CHLOE ANDREA WELGEMOED
If you’ve encountered a meticulously crafted Thebe Magugu image, with figures and objects placed with intention, you’ve likely experienced the work of Chloe Andrea Welgemoed. As a stylist and art director based between South Africa and London, her journey began amidst the random rhythm of life’s encounters. Immersed in the dance of creativity, Welgemoed found her true calling on set, using styling and art direction to communicate through fashion, weaving tales and spreading joy. Her art shines brightly, a beacon of hope in turbulent times. Chloe’s path is a testament: from uncertainty to destiny, proving that dreams can indeed come true.
How would you describe yourself to anyone who has never seen or heard of you?
I would say that I have a deep love for South African design and creativity. I avidly follow anyone contributing to the country’s progress, striving to build a new reference point for moving forward – being a part of that growth is exciting. I’m always looking for new ways to express my creativity and what that means; I like to follow other people that do the same.
You started your career in textile printing and garment manufacturing before transitioning to online retail, eventually becoming a renowned stylist and art director. Can you share a pivotal moment in your career that significantly shaped your professional path?
After finishing my graphic design studies at Vega, where I initially focused on animation, I found myself unsure of what to do next. I always loved fashion but knew little about styling or how to break into the industry. By chance, I met with Crystal Birch, who was dating a friend of my boyfriend at the time and she invited me on a shoot she had the next day. I was in love with the creativity and the idea that I could make images as a means of communication and get paid to do it.
Watching a story captured through a single image confirmed that this was it for me. Determined to pursue styling, I approached Boss Models and offered to do all their test shoots for free. I had no money, but I hustled to make as many images as I could. I soon caught the attention of photographers Justin Polkey and Jacques Weyers, who helped launch my career. My first major job was an advertorial for Cosmopolitan magazine and Absolut Vodka.
After a whimsical amount of stress, the shoot ended with the crew giving me a standing ovation. As this progressed, I realized that fashion and image-making are powerful tools for communication, offering hope. I think in these tumultuous times, it’s exciting to contribute something positive and to create communities around it.
“Embracing and discussing heritage is essential to redefining narratives and imagery which we have the power to create.”
You have collaborated with high-profile brands and creatives like Thebe Magugu and Nadine Ijewere. Can you describe your creative process when working on a project, especially how you integrate different artistic elements to create a cohesive and impactful narrative?
Working with people you like and resonate with is the most important thing, it’s how we build communities around us. When working with Nadine Ijewere, she pointed out that my role was more than just styling; I was already planning every detail of the shots, from garments to backgrounds and photoshopping them into a shot list. Most stylists essentially function as art directors; we generate ideas, choose models, makeup, and even find locations and props. For me, transitioning from styling to art direction was natural and it’s become a big part of who I am as an artist. I spend a lot of time researching and talking to people.
While working with Thebe Magugu, we built worlds based on narratives that resonated with him and also used parts of our mutual upbringings to influence this. In any creative endeavor, thorough research and respect for the stories being told are essential. This approach ensures narratives are conveyed accurately and respectfully. This exposure to different cultures has profoundly shaped my work. I’ve been fortunate enough to be welcomed into various communities, allowing me to participate in their stories. Many South African households share familiar items like ceramic dogs or plastic flowers with water droplets, symbols that evoke strong cultural memories – it’s why I have those flowers on my website, those flowers represent pride and it’s beautiful to me.
People are eager to define themselves within an African context and this process is incredibly exciting for me. South Africa’s tumultuous history has driven innovation and a quest for identity. Even in Europe, Thebe and I faced resistance because our references to home were misunderstood. However, creating these stories is crucial. Embracing and discussing heritage is essential to redefining narratives and imagery which we have the power to create.
“Set realistic goals and give yourself a chance to get there; use the people around you to lift you up and most importantly, back yourself.”
Your projects, such as the film “Banyoloyi a Bosigo,” involve a great deal of emotional and energetic investment. What drives your passion for storytelling through fashion and art, and how do you sustain that passion in the face of challenges and setbacks?
Banyoloyi Bosigo was one of the most defining moments of my career. The day before the shoot, I was hijacked and lost a lot of valuable items, which was a big personal blow. The car was filled with weapons like Pangas, Knuckle dusters, foam knives and Thebe’s Sunday Best boots from Italy. Despite the challenges we faced in piecing it all back together, Thebe and I completed the shoot because of the story and what it means. It’s about two women from different tribes falling in love and this needed to be told because of the homophobia many queer people face in many African cultures still today. The shoot was emotionally intense and physically demanding, with a tight budget and limited resources. I remember cutting thorns off roses for a shot with nuns’ habits, our hands bleeding. After the last shot, I sat alone on a blue cooler box and cried, realizing the impact our 15-minute film could make. This experience hit me hard on why I choose to do this daily, it’s my way of communicating with the world, it’s a calling.
Creating meaningful work can be financially challenging, as magazines often lack the budgets to cover costs, and image makers aren’t taught how to manage money. We should speak more about money and start workshopping. We are all running our own businesses and that’s tough no matter which way you look at it.
I started an Instagram account called South Africans in South Africa, inspired by similar accounts from other major cities. It features spontaneous street style photos, showcasing the unique way South Africans dress. It’s still growing, but it’s important to highlight. On a trip to Paris, I met Maripol, a remarkable woman responsible for Grace Jones and Madonna’s iconic looks. She took photographs of everyone she worked with, inspiring me to document my processes more. We’re at a pivotal time in South African culture, with so much creativity happening, documenting these moments, even on a phone, is essential. There’s an energy here, a desire to push boundaries and create. So, I’m focusing on capturing fittings and behind-the-scenes moments to preserve and celebrate this vibrant culture. Please do the same and send any images to @southafricansinsouthafrica on instagram.
You’ve mentioned using fashion as a tool to create conversations around pressing topics. Can you elaborate on a specific project where you successfully sparked dialogue and brought people together through your work, and what impact did it have on the community involved?
Working with Wanda Lephoto was a significant moment in my career. During our early shoots and campaigns, we had long discussions about how colonization affected fashion, bringing together our different backgrounds and perspectives. For instance, my father’s naval hat from his time in Simon’s Town is similarly worn in ZCC church attire and Wanda has spent much time documenting and researching these stories – which is mad inspiring. We also explored the Scottish connection to Kenya and how the tartan and Maasai blankets have similarities and why. This kind of research is crucial for understanding and defining these historical intersections.
What is a quotable you live by?
Spend time getting to know yourself and what makes you happy. Life is often spent comparing yourself to other people or situations. Set realistic goals and give yourself a chance to get there, use the people around you to lift you up and most importantly, back yourself.
