Designs feature some of her most recognisable works that riff on everything from traditional hairstyles to Nike logos and local currency. And bringing these cloths further to life, the artist has also created a zine depicting her muse swathed in these powerful prints as she leans against her fast car looking good, feeling delicious and being all kinds of free.

“The complex narrative around luxury and what that means in the context of Blackness makes sense for the person that I am. I don’t fall within the one percent, but I can look like it,” Nemakhavhani continues. “In trying to account for where this part of me comes from I remember Sunday mornings in Chiawelo. Going to church was mandatory. Dressing up for it, even more so. In preparation for Christmas and New Year’s gatherings with the family, our folks make sure we’re dressed to the nines. This is our tradition. We have so little, yet we are so much. And thus, we are ghetto fabulous.”

“This is a language I’ve learned and have understood outside of the context of wealth. It is spoken fluently by my mother, who learnt it from her mother, who learnt it from her mother and on and on. It’s as though our genetics are extended by the way in which we present ourselves. I love it here.”