AFRICA
Living in
colour The
DESIGN
SEPTEMBER 2026
ISSUE
BIG BANG RELOADED
MANUFACTURE FLYBACK CHRONOGRAPH
TAG HEUER BOUTIQUES SANDTON CITY, V&A WATERFRONT, GATEWAY WWW.PICOTANDMOSS.CO.ZA
SEPTEMBER 2026
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THE DESIGN ISSUE 26
DESIGNING LIFE: How Blaque Pearl Lifestyle create interiors that balance function, form and emotion
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IN LIVING COLOUR: Celebrating artists who use colour as more than visual expression
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THE FUTURE IS HANDMADE: Celebrating African craft at The Ninevites’ new showroom
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CRAFTING A NEW HERITAGE: Mash.T Design Studio and Meetlo Studios on their visual language
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THROUGH THE LENS: Santu Mofokeng’s legacy goes beyond his photos
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REGULARS 8
EDITOR’S NOTE
10 YOUR LUXURY 12 YOUR DIARY 14 YOUR WEALTH 16 YOUR WATCHES 18 YOUR JEWELS 20 YOUR BEAUTY 22 YOUR DECOR 26 YOUR PIONEERS
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46 YOUR WHEELS 48 YOUR DOWNTIME
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NOTE
EDITOR’S
my top
FIVE for
SEPT EMBER
Humans often refer to someone they love as their ‘home’ – an assertion that speaks to the safety and comfort the heart feels in the hands of the right person. Whether you’re referring to your country of origin, the house you grew up in with your siblings and parents, or the village your grandparents raised you in, home is a place where love is served.
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Over recent years, we’ve even seen corporates ironically announcing to their teams, “We’re a family here,” overlooking the crucial distinction that they’re in a transactional relationship with their employees. But I digress… From your dad’s favourite couch, the hotel you always book on business trips, or your mom’s beloved coffee mug, homes are not just four walls with pretty décor. Homes are indicators of our values, our taste, and who we truly are. These days, our homes also double up as offices – I can’t wait to have a ‘cloffice’ (a closet/office) – which means we require spaces that do dual duty while being aesthetically pleasing. Design is the thread that holds all these seemingly disparate concepts together. A beautiful room, a well-curated gallery, and finely crafted architecture can define a space, signify an inflexion point in history, or simply draw our eye to an arresting artwork – design brings several art forms together. Through design, you can tell a colour story, use patterns to bring the playful into the dramatic, and add texture to conjure memories. I recently went to the reopening of the Louis Vuitton store at V&A Waterfront, which now overlooks the Cape Town harbour, and it made me realise how important design is – whether it’s your forever home or a luxurious retail space.
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CHANEL If you know me, you know that the bigger the ring, the happier I am. Chanel revisits the cocktail ring as a secret watch. A sculpted yellow-gold lion lifts to reveal a black lacquer dial beneath, while the lion itself sits on onyx, encircled by diamonds. Bold and beautifully detailed, it turns the practical act of checking the time into something more discreet.
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This is one of our favourite issues to put together as a team because it combines so many things we love at YLA – art, fashion, and beauty. It’s an issue I particularly adore because it matters to me how the store where I’m buying my jeans looks – if the mirrors make me want to go on Ozempic, I’m not shopping there again. I love seeing my mom’s taste evolve and watching her excitement at changing furniture pieces that my siblings and I grew up wishing we could jump on (unlike my niece, who treats my mom’s couches like a trampoline).
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AFRICA
ON THE COVER
Living in
colour The
DESIGN
ISSUE
RALPH LAUREN There are fashion books, and then there are books that become part of your décor. Ralph Lauren: Catwalk is firmly in the latter category. More than a beautifully bound coffee-table book, it offers a fascinating look at how Ralph Lauren has shaped American style over five decades. When you see me these days, know that my entire wardrobe mood board is crib notes from the Ralph Lauren menswear spring/summer 2027 runway.
SEPTEMBER 2026
As you page through this issue, you’ll meet some of the minds behind the best residential and commercial designs, as well as the people who have turned their personal spaces into liveable works of art. Our hope is that you’ll realise that there’s no such thing as good or bad taste. If you like it, it’s good. If everyone loves it, you don’t have to. No two homes are the same; no two shops are the same. It’s your duty to design your life in a way that suits you best and to lean into that. Even if you’re the only one who likes it.
GUCCI I’m obsessed with everything mid-century design – from Dior’s iconic 1947 bar suit to the legendary Eames chair, the 1940s gave us some serious gems. Gucci’s bamboo watch looks back to this era, when the House first introduced bamboo handles on its handbags. Here, the motif shapes the distinctive bracelet, paired with a petite case. Four versions include the classic wooden bracelet with a white dial, stainless steel with a choice of white or black dial, and a bicolour model combining a yellow gold-plated case with a white dial.
“Poured Staircase” (2021) by Ian Davenport
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DOLCE&GABBANA Dolce&Gabbana’s Everlift Luminizer is designed to give skin a naturally radiant, lit-from-within glow. The lightweight powder formula sweeps on effortlessly, subtly brightening the complexion while smoothing the appearance of uneven skin tone. Suitable for all skin types, it delivers a soft, luminous finish with light coverage.
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MASH.T DESIGN STUDIO The Flute Table, inspired by the sculptural silhouette of the Tutu 2.0 pendant light, brings understated elegance to contemporary interiors. Its beautifully pleated base is paired with a terrazzo top, creating a striking balance between texture and refinement. Each piece is made to order, with a lead time of eight to 10 weeks.
EDITOR’S PICTURE: PHOTOGRAPHER: KHOTSOTSAAGANE; STYLIST: MPUMI NTINTILI; MAKE-UP ARTIST: TOBEY MBATHA; LOCATION: THE HYDE HOTEL, HYDEHOTELS.COM; GREEN TUCK DRESS, R8 800, MAMTHSO.COM; SERPENTI TUBOGAS BRACELET, 18KT PINK GOLD WITH PAVE DIAMONDS, R895 000, SERPENTI TUBOGAS WATCH, 18KT PINK GOLD WITH BLACK DIAL AND DIAMONDS ON THE CASE, R858 000, DIVAS DREAM NECKLACE, R447 000, ALL BVLGARI BOUTIQUE, SANDTON DIAMOND WALK, 011 883 1325
Home is as much a place as it is a construct.
LUXURY
YOUR
MEET OUR CONTRIBUTORS What design or art piece do you wish you owned?
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O U PA N KO S I “I’ve been collecting artworks from different talented artists for some years now. Learning more about artists that have dominated and shaped the art landscape has triggered an intense interest in wanting to acquire more work of artists and photographers such as Sam Nhlengethwa, Amy Sherald, Jean-Michel Basquiat, Thandiwe Muriu, William Kentridge, David Koloane, David Goldblatt, Santu Mofokeng, and others.” See: p40
Experience true luxury journalism, delivered directly to your doorstep. Join the YLA Lounge today to secure your print copy of YourLuxury Africa, arriving straight from our press to your home. There’s nothing quite like the experience of holding a glossy magazine in your hands. As a member, you’ll also enjoy priority access to exclusive events and receive our weekly newsletter, ensuring you stay at the forefront of the luxury world.
D E B B I E H A T H WAY “It’s not what I wish I owned, but what I wish I’d kept from my mother’s estate: the antique writing desk we grew up with. The wood had a particular scent, and opening it with its special key was a ritual. I didn’t have space for it then. I regret letting it go.” See: p14, p16, p38
K G O M O T S O M O N C H O - M A R I PA N E
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“A customised Ninevites rug representing my Tswana culture, which can become a family heirloom. I resonate with The Ninevites’ design philosophy of luxury that taps into cultural heritage. But I’m yet to see Tswana craft fully explored in design.” See: p32
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I N N O C E N T N D L O V U “I’d love to own the Circles in a Circle painting by Wassily Kandinsky. There’s something about the colours, geometry, and abstraction in his work, and this piece in particular, that I find alluring and transportive.” See: p34
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EDITORIAL: EDITOR IN CHIEF Lerato Tshabalala lerato@yourluxury.africa CREATIVE DIRECTOR Kate Walters COPY EDITOR Tamlyn Cumings WATCH & JEWELLERY EDITOR Debbie Hathway debbie@yourluxury.africa IMAGE EDITOR Coralie Elske 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 ADVERTISING SALES MANAGER: LONDON AND THE UK Louella Stocchi I louella@yourluxury.africa PAID MEDIA SPECIALIST | SOCIAL MEDIA MANAGER Mbali Mthimkhulu I mbali@yourluxury.africa MANAGEMENT: MANAGING DIRECTOR Yvonne Shaff CO-FOUNDER Jacquie Myburgh Chemaly DISTRIBUTION & PRINT: DISTRIBUTION On the Dot, Media Support PRINTED BY CTP Printers, Cape Town for YourLuxury Africa, 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.
HENRY CAVILL
THE LONGINES MASTER COLLECTION
YOUR
DIARY
CULTURE DIARY WORDS TAMLYN CUMINGS
LUXURIOUS MARBLE CIRCUS 26-27 September | Muldersdrift, South Africa
LONDON DESIGN F E S T I VA L 12-20 September | London, UK For its 24th edition, the London Design Festival spreads across 11 design districts, from Mayfair and Chelsea to Shoreditch and Bankside, solidifying the city’s spot as one of the world’s design capitals. The programme includes landmark installations and exhibitions championing both emerging and existing talent, with this year’s focus on global exchange and cultural heritage exploring how traditional craft, material innovation, and digital thinking can coexist. Be sure to check out The Pangolin Shield, a Landmark Project by Studio Saar and Atelier One inspired by the world’s most trafficked mammal. For more information, visit londondesignfestival.com.
FNB ART JOBURG 4-6 September | Johannesburg, South Africa Returning to the Sandton Convention Centre, the 19th edition of FNB Art Joburg brings together leading galleries from across Africa, with a particular focus on the continent’s contemporary art scene. Beyond the gallery floor, the fair’s MAX section champions emerging talent, while Artsy connects collectors with participating artists and galleries. New for this edition is ARC, a section highlighting artists and works pushing the boundaries of contemporary African art. The fair’s wider programme extends through Open City, connecting galleries, museums, design spaces, and cultural venues. artjoburg.com
P E TA L S W I T H PURPOSE: SPRING FLOWER F E S T I VA L
VENICE I N T E R NAT I O NA L F I L M F E S T I VA L
26-27 September | Magaliesberg, South Africa
2-12 September | Venice, Italy
Marking Hadeco’s 80th anniversary, Petals with Purpose transforms its Magaliesberg farm into a celebration of spring. Wander through fields of ranunculus and seasonal blooms, listen to expert talks on gardening and flower arranging, and shop some of the beautifully curated garden accessories. There will also be live music and food vendors, or bring along your own picnic basket and blanket and settle among the blooms for a leisurely spring day out. hadeco.co.za
The 83rd Venice Film Festival, organised by La Biennale di Venezia, returns to the Lido, with the Golden Lion once again at the centre of the competition. This year’s programme includes Martin McDonagh’s Wild Horse Nine, Danny Boyle’s Ink, and Lee Chang-dong’s Possible Love, making the world’s oldest film festival an early marker for the upcoming awards season. labiennale.org
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The Marble Group’s one-of-a-kind culmination of over-the-top fashion, food, and music returns to Ground The Venue under the theme Evophoria. David Higgs and his team promise to dial up the deliciousness across the entire festival this year, with more space and more choice, like Pantry’s Playground in the Field, the Royal Lounge, and the Grand Dining Room, while the new Imperial Terrace brings Asian-inspired bites, exotic cocktails, and elevated views of the main stage. Entertainment also goes up a level, with artists including Lost Frequencies, Shimza, DJ Kent, Dwson, and more bringing everything from Afro-beats and amapiano to deeper, soulful sounds across the weekend. luxuriousmarblecircus.com
Mid-Century Modern: Furniture, Design LIVE VIRTUAL AUCTIONS: Wednesday16 September 2026 at 7pm Strauss & Co, Cape Town
www.straussart.co.za
WEALTH
YOUR
The
Dividend WORDS BRIGHT KHUMALO
A Porsche 911 doesn’t need dramatic styling for you to know what it is. An Hermès Birkin hasn’t survived the years of changing fashions because it keeps reinventing itself. Quite the opposite: its designers knew when to stop.
Then there’s Hermès again, still stitching bags largely by hand. They refuse to industrialise their process, stubbornly resisting the temptation to scale up just because demand outstrips supply.
For years, I was under the impression that great design was about creativity. About adding something the rest of us hadn’t thought of. But the older I get, the more I realise it’s actually about restraint. Good design isn’t the art of adding; it’s the discipline of knowing what to leave out.
None of these brands confuse change with progress. That’s a lesson investors know well. Every year, markets present us with a thousand exciting ideas. New technologies. New industries. New stories that promise to change everything. And occasionally, they do. But more often, the greatest returns come from businesses that quietly keep doing the same thing exceptionally well. Companies that refine rather than reinvent. That protect their brand instead of stretching it, and that understand that discipline is often a bigger competitive advantage than innovation.
That might explain why the world’s best designers and the world’s best investors often arrive at the same conclusion. Both spend far more time saying no to things than saying yes.
Good portfolios, I’ve found, aren’t built by owning everything. They’re built by leaving most things out. The same is true of a well-designed home, or a beautifully tailored wardrobe. Or, perhaps, a life.
Take German industrial designer Dieter Rams. His philosophy shaped generations of industrial designers and, by extension, many of the products we use every day. His famous principle, “Less, but better”, wasn’t a plea for minimalism. It was a demand for intentionality. Every button, every line, and every material had to justify its existence.
“Good design isn’t the art of adding; it’s the discipline of knowing what to leave out”
That philosophy found perhaps its greatest commercial expression at Apple. Under British-American designer Jony Ive, Apple didn’t become famous for adding features. It became famous for removing them. Buttons disappeared. Ports disappeared. Complexity disappeared. What remained felt effortless, even though a massive amount of work went into creating that simplicity. Luxury brands have always known a secret: the ones that last aren’t those chasing every passing trend. Instead, they take a single, great idea and obsessively refine it until it is practically perfect.
Take the Porsche 911, for example. It’s been evolving for more than sixty years, yet you still recognise it instantly on the street. Or Patek Philippe’s Calatrava, which still looks contemporary almost a century after its debut.
Bright Khumalo is a Portfolio Manager and Analyst at Vestact Asset Management
Somewhere along the way, luxury stopped being about accumulation for me. It became about editing. Buying fewer things, but buying better ones. Choosing materials that improve with age. Surrounding yourself with objects that become more familiar, rather than less interesting, over time. That’s what separates design from decoration. Decoration asks, “What else can we add?” Design asks, “What can we remove without losing the essence?” The answer is almost always more than we think.
Maybe that’s why the best-designed objects never feel dated. They were never meant to chase trends in the first place. They were built to solve a problem so beautifully that, decades later, no one has managed to come up with a better answer. In a world that constantly demands more – more features, more choices, more noise – great design remains beautifully and stubbornly unfashionable. It reminds us that elegance isn’t found in excess; it’s found in restraint. And whether you’re designing a chair, building a business, or constructing an investment portfolio, that may be the most valuable lesson of all. ■
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f you walk into almost any luxury showroom, you’ll notice something. The best-designed objects rarely shout for attention.
THE BEST DESIGNERS AND INVESTORS HAVE SOMETHING IN COMMON: THEY KNOW WHEN TO STOP. IN BOTH WORLDS, RESTRAINT CAN BE MORE VALUABLE THAN CONSTANT REINVENTION
THE FIRST OF A NEW ERA. THE NEW BMW iX3
WATCHES
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3. IWC’S latest Ingenieur Automatic 35 pairs a fresh poolblue grid-pattern dial with the integrated stainless-steel bracelet that has defined the collection since its revival. Alternating brushed and polished surfaces create subtle contrasts across the Gérald Genta-inspired bracelet and case, while the compact 35mm proportions ensure a comfortable fit on the wrist. R215 000, iwc.com
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COMPILED BY DEBBIE HATHWAY
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1. The TAG Heuer Carrera Day-Date features a redesigned three-row H-shaped bracelet that flows naturally from the case, reinforcing the collection’s clean, motorsport-inspired lines. An easy-link adjustment system and folding clasp make it comfortable to wear for hours on end, while the integrated bracelet gives the watch a sleek, contemporary profile without losing the understated character that has defined the Carrera since 1963. WDA2110.FC, R97 000 (leather strap); WDA2115.BA, R102 000 (steel bracelet); tagheuer.com, picotandmoss.co.za
yourluxury.africa
4. Natural stone takes centre stage in GERALD CHARLES’ limited-edition Masterlink Gem Set Stone Dial trio, where each dial is painstakingly cut to match the collection’s distinctive asymmetrical silhouette. The proprietary integrated bracelet was developed in-house, complementing the cases framed by blue and red sapphires or tsavorites, while each stone dial tells a unique geological story. Among them is Iron Eye from South Africa, formed around 2.5 billion years ago from hematite, jasper, and tiger’s eye. POA, geraldcharles.com 5. Inspired by the mineral tones of coal, HUBLOT’S latest Big Bang Coal Blue models pair blue-grey dials with sculpted, diamondpatterned, structured, and lined rubber straps reminiscent of the original Big Bang. The OneClick interchangeability system makes changing straps effortless, while the rich, shifting colour of the dials adds depth to the collection’s bold, contemporary aesthetic. This 32mm Spirit of Big Bang version has a diamondset bezel. POA, hublot.com, tanur.co.za
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MORE THAN A MEANS OF SECURING A WATCH TO THE WRIST, TODAY’S INTEGRATED BRACELETS ARE CENTRAL TO A TIMEPIECE’S IDENTITY
2. Created specifically for the Land-Dweller, ROLEX’S Flat Jubilee bracelet reinterprets the classic five-link design with entirely flat outer links flanking three subtly raised centre links. Hidden ceramic inserts improve durability and flexibility. Meanwhile, the concealed Crownclasp, which opens with a hinged Rolex crown, preserves the bracelet’s uninterrupted lines. A robust attachment system, for which a patent application was filed, ensures fluid integration with the Oyster case. POA, rolex.com
M A N U FAC T U R E C la s s i c Wor ld t i m e r
BEYOND CONV ENTIONS
For further information contact Picot & Moss +27 11 669 0500 w w w. p ic ot andm os s . c o. z a
JEWELS
YOUR
WHETHER CELEBRATING NATURE’S DELICATE DETAILS OR REIMAGINING THEM THROUGH CONTEMPORARY DESIGN, THESE HIGH JEWELLERY CREATIONS SHOWCASE EXCEPTIONAL ARTISTRY, TECHNICAL PRECISION, AND A TIMELESS FASCINATION WITH THE BEAUTY OF THE NATURAL WORLD COMPILED BY DEBBIE HATHWAY
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ature is a muse for high jewellery, but each maison interprets it differently. Chopard’s Miracles Red Carpet Collection depicts subtle surprise details. Cartier’s creations are defined by harmony, the lines of its iconic panther reflecting its penchant for precision. Louis Vuitton blends botanical and organic influences with sculptural forms while Graff’s brooch depicting two birds perched on a branch captures a fleeting moment with astonishing realism. Whether faithful to nature or inspired by its endless possibilities, these jewels demonstrate that the living world continues to provide high jewellery with its richest source of beauty, imagination, and technical virtuosity.
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NATURAL Selection
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1. GRAFF High Jewellery 6ct Fancy Intense yellow and white diamond bird brooch. POA, graff.com, delaire.co.za 2. LOUIS VUITTON Idylle Blossom High Jewellery necklace, ring, and earrings set, showcasing the Monogram flower in rose gold and diamonds. POA, louisvuitton.com 3. CARTIER Double-Head Panthère de Cartier bracelet in yellow gold, diamonds, and emeralds, with octagonal spots in onyx. POA, cartier.com 4. CHOPARD Carp brooch from the Red Carpet Collection 2026, set in 18kt ethical white gold and titanium, featuring pear-shaped and brilliant-cut diamonds and brilliant-cut sapphires. Ref. 900119-9001. POA, chopard.com 5. Monica Belluci wears the Panthère Orbitale necklace in platinum, coral, amethyst, emeralds, onyx, and diamonds from the CARTIER High Jewellery En Équilibre collection. POA, cartier.com
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INNOVATOR
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A BESTSELLING WORLDTIMER, A BREAKOUT WOMEN’S COLLECTION AND A GROWING GLOBAL AUDIENCE ALL POINT TO ONE CONCLUSION: FRÉDÉRIQUE CONSTANT’S STRATEGY IS PAYING OFF. CEO NIELS EGGERDING EXPLAINS WHY LISTENING TO CUSTOMERS REMAINS CENTRAL TO THE BRAND’S SUCCESS WORDS DEBBIE HATHWAY
S
peaking at Watches and Wonders Geneva this year, Frédérique Constant’s Chief Executive Officer (CEO), Niels Eggerding, pointed to two very different watches as evidence that the formula is working: the newly updated Classic Worldtimer Manufacture and last year’s unexpected star, the Classics Manchette. “I’ve been working for the company for 14 years, and I have not seen a ladies’ collection hit so quickly and so big,” he says of the Manchette. Women’s watches, he adds, are notoriously difficult to get right. “Sizing, finishing, detail – it’s very demanding.” This time, the elements aligned: “It was the right design at the right moment.”
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With its slim case integrated into a broad, flexible bracelet, the Manchette tapped into a return to jewellery-style watches and vintage design. But Niels believes its price positioning (from R39,995) mattered just as much. “They really fell in love with it.” A younger, more fashion-led campaign helped too, bringing a different energy to the brand. The challenge now is to build on that momentum without losing the value proposition that has defined Frédérique Constant. “In the coming years you’ll see more development, more value, lower pricing,” he says. “We need to continue to focus on it.” That thinking extends to the Manufacture collection and this year’s Classic Worldtimer Manufacture (R104,995) in stainless steel. Updating one of the brand’s bestsellers presented a different problem: how do you change something customers already want? Frédérique Constant started with their feedback. Three points emerged: case size, power reserve and the date display. Niels’ instruction to his team was straightforward: integrate all three into the new watch. The result brings the case down to 40mm, while the new manufacture calibre FC-719 offers a 72-hour power reserve. The date indication has
also been reworked. Visually, the dial is more assertive, with colour playing an important role. “It’s a real, live, vibrant colour. It pops out,” he says. The aim is bigger than a seasonal update: “Our Worldtimer becomes iconic in terms of design.” Innovation, however, does not have to mean mechanical watchmaking alone. The Swiss watchmaker has also introduced solar-powered quartz technology, following the success of a similar approach at sister brand Alpina. For Niels, technology is useful when it supports the wider proposition rather than becoming an end in itself. At the other end of the complication spectrum, the manufacture perpetual calendar has exceeded expectations, albeit at smaller volumes. A limited presentation created for Dubai Watch Week also proved how effectively Frédérique Constant can elevate its manufacture credentials: five important pieces, presented together with stone dials, sold as a collectorfocused set. Such projects have a halo effect. Showcase the Worldtimer, tourbillon and other manufacture calibres at their most ambitious, Niels argues, and customers also look differently at the core versions in stores. There is considerable room to find those customers. “We are still relatively small, so there’s no reason for us not to grow.” The US is booming: after a record 2024, the market grew 52% in 2025, he says, creating the enviable problem of demand outstripping supply. India remains exceptionally strong, Spain is surging after years of investment, and Africa is beginning to gather momentum. South Africa may not yet be a major market, but Niels considers it an important one. Europe, meanwhile, remains more vintagedriven – one reason the Manchette has resonated particularly well in markets such as France and Italy. Different watches, different customers, but the strategy remains remarkably consistent: design something distinctive, improve what matters and keep it attainable. For Frédérique Constant, accessible luxury is not a compromise. Increasingly, it is the point. ■ picotandmoss.co.za.
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BEAUTY
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VANITYfair FROM A SCULPTURAL PERFUME BOTTLE TO COUTURE-INSPIRED MAKE-UP, THESE PRODUCTS WILL REMAIN ON YOUR DRESSING TABLE LONG AFTER THEY’RE EMPTY
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COMPILED BY CANDICE-LEE KANNEMEYER
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1. Designed with modern life in mind, WESTMAN ATELIER Eye Pods combine practicality with quiet luxury. The individual cream-to-powder shadow pots magnetically click together into a stack, creating a bespoke palette that’s as satisfying to hold as it is to use. Finished with sleek screw-top lids and presented in a soft branded pouch, they demonstrate that thoughtful design often lies in the smallest of details. Eye Pods Les Nuits, R2 940 for a stack of three, Skins Cosmetics 2. When JEAN PAUL GAULTIER introduced Classique in 1993, the corseted female torso helped redefine fragrance packaging. Created with French designer Federico Restrepo, the sculptural bottle captured Gaultier’s irreverent celebration of femininity. More than three decades later, Divine Le Parfum reimagines the icon in gleaming gold. The signature cylindrical tin, refreshed with an embossed golden sunburst, reinforces the House’s enduring marriage of fashion and fragrance. R2 785 for 50ml, Selected ARC, Woolworths, and Edgars
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3. Equally collectable are the candles from FORNASETTI PROFUMI. Handcrafted in Milan from fine Italian porcelain, each vessel is decorated by artisans with the House’s unmistakable muse, opera singer Lina Cavalieri, alongside neoclassical architecture, serpents, or gilded suns. Se Poi Scented Candle Peccato, R6 500, Skins Cosmetics 4. FENTY BEAUTY Stunna Lip Paint proves that cosmetic packaging can be striking. Its faceted glass base resembles a polished gemstone, while the elongated metallic cap recalls a calligrapher’s pen. Inside, a teardrop-shaped applicator hugs the contours of the lips with remarkable precision, making flawless colour almost effortless. R685, ARC and Edgars
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5. For Summer 2026, DIOR Forever Nude Bronze Glow arrives dressed in couture. The collectable white compact is embossed with the House’s iconic cannage pattern, overlaid with delicate daisies and a tiny ladybird – a charming tribute to Christian Dior’s beloved lucky symbol. Inside are pressed floral powders that blur the line between make-up and considered design. R1 710, Dior Beauty Boutiques
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7. Few fragrance bottles are as instantly recognisable as SISLEY PARIS Eau du Soir. Inspired by Countess Isabelle d’Ornano’s memories of twilight in Spain, the clear glass bottle is crowned with a sculptural matte gold stopper by Polish artist Bronislaw Krzysztof. Part celestial symbol, part enigmatic female face, it transforms the perfume into a miniature work of art. Each year, limited edition collaborations with artists reinterpret the outer packaging, making this scent coveted by collectors. R5 350 for 100ml EDP, selected Woolworths and ARC stores
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6. CHANEL Sublimage L’Extrait de Crème, developed in partnership with a celebrated French glassmaker, is housed in a weighty lacquered gold vessel crowned with Chanel’s signature double-C emblem, giving it all the presence of a treasured heirloom. Even the accompanying gold spatula is thoughtfully sculpted for Le Geste Sublime Réparation, Chanel’s signature massage ritual intended to promote microcirculation and leave skin looking beautifully refined. R11 720 for 50g, Woolworths and Chanel Beauty Boutiques
Threadsof
Memory
THROUGH TWELVE MONUMENTAL TAPESTRIES, THE HOUSE OF GUCCI HAS TRANSFORMED MORE THAN A CENTURY OF HISTORY INTO WOVEN WORKS OF ART, PROVING THAT HERITAGE IS CRAFTED THREAD BY THREAD
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t this year’s Fuorisalone in Milan, Gucci unveiled Gucci Memoria, an immersive exhibition curated by Demna that celebrated the House’s 105-year journey through installations, interactive experiences and, most notably, a remarkable cycle of twelve handcrafted tapestries. While the exhibition itself offered visitors a multi-sensory exploration of Gucci’s past and present, it was the tapestries that formed its emotional and artistic centrepiece.
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Presented within the historic Chiostri di San Simpliciano, the exhibition reflected on memory not as nostalgia, but as something living and continually evolving. The tapestries embodied this philosophy, transforming defining moments in Gucci’s history into richly layered woven narratives rooted in Florence’s centuries-old textile traditions. Long before fashion houses became synonymous with storytelling, tapestries served as some of Europe’s earliest visual chronicles. In Florence, where Gucci was founded in 1921, the craft has been associated with artistic excellence for centuries. By choosing tapestry as the medium for Gucci Memoria, the House connected its own
history with one of Italy’s most enduring artistic traditions, allowing craft itself to become part of the narrative. Each of the twelve monumental works represents a chapter in Gucci’s evolution. Rather than functioning as literal historical illustrations, they reinterpret pivotal moments through symbolism, shifting compositions and carefully considered palettes that move seamlessly between mythology and reality. The journey begins not in Florence, but in London, where a young Guccio Gucci worked as a porter at The Savoy Hotel. Widely regarded as the birthplace of his fascination with exceptional luggage and international elegance, this formative period becomes the opening scene of the visual chronicle. From there, the story moves to the House’s first Florentine workshop, where artisans bring Gucci’s vision to life among leather, tools and sketches of what would become the iconic House of Gucci crest. As the sequence unfolds, the tapestries trace Gucci’s transformation from a family-run leather goods workshop into an international luxury powerhouse. The narrative captures milestones including the arrival of the Jackie 1961 handbag, the enduring Bamboo 1947 design and the creative visions that shaped successive eras under Tom Ford, Frida Giannini, Alessandro Michele, Sabato De Sarno and now Demna. Rather than presenting a simple timeline, each
tapestry blends historical fact with artistic interpretation, allowing landscapes, figures and recurring symbols to evolve alongside the House itself. The final tapestry offers perhaps the exhibition’s most compelling statement. Instead of ending with a finished masterpiece, it returns viewers to the Gucci studio, where Demna and his creative team are depicted surrounded by the tools of their craft. It is a reminder that heritage is never static. Every collection, every stitch and every idea becomes another thread woven into the House’s continuing story. Although Gucci Memoria also featured an immersive botanical installation inspired by the iconic Flora motif and interactive experiences celebrating the House’s contemporary identity, these elements ultimately reinforced the exhibition’s central message: craftsmanship is the foundation upon which Gucci has built its legacy. In an era increasingly defined by speed and digital innovation, the tapestries stand as a powerful reminder that true luxury cannot be rushed. Every woven detail reflects the patience, artistry and technical mastery that have defined Italian artistry for generations. More than decorative artworks, they are heirlooms of memory, preserving Gucci’s past while leaving space for its future to be woven into the fabric of the House. gucci.com
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Objects of Desire
A ROOM’S PERSONALITY OFTEN LIES IN THE DETAILS, WITH CAREFULLY CHOSEN PIECES BRINGING AS MUCH CHARACTER AS THE FURNITURE ITSELF. FROM SCULPTURAL LIGHTING AND STATEMENT SHELVING TO HANDCRAFTED VESSELS, CUSHIONS, AND CANDLEHOLDERS, THESE DECORATIVE PIECES PROVE THAT THE SMALLEST ELEMENTS MAKE THE BIGGEST IMPACT COMPILED BY LERATO TSHABALALA
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9. 1. MASH.T DESIGN STUDIO: The Top Brass linear pendant grew from Mash.T’s playful exploration of spun brass. Bold yet elegant, it functions as both statement lighting and contemporary art. R35 231, mashtdesignstudio.com 2. CARROL BOYES: The Above Board three board holder turns everyday entertaining into an artistic display. A graceful figure supports three American oak serving boards, combining functionality with the elegance. R8 999, carrolboyes.co.za 3. ROCHE BOBOIS: Designed by Vanessa Mitrani and handcrafted in Europe, the Moebius vase combines mouth-blown glass with aluminium detailing to create an object that is as much sculpture as it is vessel. R16 240, roche-bobois.com 4. DWELA: Formerly known as Daily, Dwela’s Shallal bookshelf balances structural ingenuity with sculptural beauty. Crafted from marine-grade Okoumé plywood, its wraparound frame and cantilevered shelves make it a true statement piece. R16 850, dwela.co.za 5. PATRICK MAVROS: Alexander Mavros designed the Elephant & Tortoise ashtray as a gift for his father. Handcrafted in sterling silver, the intricate piece features a bull elephant, tortoise shells, and an upturned hippo, transforming a practical object into a collectable work of art. R168 000, patrickmavros.com 6. WEYLANDTS: The Orella stool embraces ancient ceramic techniques with a contemporary twist. Finished in a metallic drip glaze, each handcrafted piece celebrates its imperfections
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and works equally well as occasional seating, a side table, or a display piece. R8 995, weylandts.co.za 7. THE NINEVITES: Designed by Studio Akakir, the Fono Type rug celebrates contemporary African craftsmanship through clean lines, rich texture, and natural fibres. Available in either mohair or wool, it’s a striking piece that brings warmth and artistry to any interior. From R14 000, theninevites.com 8. THEURBANATIVE: Inspired by traditional African crowns and hairstyles, the Fulani-Nasara vessel set transforms reclaimed timber offcuts and laboratory-grade glass into vessels. Each handcrafted piece is unique, celebrating sustainable design through contemporary African craftsmanship. R1 450, theurbanative.com 9. OKHA DESIGN STUDIO: The Stellar candle holders elevate candlelight through refined materiality and timeless form. Combining rich timber tops with polished brass or stainless-steel bases, these pieces celebrate the balance between craft, proportion, and atmosphere. POA, okha.com 10. EGG DESIGNS: Entirely handmade, the Trumpet side table pairs a chiselled sand-cast brass base with a handblown glass top, ensuring every piece is unique. Functional yet artistic, it brings warmth and character to every interior. POA, eggdesigns.com 11. @HOME:The DG leopard woven scatter cushion, finished in a velvet-like woven fabric with a feather inner, brings texture, warmth, and comfort to a couch, bed, or occasional chair. R2 999, bash.com
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ARTIST
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or an artist whose work is concerned with the histories we almost fail to notice, Kelebogile Marope has just made some history of her own. The Botswana-born sculptor has been named the recipient of the 2026 FNB Art Prize, becoming the first artist from Botswana to receive one of the continent’s most significant contemporary art accolades. In a television interview following the announcement, she said she felt “pretty honoured to be the first Motswana to receive the FNB Art Prize. It’s one of those moments where you’re like, ‘This is what I’ve always wanted.’” Kelebogile has built a practice around looking closely at objects, spaces, and memories that might otherwise be overlooked. Working across sculpture, drawing, and mixed media, she turns domestic environments and everyday materials into explorations of identity, belonging, and lived experience. Homes are not simply backdrops in her work; they become archives. Objects become evidence. That idea is at the heart of her latest work, Archaeologies of Use. “Most of the time, when we look at our domestic spaces, our private spaces, we take them very [simply],” Kelebogile explained to SABC
A B O V E: After Time TO P R I G H T: Excavation of Use
WORDS YOURLUXURY AFRICA
News. “There will be some sentiment, but we don’t actually see it as the archaeologist.” What happens, she asks, if we begin excavating our own lives with the same attention an archaeologist might bring to an ancient site when they excavate? “When home spaces are ignored, that means that there’s a part of our personal histories that we have ignored.” Kelebogile believes those histories can live inside the most mundane objects. Her father was a blue-collar worker with a particular fondness for ironing. When he wanted to discard old irons, she began rescuing them for her studio. “He would have [an iron], and when he wanted to throw it away, I would ask him to give it to me,” she recalled. Those objects eventually became material for her practice. Some still work; others barely do. She breaks some apart, allows others to rust, and cuts into others, dismantling their original function before reconstructing them into something new. “How can we tell a story from just the iron?” she asked. “I can talk about my father’s story.” That deceptively simple question offers a way into understanding Kelebogile’s work. It carries labour, routine, family, and memory. What might ordinarily be discarded becomes a portal into a personal history as well as a work of art. This distinctive approach captured the attention of the 2026 FNB Art Prize jury, which praised Kelebogile for expanding the possibilities of contemporary African sculpture and for claiming a traditionally male-dominated medium while forging her own material language.
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Born in Ramotswa, Botswana, Kelebogile completed both a Bachelor of Fine Art and a Master of Fine Art at Rhodes University in the Eastern Cape, before building a multidisciplinary practice exhibited across Botswana and South Africa. She now joins previous internationally-recognised FNB Art Prize recipients, including Lady Skollie, Lindokuhle Sobekwa and Dada Khanyisa. FNB Art Joburg Director Mandla Sibeko says Kelebogile’s selection reflects the prize’s intention to recognise artists who are expanding the conversations around contemporary African art. “Each year, the FNB Art Prize recognises an artist whose practice expands the conversations shaping contemporary African art,” he said. “Kelebogile’s work demonstrates a remarkable sensitivity to material, memory, and lived experience, transforming the everyday into something profoundly resonant.” She describes the FNB Art Prize as an investment in an artist – an external vote of confidence during those periods when creative conviction can inevitably waver. Along with a cash prize, Kelebogile will present a solo exhibition at the Johannesburg Art Gallery in 2027, placing her work within an institution that is home to the continent’s largest public art collection. For an artist fascinated by what objects can tell us about where we have been, the next chapter is already taking shape. And somewhere among the rusted irons, domestic fragments and accumulated memories is perhaps the most compelling artefact yet: evidence of an artist discovering that the dream she quietly pursued has become very real. ■
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SCULPTING a place in history
BOTSWANA-BORN SCULPTOR KELEBOGILE MAROPE IS THE FIRST MOTSWANA ARTIST TO WIN THE 2026 FNB ART PRIZE. DRAWING ON HOME, MEMORY, AND EVEN HER FATHER’S DISCARDED IRONS, SHE’S TURNING THE OVERLOOKED FRAGMENTS OF EVERYDAY LIFE INTO ART
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Designing
LIFE
FOR 12 YEARS, BLAQUE PEARL LIFESTYLE HAS CREATED INTERIORS THAT BALANCE FUNCTION, EMOTION, AND TIMELESS DESIGN. FOUNDERS ZIMKITA AND SIYABESHO SHARE THEIR APPROACH TO DESIGN, COLLABORATION, AND THE EVOLVING MEANING OF LUXURY COMPILED BY LERATO TSHABALALA
WHAT FIRST DREW YOU TO INTERIOR DESIGN, AND HOW DID YOUR PATHS EVENTUALLY CONVERGE TO BUILD BPL?
Design has always been part of our lives, long before we realised it could become a career. Growing up, we were both surrounded by beautiful interiors and family members who appreciated welldesigned homes. Those early experiences sparked a fascination with furniture, décor, and architecture. Initially, we pursued careers outside the design industry, but the passion never disappeared. We found ourselves advising friends on their homes, decorating our own spaces, and spending time exploring furniture and décor stores. Eventually, we decided to formalise that passion by enrolling at Inscape Design School,
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where we completed our studies while balancing full-time careers and laying the foundations for a new business. By the time we graduated, we had the confidence to establish BPL. BPL WAS FOUNDED ON THE IDEA OF INCORPORATING LIFESTYLE INTO DESIGN. WHAT DOES GREAT DESIGN MEAN TO YOU? Great design happens when
aesthetics and functionality are perfectly balanced. Before we begin thinking about colours, furniture, or finishes, we spend time getting to know our clients. We conduct an in-depth client analysis to understand how they want to feel in the space, how they want to use it, what inspires them, and what practical requirements they have. People often think interior design is simply
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n an industry often influenced by fleeting trends and social media aesthetics, Blaque Pearl Lifestyle (BPL) has built its reputation on something more enduring: designing spaces that genuinely improve the way people live and work. Established in 2014 after founders Zimkita Sidumo and Siyabesho Thutha transformed a shared passion into a profession, the studio has grown into a multidisciplinary interior design practice specialising in bespoke residential, commercial, and workplace interiors. As BPL celebrates 12 years of shaping South African interiors, the duo shares how they built the business, navigate working together, and why the future of luxury design is becoming increasingly personal.
about making a room beautiful, but the lifestyle of the client has to be reflected throughout the space. Whether someone draws inspiration from fashion, architecture, travel, or art, those influences become part of the design language. That’s where lifestyle and design truly meet. HOW HAVE YOU MADE YOUR CREATIVE PARTNERSHIP WORK FOR MORE THAN A DECADE? One of the reasons our
partnership is successful is because we’ve learnt to appreciate our different creative voices rather than compete with them. Initially, we collaborated on every design, combining our styles into one vision. As the business has grown, we’ve allowed each other greater creative independence with individual clients. We still consult one another regularly, brainstorming ideas and sharing perspectives whenever needed. Good communication and mutual respect have always been central to our working relationship. DOES YOUR APPROACH CHANGE BETWEEN RESIDENTIAL, COMMERCIAL, AND WORKPLACE PROJECTS? The fundamentals
remain the same because every project begins with understanding the client and the brief. What changes is how those ideas are translated into practical solutions. Commercial environments often come with stricter requirements. They need to reflect corporate identity, accommodate high traffic volumes, and prioritise durability and functionality. Residential projects are far more personal because clients are inviting us into their homes. They tend to be more emotionally invested in every decision, and naturally so, because these are the spaces where they live every day. Regardless of the project type, we want every space to engage the senses and create an experience for the people who use it. WHAT CHANGES HAVE YOU NOTICED IN THE WAY SOUTH AFRICANS APPROACH INTERIOR DESIGN TODAY? Clients are
becoming increasingly intentional. They’re looking beyond trends and investing in pieces that will last. We’ve also noticed a growing appreciation for sustainability through upcycling, repurposing existing furniture, and choosing natural materials over synthetic alternatives. Colour palettes have also shifted away from cooler greys towards warmer neutrals such as taupe and beige, creating spaces that feel softer and more inviting. Lifestyle has also changed dramatically. More clients request multifunctional rooms, wellness spaces, reading corners, and areas designed simply to pause and unwind. Homes are expected to work much harder than they did a decade ago. WHAT PROJECTS ARE EXCITING YOU AT THE MOMENT?
We’re fortunate to be working on projects that demonstrate just how varied interior design can be. We recently completed a corporate office transformation where the brief was to create a workplace employees genuinely wanted to return to. Introducing colour, greenery, artwork, and sculptural elements completely changed the atmosphere. On the residential side, we’re enjoying projects at opposite ends of the spectrum. One involves creatively upgrading a bachelor apartment with a conservative budget, while another is an elegant luxury home featuring a carefully curated mix of bespoke and sourced furniture. Perhaps one of the most meaningful projects we’re currently involved in is redesigning a radiation oncology centre. Knowing that thoughtful design can contribute to a calmer, more reassuring experience for patients reminds us that interiors have the power to influence wellbeing as much as aesthetics. HOW DO YOU BALANCE FUTURISM WITH TIMELESS DESIGN TO ENSURE YOUR INTERIORS REMAIN RELEVANT?
We don’t design around trends because those inevitably change. Instead, we focus on creating strong foundations
that can evolve. Furniture that can be refurbished or reupholstered has greater longevity. Every room also benefits from a timeless anchor piece that immediately draws your attention and remains relevant regardless of changing fashions. Because every project begins with the client rather than trends, no two interiors are ever the same. That’s what gives each project longevity.
PIONEERS
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WHAT MAKES A SPACE FEEL LUXURIOUS? It’s about the
atmosphere you create rather than the objects you place in a room. We think about how a space feels as much as how it looks. Texture, natural light, airflow, comfort, sound, and even scent all contribute to the overall experience. Layering different materials creates warmth and depth, while thoughtful spatial planning allows furniture to breathe and people to move comfortably through a room. You can have the most beautiful furniture in the world, but if the space doesn’t function or doesn’t make people feel welcome, it loses its sense of luxury. WHAT’S NEXT FOR BPL? We’d love to establish an interactive showroom that brings together artists, textile designers, and industry collaborators, while also developing an online platform that makes professional design services accessible to a much broader audience. We’re also exploring the creation of a signature furniture and accessories collection while continuing to expand our commercial portfolio. Beyond the business itself, we’re passionate about contributing to the industry’s future by supporting and mentoring emerging design entrepreneurs. ■ blaquepearllife.com
BLAQUE PEARL LIFEST YLE’S DESIGN ESSENTIALS 1 . S PAT I A L P L A N N I N G – start with how the space needs to function, and let that inform its layout, scale, and furniture. 2 . L I G H T I N G – use natural light, lamps, and downlights to transform the mood of a space. 3 . W I N D O W T R E AT M E N T S – these help define the character of a room. Curtains envelope a room and make it feel cosier, whereas blinds offer a minimalist or functional feel. 4 . L AY E R I N G – mix a variety of textures to create a more polished space. 5 . I N T E N D E D U S E – design for how a space will be experienced, whether it’s a bedroom, doctor’s office, or hotel lobby. 6 . C O M F O R T – upholstery, cushions, and soft furnishings make a space inviting. 7 . T E X T U R E – tactile elements give a space depth, from TV units and sideboards to coffee and side tables. 8 . C O LO U R, PAT T E R N , A N D P R I N T – add character through wallpaper, rugs, and scatter cushions. 9 . A R T – use prints, canvases, and artworks to anchor a room. 1 0 . M AT E R I A L S – timber, marble, metal, and other finishes define the feel of the space.
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IN LIVING
RAINBOW DREAMS: COLOR AND LIGHT IN CONTEMPORARY ART IS A VIVID CELEBRATION OF ARTISTS WHO USE COLOUR AS FAR MORE THAN VISUAL EXPRESSION. THIS EXTRACT FROM THE ARTFULLY CURATED VOLUME INTRODUCES SOME OF THE WORLD’S MOST COMPELLING CONTEMPORARY ARTISTS, WHOSE WORK EXPLORES OPTIMISM, RESILIENCE AND HUMANITY THROUGH COLOUR AND LIGHT COMPILED BY LERATO TSHABALALA
I N T R O D U C T I O N T O R A I N B O W D R E A M S O L G A
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elcome to Rainbow Dreams, the ultimate celebration of artists who use color and light to create powerful symbols of optimism, resilience, and community.
We live in interesting and unpredictable times, and the emotions they stir are many. Yet among them, we choose to highlight hope, joy, and the beauty of color. Rainbows, in their timeless simplicity, remind us of the miracle of existence. They can serve as a visual antidote to life’s complexities or as a gentle reminder of how beauty always finds its way through.
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“Be a rainbow in somebody else’s cloud” —Maya Angelou Seeing so much powerful work expressed through the rainbow wasn’t unique to that moment, however. Throughout history, rainbows have captivated the human imagination, standing as symbols of hope, renewal, and the beauty found in the marriage of colors. They’re accessible, calming, unifying, and stimulating. Artists have employed them to evoke, explore, and amplify.
A B O V E: Seven magic mountains by Ugo Rondinone FA R L E F T : Foam SB 82/45p by Tomás Saraceno L E F T: Shoplifter, Chromo Sapiens Commissioned by Icelandic Art Center
The idea for this book first took root when a friend envisioned a physical museum dedicated to rainbows in Iceland. But by 2020, the vision had expanded into something greater: not just a place, but an ideology. At a time when the world seemed clouded, it became apparent that humanity needed hope, color, and beauty more than ever.
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From this realization came Rainbow Contemporary, a collective we’ve formed to bring joy through the vibrant language of art. What began as conversations soon evolved into collaborations, as artists united across mediums and geographies to create collectibles that benefited fantastic causes. What bound us all was a simple truth: color has the power to heal, to connect, and to inspire. And for us, it created a five-year curatorial journey in which we often traveled far and wide to see these installations in person. We weren’t alone in turning to rainbows. During the global lockdowns of COVID-19, children everywhere painted them on windows as symbols of hope. Damien Hirst released rainbow-inspired editions. Lauren Halsey used color to pay tribute all at once to the beauty, loss, and change of her South Central Los Angeles neighborhood. Fred Tomaselli’s collages, set against jarring New York Times headlines, were poetic reminders of the power of color to unite humanity. Seven Magic Mountains by Ugo Rondinone, first installed in 2016, grew into an even more powerful symbol for those who made the trek to the desert to interact with it and contemplate the intersection of human creation and nature.
One of the earliest depictions of a rainbow can be found in a thirteenth-century Persian illustrated manuscript by Zakariya ibn Muhammad Qazwini, in which the rainbow represents divine presence on earth. In the fifteenth-century Annunciation by Jan van Eyck, the rainbow spectrum represents the redemption of humankind. John Constable incorporated a rainbow in his 1831 painting, Salisbury Cathedral from the Meadows, as a symbol of hope and optimism after losing his wife, the mother of his seven children. Modern artists such as Georges Seurat, Marc Chagall, Paul Klee, and Josef Albers have applied the full spectrum of color toward more abstract ends. “Color provokes a psychic vibration,” wrote Wassily Kandinsky in 1911. “Color hides a power still unknown but real, which acts on every part of the human body.” In curating this book of contemporary art, we were constantly inspired by the different ways artists from around the world have utilized the spectrum of the rainbow. While some incorporate the theme as an aesthetic exploration, others employ it symbolically to represent themes like peace and harmony – both personal and political. This range of approaches reminds us that rainbows are cultural touchstones that surpass the restrictions of borders and languages.
C LO C KW I S E F R O M L E F T: To Breathe - Leeum Courtesy Leeum Museum of Art and Kimsooja Studio; Untitled (ladder) Courtesy Paola Pivi and Perrotin; auntie fawn on tha 6 Courtesy Lauren Halsey and David Kordansky Gallery; Poured Staircase by Ian Davenport
The editing of this book unfolded against the backdrop of a world still marked by uncertainty, conflict, and crisis. Loss and suffering are parts of everyone’s life, and no amount of color can banish them. But rainbows can cut through darkness, offering a lens for repair and renewal. Paul Cézanne is said to have remarked that “we live in a rainbow of chaos.” Perhaps that contradiction captures our world best: the light with the dark, beauty with disorder, color with ambiguity. Rainbows help to tell the story of the human experience: our longing for light, our resilience amid turmoil, our ability to create beauty even in fractured times. That is the essence of Rainbow Dreams. Through these pages, we invite you to journey across a spectrum of imagination. May the works within mesmerize, inspire, and above all, remind you of the enduring promise always surrounding us in an array of scintillating hues. Always, with Rainbow Dreams, OLGA & VALENTINE
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HAD YOU MET OR WORKED WITH OLGA OR VALENTINE BEFORE THIS PROJECT?
My first meeting with Olga and Valentine was in New York during the opening of my first US institutional show. I was honoured and surprised to have been included in the book.
FROM THE
NATION SOUTH AFRICAN ARTIST ATHI-PATRA RUGA JOINS CELEBRATED NAMES INCLUDING JEFF KOONS AND DAMIEN HIRST IN RAINBOW DREAMS. THE MULTIDISCIPLINARY ARTIST REFLECTS ON IDENTITY, MYTHOLOGY, AND THE PROMISE OF THE RAINBOW NATION
WHAT MADE YOU WANT TO BE PART OF RAINBOW DREAMS, AND WHAT DID THE PROJECT REPRESENT TO YOU? Being included in publications is an acknowledgement of one’s practice within a historical art canon. My early work was marked by a radical use of colour, and this is what attracted them to the idea of including me in the book, as it celebrates how artists use hue and colour in their messaging. THE PUBLICATION FEATURES THE FUTURE WHITE WOMAN OF AZANIA 1 (2012) AND THUD OF A SNOWFLAKE (DETAIL) (2013). WHY WERE THESE THE RIGHT WORKS TO REPRESENT YOUR PRACTICE? The works are among the best examples of how I used colour, texture, and spectacle to draw attention to a much deeper, critical layer of the times we were living through. The idea of the Rainbow Nation was beginning to crumble before us as South Africans. The Rhodes Must Fall movement was gathering momentum and, through colour, I wanted to do what some of my favourite artists do, which is to console. HOW DO YOU START CREATING A NEW PIECE? It starts
with curiosity about why I feel a certain way – joy or anguish. I then look at how artists within the black, queer, and femme tradition have dealt with similar issues. Through researching histories and philosophies, I develop a character who will, of course, be dressed. Narrative has become particularly important as I’ve spent the past seven years working on screenplays and dramaturgy. HOW HAS STUDYING FASHION INFLUENCED YOUR ART?
WHY IS MYTHOLOGY SUCH A POWERFUL WAY OF EXPLORING SOUTH AFRICAN IDENTITY? The founding
ABOUT THE AUTHORS O L G A R E I is a curator and the co-founder of
Rainbow Contemporary and Art Ruby. Working at the crossroads of culture and innovation, she has collaborated with institutions and figures including the Whitney Museum of American Art, LVMH, Vogue, and Lady Gaga. VA L E N T I N E U H O V S K I is a founder and cultural
strategist with nearly two decades of experience at the intersection of technology, art, and culture. A co-founder of Rainbow Contemporary, he has held roles at Tumblr, IMG, Interview, The Wall Street Journal, and W.
A B O V E: Thud of a Snowflake (detail), 2013 R I G H T: The Future White Woman of Azania 1, 2012
myth of our Rainbow Nation has always made me ask: who is not in the room with us? Why is it always the story of great men with little deeds? How do I minimise the omissions of black, queer, and femme experiences? That is what The Future White Woman of Azania I was about. Myths carry morals within society, and because we are talking about culture, we must debate and glamour forth. HOW HAVE INTERNATIONAL AUDIENCES SHAPED YOUR UNDERSTANDING OF YOUR WORK? I cannot be at the
mercy of the audience. That’s a trap laced with the shortterm pleasure of external validation. ■
Rainbow Dreams by Olga Rei and Valentine Uhovski is published by Monacelli – A Phaidon Company, R1 030
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IMAGES: THUD OF A SNOWFLAKE (DETAIL), 2013 - Image credit: artwork © and courtesy the artist / Courtesy Athi-Patra Ruga and WHATIFTHEWORLD. Photo: Hayden Phipps (page 29); Thud of a Snowflake (detail), 2013 Image credit: artwork © and courtesy the artist / Courtesy Athi-Patra Ruga and WHATIFTHEWORLD. Photo: Hayden Phipps (page 29)
Before studying fashion, I completed a three-year art course. Combined with fashion, it points to the performative element of the way we move through life. Craftsmanship is evident because it requires enormous discipline.
ATHENS to WATERFALL
COLLABORATION
From
KOLONAKI GREEK KOUZINA BRINGS THE SPIRIT OF GREEK HOSPITALITY TO JOHANNESBURG’S FAST-GROWING WATERFALL PRECINCT WITH THE OPENING OF ITS THIRD RESTAURANT
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nspired by the fashionable Kolonaki district of Athens, Kolonaki Greek Kouzina has built its Johannesburg identity around generous Greek cooking, elegant interiors, and the pleasure of lingering around the table. Now, following the success of its Parkhurst and Bryanston establishments, the opening of its third restaurant in Polofields brings that spirit to Waterfall. Owned by Vassilios “Basil” Holiasmenos, who also serves as head chef, Kolonaki takes its inspiration from the Athens neighbourhood of the same name, an area known for its cafés, galleries, restaurants, and vibrant social culture. That spirit has become the foundation of the restaurant’s identity, where food is designed to be shared and meals are meant to be savoured. “Greek food has always been about gathering,” says Vassilios. “There’s something deeply social about the way we eat. Dishes arrive at the table to be shared, people stay a little longer, and the meal becomes part of the occasion. That’s the feeling we’ve always wanted Kolonaki to have.” At the heart of the new restaurant is a menu rooted in Greek and Mediterranean traditions, where simplicity, quality ingredients, and bold flavours remain the focus. The menu is designed for sharing, encouraging diners to experience different flavours while embracing the style of dining that has long been central to Greek culture.
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For Vassilios, maintaining the restaurant’s identity as it expands has been a priority. “Opening our third restaurant is meaningful because it tells us that people have connected with what we are creating,” he says. “Our focus remains on the things that made people fall in love with Kolonaki in the first place: good food, beautiful ingredients, genuine hospitality, and a space where people feel welcome. Polofields gives us an opportunity to introduce that experience to a new community.” Waterfall’s growing residential and lifestyle offering makes it a natural fit for Kolonaki, bringing the restaurant closer to a new community of diners. While the Polofields location carries the character of the other spaces, it’s intended to develop a personality of its own. Central to the restaurant’s philosophy is the Greek concept of philoxenia – traditionally understood as the generous welcome extended to a guest or stranger. Rather than viewing hospitality simply as service, Vassilios believes it’s reflected in every aspect of the dining experience, from the welcome guests receive to the conversations shared around the table.
“For me, hospitality is about how somebody feels when they are in your space,” he explains. “ You can serve beautiful food, but the experience also lies in the welcome, the conversation and the people around the table. We want guests to leave having eaten well and having genuinely enjoyed their time with us.” With Polofields, Kolonaki Greek Kouzina adds another chapter to its Johannesburg story, bringing a little of Athens’ food, energy, and hospitality to Waterfall. kolonakigroup.co.za
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THE HOUSE OF
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WITH ITS NEW BRITISH SUMMERTIME COLLECTION, RANGE ROVER EXTENDS BEYOND THE VEHICLE INTO BEAUTIFULLY CRAFTED ACCESSORIES, HOMEWARE, AND TRAVEL ESSENTIALS
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R A N G E R O V E R
yourluxury.africa
COLLABORATION
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s South Africa welcomes the first days of spring, thoughts naturally turn to outdoor entertaining, weekend escapes, and embracing a new season of refined living. It is fitting, then, that Range Rover has unveiled its British Summertime Collection – a curated lifestyle range that extends the marque’s unmistakable design language beyond its vehicles and into the worlds of home, travel, and leisure. More than just a range of accessories, the British Summertime Collection explores the rituals of outdoor living through considered materials, distinctive detailing, and the ease of summer. It reflects the philosophy that has defined Range Rover for more than five decades: luxury in motion. The collection bridges automotive design with fashion, homeware, and travel, creating a lifestyle experience that resonates with discerning clients who appreciate understated elegance and exceptional quality. At its heart are two quintessentially British traditions: the enduring sophistication of tennis culture and the rich heritage of craft. Together they create a design language characterised by clean geometry, balanced proportions, and meticulous attention to detail. Familiar Range Rover styling cues – including the vehicle’s signature silhouette and iconic motifs – are subtly woven throughout the collection.
Hand-woven leather panels reference traditional British picnic basketry, while textiles are digitally printed by specialist artisans in Macclesfield. Fine ceramics are handcrafted in Stoke-on-Trent using locally sourced clay and sustainable production techniques. Signature Sunset Gold hardware, precision metal detailing, and premium natural materials reinforce the collection’s luxurious character. Among the standout pieces is the Touring Woven Holdall, crafted from leather with hand-finished woven detailing inspired by traditional basketry. Its sculptural silhouette subtly echoes the rear profile of a Range Rover, while gold hardware and meticulous stitching elevate it into a statement travel companion. Complementing the leather collection are a series of everyday accessories, including the City Woven Purse, Companion Woven Travel Case, and Woven Card Holder, each balancing practicality with the collection’s contemporary British aesthetic.
“A curated lifestyle range that extends the marque’s design language” Outdoor living also takes centre stage. Created in partnership with renowned British umbrella maker Fulton, the Terrace Parasol and Signature Umbrella blend tradition with modern functionality. Featuring etched Range Rover branding, bespoke detailing, and tailored protective slip cases, they turn practical necessities into considered design pieces. For leisurely afternoons, the Courtside Blanket offers a softer take on outdoor living, combining lightweight cashmere and wool with a striking graphic inspired by Centre Court, hand screen-printed in Italy, and finished with hand-whipstitched edges.
The colour palette complements the arrival of spring, blending crisp tennis whites, heritage greens, and soft sky blues with warm neutral tones reminiscent of leisurely garden picnics and strawberries-and-cream afternoons. Accents of vibrant tennis-ball yellow add a contemporary edge while remaining harmoniously aligned with Range Rover’s automotive colour palette.
The collection also introduces Country House and Country Garden Tea Sets, where hand-applied graphics and delicate Sunset Gold give the British tradition of afternoon tea a fresh, modern expression. “The British Summertime Collection represents a natural evolution of Range Rover as a modern luxury brand,” says Kimberly Panton, Apparel Design Manager. “Inspired by the rituals and shared experiences of the British summer season, we have created a collection that is both culturally resonant and thoughtfully crafted. Each piece reflects our commitment to creativity, craftsmanship and timeless design.” South African customers can order the Range Rover British Summertime Collection online at shop.landrover.com, bringing the collection’s distinctly British take on summer living into local homes.
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CELEBRATING 10 YEARS OF THE NINEVITES, FOUNDER NKULI MLANGENI-BERG’S NEW 44 STANLEY SHOWROOM REFLECTS HER ENDURING BELIEF THAT THE FUTURE OF LUXURY LIES IN AUTHENTICITY, CRAFT, AND CONNECTION WORDS KGOMOTSO MONCHO-MARIPANE
The
futureis
HANDMADE T
he Ninevites’ new showroom at 44 Stanley is a sensorial celebration of black aesthetics and African craft. It offers an intimate expression of founder Nkuli Mlangeni-Berg’s design language, from signature mohair rugs and cushions celebrating black literature and music – including K. Sello Duiker’s The Quiet Violence of Dreams and Erykah Badu’s Mama’s Gun – to newly introduced kitchenware featuring work by Algerian textile designer Walid Bouchouchi of Studio Akakir and Cape Town illustrator and urban visual artist Wayne Beukes. “The space is an extension of who we are and what we’re about. It represents our love for fibre, craft, colour, and high-quality craftsmanship. I’m proud to show this in Joburg,” says Nkuli.
When Nkuli launched the brand 10 years ago, she set out to explore the untold stories of life in Southern Africa through textiles and visuals, using creativity as a tool for social responsibility. Her work has long centred on preserving African heritage through handcrafted, naturally dyed rugs, with geometric and architectural prints and colours symbolic of the continent’s cultures. Ethical sourcing and sustainability are also fundamental, and The Ninevites works with weavers across Namibia, Lesotho, and South Africa. These principles remain strong, but the brand’s ethos has evolved.
D E S I G N W I T H P U R P O S E: The Ninevites reimagines heritage through handcrafted objects, textiles, and furniture
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IMAGES: SUPPLIED
The new Johannesburg space joins The Ninevites’ design studio in Stockholm, Sweden, while the brand also operates as a collaborative creative agency.
LIFESTYLE
YOUR
Today, The Ninevites creates cultureforward design while also exploring how traditional craft can be carried into the future. Workshops and creative consultancy have become an important part of this, with the aim of transferring skills and empowering the next generation of designers and makers. “Our culture is oral. It’s not necessarily documented,” Nkuli explains. “When I started, it was about creating awareness. There’s now been a shift: a focus on design and craft education for the next generation of makers. This is much more important.” She highlights the lack of institutions on the continent specialising in design and craft education and believes that introducing these skills into the curriculum is vital. “Our workshops transfer skills on a small scale. The dream is to get to a point where we have this as part of our education system. Heritage preservation is about educating the next generation,” she adds. The designs themselves become records of African craft, and part of the work involves translating them into contemporary forms that can compete on a global stage. Their beauty lies not only in visual appeal, but in the cultural stories they carry, the process of being made, and the people behind them. It’s a vision of luxury rooted in connection, meaning, and transparency.
“The designs themselves become records of African craft”
Nkuli works with female weavers from Prince Albert in the Karoo and KwaZulu-Natal. For her, sustainability also means ensuring that the craft supports the livelihoods of the people who make it. “I’m aware that my product is not accessible to many. In reality, the women who make my rugs probably don’t have a mohair rug in their home. Sustainability also means perfecting the craft in a way that sustains the business so I can pay my workers and ensure that they have work,” she says. Mohair is the main natural fibre used by The Ninevites. “It’s stunning, and the most luxurious fibre. I also love that it’s a South African speciality. South Africa produces more than 50 percent of the world’s mohair,” notes Nkuli. I N S P I R E D
C O L L A B O R A T I O N S
As a collaborative platform, The Ninevites extends its vision, philosophy, and storytelling into other forms of expression. Notable partnerships include contemporary menswear label Fields, with limited-edition round-neck wool and mohair knitted sweaters and pure cotton jacquard-weave totes highlighting the Zenzile textile design. The winter collection for the Joburg store also included a range of new rugs and blankets in collaboration with Samil Natural Fibres. An upcoming collaboration with Swedish luxury interior design company Svenskt Tenn offers another opportunity to explore this creative exchange. It marks the pair’s second partnership, following Svenskt Tenn’s 2023 Her(e)itage collection, which celebrated Afro-Nordic designers and artists including Nkuli, Damien Ajavon, Lincoln Kayiwa, and Theresa Traore Dahlberg. This time, Nkuli will be designing their festive season collection, showcasing different craft forms. “What’s exciting about this project is that not only will it be profiling a South African designer, but also South African artistry. Plus, I get to produce in South Africa. Collaborations are about alignment. What I like about Svenskt Tenn is how they have mastered the language of colour. I love being able to create a colourful world. A world that lifts you up,” says Nkuli. For The Ninevites, heritage should not simply be preserved, but given new life through craft, collaboration, and the next generation. Perhaps that is where the future of luxury really lies: not in what is new, but in what is made to endure. ■ theninevites.com
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MASH.T DESIGN STUDIO AND MEETLO STUDIOS ARE CREATING A DISTINCT VISUAL LANGUAGE SHAPED BY HERITAGE, MATERIALITY, AND COMMUNITY COMPILED BY INNOCENT NDLOVU
CRAFTING A NEW HERITAGE
A
new vanguard of creative voices is shaping South Africa’s design aesthetic. Launched in 2016 and 2021 respectively, Mash.T Design Studio, founded by Thabisa Mjo, and Meetlo Studios, founded by partners Oageng Manana and Tshegofatso Ramothibe, are reinterpreting heritage through contemporary furniture and objects. Their award-winning work sits at the intersection of tradition, materiality, and modern design, with each studio finding distinctive ways to reimagine the past for the present. For Mash.T Design Studio, the Xibelani skirt, which is associated with the VhaTsonga people, becomes a statement ceiling pendant. Meanwhile, Meetlo Studios, inspired by the environment and lush landscapes of Southern Africa, interprets something seemingly mundane like molamu – a wooden stick used by the Basotho people for herding and cultural rituals – as a sleek sculptural chair. Behind these distinctive pieces are two studios with different approaches, but a shared belief in the power of design to tell stories, preserve knowledge, and create something meaningful for the future.
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ICONS
YOUR
M E E T L O
S T U D I O S
WHAT INSPIRED THE LAUNCH OF MEETLO STUDIOS? Looking back, our relationship as a couple gave birth to our business partnership. Meetlo Studios was born from the belief that great businesses need both creative excellence and strategic thinking, and we’ve tried to honour that balance from the very beginning. Furniture was the start of something much bigger, and our goal is to eventually build one of Africa’s leading design and manufacturing companies, creating products across multiple categories.
HOW DOES THE NATURAL WORLD GUIDE YOUR DESIGN PROCESS? Rather than
copying nature, we try to understand the principles behind it – its movement, resilience, and balance – and reinterpret those ideas into contemporary furniture. Our hope is that the pieces feel as though they belong naturally in a space, in the same way that nature belongs in its environment. HOW DOES STORYTELLING SHAPE YOUR COLLECTIONS? Every collection
begins with observation and a story. The Kharetsa wine server rack, for example, was inspired by the aloe succulent found in the mountains of Lesotho. What interested us wasn’t simply how the plant looked, but what it represented. It’s resilient, sculptural, and rooted in the landscape. We wanted to capture those qualities in a piece of furniture. HOW DO YOU APPROACH MATERIALS, TEXTILES, AND COLOUR? We’re naturally
drawn to materials that feel honest and timeless. Solid oak, natural textiles, and earthy tones all have a warmth that develops character over time. We love allowing the natural grain of timber and the texture of materials to become part of the finished piece rather than hiding them. Our palette is also influenced by the landscapes around us. The earth, stone, clay, and vegetation found across Southern Africa have an understated beauty that continues to inspire us. We want our work to feel calm and grounded. HOW DOES SHAPE GUIDE YOUR DESIGN CHOICES? Before materials or finishes,
we consider form and proportion. We’re interested in creating pieces that feel sculptural from every angle while remaining functional in everyday life. Much of that comes from observation, where you often find geometry and organic movement existing together. We enjoy exploring that relationship, creating pieces that feel soft yet structured, familiar yet unexpected. Every curve and proportion has a purpose because shape influences not only how a piece looks, but also how people experience it. HOW HAVE SOTHO AND BATSWANA TRADITIONS, FORMS, AND CUSTOMS SHAPED YOUR DESIGNS? Both of
DREAM TEAM: Tshegofatso and Oageng are the brains behind the bold and beautiful designs by Meetlo Studios
us grew up in Sotho and Tswana communities, so those are the stories, values, and traditions that shape our worldview. They gave us an authentic place to begin. Rather than reproducing traditional symbols, we’re interested in translating the essence of those cultures, the sense of community, storytelling, and connection to nature into contemporary furniture. We believe meaningful design starts with honesty. meetlostudio.co.za
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YOUR
M A S H . T D E S I G N S T U D I O WHAT INSPIRED YOUR TRANSITION FROM SET DESIGN TO FURNITURE AND LIGHTING? I wanted to tell stories
through objects and spaces that people could live with and interact with in the real world. Set design is temporary by nature, while a product has a permanence to it. YOUR FIRST DESIGN EARNED AN AWARD THAT SUBSEQUENTLY LAUNCHED YOUR PRODUCT DESIGN CAREER. WHAT LESSONS DID THAT MILESTONE TEACH YOU ABOUT THE INDUSTRY? It taught me that clients
are looking for original work, but originality alone is not enough. They also value suppliers who are willing to collaborate, understand the vision they are trying to achieve, and are reliable. YOUR LATEST COLLECTION, AXIS, EXTENDS BEYOND THE PRODUCT ITSELF, HIGHLIGHTING APPRENTICESHIP, LEARNING, AND THE PASSING OF SKILLS FROM MASTER ARTISANS TO THE NEXT GENERATION. WHY IS NURTURING THIS CONTINUITY AN IMPORTANT PART OF YOUR VISION?
P R E V I O U S PA G E : FA R L E F T : Setulo sa Bogosi
As technology and AI become more present, human connection and the knowledge held between people becomes even more valuable. Axis came out of that kind of exchange: experienced makers sharing what they know with a younger generation through time, repetition, and making together. The value of design in South Africa is also in the systems it builds around the object – the skills it sustains, the employment it creates, and the economies it helps to grow.
L E F T: Trumpet shade L E F T B OT TO M: The 2026 Scape Awards Concept Product Design of the Year Nominated Semoya Bench by Meetlo Studios
L E F T: Liz Pendant and Flute table B E LO W L E F T: Bright Light and Daub Dining Table
HOW DID MATERIAL SHAPE THE COLLECTION? Axis emerged from working with mild steel. We began by asking whether the offcuts left behind after making one product could become the starting point for another. That question led to the first piece, and from there, the collection began to reveal itself. Its forms, connections, and relationships were all determined by what the material made possible. HOW DO YOU BALANCE TECHNOLOGY WITH TRADITIONAL HANDCRAFT? We don’t see technology and handcraft
as opposites. The Hlabisa Bench is a good example – its frame is made using CNC technology, while the backrest is handwoven. The Tutu light combines laser-cut profiles with elements shaped and finished by hand. The first Tutu was bent entirely by hand and took days to produce. Introducing laser cutting gave us greater accuracy and made production more scalable, while the hand of the maker remained essential. For us, technology should support the craft, not erase it. The story usually shapes the design from the start. Each piece reveals something familiar, sometimes through a form that feels unfamiliar. With Axis, the story is not only in its geometry, but also in the makers, the material, and the process of bringing it into being. There’s something honest and beautiful in allowing the learning process to remain part of the object. mashtdesignstudio.com ■
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IMAGES: SUPPLIED
HOW DO YOU ENSURE EACH DESIGN TELLS A STORY?
THE
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Behind every
Great Boutique
FOR MORE THAN TWO DECADES, JEAN DU RAND INTERIORS HAS QUIETLY SHAPED SOME OF SOUTH AFRICA’S MOST PRESTIGIOUS LUXURY RETAIL AND LIFESTYLE SPACES COMPILED BY DEBBIE HATHWAY
F
ounded by Jean du Rand in 2003, and joined by Malcolm Booth three years later, Jean du Rand Interiors has carved out a highly specialised role, translating international luxury retail concepts into finished spaces while coordinating everything from technical drawings and layout to installation and handover. We spoke to Jean (pictured on the left) and Malcolm about creativity, trust, and what it takes to deliver luxury at the highest level. WHAT MAKES A LUXURY SPACE TRULY SPECIAL TODAY?
manufacturing before founding Jean du Rand Interiors in 2003. Our early work focused on bespoke residential interiors, private lodges, and retail spaces. Malcolm joined in 2006, and together we’ve built a team that shares the same passion for quality and craftsmanship. When we’re creating a concept from scratch, we begin with hand sketches and space planning. Having trained traditionally, we believe there is real value in drawing by hand before moving to 3D modelling and technical drawings. When we’re executing an international luxury concept, the creative direction has already been established by the brand’s design team. Our role is to translate that vision into a buildable project and manage every stage through to completion.
Craftsmanship, exceptional materials, and attention to detail remain the heart of luxury. Today there is also much greater emphasis on the customer experience. People want to feel comfortable and welcomed, while each destination reflects its location through carefully considered local influences. Luxury is ultimately a feeling. Every detail and dimension should be exactly where they belong, without compromise. It starts long before the finishes are installed. Are the floors level? Are the walls perfectly square? Are the ceilings at exactly the right height? That precision creates the foundation for everything that follows. When all those details come together, the space creates a genuine emotional response. YOUR COMPANY FULFILS THE ROLE OF WHAT YOU DESCRIBE AS AN “EXECUTION ARCHITECT”. WHAT DOES THAT INVOLVE? We work from
the concepts developed by the brand’s concept architect and design and planning teams, then produce the construction
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IMAGES: SUPPLIED
HOW DID IT ALL BEGIN, AND WHERE DO YOU START WITH A NEW PROJECT? After graduating in 1999, Jean worked in
documentation, oversee production, coordinate specialist suppliers, manage logistics, and supervise the installation through to final handover. In luxury design, the margin for error is zero. We bridge the gap between design and reality, making sure nothing is lost during construction.
TRAILBLAZERS
YOUR
LUXURY BRANDS ARE KNOWN FOR STRICT STANDARDS. HOW MUCH ROOM IS THERE FOR CREATIVITY? The standards are part
of what defines luxury and quickly become second nature. Within those guidelines, there’s still room for creativity, particularly through local craftsmanship and the way details are engineered and executed. HOW DOES DESIGNING FOR A WATCH AND JEWELLERY BOUTIQUE DIFFER FROM CREATING A LUXURY LIFESTYLE STORE?
A watch and jewellery boutique is an exercise in precision. Every millimetre matters because the focus is on presenting relatively small objects, like the charms and gems at Nom Nom Jewels, in a highly considered environment. A luxury lifestyle showroom such as Illusso, which houses multiple European design brands in one space, operates on a different scale. Furniture and décor create complete living environments, allowing visitors to experience a particular way of life rather than a single product.
“In luxury design, the margin for error is zero”
WATCH BOUTIQUES NEED TO FEEL ELEGANT, SECURE, AND WELCOMING AT THE SAME TIME. HOW DO YOU ACHIEVE THAT? Security and
essential infrastructure are integrated discreetly. From there, it’s about careful planning, lighting, textures, seating areas, and private consultation spaces that encourage clients to relax while they discover the watches. When those elements work together, the space feels sophisticated without becoming intimidating. Good examples of this are the IWC and Panerai boutiques at Sandton City and Elegance at Melrose Arch. MANY LUXURY BRANDS REGULARLY REFRESH THEIR BOUTIQUES WHILE KEEPING THE SAME IDENTITY. HOW DO YOU APPROACH THOSE PROJECTS?
Luxury brands are constantly refining the customer experience, which means careful planning around regular upgrades and ongoing maintenance. Timing is equally important, as renovations often need to be completed around new product launches and other key activations. YOUR BUSINESS SEEMS TO BE BUILT ON LONG-TERM RELATIONSHIPS. HOW IMPORTANT ARE TRUST AND THE HUMAN ELEMENT?
Trust is everything. These projects represent major investments, so clients need complete confidence in the people delivering them. Our reputation rests on every completed project, which is why consistency, integrity, flawless execution, and uncompromising standards remain our highest priorities. LOOKING BACK OVER MORE THAN 20 YEARS, WHAT ARE YOU MOST PROUD OF? We’re proud to have earned the trust of some of the
world’s most respected luxury houses while building a South African company and team. These projects often mean months away from home, and the dedication of our design and specialist build teams is extraordinary. We often say that you are only as good as your last job. That mindset keeps us striving to deliver our very best, every single time. ■ durandinteriors.co.za
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Through the
LENS
SIX YEARS AFTER HIS PASSING, SANTU MOFOKENG’S INFLUENCE CONTINUES TO SHAPE SOUTH AFRICAN PHOTOGRAPHY. A NEW PRIZE AND EXHIBITION ARE EXTENDING HIS LEGACY TO A MODERN GENERATION WORDS OUPA NKOSI
I
n 2010, I shared a stage with the late, award-winning photographer Santu Mofokeng and Chris Ledochowski after we were recognised for our photographic work at the Bonani Africa Photographic Festival Conference in Cape Town, hosted by South African History Online and led by renowned documentary photographer Omar Badsha.
C LO C KW I S E F R O M TO P L E F T: Charles Rex Moabi, Jakkalsfontein /1989; The Black Photo Album / Look at Me: 1890-1950 /1997; Santu Mofokeng (Portrait); The Black Photo Album / Look at Me: 1890-1950 /1997
The soft-spoken Santu was unassuming, but the man was a genius. His project exploring climate change, Let’s Talk, was evidence of his wide-ranging knowledge and curiosity. The powerful black-and-white landscape images were beautifully composed, but went beyond their aesthetics. They were political, accompanied by disconcerting captions that challenged viewers to think. I first encountered Santu as a student at the Market Photo Workshop in Newtown, Johannesburg, where he taught in the early 2000s and would sometimes critique our work. His observations were gentle, unaggressive, and never condescending, offering insight without imposing his
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LEGEND
YOUR
views on us. His photographs, like his teaching, were rooted in listening, patience, and witness. They revealed not only what was visible, but what lay beneath the surface: memory, dignity, faith, injustice, and belonging. Santu’s unorthodox journey as a photographer, curator, writer, and researcher was extraordinary. He shunned photojournalism during the height of the anti-apartheid struggle when demand was at its peak, choosing instead to explore stories that were overlooked. He became frustrated by the way black people were presented within the international photographic landscape and sought to challenge those representations through his own work. Born in 1956, Santu came of age during apartheid, when black South Africans were restricted by pass laws and denied freedom of movement. In 1991, he became the recipient of the Ernest Cole Fellowship at the International Centre of Photography in New York. The six-month fellowship broadened his understanding of photography and changed his life entirely.
“His photographs were rooted in listening, patience, and witness” For Santu, photography was never simply about documenting what was in front of the camera. The history of the medium is deeply linked to the colonial project, with photographs used to feed into the racial discourse of European superiority. His work challenged that legacy, insisting on a more complex and human visual record of South Africa and the continent.
A B O V E: Santu Mofokeng Stories: Concert /1988 B E LO W: Sunflower harvest, Vaalrand farm, Bloemhof /1988
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LEGEND
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R U M O U R S
/ 2 0 2 6
Santu’s wish before his passing in 2020, at age 63, was for his work to continue to be seen and shown, and to motivate and encourage visual storytellers. As part of the Foundation’s 10th anniversary celebrations, Rumours /2026 is currently on display at the Standard Bank Art Lab in Sandton. The exhibition brings together three bodies of work drawn from Santu’s extended engagement with Bloemhof and its surrounding communities, photographed between 1988 and 1994. The Concert of Sewefontein traces a moment of collective release photographed at night during a gathering of farmworkers and tenant labourers. The Black Photo Album / Look at Me: 1890-1950 comprises studio portraits collected by Santu from the private homes of clients he was commissioned to photograph. Elegantly conceptualised and curated by Dr Same Mdluli, curator and manager of the Standard Bank Art Gallery, and Lunetta, the exhibition also features Santu’s writing, sharing intimate details of his childhood memories, family, love, loss, fear, hardship, humour, and career. The words sit alongside the photographs, creating a layered portrait of the man behind the lens and allowing visitors to encounter his work through both imagery and memory.
“Santu’s work was poetry”
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Sharing a stage with Santu in 2010 was something I never anticipated during my years of training or subsequent work in photojournalism, a field that is both competitive and expensive. Photography allowed me to travel and introduced me to both my country and the wider world. It also taught me to adapt to change and develop a keen eye for detail, composition, and emotion – skills that continue to shape my work today. The same opportunity to develop a distinctive voice is at the heart of a new initiative from the Santu Mofokeng Foundation. The Foundation has launched a photography prize to support emerging photographers at the Latitude Centre for Arts in Johannesburg. The award aims to discover photographers who bring the same curiosity, integrity, and generosity to their practice that Santu was known for. The inaugural R100 000 award includes editorial and promotional exposure through the Latitude platform. “Santu’s work was poetry. So that’s the kind of candidate we’re looking for. Someone who has a voice that’s their own,” says Lunetta Bartz, of the Santu Mofokeng Foundation.
F R O M T H E TO P: The Black Photo Album / Look at Me: 1890-1950 /1997; Afoor family bedroom Vaalrand /1988; Santu Mofokeng Stories: Concert /1988
Six years after his death, Santu’s photographs continue to ask difficult questions about who gets seen, how stories are told, and what remains after images are made. Through the Foundation’s new prize and the ongoing exhibition of his work, his legacy is not simply being preserved; it is giving a new generation the opportunity to look, question, and tell their own stories. ■
The Santu Mofokeng Foundation funding application is open until 19 October 2026. The Rumours /2026 exhibition is on at the Standard Bank Art Lab in Sandton, Johannesburg, until 18 October 2026.
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IMAGES: ©SANTU MOFOKENG FOUNDATION COURTESY OF LUNETTA BARTZ; STEVE TANCHEL
The prize comes at a time when the visual landscape is changing rapidly. The immediacy of social media and widespread access to smartphones have opened space for a far more diverse range of narratives, but they have also brought new responsibilities. Photographers and audiences alike must navigate misinformation, fake news, and AI-manipulated images masquerading as reality.
Santu is celebrated for the outstanding quality and depth of his work, and for his contribution to photography in Africa. His photographs have been featured in numerous monographs and anthologies, including his extensive 18-volume box collection, released in 2019, which encapsulates his life’s work.
COLLABORATION
25 Years of
@home AS @home MARKS ITS 25TH ANNIVERSARY, IT CELEBRATES THE SPACES, OBJECTS AND MEMORIES THAT HAVE MADE GENERATIONS OF SOUTH AFRICAN HOUSES FEEL UNMISTAKABLY LIKE HOME
The same philosophy extends to the bedroom, where comfort becomes essential to everyday living. From duvets to pillows that provide years of restful sleep, bedding accompanies life’s quieter moments, from late-night conversations to birthdays that begin with breakfast in bed.
A
beautifully designed home tells a story. It is where celebrations unfold around the dining table, where a favourite armchair becomes the backdrop to years of conversations, and where the smallest details quietly become part of family tradition. For 25 years, @home has helped South Africans create those spaces, offering homeware that balances timeless style with everyday functionality.
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This September, the retailer marks the milestone, celebrating not only a significant business achievement but also the relationships it has built with generations of customers. The journey began in 2001 with the opening of @home’s first store at Canal Walk in Cape Town. From the outset, the brand set out to redefine homeware retail by bringing together thoughtful design, quality craftsmanship and practical living. That vision has expanded into a national footprint of 122 stores. Over time, these pieces become woven into everyday life. A cookware set becomes part of treasured family recipes. Elegant dinnerware comes out year after year for birthdays, anniversaries, and festive celebrations.
A first sofa often becomes the heart of a young family’s home, while a carefully chosen statement chair or dining table can define a room for decades. @home encourages customers to invest in timeless pieces rather than passing trends. The retailer’s gifting collections extend the same approach, with flowers, fragrances, decorative accessories and homeware chosen to mark special occasions and milestones. After 25 years, @home’s enduring legacy lies not only in the products it has sold, but in the homes, memories and moments it has helped shape across South Africa. athome.co.za
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DE “T I GN
S
Driven by
AUDI, FERRARI, BMW ALPINA, TOYOTA, AND FORD MAY REPRESENT VERY DIFFERENT PHILOSOPHIES OF PERFORMANCE, BUT THEY SHARE ONE DEFINING PRINCIPLE: EXCEPTIONAL CARS BEGIN WITH EXCEPTIONAL IDEAS WORDS EDWARD MOLEKE MAKWANA
he pen is mightier than the sword” is an old proverb that resonates surprisingly well in the automotive world. Before the roar of an engine, the precision of carbon fibre, or the gleam of polished aluminium, every great car begins with a sketch. Those first lines become the foundation of machines that inspire generations. Concept cars have long served as the industry’s creative laboratories, allowing manufacturers to explore new technologies, proportions, and design philosophies without the constraints of immediate production. While many never progress beyond one-off showcases, others evolve into production cars that redefine their respective brands. We explore five vehicles that illustrate how luxury manufacturers are using concept-led thinking to shape the next generation of performance, design, and mobility.
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AUDI NUVOLARI Signalling more than the arrival of a new flagship supercar, the Audi Nuvolari represents the next chapter in the German marque’s transformation as it embraces electrification and a new design direction. Named after legendary Italian racing driver Tazio Nuvolari, the model combines Formula 1-inspired engineering with Audi’s first high-performance hybrid supercar. With a claimed output of 736kW, a top speed exceeding 350km/h, and production restricted to just 499 units, it’s positioned as the most powerful road-going Audi ever conceived. Beyond the numbers, the Nuvolari introduces a new visual identity defined by taut surfaces and minimalist detailing. Audi says every line serves a functional purpose, reinforcing the growing relationship between aerodynamics and aesthetics. Inside, the driver-focused cabin demonstrates how technological innovation is becoming inseparable from luxury. Features including predictive quattro ride technology, active aerodynamics, and a carbon-intensive Audi Space Frame underline its ambition to combine extreme performance with hybridisation. Scheduled to enter production in 2027, the Nuvolari provides a compelling glimpse of where Audi intends to take its celebrated Vorsprung durch Technik philosophy in the years ahead.
“The Luce’s architecture breaks new ground for Ferrari”
BMW VISION ALPINA Unveiled at the 2026 Concorso d’Eleganza Villa d’Este, the BMW Vision ALPINA Concept offers an early look at the future of one of Germany’s most respected performance brands. Under BMW Group ownership, the concept explores how the marque’s long-standing approach of combining performance with exceptional comfort can evolve for a new generation.
FERRARI LUCE Ferrari’s Luce is one of the most significant design and engineering projects in the company’s modern history. Rather than presenting electrification as a replacement for traditional Ferrari models, Maranello positions the Luce as an expansion of its performance portfolio. Developed under Ferrari’s multi-energy strategy, the vehicle demonstrates how electric propulsion can coexist alongside combustion engines while preserving the marque’s unmistakable character. Its architecture breaks new ground for Ferrari, accommodating four doors and five seats within an entirely new platform designed around four electric motors and a 122kWh battery pack. Performance remains firmly in Ferrari territory, with
claimed outputs exceeding 772kW, a 0-100km/h sprint of 2.5 seconds, and a driving range of more than 530 kilometres. Its design is equally distinctive. Created in collaboration with the LoveFrom collective led by Sir Jony Ive and Marc Newson, the Luce displays clean proportions, uninterrupted glass surfaces, and carefully integrated lighting that almost disappears when inactive. The restrained interior balances handcrafted materials with advanced digital technology while introducing sustainable materials and Ferrari-developed electric systems built entirely in-house. The Luce suggests that Ferrari’s future may be electric in part, but it remains firmly rooted in emotion and engineering excellence.
Stretching over five metres in length, the grand touring coupé retains classic ALPINA characteristics, including elegant proportions, subtle detailing, and the unmistakable shark-nose front design. Rather than relying on visual aggression, the concept embraces restraint through carefully integrated graphics, signature deco-lines, and distinctive multi-spoke wheels. Inside, simplicity replaces unnecessary ornamentation. Premium leather, crystal controls, and precision metal finishes reflect ALPINA’s reputation for understated luxury, while BMW’s latest digital interface is tailored specifically for the brand. A V8 powertrain remains central to the experience, reinforcing ALPINA’s belief that effortless long-distance performance and refinement remain can coexist. Expected to influencethe first BMW ALPINA production model under BMW ownership, the Vision ALPINA demonstrates how heritage can inform innovation without becoming constrained by nostalgia. ■
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At home with
DOWNTIME
YOUR
India
HICKS
WHETHER SHE’S ENTERTAINING BAREFOOT IN THE BAHAMAS, WRITING BOOKS, OR WORKING IN DISASTER RELIEF, INDIA HICKS APPROACHES LIFE WITH HUMOUR AND EFFORTLESS STYLE. SHE REFLECTS ON THE RITUALS, TRAVELS, AND PHILOSOPHIES THAT CONTINUE TO INSPIRE HER CREATIVE WORLD COMPILED BY LERATO TSHABALALA
father meant growing up in a world where design was not simply decoration; it was a language. He taught me that a room needed personality, wit, tension and, ideally, one slightly unexpected thing. His standards were terrifyingly high. A badly placed cushion could provoke the sort of reaction normally reserved for a national emergency. But the defining moments in my own life often came when I stepped away from that very ordered world. Moving to a small island in the Bahamas was certainly one. My path has not been particularly straight. There has been intention, certainly, but also instinct, curiosity, and occasionally impulse. YOUR WORK SPANS INTERIORS, DESIGN, BOOKS, TELEVISION, AND HUMANITARIAN INITIATIVES. HOW HAVE THOSE WORLDS INFLUENCED ONE ANOTHER, AND WHAT CONTINUES TO INSPIRE YOU CREATIVELY?
They may appear to be different worlds, but to me they’re all connected by storytelling. A room tells a story. A book tells a story. Humanitarian work tells the most important stories: of courage, survival, and people rebuilding their lives. Each part of my work sharpens another. Design has taught me to notice detail. Writing taught me to stand back and consider meaning. Humanitarian work has taught me perspective. I’m inspired by people who make things well, by houses that reveal the lives lived inside them, by old photographs, journeys, gardens, and conversations. HOW HAS LIVING IN THE CARIBBEAN CHANGED NOT ONLY THE WAY YOU DESIGN, BUT ALSO THE WAY YOU EXPERIENCE BEAUTY AND LUXURY?
Island living loosened me up. I arrived carrying the rather structured influence of British interiors and my father’s immaculate eye, and the Caribbean
taught me that beauty can also be faded, sun-bleached, salt-stained, and slightly crooked. Here, a door may swell in the humidity, a dog may appear in the middle of a photograph, and a hurricane may undo months of planning. Living on an island has made me value natural materials, local craftsmanship, moving air, and objects that improve with age rather than collapse under it. It’s also taught me that luxury is not necessarily polish or perfection. It’s the kind of beauty that cannot be arranged too carefully. WHAT DOES LUXURY MEAN TO YOU? Time. Privacy. Freedom. And, increasingly, the luxury of not being in a hurry. True luxury is waking without an alarm, swimming before breakfast, and sitting beside someone you love without either of you reaching for a telephone. It’s a beautifully made object that carries the mark of the hand rather than the insistence of a logo. WHAT ARE THE LITTLE RITUALS OR EVERYDAY MOMENTS THAT MAKE YOU FEEL HAPPIEST WHEN YOU’RE AT HOME?
I admire perfection, but I’d choose warmth over cold perfection every time. Our home is filled with dogs, books, photographs, sandy feet, and evidence that people actually live there. I love the quiet moment before everyone wakes and watching the house gradually come alive. WHAT DOES A PERFECT DAY OFF LOOK LIKE? There would be family, dogs, salty air, and no rigid plan. Perhaps a boat ride, perhaps a game of pickleball, and certainly laughter. WHICH LUXURY BRANDS, ARTISANS, OR DESIGNERS DO YOU ADMIRE? I admire
places that create an atmosphere rather than merely provide an impressive room – somewhere that understands lighting, swcent, sound, and the importance of being made to feel welcome. Ralph Lauren is the master of it all; hand-block-painted linens from Pomegranate; or a custom piece of jewellery from Daniella Draper. IS THERE A DESTINATION YOU RETURN TO WHENEVER YOU NEED TO RECHARGE? Windermere Island. A swim, a walk along
the deserted beach, and the familiar rhythm of island life can rearrange one’s thoughts far more effectively than any wellness retreat. England restores another part of me: gardens, rain, humour, and a deep sense of history remain stitched into who I am. I like the contrast between those two worlds. WHICH ESSENTIAL INGREDIENTS TRANSFORM A BEAUTIFUL SETTING INTO AN UNFORGETTABLE EXPERIENCE WHEN HOSTING? The first ingredient is not panicking.
A beautiful table helps, but it shouldn’t feel so precious that guests are afraid to touch anything. I like layered linens, candlelight, garden flowers, mismatched objects, and food that can survive a slight delay. But what people remember is how an evening felt. They remember generosity, humour, music, and conversation. HOW DO YOU UNWIND? A quiet evening usually involves a bath, a book, and the relief of taking off whatever shoes seemed like a good idea several hours earlier. ■ indiahicks.com
India’s book, India Hicks: Entertaining, with a Side of Chaos, is available from rizzoliusa.com
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IMAGES SUPPLIED
YOU GREW UP IN ONE OF BRITAIN’S MOST CELEBRATED DESIGN FAMILIES AS THE DAUGHTER OF DAVID HICKS, YET YOU’VE BUILT A CAREER ON YOUR OWN TERMS. WHAT ARE SOME DEFINING MOMENTS THAT SHAPED THE CREATIVE PATH YOU’RE ON TODAY? Growing up with my