Ntloko Reflects on New Opportunities for Young Creatives in South Africa

Born in Ngwane, Willowvale, and trained in textile design at Nelson Mandela University, Ntloko has built a distinct visual language rooted in preserving isiXhosa heritage through contemporary design.

Since launching his studio in 2019, he has collaborated with major brands, rebranded Warner Music Africa, released fashion and homeware collections, and built a growing audience of collectors and supporters.

But beyond the collaborations and exhibitions lies a broader conversation about what it means to be young and creative in South Africa today.

A generation of access and abundance

For Ntloko, today’s young creatives have opportunities previous generations could only imagine.

"I think we live in an era of abundance and access," he says. "There is abundance in different ways in which you can make it and we have access to information and knowledge if someone is interested in learning how to navigate this information industry."

Yet greater access has also brought greater competition.

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"I think we live in an era where it's harder to make it now than it was before," he explains. "People often say social media should make things easier, but I think you have to work twenty times harder today to achieve things people years ago could get through a fraction of the effort."

He points to the fragmentation of audiences and communities in the digital age as a major shift.

"There isn't a single community anymore. There are different niches, and when you create your work, you have to accept the reality that you might be creating for a specific community. Superstars are no longer necessarily a thing."

Creativity as cultural preservation

Ntloko’s work consistently draws from isiXhosa heritage, language and the traditions of his upbringing — something he believes is increasingly important for younger generations.

"I think preserving cultural identity through creativity is important because we come from people who didn't necessarily document our culture," he says.

"A lot of it was lost over time. Creating work that preserves culture creates something that can be used as a point of reference by those who come after us."

His latest capsule collection, Iqhayiya Lomanyano, reflects on the nostalgia of childhood in township and village communities, celebrating the freedom, creativity and sense of community found in everyday street life.

Source: https://shop.masonwabentloko.com

That connection to culture has become central to his creative identity.

Growing up in Ngwane, Willowvale, shaped his perspective in ways he only fully understood later in life.

"When I was younger, I didn't think the work I create would be influenced by where I come from," he says. "But when I moved away, I started understanding myself creatively."

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He explains that many interactions during university highlighted how much knowledge and cultural understanding he had gained from his family and community.

"My work, in its essence, is work created to educate."

From Yogi Sip to Warner Music Africa

Ntloko officially launched his studio after winning the Yogi Sip competition, an opportunity that saw his designs distributed nationally.

"Seeing people buy a product with your work on it validates the ideas and dreams you have for yourself," he says. "It gave me confidence to continue building the Masonwabe Ntloko brand."

One of his most notable milestones came in 2022 when he collaborated with Warner Music Africa to rebrand the company.

"It was something I never thought would happen," he says. "I had worked with labels as a designer before, but I never thought my name would be next to a major label like Warner Music as a collaborator."

For him, the project represented more than a career opportunity.

"It became proof that the work we create is important — not just for us, but for the world."

Surprisingly, the project came with significant creative freedom.

"They trusted me because many people involved had already been following my work," he says. "The only brief was that I should be unapologetically myself."

Balancing art and business

While creativity often begins with passion, Ntloko believes long-term sustainability depends on understanding the business side of the industry.

"You learn as you go, but you have to be open to learning the business aspect," he says.

"The art and design industry is probably 90% business and 10% art."

He adds that for many young creatives, particularly Black creatives, financial sustainability cannot be separated from creative ambition.

"Most of us don't come from privileged backgrounds, so naturally you want the work you create to improve life not only for yourself but also for your family."

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Building for the future

Looking ahead, Ntloko hopes African creatives will eventually be viewed through the same lens as established global creative industries.

"I'd love for our work to be looked at with the same eyes that European work is looked at," he says.

"Our fashion should not be seen as costume, and our art shouldn't only be collected because people want something that looks 'deep'. It should be allowed to simply speak to people and exist authentically."

For young creatives trying to find their own path, his advice is direct.

"This thing isn't easy, but if you really want it, you have to fight for it," he says.

"Not everyone will see your vision, but if you believe the work you create is important enough, then keep going."

And even after years of success, he still approaches growth with humility.

"I always say I'm a 6.5 out of 10 artist and designer," he says. "Because I always want to improve — hopefully one day I'll get to ten."