I decided on it around November last year after noticing that I yield great results when I start the year with a clear intention. I settled on ‘audacity’ because that’s the one thing I’ve lacked all my life.
Superficially, if you look at my well-curated social media feed –the highlight reel of our lives – you might think otherwise. You’ll see that I’ve tried skiing (emphasis on ‘tried’), I’ve gone quad biking on the Namibian dunes, and have been on bushwalks in the Kruger. But the highlight reel hides a quiet truth: I’ve always steered clear of what I’m bad at. Like my late father, I have a deep fear of being embarrassed, so for the longest time I wouldn’t do new things because I felt it was best to stay on the ropes than step into the ring. But fortune favours the brave, not the safe. Brené Brown puts it better than I ever could: “If you are not in the arena getting your ass kicked on occasion, I am not interested in or open to your feedback.”
What this lack of audacity has meant is that I’ve accepted scraps when it comes to love, pennies when it comes to compensation, and have disqualified myself from many great opportunities because I let doubt, instead of faith, lead me. This year, I wanted to see what would happen if I decided to be audacious. To say, ‘why not’ to life. And let me tell you, when you tell the Universe your intention is audacity, it’s going to stress test that! I’m looking forward to growing, learning, and failing forward. I have a suspicion it might just change my life.
The people featured in this issue model audacity in a way I couldn’t imagine. From Trevor Noah’s historic hosting of the Grammys and the Dial Watch Club pioneering African watch collection, to Seth Shezi travelling the globe as one of the World’s 50 Best TasteHunters, to be and do something that hasn’t been done before requires more than just talent and confidence. It requires grit, standards, and immunising yourself against rejection, comparison, and failure. Tastemakers are pathfinders who light the way for people like me who are still finding their feet – on the slopes and in life. I hope this issue inspires you to imagine, create, and eventually self-actualise.
FIVE MAR CH
2.
OMEGA SEAMASTER DIVER 300M
In February, I attended the media event unveiling the recently refurbished Club Med Pragelato ski resort in the Italian Alps – which happened during the winter Olympics – and I got to see some fabulous timepieces. With robust water resistance and a ceramic dial and bezel, the Omega Seamaster Diver 300M moves effortlessly from alpine slopes to city streets. omega.com
4.
1.
ARDMORE PHINDA PRIDE SILK TWILL (FLAMINGO)
My favourite country outside of South Africa is Thailand – because…exchange rate, weather, and food! – and I’m looking forward to rocking my Ardmore Silk Twill when I’m in Bangkok for my birthday. Alive with iridescent turaco and lush foliage, capturing the elegance of Africa in vivid flamingo tones, it is designed in South Africa and crafted in Italy. ardmore-design.com
3.
GAGGAN, BANGKOK
I can’t explain how excited I am to be visiting the Best Restaurant in Asia and Thailand 2025, as voted by The World 50 Best. With a one-star Michelin award, I’m looking forward to experiencing Gaggan’s up-to-25 inventive courses that unfold across five sensory acts of light, sound, and flavour. Definitely bucket-list vibes. gaggan.com
CHANEL LE LIFT FLASH EYE PATCHES
Last month, I found myself going from snow in the Alps to humidity in Thailand in less than a week, and while I love Terminal A, those many flights and time-zone changes can take a toll. A five-minute eye revival that depuffs, smooths, and brightens, Chanel’s Le Lift Flash Eye Patches are a carry-on must-have. They are infused with a hyaluronic acid booster and Chanel’s signature eye complex. chanel.com
5.
DEMELLIER THE STOCKHOLM
I’m known to treat my bags like the Olsen twins treat their Birkins – I really use them. But I’m also a fan of quiet cult luxury brands, like this DeMellier modern bowling bag made with sustainably sourced Italian leather. With curved lines, elongated handles, and a laptop-ready interior, The Stockholm is perfect for someone like me who carries everything but the kitchen sink. demellierlondon.com
Photographer: Trevor Stuurman
JOIN US ONLINE
ONLINE THIS MONTH…
In Johannesburg, Gadat House founder Mpumi Nhlapo uses fashion and film to assert African storytelling, collective care, and cultural memory as the highest expressions of luxury. Her “community is luxury” philosophy comes alive in Amalahle: A Vaal Story – a cinematic homage to her upbringing that elevates the ordinary through performance and couture.
Meanwhile, at the Wanderers Stadium, a different kind of sanctuary is reimagining the workday. The Edge High Performance and Resilience Centre replaces the dreary water cooler with an infrared sauna and ice bath, championing the philosophy that productivity is born from recovery. Founder Helen Nicholson has created a space for professionals to focus on their “inner and outer game,” proving that in a high-stakes world, rest is the ultimate luxury.
At Ananta Design Studio in Cape Town, sisters Viveka and Rucita Vassen fuse their Indian-South African heritage with contemporary interiors. Working closely with artisans, each handcrafted piece, bearing Sanskrit names that evoke familial love and nature, is a testament to cultural storytelling. Their intuitive partnership dispels the adage about never working with family; instead, it creates an ease that allows them to focus on the bigger picture.
EDITORIAL: EDITOR IN CHIEF Lerato Tshabalala lerato@yourluxury.africa CREATIVE DIRECTOR Kate Walters
DIGITAL EDITOR Jessica Levitt jessica@yourluxury.africa TRAFFIC CO-ORDINATOR Rachel Ndawo
ADVERTISING & MARKETING: ADVERTISING DIRECTOR Yvonne Shaff +27 (82) 903 5641 I yvonne@yourluxury.africa
ADVERTISING CO-ORDINATOR Yvette Mehl +27 (21) 439 4907 I yvette@yourluxury.africa
ACCOUNT MANAGER: NATIONAL Gina van de Wall I gina@yourluxury.africa SALES EXECUTIVES: Sumeshni Pillay I sumeshni@yourluxury.africa; Susan Pienaar I susan@yourluxury.africa ADVERTISING SALES MANAGER: LONDON AND THE UK Louella Stocchi I louella@yourluxury.africa
MANAGEMENT: MANAGING DIRECTOR Yvonne Shaff DIRECTOR Jacquie Myburgh Chemaly DISTRIBUTION & PRINT: DISTRIBUTION On the Dot, Media Support PRINTED BY CTP Printers, Cape Town for YourLuxury PO Box 1053, Sea Point 8060, Cape Town. All rights reserved. Whereas precautions have been taken to ensure the accuracy of information, neither the editor nor YourLuxury Africa can be held liable for any inaccuracies, injury or damages that may arise. The opinions expressed in the articles may not reflect those of the publisher. As part of our celebration of craftsmanship and culture, this publication features select alcohol brands. We support responsible enjoyment. Not for sale to persons under 18. Please drink responsibly. All prices correct at time of going to print.
MEET OUR CONTRIBUTORS
WHO IS YOUR ULTIMATE TASTEMAKER?
BONGEKA GUMEDE
“At the moment, visionary designer Thebe Magugu stands out. I’ve always been drawn to outliers – those who colour outside the lines – and Thebe’s done exactly that. Since his historic 2019 LVMH Prize win, he’s redefined the global luxury landscape by proving that African heritage is luxury.” See: p34
INGRID WOOD
“She may be 90, but Esther Mahlangu remains a living legend. She took her Ndebele heritage onto the world’s most prestigious platforms, weaving tradition into contemporary culture long before other tastemakers even imagined it.” See: p20
DEBBIE HATHWAY
“Gregory Maqoma, Sowetan creative director, choreographer, producer, and dancer, for the way he unites discipline, storytelling, and cultural memory. Nduduzo Makhathini, jazz musician and composer, whose music is rich in heritage, yet deeply contemporary. Angolan dance master Mestre Petchu, for teaching Angolan dance through its histories, preserving lineage while giving kizomba and semba intellectual and cultural structure.” See: p14, p17
EDWARD MOLEKE MAKWANA
“Linda Makhanya creates tailored suits for presidents and elite business leaders on the continent. I love his work. My second option is Thomas Fortin, also a suit and tie maker based in the UK.” See: p44
LONGINES PRIMALUNA
LIV GOLF SOUTH AFRICA: STEYN CITY EDITION
19–22 March | Johannesburg, South Africa
CULTURE DIARY
LIV Golf makes its African debut at Steyn City this month, bringing the likes of Jon Rahm, Cam Smith, and Bryson DeChambeau to Johannesburg, alongside home favourite Louis Oosthuizen, who leads his all-South African Southern Guards GC. Expect four days of high-stakes competition on the Nicklaus-designed course, elevated by curated hospitality and cocktail lounges. The 16th hole transforms into a unique-to-South Africa party spot, while performances from Black Coffee, Calvin Harris, Goldfish, and more ensure the energy continues long after the final putt. events.livgolf.com
MONTREUX JAZZ FESTIVAL: FRANSCHHOEK
EDITION
27–29 March | Franschhoek, South Africa
The legendary Montreux Jazz Festival arrives on African soil for the first time, setting its stage in the heart of Franschoek. Born on the shores of Switzerland’s Lake Geneva and travelling from Tokyo to Rio and beyond, the festival comes to the Cape Winelands with a curated lineup that includes Malian icon Salif Keïta, South African composer and trumpeter Mandisi Dyantyis, the amaBig Band, and more. Expect a fabulous three days where music meets fine wine, exceptional cuisine, and the laid-back style of this charming town. mjfsa.com
DJ BOB JAZZ CLUB: SUMMER SESSIONS
22 March | Johannesburg, South Africa
Set among the sculptures and lawns of NIROX, DJ Bob’s Summer Sessions returns for a third month, gathering the sharpest jazz talent. The event brings live performances from leading local stars, with DJ Bob steering the tempo between sets. With picnic baskets now on offer, guests can enjoy a relaxed afternoon outdoors that is serious about the music. niroxarts.com
WATCHES AND WONDERS GENEVA
14–20 April | Geneva, Switzerland
Next month, the horology world returns to Geneva’s Watches and Wonders, where more than 60 maisons –including Rolex, Patek Philippe, Cartier, Hublot and, newly, Audemars Piguet – will unveil their latest collections. New complications, fresh design codes, and the defining pieces of the year are highly anticipated as collectors, brand ambassadors, and celebrities gather. The In the City programme expands this year with exhibitions, extended shopping hours, numerous activities, and evening collaborations with the Montreux Jazz Festival. watchesandwonders.com
NAIROBI DESIGN WEEK
7–15 March | Nairobi, Kenya
Nairobi Design Week returns with a city-wide programme of exhibitions, talks, and installations bringing together Kenyan and international makers. This year’s theme, ‘Let’s Be Human’, places people and the way we live at the centre of the design conversation. From architecture and furniture to fashion, the event explores how thoughtful design can shape spaces that connect, and signals Nairobi’s presence on the global design stage. nairobi.design
The
Dividend
WORDS BRIGHT KHUMALO
Luxury doesn’t move because a brand decides it should. It moves when the right people start behaving a certain way – consistently, publicly, and without being paid to explain themselves.
That’s the real power of the tastemaker.
Take John Mayer. Before he was a punchline for guitar solos and dating headlines, he was quietly reshaping modern watch collecting. He didn’t just wear watches; he studied them. In his episode of Hodinkee’s Talking Watches podcast in 2025, John spoke about movements, case proportions, and finishing techniques. When he championed brands like A. Lange & Söhne or complicated Patek references long before the hype cycle arrived, collectors listened. Prices followed later. John didn’t create demand by shouting. He created literacy, and literacy is what turns taste into value.
The pattern repeats across categories.
LUXURY DOESN’T FOLLOW HYPE – IT FOLLOWS CONVICTION.
MODERN TASTEMAKERS QUIETLY SHAPE VALUE ACROSS WATCHES, ART, FASHION, AND CULTURE, PROVING THAT INFLUENCE ISN’T MARKETED – IT IS LIVED
authority because it entered public consciousness through curatorial seriousness. Museums don’t chase trends. They validate them. And tastemakers understand this long before auction houses do.
Even fashion’s quiet shift away from logos wasn’t led by marketing departments. It was led by architects, designers, collectors, and founders who started dressing for themselves again. The rise of brands like The Row or Loro Piana wasn’t viral; it was gravitational. Tastemakers adopted them because they aligned with how they already lived. The rest followed.
“Demand is fickle but taste is patient”
In fitness and performance, the WHOOP device didn’t become culturally relevant through billboards or Google ads. It became relevant because LeBron James wore it obsessively, spoke about recovery like a professional discipline, and treated sleep and strain as competitive edges. WHOOP wasn’t positioned as a gadget, it became part of elite infrastructure. When people realised the most valuable athlete in the world trusted it with his body data, the product crossed from tech accessory to performance luxury. The tastemaker wasn’t the brand, it was the behaviour. WHOOP last raised capital in 2021 at a $3.6 billion valuation, and LeBron is smiling as an early investor in the business.
Art works the same way. When François Pinault built the Bourse de Commerce in Paris, he wasn’t flipping assets like private equity jocks; he was institutionalising taste. His collection didn’t just gain value because of market momentum; it gained
What defines these people is not wealth, but conviction. They buy early. They buy deeply. And they hold.
Crucially, tastemakers are not optimising for resale. That’s the paradox. By not chasing returns, they often end up generating them. They lend watches to exhibitions, art to museums, and credibility to brands. Visibility compounds. Narrative compounds. Value eventually does too.
Contrast that with the loud end of luxury – the limited editions, the celebrity endorsements, the “sold out in minutes” releases. These are signals of demand, not of taste. Demand is fickle but taste is patient.
The modern tastemaker doesn’t post often. They don’t explain themselves. They don’t ask for permission. They influence through repetition, consistency, and trust. Luxury follows them because luxury has always followed confidence.
And the smartest investors know this: if you want to understand where value will be tomorrow, watch who’s behaving a certain way today – quietly, deliberately, and without an affiliate link. ■
Bright Khumalo is a Portfolio Manager and Analyst at Vestact Asset Management
PINNED
CARTIER Grain de Café brooch, yellow gold (750/1 000), white gold (750/1 000), set with five brilliantcut and one princess-cut diamond totalling 0.22cts. POA, cartier.com
GRAFF high jewellery ruby baguette and white round diamond bow brooch (ruby 3cts, diamond total 2cts), RGA112. Set in 18kt white gold. POA, graff.com, delaire.co.za
BVLGARI Gelati 18kt rose gold brooch set with onyx and pavé diamonds. POA, bulgari.com, bhhboutique.co.za
LIONHEART Legacy Majestic Horse Diamond pin and pendant in 18kt yellow gold, with a mix of white and fancy diamonds (3.80cts) and black diamonds (0.34cts). POA, lionheartjewelry.com
to POWER
BROOCHES – LONG CONFINED TO HERITAGE CODES AND FORMAL LAPELS – ARE A QUIET EXPRESSION OF IDENTITY, NARRATIVE, AND MODERN ELEGANCE
OSCAR HEYMAN made-to-order hummingbird brooch (no. 200641) in gold, platinum, tsavorites, sapphires, and diamonds. POA, oscarheyman.com
WORDS
DEBBIE HATHWAY
PICCHIOTTI Masterpieces Emerald Peacock brooch in 18kt white, red, and burnished gold with diamonds, an oval cabochon emerald, garnet, and coral. POA, picchiotti.com
18kt yellow gold brooch with green tourmaline and tsavorite. R115 000, charlesgreig.co.za
Brooch pavé set in the delicate bow motif, 429 rose-cut diamonds with milgrain edging, hinged mechanisms in the end ribbons with tube-set rose-cut diamond tassels, brooch pin and safety latch. From the STRAUSS & CO Uncovered Classics sale lots, open from 6-26 March. Estimated R40 000 – R60 000, straussart.co.za
BUILT AND DESIGNED TO ROLEX’S EXACTING GLOBAL STANDARDS, THE STANDALONE ROLEX BOUTIQUE BY SHEMER IN JOHANNESBURG’S SANDTON CITY REFLECTS THE BRAND’S CORE VALUES OF PRECISION, PERMANENCE, AND TIMELESS DESIGN
WORDS DEBBIE HATHWAY
ROLEX
Tailored
forAfrica
Rolex is famously selective about how and where its name appears. For years, South Africa sat just outside the threshold required for a full boutique experience. As Shemer owner Alan Carrington (below) explains, the local market had to prove its depth. While small in global terms – accounting for around 0.8 percent of Rolex’s international trade – South Africa performs on par with mature European markets such as Belgium or Sweden.
The turning point came during COVID. With international travel halted, retailers were forced to rely entirely on local clients. Demand did not drop. Instead, it revealed a long-standing issue: South African buyers had been underserved due to global scarcity. That consistency of demand ultimately demonstrated to Rolex that this was a serious, sustainable market.
The boutique’s Sandton location was no accident. Long identified by Rolex as Africa’s shopping capital, Johannesburg serves not only South Africans, but also clients from across the continent. Alan notes that many African families now travel to the city specifically to shop, choosing a two-hour flight over long-haul journeys to Europe.
Inside, the boutique feels less like a store and more like a gallery or private lounge. Retail is understated. Coffee is poured by dedicated baristas, private rooms host quiet consultations, and exhibition-only timepieces invite browsing without pressure. It’s an environment designed around the experience. “I still believe that quiet luxury will always prevail. Companies that dedicate themselves to quality and longevity will always stay the distance,” says Alan.
Scarcity remains a reality, and managing expectations is part of the role. Allocation, Alan explains, is built on long-term relationships and patience – much like commissioning a bespoke car or tailored suit. Watches are curated, ordered, and delivered with intention.
Ultimately, the boutique is about moments. Alan recounts a recent private presentation for a matriculant celebrating exceptional results – a family milestone marked by meaning, not extravagance. It’s this idea of occasion, continuity, and care that defines Rolex ownership.
“A lot of what we sell is an occasion – a birthday, an anniversary, a celebration. That’s what makes the brand special.”
In a culture driven by speed and novelty, Rolex’s long game continues to resonate. Quiet luxury, it seems, still has a powerful place in South Africa. ■
BEYOND THE GOWNS, TROPHIES, AND PODIUM FINISHES, WE EXPLORE WATCHES CHOSEN BY CELEBRITIES AND BRAND AMBASSADORS
WORDS DEBBIE HATHWAY
OMEGA Friend of the Brand and actor Colman Domingo chose a 38mm OMEGA Speedmaster in stainless steel with a diamond-paved bezel and a green dial, paired with a green leather strap (324.18.38.50.60.001) for the 83rd Golden Globe Awards this year. omegawatches.com
H. MOSER & CIE. partnered with Formula 1 driver Pierre Gasly on a special edition of its Streamliner Tourbillon. Crafted in 5N red gold, the watch reflects Pierre’s preference for warmer, understated tones, expressed through a “chocolate fumé” dial named by the driver himself. h-moser.com
WRIST WATCH
Actor and producer Henry Cavill says the LONGINES Flagship Heritage Moonphase (L48154782) is one of his favourite watches. He loves it for its understated design, saying, “True quality doesn’t need to announce itself. It’s evident in every detail and in every action.” longines.com
American actor and star of the HBO Max hit series Heated Rivalry, Connor Storrie wore the HUBLOT Classic Fusion King Gold 38mm while announcing the 32nd Annual Actor Awards Nominations at SAG-AFTRA. hublot.com
Global style icon, philanthropist, and model David Beckham sticks to his sporting roots with his choice of wristwear. The former English footballer wears the TUDOR Black Bay Chrono, a 41mm steel sports chronograph with contrasting subcounters. shemer.co.za; tudorwatch.com
Timothée Chalamet wore the UJ-2 with a platinum case and light silver dial from URBAN JÜRGENSEN at the 83rd Annual Golden Globes. He won Best Male Actor in a Comedy/Musical for his role as Marty Mauser in the film Marty Supreme urbanjurgensen.com
Australian tennis star Alex De Minaur, a self-confessed “watch guy”, has partnered with independent watchmaker GERALD CHARLES. He wore the now sold-out Maestro GC Sport Tennis in Yellow at the Australian Open in Melbourne. Designed in collaboration with professional athletes and crafted in Grade 5 titanium, it is the lightest watch in the Maison’s portfolio. geraldcharles.com
THINK OF THIS AS THE BIRKIN LIST OF MAKE-UP AND SKINCARE – BRANDS THAT WE WANT ON LOCAL SHELVES AND NOT JUST OUR DUTY-FREE DREAMS WORDS INGRID WOOD
There are a handful of cult names in the beauty industry that command near-mythic status: brands that are artfully crafted and globally influential; labels that dominate backstage areas, celebrity vanities, and the most selective boutiques. From Louis Vuitton’s beauty vision –bolstered by the creative genius of British make-up artist Dame Pat McGrath – to Hermès Beauty and everything in between, these names shape global beauty desire. And if there’s a shared refrain, it’s this: when will they come here?
Until these icons land on local shelves, they remain objects of desire – tracked online and stockpiled abroad by industrious beauty shoppers – clear proof that South Africa’s beauty scene is primed for its next chapter.
beyond borders BEAUTY
Louis Vuitton’s long-anticipated entrance into the beauty world has already started to shift the global landscape – not merely because the Maison has ventured into complexion and colour, but because it’s partnered with Pat McGrath to define this new chapter. The line draws on the House’s couture codes: architectural packaging, refillable objets, sensorial textures, and couturecalibre formulas. Deeply anchored in the Maison’s legacy and elevated by Pat’s creative direction and artistry, the collection carries unmatched credibility. In a category where aesthetic authority is everything, La Beauté Louis Vuitton is set to be a defining force. For now, the LV Ombres eyeshadow palettes and the Scott Box – housing five lipsticks – sits firmly at the top of my wishlist.
LA BEAUTÉ LOUIS VUITTON
HERMÈS BEAUTY
The pinnacle of quiet luxury, Hermès Beauty is refined, poetic, and exquisitely designed, echoing the House’s storied leather and silk artistry. Drawing on its métiers, the brand creates beauty with soul: colourists, artisans, and perfumers collaborate seamlessly, while lacquered cases, refillable formats, and delicate formulations capture the precision and craftsmanship it’s known for. Although it only launched in 2020, the packaging itself is collectable and quickly became a cult item – often likened to owning a miniature Birkin for your vanity. Rouge
Hermès Lipstick, the brand’s debut make-up icon, remains the ultimate entry point into Hermès’ beauty universe.
Charlotte Tilbury is the undisputed queen of radiance. She has distilled decades of red-carpet artistry into a range designed to feel both intuitive and transformative – think lit-from-within foundations, universally flattering pinks, and glow-boosting textures. The Pillow Talk lipstick became an instant global bestseller, spawning an entire collection – blush, eyeshadow, and liner – and cementing the brand’s cult status. Unlike the exclusivity of Hermès and Louis Vuitton, Charlotte Tilbury democratises glamour, balancing prestige with accessibility and making cult luxury feel attainable. Magic Cream, Hollywood Flawless Filter, and anything bearing the Pillow Talk name travel to South Africa in suitcases by the dozen.
GOOP BEAUTY
TRINNY LONDON
She’s the British beauty entrepreneur who rose to fame as a fashion and makeover expert, and now her wildly successful skincare and make-up ranges are coveted beauty essentials around the world. Launched in 2017, stepping into a sunshine-yellow Trinny London store instantly brightens a grey day and a dull complexion. We love the stackable range of curated make-up pots for easy onthe-go application and the online Match2Me tool, which personalises skincare and make-up routines (you can do this in-store too). Bestsellers include the BFF All Day Foundation for light and natural coverage and the Plump Up Serum for fine lines and sagging.
RHODE
Gwyneth Paltrow’s Goop empire began as a weekly newsletter offering lifestyle tips, wellness advice, and travel recommendations. The early slogan, “Nourish the Inner Aspect”, signalled a holistic approach to wellness. Since then, Goop has evolved into a fully fledged lifestyle brand spanning wellness, beauty, fashion, and retail.
The beauty range includes exfoliators, serums, moisturisers, and body care, all rooted in ingredient transparency and a wellness-first ethos. While Goop’s blend of wellness advice and luxury lifestyle attracts both devoted followers and vocal critics, hero products such as GoopGlow and Microderm Instant Glow Exfoliator remain shopping-list staples – and Gwynnie herself is undoubtedly the original case study for the genesis of celebrity wellness empires.
It would be remiss not to mention Rhode, another perfect case study in celebrity-led beauty. Founded by Hailey Rhode Bieber in 2022, the brand was acquired by e.l.f. Beauty, Inc. in May 2025 through a $1-billion deal. Hailey has retained creative leadership – a strategic decision, given that her now-signature ‘glazed-donut skin’ aesthetic is what propelled Rhode to instant cultural relevance. Top of my shopping list are the Peptide Lip Treatment (also known as the ‘glossy lip saviour’) and the Peptide Glazing Fluid, both of which have become cult favourites for delivering that coveted glow. ■
CHARLOTTE TILBURY
LIGHTING IS MORE THAN A PRACTICAL NECESSITY – IT’S A DESIGN TOOL THAT SHAPES HOW A SPACE LOOKS AND FEELS. IT CAN SET THE MOOD, HIGHLIGHT KEY ELEMENTS, AND TURN ORDINARY INTERIORS INTO EXPRESSIVE ENVIRONMENTS THAT SUPPORT BOTH DAILY LIVING AND VISUAL IMPACT
COMPILED BY LERATO TSHABALALA
Objects ofDesire
1. The Lion & Leopard Lamp No. 1 from PATRICK MAVROS is a collectable sculptural lamp depicting the wild cats in detailed silverwork with a Guinea Fowl Feather Lampshade. patrickmavros.com 2. THE URBANATIVE Fulani Pendant Light draws its silhouette from the sculptural elegance of traditional Fulani hairstyles. The distinctive braided arches worn by Fula women – long associated with femininity, fertility, and beauty – are reinterpreted here in softly curved, organic forms. Crafted from powder-coated steel and intricately woven with braided polypropylene cord, the piece balances strength with delicacy. theurbanative.com 3. Sculptural yet functional, OKHA’S Law & Disorder table lamp has a metallic finish – available in brass or silver – and introduces a rebellious edge while maintaining a sense of considered luxury. OKHA.com 4. ICEBERG by Fabrice Berrux from ROCHE BOBOIS is a sculptural floor lamp that pairs soft illumination with functional detail. A diffused fabric shade casts a gentle, ambient glow, while a refined gold-tone aluminium tray offers a practical surface for everyday essentials. Anchored by a solid marble base, the design features a discreet touch dimmer, seamlessly integrated into the tray. rochebobois.com
Legacy INHERITANCE of
Innovation ELEVATION as
MINESHIFT2026 – A GLITTERING EVENT IN CAPE TOWN – HAILED A BOLD NEW LEGACY IN AFRICAN MINING THAT GOES BEYOND EXTRACTION
Set in the heart of Cape Town’s bustling art metropolis, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) recently hosted MineShift2026: Mine to Market, a spectactular event that brought together esteemed mining leaders, policymakers, investors, jewellers, designers, and cultural voices.
The glamorous evening not only served as an emblem of elegance and innovation with exquisite culinary details and local entertainment, it symbolised a new dawn in Africa’s mining renaissance – a future where the continent’s minerals generate enduring value that goes beyond extraction.
In a world that combines luxury markets and mineral wealth, the event reframed mining as both a finite act and a starting point. The dialogue has shifted and now asks what is built, retained, and passed on once minerals leave the ground.
It challenged conventional narratives around Africa’s role in global mineral economies, positioning the continent not merely as a source of raw materials, but as a creator of long-term industrial, cultural, and brand legacy, fostering local talent and regional economic diversification.
Opening the evening, Managing Director at Metcon Grant Crosse emphasised that MineShift, which launched in 2024, is designed to provoke deeper thinking and more ambitious action across the sector. “MineShift is not about agreement, and it is certainly not about easy answers. It is about challenging assumptions, challenging comfort, and challenging ourselves to think beyond the scraps of the past,” he said. “The future of African mining will not be defined solely by how much we extract, but by what we build, what we retain, and what we pass on.”
“The event reframed mining as both a finite act and starting point”
Guest speaker, Nigerian entrepreneur Nere Emiko, who established the first female-owned gold refinery in Africa, reflected on the continent’s enduring relationship with gold, describing it as “a historic, timeless legacy”. She noted that Africa is increasingly “looking inward as it looks forward,” with growing momentum behind beneficiation, value addition, and market development.
From jewellery and design to storytelling and sound, MineShift2026 positioned minerals not only as commodities, but as cultural materials that are capable of sustaining industries, skills, and brands across generations. As the media sponsor of Mineshift2026, YourLuxury Africa was privileged to witness how these bold ideas become meaningful conversations, a reminder that true luxury lies within connection and the power of forward-looking narrative.
The shared objective that emerged from the evening was clear: to accelerate beneficiation, strengthen African value chains, and ensure that Africa’s mineral wealth translates into enduring skills, industries, and brands lasting industrial capability and creative authorship. Indeed, a powerful mind shift furthering the evolution of African wealth.
Custodians VALUE of
NUNGU DIAMONDS
With Nungu Diamonds, the precious stone becomes intimate. Through its Love Stories philosophy, each diamond is presented not merely as brilliance, but as a chapter, a symbol of devotion, and a shared future.
Provenance shapes the experience as much as cut and clarity. The diamond’s journey becomes part of its beauty. What begins deep within the earth is chosen, set, and worn with meaning. Luxury here is softened by emotion – luminous but deeply personal.
Across jewellery and sculpture, a shared sensibility becomes clear: transformation without erasure, and elevation without excess.
nungudiamonds.co.za
PATRICK MAVROS
Patrick Mavros is renowned for his jewellery and sculptures. Inspired by Africa’s wildlife and landscapes, each piece carries an unmistakable sense of place. Silver and gold curve into elephants, birds, and thorns in forms that feel both unique yet iconic. Each piece feels authored rather than assembled. There’s heritage here, but it is light – never heavy. Worn close to the body, his creations become personal reminders that true refinement carries memory within it.
patrickmavros.com
AT METCON, THE JOURNEY FROM SOURCE TO SIGNATURE IS NOT HIDDEN; IT IS HONOURED
There is something extraordinarily powerful about knowing where a thing of beauty begins. An element of stone, for example, forms in darkness and is shaped by time – the earth carrying its quiet story for thousands of years. What follows – as the stone becomes a piece of jewellery, a sculpture, or an artistic statement – is not simply transformation, but intentional elevation.
At Metcon’s recent MineShift2026 Mine to Market event, held in Cape Town at Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), industry leaders and policy makers stood alongside talented artists and jewellers who interpret rock, metal, and stone, transforming them and carrying their origins forward in their refinement. This is luxury grounded in intention, a message of purpose, artistry, and accountabililty that’s synonymous with Metcon’s values.
metcon.co.za
ANGUS TAYLOR
Acclaimed visual artist Angus Taylor works with challenging materials on a monumental scale. Using Belfast granite, red jasper, and the distinctive orange earth near his Pretoria studio, he shapes raw geology into contemporary form. His craftsmanship and bold approach have resulted in landmark sculptures and public and private commissions around the world.
For Angus, stone remains unapologetically stone, bronze holds its texture, and earth retains its weight and colour. His sculptures suggest presence that is grounded, architectural, and composed.
There is rare luxury in that confidence: allowing material to speak without embellishment. What emerges is not spectacle, but permanence.
angustaylor.co.za
PLATANDIA
Platinum carries a presence unlike any other metal –cool, rare, and quietly commanding.
Platandia reimagines platinum not simply as precious, but as profoundly modern. Through its involvement in platforms such as PlatAfrica, it champions innovation and contemporary design, positioning platinum far beyond tradition.
There’s an inherent sophistication in the metal itself. It does not compete with brilliance; it deepens it. Strong yet refined, enduring yet understated, platinum holds its own with quiet authority.
By cultivating new design voices and celebrating its versatility, Platandia frames the medium as both heritage and horizon rooted in Africa’s geology, while remaining unmistakably future-facing.
platandia.com
BEAUDELL
BY ESTHER BOSHOFF
Esther Boshoff approaches precious metals and diamonds with precision and restraint. Under Beaudell, clean silhouettes and calibrated brilliance define a distinctly modern elegance. Nothing is excessive and every element is intentional. Diamonds are framed, not overwhelmed; gold is sculpted with clarity. The result is contemporary African luxury that feels intelligent and assured; globally fluent yet deeply rooted in authorship. beaudell.co.za
NIC BLADEN
South African artist Nic Bladen preserves fragility in metal. By casting entire plants in bronze and sterling silver, he translates leaves and branches into a long-lasting form.
There’s a quiet tension in his works: softness captured in strength and the organic elevated into permanence. Metal becomes a vessel of preservation rather than dominance. The material’s origin remains visible, honoured, and transformed without being disguised. nicbladen.com
INFLUENCE ARCHITECTS of
MEET THREE DYNAMIC WOMEN WHO CHAMPION ARTISTS, CULTIVATE COLLECTORS, AND POSITION AFRICAN CREATIVITY AT THE CENTRE OF THE GLOBAL CONVERSATION WORDS INNOCENT NDLOVU
Addis Fine Art, ART x Lagos, and Efie Gallery are three institutions led by three remarkable women who present a growing number of gallerists and entrepreneurs who are transforming the industry by increasing access to art and boosting its commercial sector.
Collectively, their mission is to nurture emerging artists, showcase local talent on the global stage, and create a sustainable ecosystem for the industry to thrive. Here, the tastemakers invite us into their world.
TOKINI PETERSIDESCHWEBIG
ART X LAGOS (NIGERIA)
@TOKINIPETERSIDE; @ARTXLAGOS
Blending her talents for business and creativity, Tokini launched ART x Lagos in 2016. Since then, it’s become a leading premier art fair in West Africa, spanning art, music, and film.
WHAT DROVE YOUR SHIFT FROM LAW INTO THE WORLD OF LUXURY AND THE ARTS? In 2007, after completing law school, I took a gap year to figure out how to merge my diverse interests. I’d been volunteering in fashion, publishing, and even considering entertainment law as an undergraduate, and as I split my time between London and Lagos, I recognised how underrepresented African culture is globally.
I first took on a communications role at Moët Hennessy within the LVMH Group, then became Head of Marketing. That led me
VALENTINA MINTAH
EFIE GALLERY (DUBAI)
@EFIEGALLERY
Based in Dubai by way of Ghana, Efie gallery was started by Valentina and her two sons, Kwame and Kobi, in 2021. The gallery blends music, art, and literature, creating a multi-disciplinary communal space inspired by African traditions of gathering.
AS GALLERISTS, WHAT MAKES AN ARTWORK COMPELLING TO YOU?
It’s always compelling to see works that challenge the stereotypes around contemporary African art, which is still too often boxed in by preconceived notions or limited to certain aesthetics.
HOW DO YOU SELECT ARTISTS TO WORK WITH, AND WHAT QUALITIES OR ELEMENTS STAND OUT TO YOU?
One of our goals is to highlight artists who are established globally but haven’t had solo presentations in this region. The shows we hosted with El Anatsui, Abdoulaye Konate, and Maria Magdalena Campos-Pons were their first in the Middle East.
YOUR ARTISTS TO WATCH IN 2026?
Maggie Otieno from Kenya, who will have her first solo exhibition at Efie Gallery in April. The exhibition features recent works created during a residency at El Anatsui Studio in Temu, Ghana. We are also excited about Luke Agada, Tunji Adeniyi-Jones, Ludovic Nkoth, and Naila Opiangah, who feature in our upcoming exhibition In Abstracto, In Concreto: On Memory and Presence, opening late in May.
WHAT’S YOUR BIGGEST HIGHLIGHT, AND WHAT DO YOU ENVISION FOR THE FUTURE?
It’s rewarding to see the same faces coming to the gallery again and again, often bringing along new visitors with them. We want to continue representing and advancing diverse artists of African origin while fostering cross-cultural artistic dialogue in the Middle East and beyond.
“It’s always compelling to see works that challenge the stereotypes around contemporary African art”
to launch a consulting firm to help local culture entrepreneurs and luxury brands grow, such as ALARA and Maki Oh. I began to collect art in those years and met dozens of artists in Lagos. In 2015, I decided to pursue an MBA at INSEAD, as I wanted deeper business knowledge, having found myself at the intersection of creativity and business, and it was there that ART X Lagos was born.
AS THE FOUNDER OF A MAJOR ART FAIR, WHAT MAKES AN ARTWORK COMPELLING TO YOU? For me, a compelling artwork moves you, challenges you, or transports you somewhere new. It should provoke thought and spark conversation. I’m drawn to work that carries a sense of authenticity and purpose, pieces that reflect an artist’s deep convictions and connection to their context. Recently, I’ve been profoundly inspired by the archive of J.D. Okhai Ojeikere, which has thousands of images of Nigerians from the ’50s, ’60s, and ’70s.
YOUR ARTISTS TO WATCH IN 2026? I’m consistently inspired by artists who are redefining the boundaries of African contemporary art. Those who blend tradition with innovation, who are rooted in their local context yet globally engaged.
Nengi Omuku, who had a special project at our 10th anniversary fair, is a great example. She paints on sanyan, a tightly woven Yoruba fabric and addresses heritage and inner psychology through her art and her charity, The Art of Healing.
WHAT’S YOUR BIGGEST HIGHLIGHT, AND WHAT DO YOU ENVISION FOR THE FUTURE? Reaching our 10th edition was no small feat. Standing on that stage at the VIP Preview, I had to pause and take it all in. It took me back to our opening weekend in 2016. To feel that same energy in the room, nine years later, affirmed that we’ve created something special. Looking ahead, my hope is that ART X continues to grow and remain a contributor to the advancement of the African narrative.
RAKEB SILE
ADDIS FINE ART (ETHIOPIA) @RAKEBSILE; @ADDISFINEART
Born in the US and raised between Ethiopia and the UK, Rakeb is the co-founder of Addis Fine Art. Inspired by her own journey of self-discovery and identity, she established the gallery with business partner Mesai Haileleul in Addis Ababa in 2016.
HOW DO YOU SELECT ARTISTS TO REPRESENT, AND WHAT QUALITIES STAND OUT TO YOU? This project was an ode and dedication to the artists that Mesai and I loved and collected, but that we also got to know over time. We wanted to showcase artists who have been working for many decades in obscurity and hadn’t had any kind of support – locally or otherwise – to benefit from their creativity.
FROM A GALLERIST’S PERSPECTIVE, WHAT MAKES A COMPELLING ARTWORK? In any creative industry, you’re trying to engage someone’s emotions. I think that’s what artists do best. A compelling artwork does that, and it can move you and make you think and question. It can also challenge you and teach you things. It creates a feeling and a conversation. YOUR ARTISTS TO WATCH IN 2026? Merikokeb Berhanu, Tesfaye Urgessa, Tizta Berhanu, and Tesfaye Bekele. Tadesse Mesfin is a unique one because he’s the link between the modernists and the contemporary artists that we work with. His work is beautiful and important for art history. WHAT’S YOUR BIGGEST HIGHLIGHT AND WHAT DO YOU ENVISION FOR THE FUTURE? You can expect more collaborations with other galleries to ensure artists go further. We’re also setting up a foundation to continue developing new artists and we’re publishing our 10year anniversary book, 10 Years of Addis Fine Art: A Decade of Discovery ■
TSAKANI MOYANE AND YANKHO KUMBEMBA, THE FOUNDERS OF THE DIAL WATCH CLUB, ARE TURNING HOROLOGY CULTURE INTO SOMETHING MORE INCLUSIVE AND INFORMED – A PLACE WHERE AFRICAN COLLECTORS, MAKERS, AND ENTHUSIASTS FINALLY TAKE UP THE SPACE THEY DESERVE WORDS LERATO TSHABALALA
In a world where watch culture has long been narrated through European maisons, old-world auctions, and legacy publications, Tsakani Moyane (bottom left) and Yankho Kumbemba (left) are reshaping the conversation from the continent up. As the founders of The Dial Watch Club (established in 2024), they’ve built what they describe as the first black African horology-based platform on YouTube – a channel designed to bring attention and pride to African watchmaking while cultivating a community for collectors, enthusiasts, and curious newcomers across Africa.
What makes The Dial especially compelling is its intentionality. This is not content for content’s sake. The platform moves with purpose: to educate, demystify, and open up a world that has often been framed as intimidating or inaccessible. Watches, after all, are more than objects of luxury – they are design, engineering, heritage, symbolism, and story.
Through a series of signature formats – from conversations on The Dial Podcast to focused exploration in the Stay On The Watch series and hands-on reviews – Tsakani and Yankho translate horology into an African vernacular: clear, confident, and culturally grounded. In doing so, they’re not only creating viewers; they are building collectors, nurturing taste, and expanding Africa’s presence in a global industry that has too often overlooked the continent’s voice.
THE DIAL WATCH CLUB
FOR READERS WHO ARE DISCOVERING YOU FOR THE FIRST TIME – WHO ARE YOU, AND WHAT EXACTLY IS THE DIAL WATCH CLUB?
We are Tsakani and Yankho – two people who genuinely love watches, the craft behind them, and what they represent. The Dial Watch Club is our platform and our community. We founded it in 2024 because we wanted to create a home for African horology conversations in a way that feels authentic, accessible, and aspirational.
It’s a YouTube-first platform with different series formats, but the bigger picture is community building. We want to connect collectors and enthusiasts across the continent, while also spotlighting African excellence in the space – from taste to design to watchmaking.
YOU’VE DESCRIBED THE DIAL AS THE FIRST BLACK AFRICAN HOROLOGYBASED PLATFORM ON YOUTUBE. WHY DOES THAT MATTER?
Representation matters, but for us, it’s also about ownership of narrative. Watch culture tends to be framed globally through a narrow lens – European heritage, European gatekeepers, and a kind of exclusivity that can feel uninviting.
Africa has always had taste. Africa has collectors. Africa has people who appreciate craft, detail, and design. But we don’t always see African voices leading the conversation. We wanted to change that and inspire those who are new to watches to feel that the industry has space for them.
WHAT DO YOU THINK PEOPLE GET WRONG ABOUT WATCH CULTURE?
Many people think it’s only about price tags and status. And yes, watches can be luxury signals – but that’s not the most interesting part. The real magic is in the details: how a movement is made, why a dial is iconic, why a case design becomes timeless, and how heritage builds meaning. Watches also carry emotional weight. They mark achievements, transitions, and family history. A timepiece can be a first bonus purchase or a multigenerational heirloom. That depth is what we’re trying to bring into our storytelling. YOUR CONTENT FEELS EDUCATIONAL, BUT NEVER PREACHY. HOW DO YOU MAKE HOROLOGY ACCESSIBLE?
We focus on clarity. We respect the craft and take it seriously, but we don’t believe in making people feel small for not knowing terminology. Nobody is born understanding exactly how a mechanical watch works. We also speak as enthusiasts, not lecturers. If you are curious, you are welcome. We want to show people that watch knowledge grows with time – and part of the joy is in learning, asking questions, and developing your own taste.
“Africa has always had taste. Africa has people who appreciate craft, detail, and design”
WHAT TYPES OF CONTENT DO YOU PRODUCE?
We built The Dial around specific formats because people engage differently. Some want conversation, some want education, some want lifestyle and style. So we have The Dial Podcast for conversations and interviews, the Stay On The Watch series for deeper dives into niche topics and brand history, Hands On The Dial for reviews and education, Style By The Dial for the intersection of watches and elegance, and Off the Clock for lighter lifestyle content that connects to our ethos.
WHY FOCUS ON COMMUNITY RATHER THAN JUST BUILDING A MEDIA BRAND?
Because community is the point. It’s one thing to enjoy watches privately;
it’s another to have a space where you can discuss them, learn, compare, and connect – without judgement.
We wanted a platform where Africans feel seen in this industry, where knowledge is shared, and where people from different walks of life can find entry points. Community also keeps the culture alive. It creates momentum beyond individual consumption.
WHAT DOES AFRICAN HOROLOGY MEAN TO YOU?
It means voice and visibility. It’s African collectors speaking about what they love, how they style, what they value, and what design language resonates. But it’s also bigger: African creativity, innovation, and watchmaking. We want to contribute to an ecosystem where African excellence is not an afterthought – where it’s recognised as part of global horology. The continent is not just a market; it’s a creative force.
HAVE YOU NOTICED A GROWING APPETITE FOR WATCHES IN SOUTH AFRICA AND ACROSS AFRICA?
Definitely. Watches are increasingly seen as cultural objects – part design, part fashion, part legacy. Social media has also helped people discover independent brands and new aesthetics. But what we’re seeing more than anything is curiosity. People are asking questions, wanting to understand what makes something valuable, and wanting to buy with intention rather than hype. That’s exciting because it grows a healthier collector culture.
WHAT HAS SURPRISED YOU MOST SINCE LAUNCHING?
The reach. We started with the belief that people were waiting for this – but the response still surprised us. We’ve had support from different parts of Africa and beyond. People have said it feels refreshing to see watch content coming from Africa, told in a voice that understands both luxury and culture.
We’ve also noticed that the audience is not one-dimensional. We have seasoned collectors, first-time buyers, and those who simply love design. That mix is powerful.
WHAT IS THE LONG-TERM VISION FOR THE DIAL WATCH CLUB?
To be a reference point – the place people think of when they think about African horology. We want to keep building credibility, expanding content, and collaborating with more voices in the ecosystem. We also want to inspire future African watchmakers and creatives. Even if someone never becomes a collector, we want them to value craftsmanship, engineering, and heritage – and to feel proud that Africa belongs in the global conversation. ■
@thedial_watchclub
CIGAM
MZAN S I
ACROSS ENTERTAINMENT, FASHION, AND PERFORMANCE, SOUTH AFRICAN TALENT HAS MOVED FROM CULTURAL CONTRIBUTOR TO GLOBAL AUTHORITY. THE WORLD IS NOT JUST DISCOVERING THE COUNTRY’S TALENT –IT’S RESPONDING TO IT WORDS BONGEKA GUMEDE
For decades, the international lens rested on Africa with quiet curiosity, treating the continent as an enigmatic muse. Today, that distance has collapsed. South African creatives are not merely interpreted through a foreign lens – they are defining the narrative themselves – in real time – on the world’s most influential platforms.
This shift is measurable. Comedian Trevor Noah stands as one of only two hosts in the annual Grammy Awards’ 68-year history to host the ceremony six times –including this year. Beyond the stage, his podcast What Now? commands a global listenership in the millions, extending his influence into weekly conversations that cut across politics, culture, and psychology.
In music, Black Coffee has rewritten the possibilities for African electronic sound. As the first South African DJ to sell out New York’s Madison Square Garden, his ascent from Durban to the world’s most elite venues has been both historic and symbolic, positioning African house music as a global mainstay rather than a niche export.
Fashion tells a similar story. Candice Swanepoel’s work as a Victoria’s Secret Angel placed her among an elite circle of supermodels, a status reinforced by decades of international campaigns, runway appearances, and editorial dominance that continue to secure her global appeal.
Behind the scenes, cultural architects are shaping the moment with equal force. Lee-ché ‘Litchi’ Janecke has choreographed two Grammy-recognised music videos for Tyla, translating South African movement into a global visual language that has helped define the aesthetic of a new generation of pop performance.
These achievements signal more than individual success. They confirm a broader reality: South Africans are no longer entering the global cultural conversation – they are structuring it – at scale – and on their own terms.
LITCHI HOV
Lee-ché Janecke (opposite) – the visionary professionally known as Litchi – does not merely perform; he inhabits the very architecture of dance. As the driving force behind the iconic routines of South African Grammy-winning phenomenon Tyla, Litchi is steering the world stage into a bold new era of rhythmic expression. By masterfully translating the instinctual energy of
PRETTY YENDE
The journey from a small town in Mpumalanga to the gilded stages of the Metropolitan Opera is not simply improbable – it is operatic in its own right. Pretty’s international breakthrough came in 2013 when she stepped in at short notice to perform at the Metropolitan Opera in New York – a debut that instantly positioned her among opera’s most exciting rising stars. Since then, she has graced the stages of La Scala in Milan, the Opéra National de Paris, and London’s Royal Opera House, becoming one of the few South African sopranos to command sustained acclaim within the global classical canon. Opera News has described her voice as “one of the loveliest heard in years”, praising its warmth, agility, and emotional clarity.
Her ascent was accelerated by major competition victories, including first prize at the prestigious Belvedere Competition and success at Operalia, founded by Plácido Domingo – milestones that signalled her arrival within Europe’s most competitive operatic circles. In 2023, she sang at King Charles III’s coronation and was appointed a global ambassador for Dior, bridging haute couture and high culture in a partnership that reinforced her status as both artist and international cultural figure. Reflecting on her path, Pretty has said, “Opera chose me.” It’s a sentiment that captures both the humility and conviction underpinning her career – one built on discipline, talent, and an unwavering belief that where you begin does not determine where you belong. Today, her presence on the world’s greatest stages affirms that South African excellence resonates just as powerfully in the grand traditions of opera as it does in contemporary culture. (@pretty_yende)
South African street dance into a refined, high-art vernacular, he’s become the preeminent engineer prescribing the pulse of contemporary pop.
With more than a decade of experience, the Cape Town-born creative first captivated South Africa on Idols SA before his international breakthrough with Tyla’s Water. His choreography ignited a global movement, earning a
2025 MTV VMA nomination for PUSH 2 START. From the stages of Coachella to the Alvin Ailey American Dance Theater, Litchi has redefined African dance on the world’s most elite stages, setting a new gold standard for innovation, sophistication, and cultural expression. When posting about his cover with Manor, he said, “I’m so happy to be a vessel in any form of what you need of me.” (@litch_hov)
BLACK COFFEE
The signature is instantaneous: a resonant bassline, hypnotising harmonies, and gleaming, ethereal keys. This is the unmistakable essence of Black Coffee’s sound – a sophisticated fusion of ancestral soul and rhythmic precision. More than a melodic experience, his music is a reclamation of South African identity, exported with a refined authority that has captivated the global arena. By weaving the pulse of his house roots into the fabric of the world’s most elite stages, the Durban native has shifted the global trajectory towards the beauty of the African spirit.
THUSO MBEDU
Vanity Fair had this to say about the actress in 2022: “Thuso Mbedu broke hearts and raked in accolades as Cora in Barry Jenkins’s limited series The Underground Railroad, based on Colson Whitehead’s book.” A force in contemporary cinema, Thuso is a performer whose depth has made her a catalyst of history. Her international debut in The Underground Railroad marked a watershed moment as the first South African actress to lead an American series, earning her an Independent Spirit Award and a Gotham Award.
However, it was Thuso’s feature film debut in the historical epic The Woman King that showcased her remarkable versatility. Starring as the fierce warrior Nawi alongside Oscar-winner Viola Davis and John Boyega, Thuso’s transition into action was seamless, earning her the Black Reel Award for Outstanding Breakthrough Performance. Rooted in the raw excellence of her two-time Emmy-nominated role in Is’Thunzi, Thuso’s ascent continues with her leading role in the 2025 HBO series Task and the upcoming fantasy epic Children of Blood and Bone. Now a global ambassador for L’Oréal Paris, the Pietermaritzburg native remains a multicultural talent whose artistry transcends borders. (@thuso.mbedu)
Born Nkosinathi Maphumulo, his prestige reached its pinnacle as the first South African to win a Grammy for Best Dance/Electronic Album. This momentum culminated in a historic, sold-out debut at Madison Square Garden and being named the World’s Best DJ at the 2024 Golden Moon Awards. His career in music is absolute proof that South African brilliance no longer needs an introduction. In an interview with Grammy.com about his current album, he said, “My artistic touch will always be defined by my music, but I want to break barriers and convey a global message, not just on dancefloors. This album goes way beyond.” (@realblackcoffee)
TREVOR NOAH
The curtain call at the 2026 Grammy Awards was more than a hosting handover; it marked the end of one of the most significant runs in the ceremony’s 68-year history. With six consecutive turns as master of ceremonies, Trevor becomes only the second host to sustain such longevity. Beyond the awards stage, his cultural fluency has also extended into global cinema, including his role as the voice of Griot in Black Panther: Wakanda Forever
In 2023, he was awarded the Erasmus Prize, becoming the first comedian since Charlie Chaplin to receive the honour – a rare acknowledgement of humour as a serious and influential force within the humanities. Trevor’s global authority was cemented during his seven-year tenure as host of The Daily Show, where, under his leadership, the programme earned multiple Primetime Emmy Awards.
Beyond television, his memoir Born a Crime: Stories from a South African Childhood became a New York Times bestseller, resonating for its candour, humour, and unflinching examination of identity, race, and belonging. As the world’s number one podcaster, Steven Bartlett, said when talking to Brené Brown, “It’s tough talking to Trevor because he always has something interesting to say.” (@trevornoah)
CANDICE
SWANEPOEL
“I’m all about positivity. Feeling bold underneath an outfit helps me shine outward. And right now, my star is shining bright,” Candice told Vogue during a holiday campaign for Victoria’s Secret. And indeed it is.
A leading face in the fashion industry, she’s redefined the role of the modern supermodel with her blend of unearthly beauty and entrepreneurial knowledge. Most recognised for her tenure as a Victoria’s Secret Angel, Candice has graced countless magazine covers and
headlined campaigns for luxury powerhouses like Chanel, Versace, and Fendi. Beyond the runway, she’s a pioneering force in sustainable fashion. In 2018, she launched Tropic of C, an eco-conscious swimwear brand that mirrors her commitment to nature and female empowerment. Her influence extends through her work with mothers2mothers, supporting HIV-positive moms in Africa. Known for her disciplined grace and versatile aesthetic, Candice remains an icon of South African excellence, proving that her legacy is built on both beauty and a profound impact around the world. (@candiceswanepoel) ■
COMEDY
DINING
Strangers WITH
A NEW WAVE OF LONG-TABLE DINING EXPERIENCES IS TESTING WHETHER STRANGERS CAN BE GATHERED, SEATED, AND GENTLY NUDGED TOWARDS CURATED CONNECTION
WORDS RYAN ENSLIN
For a while now, long-table dining has fascinated me, perhaps born from my affection for the strange. The idea of sitting around a single table, eating well, listening closely, and discovering new stories feels like a deliberate pleasure. It promises a quiet thrill of not knowing who you will become for an evening.
That fascination needed testing. The pull lay in discovering whether a ticketed evening at such a table could still deliver something real, or whether the promise of connection would thin under scrutiny. Whether asking strangers to engineer social intimacy could echo the ease of long, lazy family lunches on a Sunday, or reveal how fragile that ease becomes once it is designed rather than inherited.
Kraaktafel entered my field of consciousness through an image I could not shake. What it stirred in me was a sudden longing – not just for the setting, but for the invitation it implied. The chance to step into an evening where familiarity was suspended, and attention mattered. An evening where I would have to show up fully among strangers and discover who might meet me there.
LEARNING TO SIT TOGETHER
South Africans are often noted for their sociability; for an ease with conversation that crosses age, origin, and background. Social dining here draws on that instinct and shapes it with intention. In Cape Town, Reverie Social Table slows people into presence, pairing seasonal cooking with a single shared table that insists on attention and care.
In Johannesburg, the Yeoville Dinner Club stretches the long table into a Pan-African narrative, where migration, music, and memory are inseparable from the meal. You sit above Rocky Street, an area marked by volatility and risk, and choosing to go already feels like crossing a line. That tension does not disappear upstairs, but it is transformed. Conversation disarms caution. Regulars return not because it is comfortable, but because it works – because the table asks something of you and gives something back in return.
Even on St Helena Island, Chef Dan Flory’s pop-up dinners fold strangers into island time, though one evening paired me with a guest whose refusal to engage revealed how proximity alone does not guarantee connection.
OPPOSITE TOP:
A sweeping spiral of linen and light unfurls in a field in Wellington, waiting for strangers to navigate its curve and turn open land into shared occasion
ABOVE:
Upon arrival, hands are washed in a sunlit ceremony, marking a quiet threshold between entry and the shared table ahead
LEFT:
As night falls, glasses rise as strangers lean closer, distance dissolving into shared celebration beneath an open sky
THE JOURNEY
With those tables in mind, I set off for the Kraaktafel experience, curious to see how it would unfold. The drive into the Cape Winelands sharpened that curiosity further. Wellington arrived as a threshold, familiar yet gently removed from the tempo I had left behind. Before Kraaktafel entered the frame, I gave myself time to explore the Bovlei Valley and settle into its rhythm.
I checked in at the Coach House at Val du Charron because I needed a buffer. I wanted a place that felt controlled before stepping into something that might not be. My suite opened onto a small splash pool, where I spent that first evening alone, water cooling the heat of the day as the sun slid behind the Hawekwa Mountains. It wasn’t indulgence so much as preparation – a way of steadying myself before an evening that would ask me to be open, present, and available to people I did not yet know.
“Conversation braided itself across the table”
At the Yeoville Dinner Club, a long table gathers strangers above Rocky Street, where shared dishes, attentive listening, and unlikely conversations turn a volatile neighbourhood into common ground
ABOVE: A quiet pool at Val du Charron faces the Hawekwa Mountains, a composed stillness before the uncertainty unfolds
RIGHT: The Volvo XC90 carried the journey out of the city and into the Bovlei Valley, its quiet cabin framing anticipation as the road opened up toward Wellington
What followed unfolded with a careful sense of ease. The Kraaktafel location remained undisclosed until the final minutes. We gathered before being whisked out of Wellington and, at a point, taken through an unassuming farm gate. Dirt tracks followed, the landscape widening and emptying at once, the air carrying the scent of baked soil and dried grass. We were met with a handwashing ritual and a sensory cue to wake the body. Drinks were poured as the table stayed just beyond reach; the pause held in shared anticipation rather than explanation.
WHEN STRANGERS HOLD THE MOMENT
The table itself was a feat of scale and intention: one continuous table for around 300 guests, arranged in a sweeping spiral that demanded navigation and patience. Names were written on sash-like strips of fabric draped along chair backs, turning the search for my seat into a tactile process. To my left sat a young Russian man who had recently made South Africa home. “I came because I do not know anyone here yet,” he said. As the courses unfolded, that admission loosened into confidence. We spoke about starting again and distant islands. By dessert, St Helena was no longer an abstract place to him, but somewhere he wanted to go, and I realised the table had already done its work.
Later, a German guest smiled and told me he had returned for his second Kraaktafel. Across from me, a South African woman spoke about choosing this evening carefully. “I just love the sense of occasion,” she said. As the evening unfolded, I understood what she meant. She held herself differently at the table – attentive, generous – as if she knew the night would only give back what you were willing to offer first.
Around us, conversation braided itself across the curve of the table. Glasses met, hands passed dishes, voices rose in nervous laughter. Kraaktafel describes itself as vulnerable in nature, and that vulnerability was shared. We were exposed to weather, to strangers, and to the possibility that the evening might have a mind of its own.
ON REFLECTION
What Kraaktafel revealed to me was that the long table works not because it offers certainty, but because it makes space. Strangers became witnesses to one another’s evenings, held together by design and intention. As the night drew to a close, farewells lingered.
What stayed with me was not a dish or a detail, but the realisation that the intimacy I was wary of had, in fact, taken root. I exchanged numbers with the Russian man. As for the woman across from me, the warmth belonged only to the evening, and that, too, felt honest. My social dining experiment did what I had hoped it would. It engineered the possibility of intimacy and trusted the people around the table to do the rest. ■
WHAT IS KRAAKTAFEL?
Kraaktafel is a bespoke social dining gathering built around a single, sweeping table set in an undisclosed setting. Conceived by Hannes Maritz and his team, it’s designed as an exercise in intentional connection, where strangers are invited to sit together, slow down, and share an evening shaped by care, detail, and vulnerability. Guests receive a multi-course menu with paired drinks. Each event is site-specific and never repeated. Forthcoming dates and locations will be announced in April. kraak.co.za
TOP:
The journey into the Eastern Cape’s Addo Elephant National Park begins with familiarity: citrus groves, open plains, and the quiet promise of elephants somewhere beyond sight. But as the road rises into the Zuurberg Mountains – the lesser-known highlands of the greater Addo region – the terrain tightens and deepens. Vegetation thickens. Valleys fall away. The air cools.
I’ll say this about Hiddn: it’s worth the two-hour drive from the airport in Gqeberha, because it has one of the most gorgeous mountain ranges I’ve ever seen. Perched high above the Witrivier Gorge, the lodge reads less like a structure and more like a series of sculptural shelters emerging from the plateau. Designed by Millennia Architects under the direction of Dayne Wright and Warwick Renard, the property was conceived as discreet architectural pods forming a protected refuge on an exposed mountain landscape. Because vegetation offers little natural cover, architecture creates its own sense of shelter – a contemporary reinterpretation of forest refuge suspended above the Addo wilderness.
As the architects explain, “The design aimed for the building to blend into the landscape, nearly invisible from the main access route. Inspired by unique rock formations on the property which provide shelter for wildlife, we architecturalised them by creating villas with stone-clad fin walls that separate different spaces, with liveable areas in between.”
The defining gesture is the freeform timber waffle canopy – an abstracted echo of the yellowwood tree canopies deep within the gorge below. Both functional and poetic, it filters harsh mountain light, allows wind to pass through, and supports creepers that soften the structure into the terrain.
Eco-design at Hiddn is embedded rather than applied. Lightweight timber construction minimises ground disturbance, while locally sourced materials – timber cladding, natural stone, handmade tiles, and sculpted brass – root the buildings in place. With sustainability in mind, off-grid systems for energy, water, and waste allow the lodge to operate independently, reinforcing a philosophy of regenerative hospitality.
The public spaces mirror this language. The lounge and dining areas are divided into smaller pavilions linked by open walkways, requiring guests to step outdoors between areas – a deliberate choreography that keeps nature constantly present. Above the main deck, the sweeping canopy casts patterned shade over the pool terrace, framing vast views toward Addo and the surrounding wilderness.
If the main lodge is about exposure and refuge, the private villas deepen the dialogue. Stone-clad walls divide living spaces, creating the sense of inhabiting geological forms rather than constructed rooms. Low profile and green-roofed, the villas are elongated along cliff contours and nearly invisible as you approach them – architecture shaped by terrain rather than imposed upon it.
Beyond design, Hiddn’s identity is inseparable from Addo itself – and from the conservation-led philosophy of the Mantis Collection. Founded in South Africa and rooted in naturebased hospitality, Mantis has built its portfolio around properties that connect landscape, community, and regenerative tourism. Hiddn represents the group’s newest Eastern Cape expression: an off-grid mountain sanctuary set within more than 800 hectares of rewilding Zuurberg terrain adjacent to Addo.
Here, fences have been removed to encourage the natural movement of wildlife and habitat regeneration across a landscape where endemic flora – wild orchids, proteas, cycads, and rare succulents – thrive alongside abundant birdlife. The lodge’s holistic model of conservation, design, and wellbeing reflects what Mantis describes as a merging of culture, conservation, and considered architecture within one of South Africa’s most remarkable natural environments.
General Manager Tracy Lancaster captures the spirit of the place succinctly, saying, “This setting is quietly unexpected, an untouched side of Addo that even many locals have yet to discover. Its stillness and natural beauty create an ideal sanctuary for wellness and renewal.” That philosophy extends into the suites themselves, where private decks are equipped with KolKol soaking tubs – designed for both hot immersion and invigorating cold plunges – allowing guests to engage directly with the mountain air, silence, and wilderness.
Wellness at Hiddn is not confined to a spa building but woven through landscape, architecture, and rhythm. Upon arrival at the lodge, we were offered a foot soak, where we got to choose a stone with a word for our individual intentions for the trip – an experience every guest will have. I chose ‘health’ because that’s my focus this year – healthy mind, body, spirit, and boundaries.
flavour. In keeping with our own elevation, climate, and botanicals, we naturally favour wines produced on higher-altitude farms,” says Sommelier and Restaurant Manager, Princess Mgebisa.
Art is equally integral. Throughout suites and shared spaces, works by local artisans and makers reflect a broader commitment to community-based sourcing. Ceramics, textiles, and sculptural objects are not decorative additions but expressions of regional identity – linking aesthetics with economic support for surrounding communities. This ‘Product with Purpose’ philosophy runs through every detail, connecting nature, people, and hospitality into a cohesive whole.
At night, with no urban glow to dilute it, the sky unfurls in extraordinary density –constellations mirrored in the still water of the infinity pool. What struck me was how silent Hiddn is. Perched high up in the mountains, the lodge lies beyond the paths of roaming game. Aside from the occasional mischievous baboons (guests are encouraged to keep windows and doors closed), the silence is profound. It would be remiss for me not to mention the sunsets. Whether in the shower or at the restaurant with a cocktail, the sunsets here are spectacular.
Hiddn in Addo does not impose itself upon the wilderness it inhabits; it listens to it. In its merging of eco-design, art, conservation, and holistic wellbeing, it offers a rare model of luxury defined not by excess but by belonging – to land, to community, and to the enduring ecological story of Addo. ■ discoverhiddn.com
Treatments begin with stillness to quiet the mind before physical restoration. I enjoyed the sound bath and a short meditation before my massage.
My namesake and Wellness Manager Lerato Thlame says, “Hiddn’s wellness programme is about slowing people down in a very real way. It goes beyond the idea of a spa treatment and becomes a journey, one that allows guests to reconnect with themselves, supported by nature, touch and intention.”
Dining has the same intentionality. Menus evolve around seasonal local produce and foraged botanicals, allowing the region’s terroir to shape each dish. “We source wines from across our winelands, where altitude significantly influences style and
HOW TO GET TO HIDDN
• Located in the Zuurberg Mountains within the greater Addo region of the Eastern Cape
• Nearest airport: Chief Dawid Stuurman International Airport in Gqeberha (Port Elizabeth)
• Approximately a two-hour scenic mountain drive from the airport to the lodge
• Luxury return road transfers arranged for guests
• Optional helicopter transfers are available
• The fully inclusive package excludes flight options
PACE SETTING THE
FROM OPEN-TOP GRAND TOURERS TO CUTTING-EDGE ELECTRIC FLAGSHIPS, THESE EIGHT VEHICLES REPRESENT THE MOST ANTICIPATED ARRIVALS IN SOUTH AFRICA THIS YEAR
WORDS EDWARD MOLEKE MAKWANA
Each year, the world’s most prestigious carmakers unveil new creations that stir the imagination – captivating seasoned collectors while inspiring those ascending the ladder of aspiration.
Whether driven by electrification, hybrid innovation, or refined internal combustion, each model reflects a deeper understanding of how performance, comfort, and responsibility can coexist. This new era of luxury invites drivers not just to arrive in style, but to experience the journey with greater meaning than ever before. Together, these eight exceptional vehicles reveal a defining truth about luxury in 2026: it is no longer defined by excess alone, but by intelligence, craftsmanship, and purpose combined.
FERRARI 849 TESTAROSSA SPIDER
The 2026 Ferrari 849 Testarossa Spider signals a bold new chapter for the Prancing Horse. This mid-engine, plug-in hybrid Spider blends breathtaking performance with openair sophistication, drawing on racing-inspired technology and the emotional resonance of its legendary name.
A refined twin-turbo V8 engine works in harmony with an advanced hybrid system to produce extraordinary output, making it the most powerful open-top Ferrari ever built. Beyond raw performance, Ferrari’s engineering finesse is evident throughout. The retractable hardtop opens or closes in just 14 seconds – even at speeds of up to 45km/h – preserving aerodynamic integrity while transforming the driving experience.
Behind the wheel, razor-sharp handling, advanced braking systems, and the evocative soundtrack of the V8 create an experience that is as visceral as it is precise.
In the high-performance electrified supercar arena, the 849 Testarossa Spider will be viewed in the context of nextgeneration rivals such as the Lamborghini Revuelto, Aston Martin Valhalla, and McLaren Artura, reinforcing Ferrari’s continued authority in the open-air performance narrative.
PORSCHE 911 TURBO S
Porsche once again redefines the limits of high-performance motoring with the 2026 911 Turbo S – the most powerful 911 to date. At its core lies an advanced T-Hybrid powertrain, pairing a 3.6-litre twin e-turbo flat-six engine with electric motor assistance to deliver an electrifying 523kW of power and a muscular 800Nm of torque across an exceptionally broad rev range.
Inspired by motorsport innovation, the lightweight 400-volt hybrid system sharpens throttle response while enhancing efficiency, which translates into breathtaking acceleration. The Turbo S dispatches 0–100km/h in just 2.5 seconds, blending raw speed with remarkable composure.
Luxury and performance are effortlessly fused. Exclusive Turbonite accents, bespoke interior finishes, adaptive chassis systems, and active aerodynamics ensure that every journey feels as refined as it is exhilarating. When Porsche South Africa introduces the 911 Turbo S this year, it will sit at the apex of the luxury performance segment, measured against formidable contemporaries such as the Mercedes-AMG GT 63 S E Performance, Aston Martin Vantage, and Ferrari Roma – each offering a distinct interpretation of modern grand touring.
THE NEW MERCEDESBENZ S-CLASS
This year, Mercedes-Benz South Africa reasserts its mastery of modern luxury with the most comprehensively updated S-Class of its generation. With more than 50 percent of the flagship newly developed, the S-Class advances a legacy shaped by 140 years of innovation while preserving the unmistakable “welcome home” feeling.
A striking new presence signals its arrival. An illuminated Mercedes star, a larger grille, and nextgeneration Digital Light with micro-LED technology create a visual signature that is both elegant and unmistakable.
Inside, the S-Class becomes a sanctuary of calm and intelligence.
The Mercedes-Benz Operating System powers the immersive MBUX Superscreen, an AI-driven “Hey Mercedes” assistant and seamless over-the-air updates.
First-class rear seating transforms the cabin into a mobile executive lounge, while electrified powertrains, intelligent suspension, and rear-axle steering deliver a sense of effortless motion.
In the ultra-luxury limousine space, the new S-Class continues its long-standing dialogue with key rivals, including the BMW 7 Series and Audi A8, asserting its position through technological leadership, craftsmanship, and an unrivalled sense of serenity.
MERCEDES-MAYBACH SL 680
Mercedes-Maybach reimagines open-air indulgence with its most sporting expression yet: the SL 680 Monogram Series. This dramatic two-seat roadster distils the iconic SL silhouette into something bolder, more expressive, and unmistakably Maybach.
Two curated design worlds – Red Ambience and White Ambience – define the experience. Striking two-tone paint finishes, crystal-white Manufaktur Nappa leather, and intricate floral seat motifs envelop occupants in a cocoon of elegance. Signature elements – from rose-gold headlamp accents to the optional PixelPaint Maybach-patterned bonnet – elevate exclusivity to a form of artistry.
Powered by a commanding V8 engine and refined through exceptional acoustic insulation and adaptive suspension, the Mercedes-Maybach SL delivers power with remarkable serenity. It is not simply a convertible, but Maybach’s vision of freedom, expressed in motion.
As a pinnacle expression of open-top luxury, the Mercedes-Maybach SL enters rarefied territory, where it will be considered alongside icons such as the Bentley Continental GTC, Rolls-Royce Dawn, Aston Martin DB12 Volante, and Ferrari Roma Spider, each embodying a unique vision of indulgent grand touring.
LEXUS RZ SUV
Lexus South Africa sharpens its vision of electric luxury with the new RZ – a refined battery-electric SUV that blends innovation and emotional engagement. Scheduled for South African launch from March, the RZ introduces a fully redesigned electric system that delivers up to a 20 percent increase in driving range alongside faster, more efficient charging.
AUDI RS E-TRON GT PERFORMANCE
Audi South Africa’s most powerful production car to date arrives emphatically with the RS e-tron GT Performance. This four-door electric Gran Turismo combines sculptural elegance with a staggering power output of up to 680kW, delivered through advanced dual electric motors and sophisticated thermal management.
Exclusive RS Performance mode and a push-to-pass function unlock instant bursts of power, while adaptive suspension, precision steering, and quattro-inspired control ensure both visceral engagement and refined composure. Finished with carbon camouflage detailing and an exquisitely crafted interior, the RS e-tron GT Performance proves that electric mobility can be as emotional as it is sustainable.
At its heart lies Lexus’ first-ever Steer-byWire system, creating a more intuitive and seamless connection between driver and vehicle. The flagship RZ550e F Sport elevates the experience further with highoutput dual motors and a confident, sportinspired design.
Inside, serene technique meets advanced technology, demonstrating that sustainability and luxury can coexist without compromise. Within the electric premium SUV category, the Lexus RZ will be benchmarked against established and upcoming players, including the BMW iX3, Audi eTron SUV, and MercedesBenz GLC Electric, distinguishing itself through workmanship, ride refinement and technological innovation.
At the pinnacle of electric grand touring, the RS e-tron GT Performance enters a select field that includes the Porsche Taycan Turbo, MercedesBenz EQS, and BMW i7 xDrive60, blending supercar performance with limousine-level luxury.
“The EX60 is the safest Volvo ever created”
MASERATI GRANCABRIO FOLGORE
With the GranCabrio Folgore, Maserati South Africa introduces a new dimension of open-air luxury, combining timeless Italian elegance with the refined power of an allelectric drivetrain.
With a top speed of 290km/h, it stands as the world’s fastest electric convertible. The canvas soft-top opens in just 14 seconds and closes in 16, even while travelling at up to 50km/h. True to Maserati’s DNA, the Folgore balances sporting intent with longdistance comfort, giving a driving experience that is both exhilarating and composed. Occupying a unique position in the market, the GranCabrio Folgore will inevitably be cross-shopped against luxury open-top grand tourers including the Ferrari Roma Spider, Bentley Continental GTC, and Mercedes-AMG SL 63.
This year, Volvo Cars South Africa introduces a defining new chapter with the EX60 – its first all-electric mid-size luxury SUV. More than a new model, the EX60 represents a confident evolution of Scandinavian design, advanced technology, and uncompromising safety.
Offering a class-leading range of up to 810km, the EX60 turns electric mobility into effortless freedom. Its aerodynamic exterior conceals a serene interior crafted from natural materials, complemented by a 28-speaker Bowers & Wilkins sound system with Dolby Atmos immersion.
Above all, the EX60 is the safest Volvo ever created. Positioned in the fast growing electric luxury SUV segment, the Volvo EX60 will compete with next-generation rivals such as the BMW iX3 and Mercedes-Benz GLC Electric, offering a distinctly Scandinavian take on premium electric mobility. ■
VOLVO EX60 SUV
A LIFE OF TASTE
A MULTI-HYPHENATE CREATIVE AND WINNER OF CELEBRITY MASTERCHEF SOUTH AFRICA IN 2025, SETH SHEZI OPERATES AT THE CROSSROADS OF FOOD, TRAVEL, AND CULTURE. HERE, ONE OF THE WORLD’S 50 BEST TASTEHUNTER’S SHARES HIS FAVOURITE RESTAURANTS, TRAVEL RITUALS, AND WHY THE FIRST PLACE HE VISITS IS ALWAYS MARKET COMPILED BY LERATO TSHABALALA
HOW DID YOUR FOOD JOURNEY BEGIN? From as young as six years old, I remember how much I loved watching my grandmother cook. I revelled in being allowed to help by adding the ingredients she had laid out. But it meant more than just a love of food during the winter months when she would tend to her crops. She often had to chase me back inside because it wasn’t ideal for a child to be wading through frost in a Natal Midlands winter. When a six-year-old –who grew up not to be a morning person – chooses to wake up early to tend the fields, it says something.
WHAT DID WINNING MASTERCHEF CHANGE IN YOU? It didn’t inflate my ego – it anchored my authority. It gave weight to my voice. I became more precise in how I taste, how I critique, and how I speak about food. The experience sharpened my discipline and trained my palate under pressure, which means my opinions are grounded in practice, not theory.
More than anything, it allowed me to contribute in a meaningful way. I was able to give more than half a million rand to a charity close to my heart, Ladles of Love – a feeding scheme I’ve supported for years. There’s no greater feeling than knowing you played a hand in ensuring two schools can afford meals for pupils for two years.
CHEF, STORYTELLER, TASTEMAKER, CURATOR – WHICH TITLE BEST FITS WHO YOU ARE RIGHT NOW? The most public role I occupy is as one of the World’s 50 Best TasteHunters. But my work shows up in several ways. I operate at the intersection of food, travel, and identity — translating global food experiences into context, taste, and insight. My role isn’t just to cook or document, but to curate perspective by highlighting what matters, why it matters, and how it fits into a wider cultural conversation.
I lend my voice where nuance is needed. Not just about food, but about taste. It’s a privilege cultivated through a unique set of exposures. I’ve eaten at the best places in the world and stayed at the best hotels – not for sport, but to show that an African belongs in every space worth exploring. It’s an uncharted path, and I take being a pioneer seriously. This year I plan to share more behindthe-scenes content through my creative brand and strategy consulting, because many young people still don’t realise there’s space for a skillset like mine.
TELL US ABOUT YOUR INVOLVEMENT WITH 50 BEST? For me, 50 Best represents many things, but most important is responsibility. Yes, it brings
influence and access, but at its core, it’s a platform to reframe how Africa is seen in the global food conversation. Not as a trend or a ‘discover later’ continent, but as a source of depth, technique, heritage, and contemporary excellence. Until recently, the only African restaurants celebrated globally were those successfully reproducing French or Italian cuisine. Platforms like 50 Best are allowing a reframing – celebrating what is innately African, but simply elevated. It will take time to become the norm, but I’m not afraid of hard work.
WHAT’S THE FIRST THING YOU DO IN A NEW CITY? I always go to a market. Before reservations, before the hotel bar, before the ‘best table in town’, I want to understand what people eat when no one’s watching. Markets tell you everything: what’s in season, what’s affordable, what smells right, and what’s loved.
Street food usually follows – that’s where you feel the city’s pulse – and then I’ll do fine dining. High-end food makes more sense once you understand the raw ingredients and everyday habits behind them.
One of the most thoughtfully curated trips I’ve experienced was a recent visit to India with Masque chef Varun Totlani and restaurateurs Aditi and Aditya Dugar. They unfurled Mumbai by taking us through markets first, and then street food interpretations of staple snacks. By the time we dined at Masque and Paradox, we weren’t just eating great food – we were connecting the culinary dots of the city.
YOUR TOP FIVE INTERNATIONAL FOOD DESTINATIONS? London for its unmatched diversity. Restaurants
“Africans belong at the centre of global storytelling”
WHAT’S THE MOST MEMORABLE MEAL YOU’VE EATEN ABROAD?
It’s a tie. Trésind Studio in Dubai was a masterclass in modern Indian storytelling – it was intellectually rigorous, technically fearless, and emotionally rooted.
La Grande Table Marocaine at Royal Mansour in Marrakech was timeless and ceremonial. It was my birthday dinner with friends and felt like being invited into history.
YOUR FAVOURITE COCKTAIL?
A Negroni. The best version, for both taste and atmosphere, is at Moebius in Milan. Close runners-up include The Connaught Bar in London and the in-suite mixologist at Jumeirah Burj Al Arab.
YOU’VE WORKED WITH GLOBAL BRANDS LIKE VEUVE CLICQUOT AND BELMOND. WHAT DRAWS YOU TO THESE PARTNERSHIPS? I’m drawn to partnerships that allow me to bring my creative vision – filtered through an African lens – into the global luxury conversation. I insist on being involved behind the
like Kiln, Ikoyi, Akoko, The Cocochine, Speedboat, Bibi, and The Ledbury coexisting in one city is extraordinary.
Lamu is often overlooked, but it challenges every preconception. Meals are impossibly fresh, with fish and crab caught the same day.
Peponi’s menu is exceptional, local fish curries are memorable, and a Swahili dinner at Banana House is pure joy.
Bangkok for the chaos, balance, and heat – and the way street food and fine dining speak the same language. Mavericks like Gaggan, Potong, and Nusara thrive here because of the city’s relentless energy. Cape Town for its produce, its people, and its position where Africa, Europe, and Asia quietly meet on the plate. Beyond fine dining, a shisanyama or braai is essential to understanding South African food culture.
Mumbai for its intensity, spice, and stories. The food reflects resilience and ritual. First-timers should explore Masque, Paradox, and Swati Snacks.
Bonus choice: Paris as the craft is sacred and food is inseparable from culture. Paris rewards those who research well and value culinary foundations.
scenes, shaping creative direction from the start. Representation matters, and this work continues to affirm that Africans belong at the centre of global storytelling. WHAT IS LUXURY TO YOU? ‘Ataraxia’ – tranquillity, freedom from fear, and freedom to create without betraying my truest self. On an ordinary day, luxury is intention and quality. Elevating small moments to their highest expression is, for me, the ultimate indulgence.
