PETER “ROCK” KWAIRA: THE KING CHANGING THE CONVERSATION ON AFRICAN MEN’S MENTAL HEALTH

Zimbabwe’s Mister Africa International 2026 takes #RootedInAfricaRisingAsAKing to the United Kingdom this October, using the international stage to champion mental wellbeing, African identity and a new generation of purpose-driven masculinity.
A king is often expected to look strong.
For Peter “Rock” Kwaira, the deeper question is whether a king can also admit when he is not.

As Zimbabwe’s newly crowned Mister Africa International Zimbabwe 2026, Kwaira is preparing to carry the Zimbabwean flag onto the international stage at the Mister Africa International All-Stars 2026 in the United Kingdom this October.
But his journey is not being built around a crown alone.

It is being built around a purpose.
For Kwaira, male pageantry is an opportunity to place important conversations in front of audiences that may not otherwise hear them. At the centre of his platform is a subject that remains difficult for many African men to openly discuss: mental health.
His philosophy is captured in four powerful words:
#RootedInAfricaRisingAsAKing.
The slogan is more than a social-media hashtag. It represents the identity he wants to carry into the international arena — an African man who understands his roots, embraces his future and believes leadership should come with responsibility.

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That philosophy also influences the way Kwaira approaches fashion.
For him, fashion is not simply about looking good on a pageant stage. It is a form of communication — a way of presenting African masculinity with confidence while remaining connected to culture.

“Fashion is one of the ways we tell the world who we are before we even speak. For me, being rooted in Africa means I can embrace modern fashion while still carrying my culture, my values and my identity. Rising as a king means having the confidence to be seen, but also having the courage to speak about what is not always seen.”

What is often not seen, he believes, is the emotional reality behind the image of the successful African man.
Mental health remains a major public-health challenge across Africa. The World Health Organization’s African Region reported in 2025 that an estimated 150 million people in Africa are living with mental-health conditions, amid significant shortages in mental-health services.
For men, the issue can be particularly complex.

Cultural expectations around masculinity can encourage men to be providers, protectors and figures of strength while discouraging emotional vulnerability and help-seeking.

Kwaira wants to challenge that narrative.

“We have to stop teaching African boys that asking for help makes them weak. A man can be strong and still struggle. He can provide for his family and still need someone to ask, ‘Are you okay?’ Strength is not pretending that everything is fine. Sometimes strength is admitting that you need help.”

His message is particularly relevant to the African diaspora.
This October, when Kwaira travels to the United Kingdom for Mister Africa International All-Stars, he will be entering a space where African identity intersects with the realities of life away from the continent.
For many Africans living in Europe, the pressures of migration can include questions of belonging, discrimination, employment, family separation, cultural adjustment and the expectations of relatives back home.

Research into African immigrants in the United Kingdom has identified cultural, psychosocial and structural barriers that can make accessing mental-health support difficult.
Kwaira believes that the African diaspora needs a mental-health conversation that understands these realities.

“For an African man living abroad, sometimes the pressure is invisible. You are expected to succeed because everyone back home believes you have found a better life. You may be sending money home, supporting your family and trying to build your own future, but very few people ask what that journey is doing to you emotionally.”

It is a message that he intends to take with him to Britain.
The Mister Africa International All-Stars platform represents more than another competition for Kwaira. It is an opportunity to engage with African representatives and communities beyond the continent while presenting Zimbabwe through a modern African lens.
“I am not going to the UK simply to compete for another title. I am going there carrying Zimbabwe, carrying Africa and carrying the stories of young African men who are trying to find their place in a changing world.”

His understanding of kingship has also been shaped by those who came before him.
Previous Zimbabwean representatives have demonstrated that carrying the country’s sash internationally requires discipline, confidence and an ability to communicate beyond the runway.

Future Nyoni, who previously represented Zimbabwe at Mister Africa International and finished as first runner-up, is among the Zimbabwean pageant figures whose journey offers Kwaira an important example of international representation.
Then there is Dr Fezile Mkhize, the former Mister Supranational, whose combination of professional achievement, communication, confidence and purpose helped demonstrate how male pageantry can become a platform for something much greater than appearance.

Kwaira says he respects those who have paved the way but does not intend to become a replica of anyone else.

“The kings before us have created a pathway. I respect what they have achieved because they have made it easier for the next generation to dream bigger. But every king has to bring something of his own. I want my legacy to be connected to purpose, mental health, African identity and the belief that our young men deserve to be heard.”
That distinction could become important as he enters the international All-Stars environment.
The modern African male pageant contestant is increasingly expected to demonstrate more than physical presentation. Communication, intelligence, authenticity, social awareness and leadership are becoming part of the package.
Kwaira understands that the crown can attract attention, but purpose determines what happens with that attention.
“The crown is visible, but the responsibility behind it is invisible. What matters to me is what happens after the applause. If one young man hears my message and decides that he is not alone, then my journey has already achieved something.”
His mental-health advocacy is therefore not positioned as a departure from his pageant identity. It is central to it.
For Kwaira, redefining African masculinity does not mean rejecting tradition. It means giving African men permission to evolve.

“We can celebrate our culture and still talk about mental health. We can respect tradition and still tell our sons that it is okay to cry. We can teach boys to become strong men without teaching them to become emotionally silent men.”

That message carries particular weight for young African men growing up between cultures.
Whether they are living in Harare, Johannesburg, London or elsewhere in the African diaspora, many young men are navigating questions of identity and expectations while attempting to construct their own definition of success.
Kwaira wants to offer them a different image of the African king.
Not a man who never struggles.
But a man who understands that seeking support is not surrender.
“I want African boys to grow up knowing that they don’t lose their masculinity by talking about depression, anxiety, loneliness or fear. There is strength in asking for support. A king does not have to hide his wounds. A king understands when he needs help.”
This is where #RootedInAfricaRisingAsAKing becomes more than a slogan.
“Rooted in Africa” represents heritage, culture, history and identity.
“Rising as a King” represents leadership, responsibility, ambition and service.
Together, they describe the kind of international ambassador Kwaira wants to become.
“Africa is my foundation, not my limitation. I want to carry the beauty, strength and resilience of Africa into every room I enter. But I also want to challenge the things we need to change.”
As October approaches, the spotlight will inevitably turn towards the competition — the stage, the fashion, the interviews, the presentations and ultimately the crown.
But Kwaira appears to understand that the most memorable contestants are not always the ones who simply look the part.
They are the ones who give the judges something to remember.
For him, that something is purpose.
“When I walk onto that stage in October, I want people to see Zimbabwe before they see Peter. I want them to see Africa before they see the competition. But most importantly, I want them to hear the message behind the man.”
His fashion will introduce him.
His confidence will command attention.
His African identity will give him distinction.
But his message about mental health could give his journey meaning.
And perhaps that is the essence of the king Peter “Rock” Kwaira wants to become.
Not simply a man wearing a crown, but an African man willing to use that crown to make difficult conversations easier to have.
“If my appearance makes someone look at me, I want my words to make them think. If my crown gives me a platform, I want to use that platform to create conversations that can save lives. That is what being a king means to me.”

In October, when Zimbabwe’s newest king walks onto the Mister Africa International All-Stars stage in the United Kingdom, he will not only be competing for recognition.
He will be carrying a story about Africa.
A story about masculinity.
A story about the diaspora.
And a message to men who have spent too long believing that silence is strength.
Rooted in Africa. Rising as a king.
For Peter “Rock” Kwaira, the rise is not about standing above others.
It is about standing for something.

Beyond the Crown: Malaika Mushandu and the Miss Cosmo Zimbabwe Controversy

A beauty queen’s reign is usually associated with celebration, photographs, appearances and dreams of representing her country on an international stage. For Malaika Mushandu, however, her Miss Cosmo Zimbabwe journey has taken an unexpected turn, transforming a moment of achievement into a deeply personal and public dispute.
Mushandu was crowned Miss Cosmo Zimbabwe 2026, stepping into a title that carried expectations of international representation and new opportunities. But her reign was short-lived after the organisation announced that she had been dethroned.

The decision immediately generated discussion within Zimbabwe’s pageantry and modelling circles, with questions emerging over what had happened behind the scenes and why the crown had been taken away.
For Mushandu, the development was more than the loss of a title. A pageant crown can represent years of preparation, personal branding, professional opportunities and the hopes of taking one’s country onto a global platform.

The organisation has maintained that its decision was based on issues surrounding conduct, eligibility and obligations attached to the title. Mushandu, however, has challenged the decision and taken the matter to court, arguing that the process leading to her dethronement was not properly handled.
The dispute has therefore moved beyond social media and into the legal system, where the competing positions can be tested through due process.

What makes the story particularly compelling is Mushandu’s history in pageantry. She is not a newcomer seeking her first opportunity in the modelling and beauty industry. Her career has included previous pageant experience and international exposure, making the Miss Cosmo Zimbabwe crown another chapter in an already established journey.
The controversy has consequently placed greater attention on the pressures that come with being a public figure in the pageant world.

Behind the glamour of crowns and evening gowns are contracts, professional commitments, appearances, expectations and relationships between queens and organisations. When those relationships break down, the consequences can extend far beyond a single competition.
The reaction from the public has also demonstrated how emotionally invested Zimbabweans have become in pageantry. Supporters have questioned the circumstances surrounding Mushandu’s removal, while others have argued that pageant organisations must be able to enforce their rules and protect the integrity of their titles.
At the centre of those different opinions is a simple question: what happens when the person wearing the crown and the organisation responsible for it no longer agree?

For now, that question remains unresolved.
Mushandu’s decision to challenge her dethronement means that her Miss Cosmo Zimbabwe story is not yet finished. Whatever the eventual outcome, the episode has already opened a wider conversation about transparency, accountability and the treatment of beauty queens in an increasingly professional pageant industry.
It is easy to see a crown as the destination. For contestants such as Mushandu, it is only one part of a much longer journey.

The cameras may have moved away from the crowning moment, but her story continues — this time not on a pageant stage, but through a battle over her name, her title and the future of a career built long before the crown was placed on her head.

Mister Africa International All-Stars Come to London

London is set to welcome a powerful gathering of African excellence, purpose and legacy this October as Mister Africa International brings its highly anticipated All-Stars edition to the city.

The special edition will take place at the University of East London as part of celebrations marking UK Black History Month, bringing together distinguished former Mister Africa International titleholders and personalities connected to the platform.

More than a celebration of pageantry, the All-Stars edition will highlight the wider impact of the men who have carried the Mister Africa International title and used their visibility to champion positive change within their communities.

Over the years, Mister Africa International titleholders have been involved in initiatives focused on education, youth empowerment and community development. Among the notable achievements associated with the platform are the establishment of a school in South Sudan and scholarship programmes that have supported more than 1,000 children in Southern Nigeria.

The London gathering will provide an opportunity to celebrate these milestones while recognising the individuals behind them — men who have continued to turn their platforms into vehicles for service, leadership and opportunity.

Speaking about the upcoming All-Stars edition, Ayotunde Fabamwo said:
“This is more than a competition. It is a celebration of the men who have carried the Mister Africa International title and the impact they have made beyond the stage. Bringing the All-Stars to London allows us to celebrate their achievements, reconnect with our history and inspire the next generation to understand that leadership is about purpose and service.”

The event also carries a special significance for the Mister Africa International brand. The competition was launched in London in 2012, making its return to the city for the All-Stars edition a symbolic homecoming.

From its beginnings in London to the international platforms its titleholders have gone on to occupy, Mister Africa International has evolved into a platform that seeks to place African identity, leadership and social impact at the centre of its mission.

This year’s All-Stars edition will therefore celebrate not only the past, but also the future — bringing together accomplished personalities whose journeys reflect the diverse ways African men can use influence to create meaningful change.

As London prepares to welcome the stars of Mister Africa International, the October gathering promises to be a memorable celebration of African talent, achievement, culture, leadership and purpose.

For Mister Africa International, it is a return to where the journey began — and an opportunity to showcase just how far that journey has come.

Beyond the Spotlight: The Zimbabwean Performer Building a Global Career One Stage at a Time

There are careers that announce themselves loudly, and then there are careers quietly built through discipline, international stages and one contract after another. For one Zimbabwean performer, the latter has become a way of life.
From Ferrari World Abu Dhabi to Nickelodeon, Norwegian Cruise Line and now Carnival’s Playlist Productions, his journey has taken him far beyond the conventional idea of what it means to be an entertainer.
Yet, despite working with internationally recognised entertainment brands, Mylo Moyo has deliberately remained relatively private. His focus has never been on becoming famous for being famous. It has been about becoming better at the work.

“I always chase the work, not the fame,” he says.
That philosophy perhaps explains why his career has developed through experiences rather than publicity. Each production, contract and stage has brought a different challenge, gradually transforming him from an aspiring performer into a seasoned international singer-dancer capable of carrying demanding live productions.
From character performer to production cast
Moyo professional journey began with character performance at Ferrari World Abu Dhabi before progressing into hosting, including work with Nickelodeon and Norwegian Cruise Line.
The transition into major production environments, however, introduced an entirely different level of professionalism.

“Being talented and being a professional performer are two different things,” he reflects.
For him, that realisation came particularly strongly during his Nickelodeon experience. Having grown up familiar with the brand, stepping into its professional world was both exciting and intimidating.
Suddenly, performance was no longer simply about stepping onto a stage and entertaining people. It involved directors, choreographers, musical directors, technicians, costume departments, lighting teams, stage management, rehearsals and audiences — an enormous creative ecosystem where every person has a role to play.
Today, as a Playlist Productions singer-dancer, he describes the work as essentially musical theatre in an unusual environment.
The audience may see the glamour of a cruise production, but behind every polished performance is an intricate theatrical operation.
As a singer-dancer, he performs live vocals while simultaneously dancing, acting, maintaining character, working within an ensemble and helping tell the story of the production. It requires physical stamina, vocal consistency, precision and an ability to respond to direction.
The image of the cruise entertainer as simply a lounge singer, he says, does not come close to describing the reality of modern production entertainment.
The discipline behind the glamour
The more sophisticated the productions became, the more his understanding of performance changed.
Early confidence can come from believing you are good at something. Professional confidence, however, comes from knowing you can repeatedly deliver under pressure.
“I’ve gone from wanting to prove that I can perform to understanding what it means to be a professional performer,” he says.
That distinction has become central to his career.
International production work demands consistency. A performer cannot only deliver when they are having their best day. They have to sing, dance, remember choreography, hit marks, maintain character and communicate with an audience — sometimes repeatedly over hundreds of performances.
The audience sees the finished product. They rarely see the precision required to create it.
For him, that is where discipline becomes more important than raw talent.
Being prepared, arriving on time, knowing the material, taking direction, protecting the voice and body, and being dependable to colleagues are not optional qualities. They are the foundations of a sustainable career.
“You’re only one part of something much bigger,” he explains.
When three disciplines become one
Although singing and dancing are central to his current career, describing him simply as a singer-dancer perhaps misses the bigger picture.
He is also a songwriter, with an extensive catalogue of unreleased material drawn from his experiences, observations and the human condition.
Singing, therefore, has never been an additional skill. It has always been part of his artistic identity.
But professional production taught him that being able to sing is very different from singing professionally while dancing full-out, acting, maintaining character and connecting with an audience.
Eventually, those disciplines stop feeling separate.
“The stage is my happy place,” he says.
For him, singing carries emotion, movement creates another layer of communication and acting provides character and intention. When all three converge, the performer stops thinking about individual techniques and begins to experience the performance as one complete artistic language.
That is the appeal of being a triple-threat performer.
The performance that changed everything
Perhaps the most revealing moment of his career did not happen during his biggest production.
It happened during an opening performance for a Norwegian Cruise Line crew meeting while he was working as a Nickelodeon host.
He asked the Entertainment Director for permission to create something of his own and subsequently built a mini-production. He brought together dancers from Rock of Ages, the production’s musical director and live musicians, while collaborating with sound, wardrobe and technical teams.
He helped develop the storyboard, visual content, lighting, staging and choreography and directed the performance.
There was one problem: he was sick.
Yet when the performance ended, the response was overwhelming.
The audience stood, cheered and applauded.
More importantly, experienced performers — including people with Broadway backgrounds — encouraged him to pursue production-cast work.
That moment became more than another successful performance.
It became a personal confirmation.
“That performance was essentially my audition for myself,” he recalls. “It wasn’t the moment that proved I’d made it; it was the moment that convinced me I was going to.”
Eventually, he did.
Learning from every stage
International performance has also reshaped his understanding of audiences.
Working across countries has taught him that audiences may differ culturally, but the fundamentals of entertainment remain remarkably universal.
Confidence, humour, emotion, storytelling and authenticity can cross borders.
The international environment has also made him more adaptable. Working alongside performers from different countries and backgrounds has encouraged him to become less protective of his own methods and more willing to learn.
Take what works. Leave what does not. Keep evolving.
That philosophy has extended beyond performance technique into his understanding of himself.
Every contract, he says, has unlocked another version of him.
Ferrari World taught him one set of skills. Hosting taught him another. Nickelodeon exposed him to a larger production machine. Cruise entertainment demanded another level of consistency. His current work continues to challenge him.
Rather than looking back nostalgically at each stage, he sees them as building blocks.
Quietly carrying Zimbabwe onto international stages
There is another dimension to his journey that goes beyond professional achievement.
He is a Zimbabwean performer working on international stages — something he recognises carries its own significance.
He recalls people being genuinely surprised when they discovered where he was from, simply because they had not encountered many Zimbabweans doing what he does.
For him, representation does not always require a speech.
Sometimes, it is simply about walking onto the stage and doing the job exceptionally well.
“I’m so proud of being a Zimbabwean who is also acknowledged as a professional performer on an international stage,” he says. “Both things exist at the same time for me, always.”
It is a powerful perspective: Zimbabwe is not something he has to explain before he performs. It is part of who he is, carried naturally into every room, rehearsal studio and stage he enters.
Building a career, not chasing a moment
One of the greatest advantages of his international experience has been credibility.
Every major production becomes another chapter in his professional history. One casting director remembers a performer. One director recommends them to another. One contract opens the door to the next.
That is how careers are built.
Not necessarily through one spectacular breakthrough, but through a collection of performances, relationships, recommendations and experiences that gradually create momentum.
He is quick to point out, however, that he does not consider himself to have “arrived”.
He is still building.
That mindset may be one of the reasons his career continues to evolve. Instead of treating experience as an excuse to stop learning, he treats it as a reason to become more precise.
His “sweat equity”, as he puts it, has become increasingly focused. He enters rehearsals knowing what he brings to a production, while also identifying what needs to be improved from the very beginning.
Still hungry for the stage
After years of demanding performance schedules, the obvious question is why continue?
His answer is simple.
He has not found a reason to stop.
Every time he thinks he understands his capabilities, another area emerges that he wants to develop. He enjoys being surrounded by performers who are better than him in certain disciplines because their strengths force him to keep learning.
And then there is the live performance itself.
A show can be rehearsed for weeks, but once the lights come on and an audience enters the room, something changes.
Every performance becomes its own experience.
That unpredictability remains addictive.
For a performer who has deliberately kept much of his career away from the spotlight outside the stage, there is an intriguing contradiction: he may value privacy, but when the curtain rises, he wants to be completely present.
The advice he would give his younger self
If he could return to the beginning of his professional career, before Ferrari World, Nickelodeon, international contracts and production stages, his advice would not be complicated.
Take yourself seriously.
Train more.
Do not spend too much time worrying about whether other people can see your potential.
And most importantly, keep chasing the work.
Perhaps that final piece of advice best captures his journey.
He did not build an international career by waiting for someone to tell him that he belonged on those stages. He built it by accepting contracts, learning from every environment, pushing through difficult performances and continually refining his craft.
The journey from character performer to international singer-dancer has not been a straight line. It has been a collection of stages, lessons, people, challenges and moments of self-belief.
And there is still no sense that the story is finished.
If anything, the curtain is only rising on the next act.

Magriza Made Me Cook Is Turning Zimbabwean Food Heritage Into a Cultural Movement

There are stories that live in books, stories that survive through photographs, and then there are stories that remain alive because someone continues to cook them.
For Prince Sivalo Mahlangu, food has become a powerful way of telling the Zimbabwean story.

Through Magriza Made Me Cook, Mahlangu is building more than a cooking programme. He is creating a cultural platform that explores Zimbabwean cuisine, traditional knowledge and the people behind the food, while presenting them through a contemporary visual and storytelling language.

The project returned for its second season with a premiere in Bulawayo, attracting cultural figures, creatives and guests who gathered to celebrate a production that has steadily developed its own identity within Zimbabwe’s creative landscape.

At its heart, Magriza Made Me Cook asks audiences to look at food differently.
A traditional meal is not simply something placed on a table. Behind it can be a history of migration, family, agriculture, community and identity. An ingredient can tell the story of a region. A cooking method can preserve knowledge that has never been written down. A recipe can connect generations.
This is the space Mahlangu has chosen to explore.

The second-season premiere at the National Gallery of Zimbabwe in Bulawayo was particularly fitting because the programme itself treats food as a form of cultural expression. The gallery, traditionally associated with visual art, became a setting for a different kind of exhibition — one in which heritage could be experienced through taste, storytelling and performance.
Bulawayo Minister of State for Provincial Affairs and Devolution Judith Ncube attended the premiere and praised the programme for helping preserve traditional food knowledge. She also emphasised the importance of researching indigenous cuisine through conversations with elders, recognising that traditional food carries knowledge about communities, environments and ways of life.

That message captures what makes Mahlangu’s project increasingly relevant.
Zimbabwe has an extraordinary culinary heritage, but much of its knowledge remains dependent on oral tradition. As older generations disappear, some recipes, preparation methods and cultural meanings risk disappearing with them.
Magriza Made Me Cook provides a contemporary vehicle through which some of that knowledge can be documented and introduced to younger audiences.
But the project’s appeal extends beyond preservation.
Mahlangu is also positioning Zimbabwean cuisine within the creative economy.
Food intersects naturally with tourism, fashion, film, photography, hospitality, agriculture and entertainment. A programme that documents traditional cuisine can therefore become a gateway into a much larger cultural industry.
This is particularly significant for Bulawayo and Matabeleland, where cultural identity has always been one of the region’s strongest creative assets.

The project gives indigenous food a visual identity while allowing the people connected to that food to become part of the narrative. It is not simply about showing what is cooked; it is about understanding the people, places and histories that make those dishes meaningful.
That approach also makes Magriza Made Me Cook relevant to the fashion conversation.
Fashion, at its most powerful, is about identity. It tells audiences where someone comes from, what they value and how they see themselves. Food can do exactly the same thing.

The colours of ingredients, the textures of traditional dishes, the objects used in preparation, the environments in which food is produced and even the clothing worn by those preparing it can become part of one visual cultural language.

Mahlangu’s work therefore sits comfortably within a new generation of African creative projects that refuse to separate culture into isolated categories.

Food can be art.
Food can be heritage.
Food can be business.
Food can be fashion.
And food can be storytelling.

What makes Magriza Made Me Cook particularly important is its willingness to treat Zimbabwean traditions with contemporary confidence rather than presenting them as relics of the past.
The programme does not need to make Zimbabwean food foreign before it becomes interesting to an international audience. Its strength is precisely in showing the culture as it is, while giving it a polished platform through which wider audiences can experience it.

For Mahlangu, the kitchen becomes a storytelling studio.
The plate becomes a canvas.
The recipe becomes an archive.
And the cook becomes a keeper of history.
As Zimbabwe’s creative industries continue searching for ways to turn cultural heritage into sustainable opportunities, projects such as Magriza Made Me Cook offer an important blueprint. They demonstrate that cultural preservation and commercial creativity do not have to compete with each other.

They can exist in the same space.
A traditional dish can preserve memory while creating employment. A television or digital production can document heritage while promoting tourism. A chef can become a cultural ambassador. A local ingredient can become part of a global conversation.

That is the bigger story behind Magriza Made Me Cook.
Mahlangu is not simply asking Zimbabweans what they are eating.
He is asking them to remember why they eat it, who taught them to prepare it and what those dishes say about who they are.
And perhaps that is where the real power of the programme lies.
Because when a culture cooks its history, the story does not simply disappear after the meal.
It remains.
It is passed on.
And through Magriza Made Me Cook, it is now being recorded for the world to see.

Royce Gavi Takes Zimbabwean Pageantry to South Africa’s Empowerment Stage

South African pageantry featured a notable Zimbabwean presence over the weekend as Royce Gavi, the reigning Mr Heritage Zimbabwe, appeared as a special guest of honour at the Mr & Miss Youth Empowered Eastern Cape 2026 platform.

The appearance, held as part of the weekend programme, marked another significant regional milestone for Gavi, whose pageantry journey has increasingly extended beyond competition into representation, cultural diplomacy, and youth empowerment.

The event forms part of a broader programme running from 7 August to 13 September 2026, according to information released by the organisers.

Rather than attending solely as a Zimbabwean titleholder, Gavi entered the South African space carrying a message that has become central to his personal journey: that the influence of a crown should extend far beyond the stage.

A Zimbabwean in the Eastern Cape
Gavi’s presence is significant in that his pageantry career has developed around three intersecting pillars — heritage, youth, and purpose.
His participation positioned Zimbabwean pageantry alongside a South African platform dedicated to youth empowerment, creating a natural alignment between his advocacy and the event’s broader mission.
For Gavi, the invitation represents another step in a career that has progressed from Bulawayo’s modelling scene into national and international pageantry.

He has previously represented Zimbabwe in heritage-focused pageantry and has established himself not only as a contestant, but also as a model, runway personality, and youth advocate.
His appearance in South Africa therefore reflects a broader regional trend: African pageantry increasingly serving as a bridge between countries, cultures, and young people.

When the crown becomes a responsibility
A defining aspect of Gavi’s journey is that his pageantry identity has never been confined to the image of a winner wearing a sash.
His public work consistently links modelling with cultural representation and social responsibility.
This is particularly relevant within the empowerment discourse.

Modern pageantry is increasingly moving beyond beauty as the sole measure of success. Platforms now expect titleholders and ambassadors to demonstrate leadership, communication, community engagement, and a clear sense of purpose.
South Africa’s pageantry landscape reflects this shift, with major competitions placing growing emphasis on advocacy, leadership, and social impact.

Gavi’s participation in the Eastern Cape event aligned naturally with this evolving framework.

Speaking on his continued involvement in regional pageantry, Gavi has consistently emphasised the importance of using his platform beyond personal achievement.

“A crown is not just about being seen; it is about what you do with the opportunity you have been given. I believe pageantry should create platforms where young people can discover their confidence, their identity and their purpose.”

This philosophy adds depth to his South African appearance.
It is one thing for a Zimbabwean model to attend an event across the border. It is another for a titleholder whose identity is strongly rooted in heritage and youth development to engage in an empowerment-driven platform.
Building bridges through pageantry
A broader narrative is emerging across Southern Africa.

Models and titleholders are increasingly moving between Zimbabwe, South Africa, Zambia, Botswana, and other regional markets, contributing to a more interconnected pageantry ecosystem.
For Zimbabwean models, South Africa offers access to a larger fashion, entertainment, and commercial industry.
For South African platforms, the inclusion of Zimbabwean personalities enhances the increasingly Pan-African character of pageantry.

Gavi’s appearance reflects this cross-border exchange.
He arrived carrying a Zimbabwean title, yet the conversation surrounding his participation extended beyond national identity.

It centred on African identity, youth empowerment, opportunity, and the responsibility of representation.
From Bulawayo to regional stages
Gavi’s rise has been gradual and intentional rather than incidental.
The Bulawayo-based model has developed through pageantry and fashion, building experience that extends beyond traditional competition environments.

His work in modelling and runway presentation has also provided him with a broader understanding of the industry beyond the stage and judging panel.
This combination — model, pageant personality, heritage ambassador, and youth-focused creative — continues to shape his professional identity.
His appearance in the Eastern Cape adds another chapter to this progression.

The bigger significance
For Zimbabwean pageantry, moments such as these carry considerable importance.
International and regional visibility is not achieved solely through winning titles. It is also built through relationships, invitations, collaborations, and sustained relevance beyond the crown.
Gavi’s South African appearance reflects this evolution.
He was not only representing himself.
He was carrying a Zimbabwean identity into a South African space and contributing to a broader conversation about the values expected of the next generation of African titleholders.

In that sense, his journey continues to gain significance.
The crown may open the door. Purpose determines how far one walks through it.
Editor’s note: The organisers’ social media listing identifies Gavi as the special guest of honour at Mr & Miss Youth Empowered Eastern Cape 2026.

CUT FROM A DIFFERENT CLOTH: NTOKOZO MDHLALOSE ON STYLE, PURPOSE & LEGACY

Ntokozo Mdhlalose is proving that modern pageantry is about far more than appearance. Fresh from being crowned 1st Runner-Up at Mister International South Africa, he has emerged as a compelling young voice in male pageantry, combining style, confidence and purpose with a passionate commitment to men’s mental health advocacy through his Bros2Men campaign.
With an eye for sharp tailoring, an authentic presence and a message that extends beyond the runway, Mdhlalose represents a new generation of gentlemen using fashion and pageantry as platforms for meaningful change. In this exclusive conversation with Fashion Inspirations, he reflects on his pageant journey, the fashion choices that helped him stand apart, lessons from setbacks, men’s wellbeing and the legacy he hopes to build.

FI: Congratulations on being crowned 1st Runner-Up at Mister International South Africa. Looking back at the pageant, what was going through your mind when your name was announced, and what does this achievement mean to you?
NM: First and foremost, I would like to say thank you. In that moment, I experienced a mixture of emotions. Standing in the Top Two alongside Malwande Uthando reminded me that 48 days of discipline, early mornings and unwavering purpose had paid off.
This achievement tells me that purpose is being heard. More importantly, it gives Bros2Men and the conversation around men’s mental health a national platform, and to me, that is far more significant than any crown.

FI: The competition brought together some of South Africa’s finest male pageant talent. What was your overall experience like, from preparations and rehearsals to the final night?
NM: It was a journey filled with pressure, excitement and growth. This was my first time competing in a Mister category, as my background has always been in Teen pageantry, so everything felt new.
The preparations taught me discipline, while rehearsals gave me the opportunity to build genuine friendships and meaningful connections with the other contestants. By the final night, my focus was simply to be authentic rather than perfect. I walked away with lifelong brothers, valuable lessons and a clearer sense of purpose.

FI: Your suits were among the standout elements of your presentation. How important was fashion and tailoring to your overall pageant strategy, and what did you want your outfits to communicate?
NM: I firmly believe that what you wear sets the standard for your confidence. Fashion has the power to build confidence, and I wanted to stand out from the very first day.
I had an idea of the direction many contestants would take, so I intentionally chose something different. My outfits reflected my readiness for the title and represented the kind of person I am—someone who is confident, purposeful and unafraid to be different.

FI: Take us behind the looks. Who was responsible for your suits, and how involved were you in creating them?
NM: I was very hands-on throughout the design process because I wanted every outfit to tell a story that reflected who I am.
My team and I worked closely together on the cuts, colours and fabrics, ensuring everything complemented movement under the stage lights while also celebrating South Africa’s diversity.
My vision was simple: I wanted to embody the modern South African gentleman—sharp, approachable and proudly rooted in culture. That’s why we incorporated African print fabrics into both my arrival and interview outfits.

FI: Men’s fashion has become an increasingly powerful form of self-expression. What does your personal style say about you, and how would you describe your signature look?
NM: My style reflects my personality and my values. When people see what I’m wearing, I want them to have a sense of who I am and what I stand for.
I would describe my signature style as authentic and purpose-driven elegance. I believe you should be able to move from a business meeting or a school motivational talk during the day to a gala event in the evening without ever feeling like you’re pretending to be someone else.

FI: Beyond the glamour, men’s health deserves much greater attention. Which issues do you believe need more awareness?
NM: The biggest issue is silence.
Boys are often taught that being strong means never being vulnerable, and that mindset contributes to mental health struggles, poor physical wellbeing and even gender-based violence.
Last year I launched a campaign called Bros2Men, dedicated to raising awareness about men’s mental health. Through school visits, we encourage young men to speak openly, seek support and understand that asking for help is not weakness.
We also need to normalise regular health check-ups, exercising for mental wellbeing and embracing therapy. Real strength is asking for help before you break. That’s the message I want to send out to everyone.

FI: Before Mister International South Africa, you were a finalist for Mister Globe South Africa before stepping away from the competition. What did that experience teach you?
NM: It taught me the importance of alignment.
Walking away was one of the hardest decisions I’ve ever made, but resilience also means recognising when it’s time to pause so you can return stronger and in the right environment.
Academics will always come before pageantry for me when difficult decisions have to be made. That experience also taught me to protect my energy and remain focused on my purpose.
If something doesn’t align with Bros2Men and the impact I want to make, then it’s simply a distraction. I really wanted to compete this year after the work I had put into myself and my campaign following my decision to step away from Mister Globe South Africa.

FI: Having experienced both disappointment and success, how has your perspective on failure, setbacks and second chances changed?
NM: I believe failure is feedback.
Leaving Mister Globe South Africa felt like a setback because of the effort and investment I had made in myself, but ultimately it positioned me for this moment.
Being 1st Runner-Up isn’t failure. Rather, it’s a map. This experience showed me exactly where I can continue growing, especially because it was my first time competing in a Mister pageant after being accustomed to Teen pageantry.
My perspective now is simple: setbacks are setups. Second chances are earned by what you do after the “no”.

FI: Pageantry demands much more than appearance. What has challenged you most, and what have you discovered about yourself?
NM: Balancing 48 days of training, maintaining a disciplined diet and still showing up for Bros2Men challenged me.
But I discovered that I’m more resilient than I thought, and that my purpose is louder than my fear.
I also discovered that people connect with authenticity more than perfection. I used to think being perfect was what people mostly related to, but this experience showed me that being genuine creates a much stronger connection.

FI: Finally, what comes next for Ntokozo Mdhlalose, and what legacy do you hope to build?
NM: Personally, I cannot share exactly what is next for me in pageantry. There are things I am working on behind the scenes, and trust me, everything will be revealed in due time.
What I can proudly say is that it will be the best version of myself I have ever presented in pageantry.
You are also going to see more of me in fashion and through my campaign.
The legacy I would like to leave behind is one of amplifying the voice of the boy child who feels forgotten. I want to use my platform to remind young men that their voices matter, their wellbeing matters and their stories deserve to be heard.

FINCHWEAR SPRING 2027: SOFT POWER
Kwanele Finch on Liberation, Luxury and Redefining Modern Masculinity

With its Spring 2027 collection, Finchwear enters a new chapter—one defined by softness, confidence and freedom. Titled “Soft Power,” the collection challenges traditional ideas of masculinity while presenting a sophisticated vision of the modern African man.
At the heart of the collection is a simple but powerful question: what happens when men stop performing masculinity and simply exist in it?

For Finchwear founder Kwanele Finch, the answer is liberation.
“Spring 2027 is about liberation,” he explains. “It asks what happens when men stop performing masculinity and simply exist in it. Strength doesn’t disappear when softness enters the room—it becomes more complete.”

The collection’s campaign imagery translates this philosophy into a cinematic visual language. Ocean landscapes, golden light, flowing fabrics and water create an atmosphere of renewal, intimacy and calm. Each frame feels less like a conventional fashion campaign and more like a scene from an artfully produced luxury film.
“I wanted every image to feel like a scene from a luxury film,” says Finch. “The ocean, golden light, flowing fabrics and water represent renewal. It’s about a man who has arrived at peace with himself.”

Luxury Meets Vulnerability
One of the most striking elements of Spring 2027 is the dialogue between structured tailoring and exposed skin. Rather than treating the body as something to conceal, Finchwear embraces it as an essential part of the story.

“Clothing should never hide the body; it should celebrate it,” Finch says. “The collection explores vulnerability without sacrificing confidence. That’s where real luxury lives.”
This balance between restraint and exposure becomes central to the Finchwear aesthetic. Tailored silhouettes bring precision and authority, while softer elements introduce sensuality and vulnerability. Together, they create a more expansive definition of masculinity—one that does not require emotional distance to communicate strength.

From Fashion Brand to Philosophy
Finchwear’s evolution has also moved beyond garments themselves. What began with the creation of beautiful clothing has grown into a broader philosophy surrounding identity, representation and storytelling.
“We started by making beautiful garments. Today we’re building a philosophy,” Finch explains. “Finchwear isn’t simply about fashion anymore—it’s about identity, storytelling and creating space for people who have never felt represented by traditional luxury brands.”

That philosophy is particularly visible in the brand’s approach to African imagery.
Rather than reproducing familiar visual stereotypes, Finchwear presents Africa through an elevated, contemporary lens—one capable of occupying the same visual conversation as the world’s leading luxury houses.
“Africa deserves to be photographed with elegance,” Finch says. “I wanted to move away from clichés and instead create imagery that belongs alongside the world’s biggest fashion houses while remaining proudly African.”

The Discipline of Luxury
Behind the apparent simplicity of Spring 2027 lies meticulous craftsmanship. Finch describes the collection as the result of careful consideration, from fabric selection to silhouettes and finishing details.
“Every silhouette, every fabric choice and every detail was considered,” he says. “Luxury is never accidental. It’s the discipline behind simplicity that people often don’t see.”
That commitment gives the collection its quiet authority. Rather than relying solely on spectacle, Finchwear allows construction, proportion, texture and the human form to carry the visual narrative.
And the man at the centre of that narrative?
Fearless. Refined. Free.
Three words that encapsulate Finchwear’s vision of masculinity for a new generation.
Confidence Without Performance
For Finch, fashion has the ability to offer something deeper than appearance. It can give people permission to recognise themselves.
The emotional objective of Spring 2027 is therefore not simply to make the wearer look confident, but to create a sense of confidence that does not depend on validation.
“I want people to feel seen—not because they’re trying to prove something, but because they’ve accepted who they are,” he says.
It is a compelling proposition in an industry that has often associated masculine luxury with dominance, restraint and status. Finchwear proposes something different: confidence that does not need to perform.
An African Luxury House with a Global Voice
Spring 2027 also signals an ambitious international direction for Finchwear. The collection’s cinematic campaign and polished visual identity reflect a brand increasingly positioning itself for a global audience.
“Finchwear was never created to exist within one country,” Finch says. “We are building an African luxury house with a global voice—one that can stand confidently beside the world’s leading fashion brands while telling stories only we can tell.”
That ambition is perhaps the most defining element of the Spring 2027 story. Finchwear is not seeking to separate African identity from international luxury. Instead, it is positioning African creativity, craftsmanship and storytelling at the centre of the global fashion conversation.
The Future Is Free
Ultimately, “Soft Power” is more than a seasonal collection. It is a statement about where Finchwear believes masculinity—and luxury itself—is heading.
“Luxury is no longer about status,” Finch concludes. “It’s about freedom—the freedom to be soft, powerful, vulnerable and unapologetically yourself.”
For Spring 2027, Finchwear makes that freedom its most compelling luxury of all.

Sibusiso Malaza: Confidence, Discipline and the Courage to Step Forward

For emerging models, the journey often begins with a simple decision: to believe in yourself and take a chance. For Sibusiso Malaza, modelling has become a platform for self-expression, personal growth and the pursuit of excellence. Driven by discipline and a desire to challenge himself, Malaza is steadily building his presence in the modelling world.
In this exclusive conversation with Fashion Inspirations, he opens up about what drew him to modelling, the inspiration behind entering competition, his preparation, and the lessons he hopes to share with young people following his journey.

Fashion Inspirations: Tell us a little about yourself and why you chose modelling.
Sibusiso Malaza: I chose modelling because it allows me to express myself while building confidence and discipline. It’s something I’m passionate about, and I enjoy challenging myself to become better with every opportunity.

Fashion Inspirations: What inspired you to enter this competition? Had you entered competitions before?
Sibusiso Malaza: This was different for me. I decided to enter because someone I know, Don, inspired me. Seeing his journey motivated me to take a chance on myself. I wanted to show people what I could do and prove that I belong in this space.

Fashion Inspirations: How did you prepare for the competition?
Sibusiso Malaza: Preparation was very important. I focused on practising, maintaining my physical appearance, and staying disciplined. My mindset was simple — I came to compete and give my very best

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Fashion Inspirations: What kept you motivated throughout the competition?
Sibusiso Malaza: I reminded myself why I started. I wanted to keep pushing forward and make the most of the opportunity. Every stage of the competition helped me grow and become more confident.

Fashion Inspirations: Many young people, especially students, look up to contestants in competitions like this. What message would you like to share with them?
Sibusiso Malaza: I want them to know that anything is possible. Don’t doubt yourself. If there’s something you really want to achieve, work hard for it, stay committed, and never stop believing in yourself. Your dreams are possible if you’re willing to put in the effort.

Fashion Inspirations: Finally, what does this experience mean to you?
Sibusiso Malaza: It has been an amazing opportunity to learn, grow, and challenge myself. I’m grateful for the experience, and I’m excited for what comes next in my modelling journey.

A Journey Built on Belief
Sibusiso Malaza’s story is a reminder that every journey begins with the courage to believe in yourself. Through determination, discipline and a willingness to step beyond his comfort zone, he is carving out a promising path in modelling.
More than simply competing, Malaza has embraced the experience as an opportunity to grow, build confidence and discover what he is capable of. His message to the next generation is equally powerful: dreams become possible when belief is matched with hard work, commitment and perseverance.
For Malaza, this is only the beginning — and the next chapter of his modelling journey promises even greater possibilities.

Exclusive Interview: House of Basil on the future of African men’s underwear, identity and style

In fashion, the most powerful statements are often the ones closest to us. Beyond the tailored suits, the statement pieces and the image presented to the world lies something deeply personal — the garments that shape how we feel before anyone else sees us.

House of Basil is challenging the traditional conversation around men’s underwear by transforming it from a forgotten essential into a symbol of confidence, comfort and personal expression. Born from a vision to celebrate the modern African man, the brand represents a new era where craftsmanship, identity and self-belief meet.

As African men continue to redefine success, style and masculinity in 2026, House of Basil is creating more than underwear — it is creating an experience. One that recognises the diversity, ambition and movement of African men across the continent and beyond.

From the creative spaces of Nairobi to the dynamic streets of Accra, the business hubs of Harare and the global stage, the House of Basil man is a man in motion — confident in who he is, comfortable in his own skin and prepared for whatever the world brings.

In this exclusive conversation, House of Basil reflects on its evolution, the science behind its designs, the future of African luxury and the mission to place African excellence at the centre of global fashion.

Q: After taking time away and returning with a renewed vision, what was the biggest thing you realised about African men and the market you serve?

A: We realised a few important things. We were able to take counsel from people who had already been in the industry and had been doing what we wanted to do for many years. One of the biggest lessons was that we had previously allowed the market to dictate what we should create, instead of developing products that we genuinely believed people needed and would enjoy.

Listening to customers is important, but it is equally important to create something authentic — something that represents your vision and that you truly believe in. The balance between understanding the market and staying true to your identity is where meaningful products are created.

We also discovered that African men are not a single, uniform group. They have different lifestyles, preferences and experiences. African men are fathers, brothers, partners, professionals, sportsmen and community members. They exist across different cultures, backgrounds and personal styles, and that diversity has to be reflected in the products we create.

We realised that men have different preferences when it comes to fit, fabric choices, colours and overall style. Understanding these differences allows us to create underwear that connects with a wider audience while maintaining quality, comfort and authenticity.

The biggest lesson for us was that data is key. Understanding people through research allows us to make better decisions and create products that genuinely connect with African men.

Q: The African man in 2026 is speaking more about self-style and confidence. How is House of Basil speaking directly to this new version of him?

A: We realised that the African man is not a monolithic identity. He is not defined by one single characteristic. He is a complex individual with different interests, responsibilities and ambitions.

Whether he is a father, brother, professional, athlete or entrepreneur, he needs underwear that supports him through all the different roles he plays in his daily life.

For us, it is about creating underwear that is resilient, comfortable, reliable and beautifully designed. It must provide support, make him feel good and allow him to move confidently through the world.

We are seeing that African men are investing more in themselves — in how they look, how they feel and how they present themselves. Confidence begins from within, and House of Basil exists to support that journey.

Q: Many global underwear brands use standardised designs. How do you ensure House of Basil pieces fit, feel and move correctly for African men?

A: When we started our design and research process, we worked with the information we had available, including market research. However, we realised we needed deeper scientific data to make more informed decisions.

By combining research with the experience of people who have spent years in the industry, we were able to refine our approach.

We discovered that African men have diverse body types and proportions that need to be considered. However, it is also important not to define African men as one single category. There are different cultures, lifestyles and preferences within Africa.

Our goal is to create a balance — designs that are inclusive, comfortable and able to serve our community as widely as possible.

Q: Underwear is the first thing a person puts on every morning. What experience do you want customers to have when they wear House of Basil?

A: We want every man who puts on House of Basil to feel confident, comfortable and good about himself.

Underwear is the first layer you wear, and it influences how you carry yourself throughout the day. We want men to know that their underwear can transition with them through every role they have to play.

It needs to be reliable, comfortable, durable and supportive. Because underwear is the closest garment to your body, it has to provide an experience that goes beyond function.

It should feel premium. It should feel like an act of self-love — something you are proud to own, proud to wear and something that makes you feel confident.

Q: What defines the House of Basil man?

A: The House of Basil man is someone who moves, adapts and makes an impact wherever he is.

He could be a creative in Nairobi, an athlete in Kinshasa, a salesperson in Accra or a lawyer in Dakar. He exists in different environments, but the one thing that connects him is ambition.

We want him to trust that his underwear is the last thing he has to worry about and the first thing he can rely on.

House of Basil represents a man who is ready to face whatever the world brings, knowing that he is supported in every aspect of his journey.

Q: For years, men have focused more on outerwear than underwear. How are you changing that mindset?

A: Many men invest heavily in their external appearance. They wear beautiful suits, drive impressive cars and take pride in looking their best. But when it comes to underwear, it has traditionally been overlooked.

We want to change that.

Men deserve to feel confident not only in what the world sees, but also in what they personally experience.

We also want to redefine sensuality. Sensuality is not only about sexuality. It is about appreciating how something feels against your skin, enjoying the texture of fabric, feeling supported and experiencing confidence.

A garment can influence how you feel and how you carry yourself. Wearing something beautiful and comfortable is an act of self-respect.

Our long-term vision is to introduce different cuts and designs that support men through different moments of their lives — whether they are playing sport, dressing formally or simply seeking a different level of comfort.

Q: You have had time to rethink the brand. What changes did you make in terms of fabrics, cuts and details?

A: Initially, we used heavier fabrics because we wanted to ensure long-lasting support throughout the day. We discovered that because of body temperature and movement, some fabrics could lose structure over time.

However, we also realised that heavier fabrics could affect comfort because underwear is an intimate garment that interacts with a sensitive part of the body.

We had to find the right balance between support, comfort and breathability.

We adjusted the GSM, refined our fabric choices and improved our construction methods. We became intentional about every detail — from label placement and thread selection to redesigning the pouch area to provide better support and comfort.

Every decision was made with the goal of creating a premium experience.

Q: Fashion connects with music, sport and culture. What cultural moments inspire House of Basil?

A: We believe underwear is different from other fashion categories. It is deeply personal, but also functional.

While we have created collections around cultural moments, we realised that the brand itself has to represent something bigger.

House of Basil stands for inclusion, African identity and the belief that Africa can create products of global quality.

The cultural moments that inspire us are the moments people experience while wearing our underwear — the celebrations, achievements and milestones that shape people’s lives.

We want to be associated with the best of what Africa can offer: creativity, excellence and confidence.

Q: What is the expansion vision for House of Basil across Africa?

A: We have signed an agreement with a partner in Zimbabwe and are looking to expand into more markets before continuing northwards across the continent.

Africa is a beautiful place because it has so many pockets of excellence. Cities like Nairobi, Accra, Harare, Zanzibar and Dar es Salaam represent creativity, ambition and opportunity.

As movement between African countries becomes easier, we are discovering that we have more similarities than differences.

Our focus is on breaking down barriers and making it easier for customers across Africa to access House of Basil. Some of the challenges include infrastructure, courier costs, production and ensuring consistent stock availability.

Through partnerships with local businesses and retailers, we are finding creative ways to bring our products closer to consumers.

For us, in 2026, House of Basil means understanding that as an African man or an African person, there are no barriers. You are only as amazing as you dare to be, and we are here to support you every step of the way — closest to your skin.