In Conversation with Malik Maredza: Seven years in, Juvenile Glide continues bridging consciousness and fashion

For most Zimbabwean brands, longevity is an achievement in itself. Forget the patchy release schedules and the sometimes demoralizing market response; for most designers, to bring their idea forth into reality and keep it alive is their greatest achievement.

Likewise, that has been the case with Juvenile Glide. After enduring a three year hiatus from the Harare streetwear scene, a Pop up market and a runway showcase at the 8th edition of the Fabrik Party in October 2023 marked a triumphant return.

The self-proclaimed ‘Bridging The Gap Between Consciousness And Fashion On Fabric’ brand turned seven this year, and 2024 holds much promise for a continuation on that path.

So, what does seven mean? It signifies completeness or wholeness. In many cultures, the number symbolises a complete cycle or a whole entity.

Mcheno and More had the privilege of sitting down with the 27-year-old Malik Farai Alexander Maredza, the originator of Juvenile Glide, for a deep dive into the story of the brand – the seven-year journey, and what the future holds. Reflecting on the past seven years, Maredza shared his fondest memories, the challenges he had to overcome, as well as the driving force behind the brand’s success. Enjoy!

Malik, thank you for giving us the honour to document the Juvenile Glide story. Tell us, what is Juvenile Glide and when was it founded?

Juvenile Glide came about in 2016, when I was around 19; fresh out of high school and waiting to go to university.

I used to write a lot of poetry and I was also into sketching, so I was trying to find a medium of expression. I asked myself how I could use all these talents to communicate a message? I’ve always been about trying to communicate some sort of informative message or something uplifting something empowering, something encouraging, so I thought let me start.

I wanted to rap first but that didn’t really work (laughs). I felt like fashion was a better idea because I could put my medium of expression on a garment, and somebody can wear it to express themselves.

So that’s where the idea started. It all started off as a stickman. I just sketched a stickman, because I was trying to find a logo that just represents serenity and peace of mind. It’s a stickman with a sun. You can interpret it how you can. I always look forward to hearing other people’s interpretations of the stickman but that’s how we started.

So, this makes it seven years in the industry. How many collections have you released?

I’d say five solid ones, yeah. Five solid ones.

Which can you say was your best collection?

My best collection? Man, you know, I love all of them because they all represent a time and space in my life. They’re all great because they all represent me at different times.

But if I’m going to choose a favourite now, I’d say Munhu Hwunhu.

Why ‘Munhu Hwunhu’?

It’s because it’s my first collection. I think it’s the first collection I’ve ever called a Shona title. That was me expressing how proud I am to be Bantu, to be Shona, to be Mukaranga from Zimbabwe.

Initially, it had no deep explanations. I didn’t get a lot of questions when I made it, and I love that. I do love answering questions, but I feel like a lot of the times when I make stuff I’ll be like, “No it’s just an idea, I will come back to it later, because it’s not satisfying.” But Munhu Hwunhu was the first idea. It was so minimalistic, but so heavy at the same time. People connected with it.

Me being gone for so long, then coming back and getting such a welcoming was so great for me because the time I was away, it shows the growth. This is what I’m thinking right now, after my long time away. People loved it. The idea was proportional to the sales. It was dope. So, Munhu Hwunhu was great. I love it. I think it’s my favourite so far.

Why is it important that designers create work that resonates with people like what you did with the ‘Munhu Hwunhu’ collection?

I think it’s important because, first of all, I’m not talking about art but I’m talking about business.

For you to survive in business you need to sell. For you to sell, who are you selling to? How do you get them to sell without them making too much of a mental decision? You have to get in the minds of the people. You need to give them something that’s easy to digest for their minds. So, it’s important because that’s how you survive in business. That’s on the business side.

On the art side, you also want something so that the soul of Munhu can be recognized. That’s how I like to make art. I like to get into your soul and give you something nice, something that feels good. So, when you see it or hear it or touch it, you feel like you’re being welcomed. I want my products to communicate.

I’d like to believe I’m as welcoming as I can be. Of course, I’m not perfect. I’m not saying I’m the best thing. But I try to make other people feel comfortable, feel welcome, feel at home and feel happy. That’s a trait that I’ve also picked up from my girlfriend, Tari.

I always try to lace my product in such a way that you encapsulate it. You should try to understand it in that way, and feel welcome, feel like you’re part of something. You feel like you’re part of a movement that represents more than just fashion. Ubuntu and togetherness, peace, love and kindness. Just the good things, some good stuff.

You said you have put out five collections so far. What else can you say you’ve achieved with Juvenile Glide so far?

You know what, that’s such a deep question.

In the past seven years, my notable accomplishments include a documentary about my brand that I released on YouTube. It’s called Antecedent Juvenile Glide Perspective.

I’ve also participated in a lot of pop-up markets, I have attracted the attention of the British Council. I have showcased at the Fabrik Party and I was also invited to be part of the CBD Market.

I’ve been invited to these events and been a part of these platforms, which I think holds some weight and prestige as far as a brand is concerned in Harare.

I can say I have met a lot of people because of my brand. I’ve worked with Professor Arthur Mutambara and Professor Ken Mufuka. I worked with some really cool characters that have found me because of the noise I’ve made with the brand.

I put the brand ahead of myself, and then people would want to know who’s behind it, based on what was being released. It’s been really cool to be given such an honour to work with those people, and to be given such a beautiful light to showcase what happens in my head. It’s an honour.

Wow, you have met professors because of Juvenile Glide! How was the experience of working with such respected public figures?

I felt lost at first, I won’t lie to you.

I was so young when it happened, I was like 20, 21. When I started working on Juvenile Glide, I was trying to go in that direction. Imagine you’re still trying to map out who you are and what you’re doing, and then these people call you and all of a sudden, you’re there. They want you to be in their space a lot of the time. I was just there to see when I got an invitation so I could be there and see what’s happening in art on a global scale.

It could be a book release, it was mostly book releases, they just wanted me to appreciate the levels at which I can take my art if I take it further. So, being in that kind of space, I was mostly lost. I don’t want to make it like I was ungrateful for being there, but I was just in the moment, absorbing what was going on.

Seven years in, what are you planning for us in 2024?

You know you just put me in a chokehold with this question! (laughs)

We’re turning seven and that’s big. I haven’t really thought about it to be honest. I don’t want to make it sound like I had a big plan before you asked me this question. I had been silent for almost three years until I did the Pop Up Market at the 8th Fabrik Party, so essentially I’m still getting out of my shell.

I do want to do Antecedent Part 2, that’s been on my mind for the longest. It’s one of those ideas that just keeps on hitting you at the back of your head. It would be the sequel of the first documentary. I think if I can tell that story my way; I’m going to accumulate all the years I’ve been silent and me coming back, and give it meaning as to where I am now.

I feel like that silence was important for me to be where I am now. I was learning other things that would help me come back and tell my story again with the brand.

I also plan on (hopefully) dropping another solid collection on a bigger platform like we did at the Fabrik Party. I would love to do another runway because I felt like I wasn’t given enough control on the last runway, based off of the package. It’s not their fault though, it’s the package we chose.

This time around, with more funding and a much fortified team, I would love to do another runway show. I had 4 models last time. This time, I’d love even 10 models with 10 different pieces, and a separate collection that people can buy.

Lastly, I’d love to have a small store somewhere because people keep asking where to find the brand. Social media is not enough, you need a physical store.

I’m hoping this year will open doors for me financially to really show the world how I see this brand in my head. That’s what I got planned for in 2024.

Someone will come back again after all these years and say I need your previous collection, maybe first or second collections. Do you still have Juvenile Glide merch from the previous collections?

You know what, there’s pieces I don’t even have! I would pay anything to get a piece like that. Even the most recent collection is already sold out.

I do have the soft copies of my designs, and I’ve got pictures as well, because I always try to keep sort of a pictorial diary. I can remake them. I can bring them back based on demand.

So, this year you plan on dropping a new collection, right? When can we expect it?

I don’t know how to answer that. You know, art is a very personal thing. So, I mean, I want to give myself the grace here. I don’t want too much pressure.

Expect something around mid-year. Either the documentary or the collection will come first. We already filmed some scenes for the documentary last year, but now there’s a bit of a script as to what I want to say this time.

I know I’ll give you something because I’m a man of my word. I try to live by it.

Are you going to do it as a launch or are you just going to do an online roll out?

I’d love to do a launch. The audience at the Fabrik Party was so beautiful.

We made a flag, did you see everybody’s facial expression when we brought it out? How people felt to see us back on stage, back on track. You could feel like people were really yearning for this. It really felt nice to be back.

So, for this collection, I’d love to get an audience. It’s a nice runway again. Online it’s just videos and posters, but this time, I want to interact with people and create a noise. I want flyers, I want promotions, people should go places and talk about it and create hype way before the show. That type of thing.

I really want to go all out because I’ve never believed in myself like that. So, I want to take the chance this time to see if people are going to show up or not. And even if they don’t, just the fact that I’m here will be enough.

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