Bee Diamonhead is an inimitable force in South Africa in fashion, and her power goes beyond image-creation and creative direction. As a commander of our burgeoning sartorial landscape, Bee continues to build African narratives while putting designers and creatives on the map – and in particular, creating spaces for her community of peers and emerging young black creators destined to pave the way for South Africa and the continent. With exceptional personal taste that oscillates between punk sentiments and continual studies on the art of being chic, Bee’s curatorial vision is an extension of her inner-world; and although with an extensive career behind her, I suspect this may just be the beginning for Bee’s worldwide viewpoint. Her work has reached Dazed & Confused, saw her as fashion editor at Marie Claire in the closing years of South Africa’s fashion media industry – with innumerable editorials, campaigns and commercials in between for both independent designers and brands like adidas and Puma – and last year when she spent months working in Accra (I lived for that BTS content on IG) creating Skate Nation Ghana for Facebook, I had the inexplicable understanding that Bee’s level is the blueprint. Also, her close kinship with the Bubblegum Club family is a testimony to the Joburg creative landscape as unmatched in the last decade.  

As a public figure, Bee is relatively private yet totally earnest, with a social media presence that speaks to the effortless congruence between herself – her lived being and experiences – and her work. With an outspoken commitment to rest for creatives as critical for maintaining the energetic flow of one’s creativity, to working independently from an agency for some time now – Bee Diamondhead is rare, a precious presence for the world. 

I had the opportunity to ask Bee some questions on her current thoughts and feelings;

You are one of the most prolific creative directors in the South African fashion landscape as well as on the continent. Starting out as a stylist, what has this evolving role meant for you?
I think the work that I do is quite multi-layered. The reality is that working in the South African creative market means you can reach the ceiling pretty quickly but still feel like you don’t have much to show for it in terms of being able to grow and push new boundaries. I want to grow as a creative, I want to grow as a collaborator and I want to make more money, so in order for all of that to be possible, I’ve had to pivot and I’ve done that a few times in my career – moving solidly from stylist to creative director has been one of these pivots. Its survival and self improvement.

I love your use of silhouettes, colour and the juxtaposition in the archives of your work – what are the aesthetic considerations you undertake in your process?
I like to have a narrative, a story full of colourful characters. I like images that dance and sing, that reflect my world in a beautiful way.

I know you are working independently from an agency, could you talk about the autonomy and freedom this has allowed for you?
I’ve always made sure I have freedom in my career, that I’m steering the ship. I don’t just go where I’m told, I like to think I’m moulding my career to one of integrity, one I can be proud of and work on projects that have some meaning and bring joy to me. Leaving agency life was just another step in that direction. I think the systems that have been built aren’t necessarily there to help us build strong fruitful careers, it’s kinda each man for himself. I couldn’t find an agency that felt like home so I’m building my own. And as an individual it’s important to have your own back.

Written by: Holly Bell Beaton