Skhothane Culture: Fashion and The Hood

I recently explored Skhothane culture in a video, questioning whether its decline might serve as an economic indicator. The conversation sparked mixed reactions, with many accusing me of romanticizing a subculture often viewed as wasteful. However, Skhothane culture represents more than ostentatious displays of wealth; it encapsulates a crucial history lesson about Black South African township life and economic history.

What Is Skhothane Culture?

'Skhothane' is derived from the Zulu word *ukukhotha* (to lick). I’m not sure where the correlation between licking and boasting comes from, but sharp. Literally, *ukukhotha* means "to lick," but figuratively, it means "to boast." The Zulu language is full of interesting sayings. My mom could probably explain why the correlation between boasting and licking was drawn in the first place—she’s my go-to source for everything Soweto or Black South African, for that matter.

The etymology of Skhothane reminds me of sidlukotini (directly translated, it means "we eat cotton" or "we are eating cotton"), which similarly reflects opulence, with "cotton" symbolizing expensive clothing.

Skhothane culture emerged in the townships, where young people displayed their affluence through Italian fashion, burning money, and sometimes even vandalizing streets with Ultra Mel custard. These theatrical acts might seem wasteful or shocking, but they reflect a time when Black South Africans began to access disposable income. Unfortunately, as the economy worsens, even these performances of wealth have dwindled. Skhothanes now use a single box of custard where they once used two—a small but telling detail about the financial strain in their communities.

Many critics argue that Skhothane culture should be forgotten due to its perceived extravagance. However, dismissing it as "ghetto" overlooks its socio-economic and political implications. Skhothane culture is a vibrant chapter in the historiography of township life, providing a lens through which we can examine the intersection of identity, class, and post-apartheid aspirations.

The Rise of Isbujwa

Isbujwa culture, often seen as a cousin to Skhothane, adds another layer to the rich tapestry of township subcultures. Rooted in sartorial excellence, Isbujwa emphasizes style, precision, and an unwavering commitment to clean, sharp aesthetics. Young people who embrace this culture pride themselves on their ability to dress immaculately in tailored suits, polished shoes, and accessories that exude sophistication. While Skhothane leaned into flamboyance and theatrical displays, Isbujwa is a quieter yet equally powerful assertion of identity and class.

Both cultures are rooted in the same socio-economic realities: a desire to claim dignity in a system that historically denied it. However, Isbujwa's approach leans toward a more understated opulence, showcasing a deep appreciation for the craftsmanship and heritage of the garments themselves. The popularity of Isbujwa also speaks to a generational shift, where self-expression through fashion evolves in response to changing economic and cultural dynamics.

A Mirror of Economic Realities

The decline of Skhothane culture aligns with increasing economic hardship in South Africa. Township youth who once burned money and drenched themselves in expensive alcohol are now scaling back these performances. This shift reflects broader economic pressures and dwindling opportunities for Black South Africans to achieve upward mobility. Skhothane culture, in its heyday, was not just about frivolity—it was a defiant reclamation of dignity in a system that had historically denied it. Its decline is a sobering reminder of the persistent inequalities within our society.

Moving Beyond Condescension

Dismissing Skhothane culture without analyzing its context is both elitist and reductive. While some criticisms of the culture are valid, we must approach it with nuance. It is not simply a spectacle but a reflection of the socio-economic realities faced by township communities. Similarly, Isbujwa reminds us of the township’s capacity to innovate and redefine identity in the face of adversity. To bury these histories is to erase vital narratives of post-apartheid identity and resistance.

This article is just the beginning. Future pieces will delve into the fashion and music that define Skhothane and Isbujwa cultures, continuing to celebrate and critique these fascinating chapters of South African life. For now, let’s recognize the importance of studying and preserving these cultures—not as "crazes" but as enduring testaments to the resilience and creativity of township youth.