use of Sisal. Their Signature Collection represents the finest woven sisal baskets and refined Sisal and Silver Jewellery, and is created by their most experienced Master Weavers and Silversmiths. Their Handcraft collection allows crafters to build their skills, and develop their creativity designing a range that includes jewellery, interior decoration accessories, and a fun kiddies range. Sisal Agave sisalensis is an invasive weed that grows throughout Swaziland and it is used to make cattle fences. Because it is an invasive exotic plant, it is ideal for craft production since harvesting does not threaten the country's natural biodiversity. This organisation centers on the use of sisal in the creation of all its refined handmade items. The preparation of the raw material involves little water and no chemicals. The dye pots are specially designed to use wood fuel to its fullest potential and the wood used is waste from a sawmill processing exotic timber. There is also a soak away to catch any minute bits of dye or vinegar that is used as a fixative. Their dyes are certified environmentally safe, and they are in the process of developing a range of organic dyes specifically for use in their jewellery. The method of dye is ” to exhaustion” which means that all the dye is used up in the process. All components used in the jewellery are nickel free. The wire used in the natural jewellery is made from silver plated wire around a copper core - a nickel free certificate is available. It is only natural for them to honour and respect the earth which provides the common weed sisal for the creation of these exquisite products. They do this through environmental programmes and continuous staff training.

057. Zulu people in the Elandsberg farm area - some 50km south of Dundee in the northern part of Kwazulu Natal - survive on subsistence farming, money sent down from the cities by the few migrant workers who are still able to find work, and on government grants and pensions. Unemployment in this area is put at close to 80%, resulting in a community of poverty and hopelessness. In an effort to help restore hope and pride to these people, an organisation was established to reach women, who are house bound as they have other chores to attend to such as fetching water, collecting firewood, tending to cattle and crops as well as seeing to the family needs. The idea of using their traditional skills to manufacture crafts at home in their spare time came about; and 2 traditional skills (grass work and beadwork) were identified as a starting point, expanding in time into sewing and stitching. Based in these traditional skills (which are dying out, with only a few of the older generation and the sangomas still acquainted with the techniques), new techniques are also learned. There are now close on 400 people who have been skilled in various beadwork techniques. Crafters vary from a regular core group, to crafters on the outer edge who produce irregularly depending on other commitments (e.g. the birth of a child, the building of an extra hut, the hoeing of crops). Some crafters have married and moved away and, sadly, some have passed away. AIDS is sadly a factor that is impacting on the lives of too many families. They have been involved in helping to build a crèche for the community, which they support in a small way financially, as well as with a feeding scheme - all is in line with keeping to the principles of using our hands to reach out to others less privileged than us.

058. Moved by the continuing poverty and plight of those disadvantaged by the apartheid legacy in the country with the added pandemic of HIV/Aids, further destabilizing communities in an alarming way a local Durban woman felt compelled to do something. With her deep love and appreciation for the aesthetic of South African cultures and having studied both Fashion Design and Fine Art and always worked in creative fields, she sought to establish a work environment that could be a source of creative pride and income for all. An auspicious coincidence led to the creation of the project in KwaZulu Natal, formed by this entrepreneur and a group of craftswomen in October 2006. What started originally as a project crafting and offering just three beadwork products, led to what is today a project offering over twenty-five products sold in South Africa, America, and Europe. The founder says she aspires and aims to empower the women involved in the Project by enhancing an African cultural integrity and humanity that finds greater expression through the manifestation of equal opportunity. Whilst beadwork is often historically viewed as a pavement or curio craft, the project aims to elevate this skill and thereby income, through design and other innovations, to be more in line with the level of master craftsmanship. Essential to this is a model that creates steady and sustainable income for all involved in the project. This requires continual innovation at the level of product development and the refining of key skills, introducing other jewellery making skills to create a more durable and desirable product to the global market. The project is based around the ethos of each craftsperson owning their individual creative process, nurturing and cultivating those skills, so that each bead worker becomes responsible for products they produce for bi-annual seasons. The number of orders received by each beader is often reflective in the quality and design of an individual beader’s work.

059. Moved by the continuing poverty and plight of those disadvantaged by the apartheid legacy in the country with the added pandemic of HIV/Aids, further destabilizing communities in an alarming way a local Durban woman felt compelled to do something. With her deep love and appreciation for the aesthetic of South African cultures and having studied both Fashion Design and Fine Art and always worked in creative fields, she sought to establish a work environment that could be a source of creative pride and income for all. An auspicious coincidence led to the creation of the project in KwaZulu Natal, formed by this entrepreneur and a group of craftswomen in October 2006. What started originally as a project crafting and offering just three beadwork products, led to what is today a project offering over twenty-five products sold in South Africa, America, and Europe. The founder says she aspires and aims to empower the women involved in the Project by enhancing an African cultural integrity and humanity that finds greater expression through the manifestation of equal opportunity. Whilst beadwork is often historically viewed as a pavement or curio craft, the project aims to elevate this skill and thereby income, through design and other innovations, to be more in line with the level of master craftsmanship. Essential to this is a model that creates steady and sustainable income for all involved in the project. This requires continual innovation at the level of product development and the refining of key skills, introducing other jewellery making skills to create a more durable and desirable product to the global market. The project is based around the ethos of each craftsperson owning their individual creative process, nurturing and cultivating those skills, so that each bead worker becomes responsible for products they produce for bi-annual seasons. The number of orders received by each beader is often reflective in the quality and design of an individual beader’s work.

060. The story of the Dlamini ceramics began in around 2001 when Trayci - then an established ceramic artist, enlisted the full time help of her husband Stuart to launch 'The Dlamini’s' - figurines named after their once part-time gardener who she took under her wing and tutored in the art of clay. Soon the studio expanded to employ and train 5 more members for the team whilst growing the ceramic studio range.  Taking the personality of the maker into consideration with her designs proved invaluable to Trayci, who combines an eclectic mix of African culture and cross-hatching of skills from each full time artist into what is a constantly evolving range of studio ceramics. Working as a team, each item is individually hand built; there is no mass production or moulding, so each piece brings with it a life and personality of its own. Together, this dynamic team have met the demands of both local and international standards with their range of collectable raku fired figurines and quirky designer tableware.

061. Designer Siska Schippers was born in Amsterdam and worked as a European gold and silversmith before deciding to make handmade resin jewellery, home decor, and gifts under the ZSISKA brand. ZSISKA jewellery is made of resin and can be combined with other high quality materials such as 24k gold leaf and pure silver leaf. After experimenting with different techniques ZSISKA found a way to make resin as clear as glass and very light in weight. These developed techniques resulted in jewellery that is easy and very pleasant to wear!  Moving to Thailand in the 1990s to further study the materials being used, Siska started to work with resin in a studio in Cha-Am, a small town two hours south of Bangkok, where she employed fourteen women. It took several years to get used to the resin; but the team learned to master the material, and ZSISKA has become an international brand. The small studio in Cha-am made place for a professional jewellery factory close to Cha-Am and now employs nearly 100 people. Siska still manages the design team and continues making inspiring and beautiful jewellery. The creative flair and artistic energy of the ZSISKA design team adds the perfect touch to all ZSISKA jewellery and accessories. (All fourteen women with whom Siska started the company still work for ZSISKA today. Most of their family members and children have also subsequently joined the company.) The inspiration of every collection is found in the wonderful diversity of cultures, art, nature, upcoming fashion trends and colours.  Strong and elegant women wear ZSISKA. Women who know what they want and who stand out in the crowd. Women you notice!

062. A ceramics high school art teacher from the eastern part of South Africa resigned from her teaching job in 2008 and established her small enterprise with a mission to help women who showed artistic talent, to learn ways to transform their talent into a better way of life. She finds her artists from a township near Kommetjie on the Cape Peninsula, south of Cape Town, and trains them in her nearby workshop. Each piece is individually made and painted allowing each artist to express themselves through their own designs and colours on these unique gifts. While there are many different designs in the Zizamele collection, the open arms of the African ladies on the ‘friendship bowl’ and ‘friendship tea light candle holder’ tell the story of providing each other strength by extending the hand of friendship