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Front Row with Wearhouse
- Odwa Zamane
- Mar 25
- 5 min read
Updated: Mar 31
Front Row with Wearhouse
Founded by Johannesburg-based creative polymath Lebogang Ramfate—'Wearhouse' can be described to one as an evolving creative project. One which is fundamentally rooted within the founders interests which primarily stem from his background in product design, art, design, filmmaking and journalism.
"The name Wearhouse is a deliberate fusion “Wear”, representing clothing and self-expression, and “Ware”, referencing a warehouse—a space for storing, managing and distributing goods."
Interestingly enough, Wearhouse kinda reminds me of a lot of the principles taught by the late great Virgil Abloh. I do not say this lightly at all—but to me it is almost abundantly clear when a creative has graduated from the school of Virgil Abloh thinking—and one could stand a strong case for my next interviewee. In our virtual conversation, Lebo further explains:
"Today, Wearhouse stands as a research-driven studio that explores the intersection of high fashion, African craftsmanship, and global design narratives. It’s a platform that doesn’t just produce clothing but curates experiences, fosters collaborations, and redefines the boundaries of wearable art and industrial aesthetics."
So stick with us at FRM as we discuss all things Wearhouse with the founder! Delving into their brand ethos of merging working-class uniforms with Savile Row tailoring, the (likely) future of the brand 10 years from now, and more.
Would you mind introducing yourself and including a short description of what you do?
LR: I am a product designer, creative and practicing artist with a background in design, filmmaking and journalism. I run a research-driven design practice known for its emphasis on industrial beauty and precision engineering, spanning creative fields like fashion, architecture, and design—with a focus on utilitarian designs and high-quality garments.
Could you tell me a bit more about Wearhouse? From the ideation behind the name to what the brand identity means to you today.
LR: The name Wearhouse is a deliberate fusion “Wear”, representing clothing and self-expression, and “Ware”, and referencing a warehouse—a space for storing, managing and distributing goods. The dual meaning reflects the brands essences as both a fashion label and a multidisciplinary design hub.
Originally conceived as a clothing brand, Wearhouse has evolved into a boarder creative entity, incorporating engineering, fashion, and film into its practice. The name signifies not just a place where garment are made, but a space where ideas, artistry, and craftsmanship converge. It embodies the brand’s ethos of innovation, sustainability, and industrial beautification, blending fine art with functional designs.
Today, Wearhouse stands as a research-driven studio that explores the intersection of high fashion, African craftsmanship, and global design narratives. It’s a platform that doesn’t just produce clothing but curates experiences, fosters collaborations, and redefines the boundaries of wearable art and industrial aesthetics.
What were you most inspired by when it comes to the creative direction & design process for Wearhouse? I see a lot of form following function. I sense a lot of architectural meaning within your work so I'm assuming you are of that space?
LR: My creative direction for Wearhouse is deeply rooted in the interplay between nature and industry—drawing inspiration from architectural forms, spatial design, and raw natural elements like rocks and landscapes. I am constantly exploring how these seemingly contrasting influences—organic and industrial—can coexist in harmony, shaping the way garments and objects are designed.
My background in traditional tailoring and atelier techniques informs the craftsmanship behind Wearhouse, while my experience in film and world-building allows me to tell stories through clothing and design. Each piece is more than just an object; it is a reflection of lived experiences, labor, and the environments that shape us.
Aesthetically, Wearhouse merges working-class uniforms with Savile Row tailoring, embodying the tension between functionality and refinement, between utility and elegance. This contrast speaks to broader themes of class, labor, and identity, where industrial workwear meets meticulous craftsmanship.
At its core, form and function guide every creative decision. Our designs are meant to be practical yet expressive, structured yet fluid, ensuring that each creation serves a purpose beyond aesthetics. Wearhouse is not just about clothing—it is a research-driven space where materials, techniques, and narratives come together to redefine how fashion interacts with the world around it.
I love the items you've dropped more recently, especially the “Onyx” inverted pant. And the shoot which ensued. Can you talk us through this creative process from start to finish?
LR: For the Onyx inverted pant, our creative process unfolds in two main stages:
1. E-commerce Focus:
We begin by ensuring the product is showcased in its most functional form. This phase centers on clearly demonstrating the pant’s design details—such as the inverted pleat—and how it can be styled in everyday settings. The goal here is to offer customers a straightforward, informative view of the product that highlights both its craftsmanship and versatility.
2. Visual Storytelling:
Parallel to the e-commerce setup, we dive into a more imaginative process. We develop mood boards and treatments that establish the “world” in which the product exists. This phase is all about crafting narratives and settings that complement the pant’s unique aesthetic. By blending industrial and natural elements with inspirations drawn from working-class uniforms and Savile Row tailoring, we create visually compelling content for our lookbook. This content not only enhances the product’s story but also invites viewers to engage with the broader artistic vision of Wearhouse.
By balancing these two approaches—technical detail and narrative-driven artistry—we ensure that each piece, like the Onyx inverted pant, speaks to both its functionality and its creative ethos.
It looks like you are gearing towards dropping a full collection, am I correct? Can you tell FRM if there is anything else you have on the cards for 2025?
LR: We’re currently focused on building a strong foundation rather than releasing a full collection. Our approach for 2025 is to refine and perfect a range of products that are still in the developmental and sampling phase. Rather than adhering to a seasonal collection model, we’re committed to offering thoughtfully designed, heirloom-quality pieces that are built to last. Each design is crafted only after purchase, ensuring sustainable production, reducing waste, and delivering products that speak to the needs of today while remaining relevant for tomorrow. Our vision is to build strong, versatile wardrobes–clothing items that are not only worn and appreciated but are also made to be passed on to the next generation.
What do you believe the future of Wearhouse to be? For example, if I say think Wearhouse 10 years from today, what do you see it as visually?
LR: In 10 years, I envision Wearhouse evolving into a tangible creative Maison—a brick-and-mortar space that truly embodies our union of heritage and innovation. This physical space would be a dynamic hub where modern, industrial aesthetics meet timeless craftsmanship. The design would feature a fusion of raw, architectural elements with warm, artisanal details, reflecting our commitment to updating our products while staying rooted in tradition. It will be more than a retail destination; it will serve as an immersive environment for creative collaboration and innovation, a place where every element—from product displays to interior design—echoes the sustainable, forward-thinking ethos of Wearhouse and its promise to create pieces that stand the test of time.
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