When I think of the visual articulation of South African fashion, design and art in the last decade – Gabrielle Kannemeyer is someone I always think of. The use of landscape and dress to tell a story has been Gabrielle’s principle language; and throughout her decade-long career, alternating the varying roles of stylist, creative and art director, producing has edified Gabrielle as preeminent creative force in South Africa; and now, her work as a full-time photographer is a culmination of this journey. This shift has been an organic process – and charts the course of what it means to be multi-disciplinarian, and an artist yielding the medium of fashion. When I say fashion, in the context of Gabrielle’s work, I don’t mean the expression of commodification or materialism; rather, fashion as an instrument of human-centric story-telling that can be seen across her work throughout the years.  Gabrielle Kannemeyer’s chameleonic ability only seems to refine and redirect – that is 21st century creative mastery.

Felt Jewellery

You have a background in fine art, could you talk about how this has informed your work beginning as a stylist and art director, and now as a photographer?
Working as a stylist developed my eye for the finer detail and really honed my approach to aesthetic image building. I often used clothing to build interesting silhouettes that I felt were quite sculptural in nature. As a creative director I conceptualised campaigns for designers and brands that communicated concise empowering sentiments through that very same visual language of layered simplicity. I majored in photography at art school so the tools I acquired at university have helped in many aspects in my career as a photographer, from technical ability to the research methodology, language and analytical approach I apply when conceptualising my personal projects.

Now that you’re a photographer full time, can you talk about how you transitioned to being behind the lens, and why this was a natural shift for you?
I worked for many years to develop and fortify my mind and eye through a multitude of experiences, disciplines and mediums. After art school It took time to build the skill, temperament and confidence that was necessary for me to feel empowered enough to take photographs professionally. Seeing women like Dana Scruggs, Nadine Ijewere, Vivian Sassen and Harley Weir behind the lens definitely inspired me to take the leap.

 I also think that my unconventionally hands on director-like approach to styling helped in making the transition smooth.

What are some of the things that you always consider when shooting / building an image and or series, and what tends to be your thematic concerns that you want to portray? 
I prioritise creating inclusive and safe spaces both in front of and behind the camera, as it’s a fundamental aspect of my work. I set the tone by remaining calm, positive, and focused. When it comes to themes, it depends on whether it’s an editorial, personal project, or commercial job. For commissioned commercial work, I must achieve specific objectives, and the images need to reflect the brief. In my personal and editorial work, I explore diverse themes, eschewing restrictions or boundaries, and continuing to learn from my constantly evolving work processes.

Can you talk about your vision for African / South African visual expression over the last decade until now, in your experience as someone who has honed in on many roles in creating images? 
Africa has always been a bastion of creativity and art, the epicentre, really. I’m fascinated by the wealth of talent present here. The last decade has witnessed the digitization and archiving of numerous masterpieces, making them available to the world. The online platform has expanded, allowing artists to reach wider audiences, and I’m excited about the possibilities that future creative industries may hold.

What are some of your favourite projects that you’ve photographed?
Over the past three years, I’ve had the privilege of shooting campaigns for some of the most recognizable brands globally. It’s been a full-circle moment for me to shoot campaigns for Adidas, a brand that previously provided life-changing opportunities for me as a young stylist and creative director. Travelling is a significant aspect of my work, and it’s one of my favourite things about my profession. Two unforgettable travel jobs were for shooting campaigns for Havana Club in Cuba and Daily Paper in Ghana.

Cuba Chicken Man

What does the rest of 2023 look or feel like to you?
I’m going to take a brief hiatus to focus on my new home as the season slowly winds down. I’ve been dying to make this house a home! Then I’ll be shifting focus to an ongoing personal project that’s been a year in the making. Come October, the season will be in full swing, then I’ll be shooting weird and wonderful projects for all my weird and wonderful clients.

Written by: Holly Beaton