Sheli Masondo, costume designer for Shaka iLembe, raised the South African flag high at the global stage at San Diego Comic-Con 2025.
Sheli joined a panel of trailblazing creatives for More Than Capes: Costume Creates Character, presented by the International Society of Black Costume Designers (ISBCD). The panel brings together some of the most influential black costume designers working today, including Antoinette Messam (The Harder They Fall), Gersha Phillips (Star Trek: Discovery), Charlese Antoinette (Children of Blood and Bone), Lauren Miller (SupaCell), and Sheli, who is one of the African representative alongside other creatives.
Speaking about her remarkable experience, Sheli beamed with pride and said: “It’s a whirlwind of emotions at the moment, with excitement and nerves all at once.”.
“I’m thrilled to be here at the event itself, Comic Con 2025 San Diego. It’s an honour to have my costume design work on Shaka iLembe recognised, and to be sharing a panel with internationally award-winning costume designers is incredibly special,” she said.
Sheli arrives at Comic-Con fresh off her acclaimed work on Shaka iLembe, the sweeping South African historical drama that reimagines the rise of the Zulu nation. Her designs have become central to the series’ critical and cultural resonance. The richly textured costuming, crafted entirely on the continent, is a visual language all its own, carrying layers of meaning beyond the script.
“For Shaka iLembe, we used natural or organic materials closely associated with those used in the era of the story,” Sheli explained.
“Goat and Nguni hide, leather, wood, bone, horns, feathers, grass, tree bark, handwoven cotton, and brass. We sourced these from tanners in Pietermaritzburg and Krugersdorp, and handpicked our woods and grasses.”
Each costume element was intentionally selected to reflect cultural accuracy, a visual history rooted in local craftsmanship. Her work balances deep research with storytelling flair.
“Since many characters’ clothing isn’t well documented in written or oral histories, we had to maintain traditional silhouettes and culturally relatable elements, while also taking creative liberties so the modern viewer could connect.”
“Ntombazi’s Season 2 cape took three months to craft. Queen Nandi’s took five. That does not include the trial and error period, which involved a lot of sewing and unpicking.”
Costumes such as King Zwide kaLanga’s were collaborative achievements, often requiring multiple artisans to realise a single outfit.
“Three different crafters created his headgear alone, and four worked on his body gear,” Sheli explained.
Beyond materials and design, Sheli believes that great costuming facilitates transformation.
“I must commend the actors. The trust they had in me and the process was remarkable. I remember Dawn Thandeka saying, ‘With every single layer you place on me, I feel the spirit of the character settling in.’”
These transformations were made possible by an integrated approach across departments.
“There were always pieces of hair landing on the costume table so we could complete designs with beadwork,” she recalls.
ISBCD president, Antoinette Messam said: “ISBCD is honoured to have Sheli Masondo represent African costume design at Comic-Con.
“As President of ISBCD, I am incredibly proud of the inspiring community we have cultivated. A community grounded in creativity, fellowship, and the celebration of diversity. I am honoured to lead a community that champions creativity, fosters fellowship, and advances diversity within the global costume design industry.” said Antoinette.
Also see: Shaka iLembe’s risqué wardrobe sparks reaction from SA actors
