Abstract
South African female musicians have integrated beads into their attire on album cover art, reinforcing the connection between fashion and music. We analysed album cover imagery to determine how beadwork shapes interpretations of female musicians' images. Where feasible, insights from stylists, often overlooked in musical production, supported our analyses. We obtained these insights through semi-structured interviews with stylists for selected album covers. Our analysis is structured around three themes. Firstly, we read and analyse Sibongile Khumalo's use of ithumbu/lephenya/umgexo as vehicles for expressing artistic identity, historical consciousness, and continuity. Secondly, an exploration of three albums by the maskandi duo Amatshitshi Amhlophe suggests the concept of perpetual ubuntombi (girlhood), despite the members' maturation into womanhood. Lastly, Lebo Mathosa's and Ntsiki Mazwai's albums are evidently absent of physical beads; however, the garments worn recall beadwork in innovative ways. While focusing on beadwork's role in identity formation, we emphasise album cover art as a canvas for expressing diverse identities across time, illuminating the role of album art in fashion and style narratives.