Issuu

AFRICA

for the love of fashion

OCTOBER 2026

Schiaparelli, Style Icons, and La Dolce Vita!

THE NEW 7

BAYERISCHE MOTOREN WERKE

TAG HEUER BOUTIQUES SANDTON CITY, V&A WATERFRONT, GATEWAY WWW.PICOTANDMOSS.CO.ZA

OCTOBER 2026

28 54

THE FASHION ISSUE 32

THE ART OF SCHIAPARELLI: From pioneer to legacy, the fashion house is as artistic as ever

THE NEW SEASON EDIT: What you’ll be wearing for spring/ summer 2026/27

A VISION OF BEAUTY: Mozambican designer Taíla Carrilho creates jewellery with African roots

18 42

32 REGULARS 10 EDITOR’S NOTE 12 YOUR LUXURY 14 YOUR DIARY 16 YOUR WEALTH

18 YOUR WATCHES 20 YOUR JEWELS 22 YOUR BEAUTY 26 YOUR DECOR 54 YOUR TRAVEL 62 YOUR WHEELS 64 YOUR DOWNTIME

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NOTE

EDITOR’S

my top

FIVE for

Now that we’re in the tenth month of the year – where did the time go? – most of us start taking stock of the year and review what we can still do during the last two months to turn things around. Introspection is great, but it shouldn’t be a reason for you to have negative self-talk just because there were boxes you didn’t tick this year. I’ve learned some pretty important lessons in 2026. The type of lessons that I believe I will carry for the rest of my life…

OCTO BER 1.

PRADA SUNGLASSES Nothing adds to a summer mood like the perfect pair of sunnies to go with your espadrilles, maxidress, hat and Aperol Spritz. A sophisticated play on colour, these Prada sunglasses pair a Havana frame with light-brown gradient Bordeaux lenses. The oversized silhouette delivers the Italian house’s characteristically polished take on statement eyewear – bold enough to command attention, yet effortless enough for everyday wear.

1. There’s a difference between the internet “world” and real life. You can look at the internet and believe that everyone hates [insert sex, race, nationality, etc.], when the reality is that you’re probably keyboard-boxing some bots. 2. Fortunate favours the brave. If you’re going to sit on the sidelines because you’re afraid of failure, you’ll end up being the cheerleader (or hater) of other people’s dreams. 3. Rest is not an option; it’s a necessity. Your body keeps score, so don’t continue beating it into submission with relentless productivity. Rest. 4. Silence is tacit compliance. Not saying how you feel is you agreeing to bad behaviour. 5. The Springboks are the best. Full stop. Finish and klaar. 6. The best part about travelling outside the country is

coming back home. The warmth of our people and our sense of humour always warms my heart.

7. Overpacking is an affliction. People like me need sympathy instead of judgement. We can’t help ourselves. 8. Life is going to life, so enjoy yourself. Don’t make a bad month become a bad year. You don’t have bad luck; sometimes life just sucks. You will prevail. 9. Fashion is subjective. It’s your duty to wear the things you like – no matter how outrageous – instead of buying into what people with small, hairy microphones on the internet tell you to wear. Nobody knows you better than yourself.

ON THE COVER

AFRICA

for the love of fashion Schiaparelli, Style Icons, and La Dolce Vita!

OCTOBER 2026

10. Create from where you are. Don’t wait for everything to line up before you start. Perfection is an illusion. And a plan that can’t change is a plan that’s already failed. So just create. Start now.

HARE + KLEIN DESIGN BY MERYL HARE Celebrated Australian interior designer Meryl Hare opens the doors to some of Hare + Klein’s most distinctive residential projects in Hare + Klein Design. Through beautiful photography and personal insights, the book explores the studio’s considered approach to space, light, materials, and bespoke craftsmanship – and the art of creating homes around the people who inhabit them.

Photographer: Kuba Dabrowski Model: Awar Odhiang in Schiaparelli Courtesy of the V&A Museum

ELIE SAAB × H&M I’m partial to haute couture and high street collaborations because they present a bridge for new markets to emerge. Spanning womenswear, menswear, footwear, and accessories, the ELIE SAAB x H&M collection translates the house’s signature opulence through embellished gowns, shimmering separates, and sharp tailoring, finished with lace, gradient sequins and signature monograms. These pieces don’t normally last, so don’t walk, run!

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SOL DE JANEIRO BODY BADALADA™ SKIN REFRESH WATER LOTION Sun’s out, skin’s out! If shea butter goes with your skin in the colder months, then Sol de Janeiro is perfect for spring and summer. It lightens up body care with Body Badalada™ Skin Refresh Water Lotion – a water-light alternative to richer creams. Designed to leave skin feeling fresh and hydrated without heaviness, it brings the brand’s signature sensorial approach to an easy warm-weather body ritual.

EDITOR’S PICTURE: PHOTOGRAPHER: KHOTSOTSAAGANE; STYLIST: MPUMI NTINTILI; MAKE-UP ARTIST: TOBEY MBATHA; LOCATION: THE HYDE HOTEL, HYDEHOTELS.COM; LEVI’S MEN’S BARSTOW WESTERN SHIRT, LEVI.CO.ZA; ZIPPER SKIRT AND ZIPPER BELT, BOTH MANTHSO; ICONICA EARRINGS, THREE NUDO CLASSIC NECKLACES WITH PENDANTS, NUDO RING AND NUDO BRACELET, ALL BHH BOUTIQUE

Here at the 10 things I’ve learned from 2026:

CLASH DE CARTIER BAG One thing I’ll never be embarrassed about is that I like to carry big handbags as if I’m a mom of toddlers. But I could definitely make an exception for Cartier’s new Clash de Cartier bag. Crafted in Florence from fine natural-grain leather, its defining clasp reinterprets the collection’s signature stud with a clever twist mechanism. Available in black, caramel, and Cartier’s iconic burgundy, it can be carried by hand, on the arm, or over the shoulder.

IWC Ingenieur. Form und Technik. Ingenieur Automatic 50th Anniversary In 1976, Gérald Genta created the Ingenieur SL, Reference 1832 – one of the legendary designer’s era-defining stainless-steel luxury sports watches. For its 50th anniversary, IWC Schaffhausen presents a limited edition in both 35 and 40 millimetres, inspired by a rare variant of the celebrated ancestor. A design that, five decades on, has lost none of its progressive edge. IWC. Engineered.

IWC Boutiques · Johannesburg · Cape Town

LUXURY

YOUR

MEET OUR CONTRIBUTORS What does la dolce vita mean (or look like) to you?

JOIN OUR EXCLUSIVE YLA LOUNGE TODAY!

T H E M B A L E T H U Z U L U La Dolce dolce vita used to mean enjoying the finer things in life – beautiful destinations, exclusive restaurants, and indulgent days that turn into memorable nights. But now? It’s about freedom – freedom of movement, freedom to choose when to be on or offline, and living life on my own terms. See: p50

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. After all, 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 a range of 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 La dolce vita is having the luxury of time – to sit and gaze at the ocean, walk barefoot along the beach with nowhere in particular to be, and let the day unfold without worrying about domestic routines or the next thing that needs doing. Having just returned from Mauritius, I’m reminded that the sweet life can be simple: space, beauty, warmth, and time. See: p18; p20; p48

C A N D I C E - L E E K A N N E M E Y E R La dolce vita means sunrise forest walks with my dog, leisurely lunches with family and friends and, in general, enjoying the incredible outdoor life Cape Town has to offer in summer – while ALWAYS protecting my skin with sunscreen. See: p22

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.

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CAPE TOWN

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M P U M I N T I N T I L I La dolce vita is love from family and my girlfriends, laughter that’s easy and real, travel now and then – not as an escape, but as a way of staying curious about the world and myself. It’s also the freedom to pivot and chase new dreams without hesitation. See: p42

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DIARY

YOUR

A R T B A S E L PA R I S 23-25 October | Paris, France Art Basel returns to Paris for its fifth edition, bringing together 211 galleries from 41 countries beneath the glass roof of the beautiful Grand Palais. Across three sectors – Galeries, Emergence, and Premise – the fair includes established names, rising galleries, and singularly curated presentations, with nearly 30 exhibitors making their debut. Expect a strong African presence this year, with galleries from South Africa, Nigeria, Côte d’Ivoire, and Tunisia among this year’s exhibitors list. Beyond the Grand Palais, Art Basel’s public programme unfolds across Paris in partnership with the city’s leading cultural institutions, making it a defining week on the international art calendar. artbasel.com

FRIEZE LONDON 14-18 October | London, UK Frieze returns to The Regent’s Park for its 2026 edition, bringing together more than 170 galleries from 42 countries, with a particular focus this year on discovery, emerging voices, and experimental new work. Among the international exhibitors are South Africa’s blank, Southern Guild, and Stevenson, alongside galleries from Egypt and Tunisia, giving the fair a strong African presence. Running at the same time, Frieze Masters showcases thousands of years of art history, while Frieze Sculpture transforms the park into a free outdoor gallery. Together with exhibitions and cultural events across the city during Frieze Week, this makes October one of London’s most significant moments for art. frieze.com

CULTURE DIARY WORDS TAMLYN CUMINGS

THE BURBERRY TRENCH EXHIBITION

LUX AFRIQUE J E W E L L E R Y, WA T C H & H O M E EXPO

21 September 2026 – 3 January 2027 | London, UK

23-25 October | Lagos, Nigeria

Marking Burberry’s 170th anniversary, The Burberry Trench: Crafting an Icon exhibition at London’s Victoria and Albert Museum traces the evolution of the famous trench coat from practical and military outerwear to one of fashion’s most enduring icons. Also on display are rare pieces from the Burberry archive and V&A collection, alongside 19 standout runway looks from the past 25 years, showcasing the invention of Thomas Burberry’s cotton gabardine fabric, the artistry behind the coat’s signature details, and its continued reinvention. vam.ac.uk

Described as Africa’s leading luxury trade event, the LAJWH expo brings together fine jewellery, precision timepieces, and collectable homeware from leading African and international brands. More than a conventional trade fair, the threeday event combines curated exhibitions with private VIP appointments, direct sales, and a gala dinner. With more than 400 high-net-worth attendees expected, it offers a glimpse into Africa’s increasingly influential luxury market, as well as the collectors, tastemakers, and brands shaping it. lajwh.com

DESIGN WEEK SOUTH AFRICA Now in its third year, Design Week South Africa returns with two four-day festivals celebrating the country’s limitless creativity. Under the theme The Shape of Us, exhibitions, studio and urban tours, installations, product launches, panel discussions, and workshops will explore how culture, history, and future-thinking shape the South African design scene across architecture, interiors, furniture, fashion, and product design. From meeting designers in their studios to experiencing new product launches, the festival offers an inside look at the inspiration, materials, and craftsmanship shaping the country’s contemporary design scene. designweeksouthafrica.com

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8-11 October | Johannesburg & 22-25 October | Cape Town, South Africa

www.straussart.co.za

The

Dividend WORDS BRIGHT KHUMALO

very summer, we’re sold the same version of the good life. A linen shirt, a long lunch that somehow becomes dinner, an Aperol Spritz in hand, and an old wooden boat floating somewhere off the Amalfi Coast. Nobody seems to be working, nobody is checking the time, and somehow everyone looks fantastic. The Italians have a name for it: la dolce vita – the sweet life. Most people think it’s just a theme or aesthetic. I think it’s a philosophy. And perhaps one of the world’s most misunderstood investment strategies. We’ve become remarkably good at measuring almost everything. Returns are tracked to the second. Fitness watches count our steps, our sleep, and even our stress. We know how much our portfolios have gained before we’ve even finished our morning coffee. But the things that actually make life feel luxurious rarely show up on a balance sheet. A two-hour lunch with friends, that first espresso in the morning, walking somewhere when you could easily drive, or finding a hotel that somehow feels like home every time you return. Even that favourite linen shirt that gets softer with every summer. None of these things is particularly efficient, and that’s exactly the point. The Italians have long understood something that much of the modern world continues to resist: life isn’t meant to be optimised. It’s meant to be experienced. Luxury has quietly arrived at the same conclusion. The brands that endure aren’t obsessed with producing more; they focus on quality. A beautifully cut jacket isn’t valuable because it saves time. A handcrafted leather bag isn’t special because it’s the cheapest option. They’re valuable because they make ordinary moments feel a little less ordinary. It’s a lesson that goes far beyond fashion. The finest restaurants don’t rush you through dinner. The world’s great hotels understand that atmosphere matters just as much as thread count. Even the most memorable holiday destinations are rarely those where you packed the most into your itinerary.

WHAT IF THE BEST INVESTMENT ISN’T THE ONE DELIVERING THE HIGHEST RETURN, BUT THE ONE THAT MAKES LIFE RICHER? They’re the places where you finally slowed down enough to notice where you were, and with whom. As investors, we’re taught to think in terms of return on capital. Perhaps we should also think about return on time. After all, time remains the one asset none of us can buy more of. I find it fascinating that many of the world’s wealthiest people eventually simplify their lives. Their wardrobes become practical. They return to the same hotels, the same restaurants, and the same holiday destinations. Most importantly, they don’t spend time chasing novelty just for the sake of it. They curate experiences they already know they’ll enjoy. Experience narrows your choices. That applies to investing too. When you’re young, every new opportunity feels exciting. Every market cycle introduces the next revolutionary technology or the next investment that promises to change everything. Some will, but most won’t, so you develop a working philosophy. The longer you invest, the more you appreciate businesses that quietly compound over decades. Companies that don’t need to reinvent themselves every year because they’ve spent generations refining what already works.

Bright Khumalo is a Portfolio Manager and Analyst at Vestact Asset Management

Luxury brands understand this instinctively. So do the Italians. Neither is trying to win the race; they’re trying to make the journey worth taking.

“The things that Perhaps that’s why Italian design has always felt so timeless. Whether it’s a actually make life feel Ferrari, a beautifully tailored jacket, or luxurious rarely show an espresso machine sitting proudly on a kitchen counter, there’s an up on a balance sheet” understanding that beauty isn’t frivolous; it’s functional. Good design slows you down. It encourages you to appreciate craft, proportion, and detail in a world increasingly designed for speed. That may explain why la dolce vita continues to resonate across generations. It isn’t really about Italy at all. It’s about permission. Permission to value quality over quantity. To choose one exceptional meal over three forgettable ones. To buy fewer things but love them for longer. To leave room in the diary for conversations that don’t end because of the clock. In investing, we often say the magic lies in compounding. Perhaps the same is true of life. The memories that stay with us are never the extravagant ones. They’re the simple rituals repeated long enough to become traditions. The café you repeatedly visit. The summer house you return to every year. The watch that quietly marks every milestone without ever demanding attention. That’s the real luxury. Not owning more, but finding enough joy in what you already have that you stop looking elsewhere. Maybe that’s what la dolce vita has been trying to teach us all along. ■

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WEALTH

YOUR

FRADI EXCLUSIVE TO GERI

V & A WAT E R F RO N T C P T

W W W. G E R I . C O . Z A

MANDELA SQ SANDTON

WATCHES

YOUR

Fashion’s Finest HOUR

1. HERBELIN Cap Camarat Automatic Skeleton mechanical watch in a stainless steel case with a skeleton dial protected by sapphire crystal, powered by a Swiss automatic movement. R49 950, luxco.co.za

DRAWING INSPIRATION FROM HAUTE JOAILLERIE AND SIGNATURE DESIGN CODES, THESE STANDOUT TIMEPIECES PROVE THAT THE WRIST HAS BECOME FASHION’S MOST SOPHISTICATED CANVAS COMPILED BY DEBBIE HATHWAY

2. DOLCE&GABBANA Alta Gioielleria timepiece in yellow and white gold, set with 158 square and round brilliantcut diamonds, surrounding 7.85ct of fantasy-cut diamonds framing a mother-of-pearl dial. Ref. WWSB1HW2285. POA, dolcegabbana.com

3. CHANEL J12 Caliber 12.2 automatic watch in matte blue, with a highly resistant ceramic and steel case, a matte blue dial, and a unidirectional rotating bezel, powered by a COSCcertified Manufacture movement with approximately 50 hours of power reserve. Water-resistant to 200m. POA, chanel.com 4. LONGINES Mini DolceVita quartz watch in a stainless steel case, with a mother-of-pearl dial snow-set with 163 diamonds, blue Roman numerals, blued steel hands, and small seconds, on a blue satin-finish leather strap. Ref. L5.200.4.87.2. R48 400, longines.com

5. GUCCI watch shaped like the bamboo handles on its handbags, produced as a bicolour model combining a yellow-gold-plated case with a white dial, a stainless steel model with a white or black dial, and a classic wooden bracelet with a white dial. POA, gucci.com

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6. FREDERIQUE CONSTANT Classics Manchette quartz watch in a yellow-gold-coloured PVDcoated stainless steel case, with a turquoise stone dial and sevenlink Clous-de-Paris bracelet. R42 995, bhhboutique.co.za frederiqueconstant.com

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JEWELS

YOUR

SATURATED GEMSTONES, SCULPTED GOLD, AND DIAMONDS TRACING SINUOUS CURVES SHOW HOW ITALIAN JEWELLERY HOUSES BRING COLOUR, CHARACTER, AND A DISTINCTLY EXPRESSIVE TOUCH TO THE SEASON COMPILED BY DEBBIE HATHWAY

Italian

s t n e c c A

1. DOLCE&GABBANA Alto Gioielleria earrings in yellow, white, and pink gold with aquamarines, rhodolite garnets, blue sapphires, rubies, and diamonds; and Alto Gioielleria brooch in yellow and white gold with tanzanites, peridots, chrome, multi-colour and pink tourmalines, yellow beryls, aquamarines, amethyst, and diamonds. Both POA, dolcegabbana.com 2. BVLGARI Colors Doppio Baccellato ring featuring baccellatura (ribbed detailing) in 18kt yellow gold with cabochon-cut citrine and blue topaz. POA, bulgari.com, bhhboutique.co.za

3. FOPE Eka bracelet in 18kt gold, with a flexible construction and decorative element set with diamond pavé. Ref. 70305BX_PB_R. POA, fope.com, charlesgreig.co.za

4. FABIO COLLECTION chain and bracelet from the Bacio Collection in 18kt white, yellow, or rose gold, set with natural round diamonds in white, brown, or black. Named after the Italian word for kiss, Bacio reimagines the classic chain with links that meet in a distinctive kiss-like connection. Available in bold or slimmer versions, with larger or more delicate diamond settings. POA, fabio.com 5. MORAGLIONE Grace Collection ring, inspired by the elegance of Princess Grace of Monaco, featuring blue topaz and sapphires paired with diamonds. Vivid colour and plays of light capture the collection’s distinctly Italian character. POA, moraglione.com, shemer.co.za

7. POMELLATO Nudo classic necklace with pendant in 18kt rose and white gold with one prasiolite and green agate and eight white diamonds on 18kt rhodium-plated white gold. POA, pomellato.com, bhhboutique.co.za

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6. FERRIFIRENZE Vito earrings, handcrafted at Villa Corsi Salviati in Florence in 18kt white gold and white diamonds. Fluid contours inspired by the twists and turns of life’s journey are designed to curve gently around the ear, each diamond marking a step along the way. POA, ferrifirenze.com

THE

BEAUTY

YOUR

WHETHER YOU’RE LOOKING FOR LUMINOUS SKIN, SPARKLING CITRUS SCENTS, OR COOLING SKINCARE, THESE ARE THE BEAUTY ESSENTIALS TO SEE YOU THROUGH THE WARMER MONTHS COMPILED BY CANDICE-LEE KANNEMEYER

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C H A N E L C O C O M A D E M O I S E L L E C R U S H A B S O L U

E D P

The newest addition to the Coco Mademoiselle story, this fragrance is an intense and ambery expression of femininity that feels both confident and alluring. Vibrant notes of grapefruit and litchi lend luminosity, while rose and jasmine add softness and elegance. Vetiver, vanilla, and patchouli bring warmth and sensual depth to the fragrance’s lingering trail. Sophisticated and audacious in equal measure, it’s beautifully embodied by Grammynominated singer-songwriter Gracie Abrams (pictured left), whose natural elegance makes her a fitting ambassador for the House of CHANEL. R3 915 for 100ml, arcstore.co.za

CLINICALLY PROVEN: 3 YEARS OF YOUTHFUL RADIANCE REVIVED.2

New

Double Serum FOUNDATION

A REVOLUTION IN COMPLEXION1

IN STORES AND ONLINE AT CLARINS.CO.ZA

37 shades

1. At Clarins. 2. Clinical test, 33 women, results on skin with make-up after 28 days, based on the evaluation of 7 parameters (skin care + make-up)

BEAUTY

YOUR

S I S L E Y P H Y T O T O U C H E I L L U S I O N D ’ É T É This luxury gel-powder delivers a radiant, sun-kissed summer glow to the skin. Its ultra lightweight, sheer, and buildable formula melts seamlessly into the skin, while the warm, universally flattering tone perfectly mimics a natural tan, leaving a subtly iridescent sheen. R2,250, arcstore.co.za

A C Q U A D I PA R M A C O L O N I A I I P R O F U M O M I L L E S I M A T O E D P A limited edition and effortlessly elegant, this unisex fragrance celebrates the timeless beauty of citrus. Sparkling notes of blood orange, grapefruit, Italian bergamot, and petitgrain create a luminous opening, before aromatic orange leaf and rosemary are softened by the delicate floral nuance of ylang-ylang. A grounding base of patchouli and vetiver lends an earthy, woody warmth that lingers beautifully on the skin. Fresh yet sophisticated, it’s perfect for both everyday wear and special occasions. R5 200 for 100ml, skins.co.za

This award-winning foundation gives the complexion a second-skin glow while blurring imperfections and delivering 24 hours of hydration and buildable medium coverage. The foundation is infused with niacinamide and glycerin, actively refining the skin’s texture and boosting luminosity. Available in 44 shades, this make-up artist favourite delivers a radiant, lit-from-within finish that feels as exquisite as pure silk. R1 250, edgars.co.za

N U X E P R O D I G I E U S E [ H Y A L U ] B O O S T R E V I V I N G E Y E S T I C K

S O L D E J A N E I R O B U M B U M B O D Y F I R M E Z A O I L

With its cooling effect, this stick works to reduce puffiness and brighten the eye contour area. Hyaluronic acid and caffeine work in synergy to awaken, smooth, and hydrate. A fabulous option for tired eyes needing a pick-me-up. R865, woolworths.co.za

Elevate your summer body care ritual with Sol de Janeiro’s Bum Bum Body Firmeza Oil. This luxurious, fast-absorbing dry oil intensely hydrates without a hint of greasiness, leaving the skin with a radiant, sunkissed glow. Enriched with an energising caffeine complex and antioxidant-rich Brazilian botanicals, it firms the skin for a beautifully sculpted silhouette. Scented with delicious notes of pistachio and salted caramel, it’s the ultimate indulgent essential for glowing skin. R1 200 for 100ml, arcstore.co.za

U LT R A S P F 5 0

Plump, hydrate, or glow, the serum comes in three variants and combines optimal sun protection and skincare performance in an ultra-lightweight formula. The Ultra Serum Instantly Plumps contains hyaluronic acid and niacinamide to plump and improve skin elasticity. The Ultra Serum Long-Lasting Hydration contains panthenol for immediate hydration, while the Ultra Serum Activates Glow uses a vitamin Cg complex to boost skin radiance. R715,95 for 30ml, dermhaus.co.za

C L A R I N S D O U B L E S E R U M E Y E G L O B A L A G E D E F Y I N G C O N C E N T R A T E Refine your eye care ritual with this cult favourite. The dual-phase beauty powerhouse is engineered to visibly transform the delicate eye area in just seven days. Its high-performance formula with niacinamide and phyto-caffeine works to dramatically reduce puffiness, smooth fine lines, and fade dark circles. Designed to shield skin from modern pollutants and blue light, it leaves the eye looking radiant, refreshed, and youthful. From R1 430, woolworths.co.za

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AV È N E S E R U M

A R M A N I L U M I N O U S S I L K P E R F E C T N A T U R A L G L O W F O U N D A T I O N

COLLABORATION

The

BEAUTY of DUALITY

oundation has long been asked to do one thing: make the skin look better. The latest launch from Clarins proves that it can do that, and so much more.

CLARINS RETHINKS FOUNDATION WITH A NEW HYBRID FORMULA THAT BRINGS TOGETHER MAKE-UP, SKINCARE, AND CONTEMPORARY AFRICAN ART

The new Double Serum Foundation is the next generation of the brand’s hybrid serum foundations, bringing the performance of make-up together with the skincare expertise behind its iconic Double Serum. The result is a formula designed not simply to perfect your complexion in the moment, but to care for your skin at the same time.

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This is an interesting evolution in the foundation category, and one that fits perfectly within Clarins’ history of pairing opposing ideas. For 40 years, the cult favourite Double Serum has been built around the principle of duality – two formulas, two sets of benefits, working together seamlessly. Double Serum Foundation takes that principle into make-up, combining coverage and skincare in a single product. The idea of duality also provided the starting point for a Clarins South Africa collaboration with contemporary artist Lulama Wolf. Rooted in her South African heritage, Lulama’s work moves between history, modernity, identity, and place, drawing on black history, vernacular architecture, and the textures of the African landscape. Her layered, tactile visual language offers a natural creative counterpoint to a product built on the meeting of two worlds.

On the make-up side, A.U.R.A. technology amplifies the diffusion and reflection of light, creating multi-dimensional radiance. The result is less about masking the skin and more about making it appear luminous, smooth, and naturally polished. The customisable medium-to-full coverage is available in 37 shades for a variety of skin tones and types. It leaves a satin finish, giving a more youthful appearance and an almost bare-skin effect for up to 12 hours of make-up perfection. Even more impressive is that after regular use, your skin itself becomes more radiant and smoother, with a visible reduction in the signs of ageing.

For Lulama, the collaboration is less about illustrating a beauty product than exploring the possibilities created when different perspectives coexist. That same thinking is embedded in the foundation itself. At its heart is a dual-chamber formula designed to keep two key ingredients compatible: Matrixyl 3000, a biomimetic peptide, sits within the colour phase alongside Clarins A.U.R.A. technology, while the hydric phase contains stabilised papain – an enzyme derived from papaya fruit – alongside plant extracts and active molecules. Used in a Clarins product for the first time, papain supports gentle skin exfoliation and renewal, helping to smooth texture and enhance the way light reflects from the skin.

This is the result of a considerable amount of technology for something designed to disappear into the complexion. But perhaps that is the point. Rather than treating skincare and make-up as separate steps, Double Serum Foundation proposes that the two can work harder together. From 212 formulation trials and testing 135 raw materials to its combination of 14 active ingredients, it represents a substantial investment in making foundation do more. “It was such a beautiful meeting of two worlds,” says Lulama. “I really appreciate that Clarins could support the parts of my work that allow themselves to breathe, and to look beautiful and easy.” In that sense, the collaboration brings the philosophy of Double Serum Foundation full circle: two seemingly different worlds coming together to create something that is, as Lulama says, both beautiful and easy.

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Objects of Desire

DECOR

YOUR

SPRING’S LONGER DAYS AND WARMER EVENINGS ARE MADE FOR LINGERING CONVERSATIONS AND PERFECTLY MIXED COCKTAILS. WHETHER YOU’RE CURATING THE ULTIMATE HOME BAR OR SIMPLY ELEVATING COCKTAIL HOUR, THESE BEAUTIFULLY CRAFTED PIECES PROVE THAT ENTERTAINING IS AS MUCH ABOUT THE SETTING AS IT IS THE DRINK COMPILED BY LERATO TSHABALALA

1. EGG DESIGNS: The Rosette Drinks Cabinet transforms storage into sculpture. Finished in walnut veneer with stainless steel and delicate copper-plated floral detailing, it balances elegance with functionality while showcasing Egg Designs’ signature handcrafted aesthetic. Available with custom finishes and dimensions. POA, eggdesigns.com 2. CARROL BOYES: The Man Drinks Trolley brings Carrol Boyes’ iconic sculptural language to the home bar. Crafted from aluminium with glass shelving, the drinks trolley combines artistic expression with practical elegance, making it an effortless centrepiece for entertaining. R36 999, carrolboyes.com 3. ROCHE BOBOIS: Designed by Sacha Lakic, the Lift Column-Bar brings theatre to cocktail hour. Its ingenious electric-lift system raises the hexagonal drinks cabinet at the touch of a button, presenting bottles and glassware with effortless elegance. Finished in high-gloss Daquacryl® with chrome bottle racks and a tempered glass tray, it’s a striking fusion of innovation, craft, and contemporary design. POA, roche-bobois.com 4. @HOME: The Cellar Premium Bar Tool Set has everything for an expertly crafted cocktail in one beautifully considered collection. Housed in an acacia wood stand, the sevenpiece stainless steel set is ideal for the modern-home bar. R840, bash.com 5. OKHA: The COMADA Drinks Cabinet celebrates the beauty of contrast. One door is crafted from hand-polished copper with a near-mirror finish, while the other embraces the raw texture of sand-cast brass. Inside, walnut shelving, polished metals, and integrated LED lighting transform the cabinet into a refined home bar. POA, okha.com 6. NYC COCKTAILS: The Drinks that Make the City by Kathryn Maier is both a recipe book and cultural guide, celebrating more than 60 iconic drinks created in New York’s legendary hotels, bars, and speakeasies. Beautifully illustrated by Sarah Campbell, it invites cocktail lovers to recreate the city’s most celebrated libations at home. R535, published by Jonathan Ball 7. PATRICK MAVROS: Inspired by Africa’s marine wildlife, the handcrafted sterling silver cocktail stirrer – available with either a sculpted dolphin or turtle finial – brings the Maison’s celebrated silversmithing to the ritual of entertaining. R4 700, patrickmavros.com

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IMAGES: SUPPLIED

SPRING AWAKENING

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COLLABORATION

INSPIRED BY BOTTICELLI AND BROUGHT TO LIFE IN A CINEMATIC CAMPAIGN STARRING KATE MOSS, DEMNA’S PRIMAVERA COLLECTION USHERS GUCCI INTO A SEASON OF SENSUALITY, LIGHTNESS, AND EMOTIONAL DRESSING

here could hardly be a more fitting name for a new beginning. Primavera – Italian for spring – is the title Demna gives the collection that marks his debut runway show for Gucci, signalling not simply a change of season, but a sense of creative renewal.

Xiao Zhan wears the coated jersey T-shirt, slimfit coated cotton denim pants in blue and gold, men’s Giovanni python loafers, and flatpack crystal small belt bag TO P R I G H T: Alex Consani in the embroidered silk Georgette long dress

The starting point is Sandro Botticelli’s Primavera, the Renaissance masterpiece housed at Florence’s Uffizi Gallery. In an interview with WWD, Demna recalled the emotional impact of seeing the painting and described Gucci as something that extends beyond clothes and accessories. “Above the product, Gucci is culture; it’s a way of thinking and a way of being,” he said. That thinking translates into 83 looks that move between sharply contrasting ideas. Second-skin dresses and seamless garments sit alongside fluid tailoring, leggings, and tracksuits, while pleated florals introduce a softer romanticism. Evening looks shift the mood again, with sparkling minidresses, daringly cut gowns, and unapologetic glamour.

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There are echoes of Gucci’s many lives, too. The house’s historic Flora motif – created by artist Vittorio Accornero in 1966 for Grace Kelly – appears on a silk slip dress, while the Bamboo 1947 bag is reworked with a sleeker shape and flexible leather handle. Archival minaudières return alongside the new Manhattan sneaker and Giovanni and Cupertino loafers. For Demna, Primavera also marks a move towards fashion driven by feeling rather than intellectual exercise. “I want to feel sexy, I want to feel attractive, and I want to like myself,” he told WWD backstage, describing his arrival at Gucci as an opportunity to create “emotional rather than intellectual fashion”. That idea of emotion carries into the Primavera campaign, which Gucci describes as a celebration of rebirth through the transformative power of love.

C LO C KW I S E, F R O M TO P: Lee Young-ae in the shearling cape in brown; Shawn Mendes; Jin in the grainy laminated leather jacket, with the GG Moon side shoulder bag; EsDeeKid in the leathe biker jacket with web detail TO P R I G H T: NINGNING with the Jetset GG Marmont medium shoulder bag R I G H T: Rico Nasty with the Horsebit Duomo medium top handle bag

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COLLABORATION

“Above the product, Gucci is culture; it’s a way of thinking and a way of being.”

Directed by Johan Renck, the accompanying short film places Kate Moss at the centre of a scene charged with desire and possibility. She lip-syncs to Chris Isaak’s baritone rendition of Wicked Game as strangers in a room gradually awaken to one another, pair off, and fall in love on the dance floor. The film becomes a dreamlike meditation on attraction, intimacy and the possibilities contained in new love. The campaign portraits, photographed by Michal Chelbin, continue the Renaissance thread through compositions and poses that recall classical painting. The cast spans fashion, music, film, and sport, bringing together Xiao Zhan, Jin, NINGNING, Tom Brady, Alex Consani, EsDeeKid, Lee Young-ae, Shawn Mendes, Rico Nasty, and Tarzzan.

IMAGES: SUPPLIED

Together, the runway and campaign reveal what Demna is reaching for at Gucci: not reinvention through erasure, but a new vocabulary built around the house’s existing codes. Gucci describes the collection as an exploration of “lightness and ease”, intertwined with its heritage. As Demna told WWD after the show, “I hope I made you feel Gucci today.” With Primavera, feeling is precisely the point. Discover more at gucci.com

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The Art of SCHIAPARELLI

ELSA SCHIAPARELLI WAS A PIONEER OF THEMED COLLECTIONS, RUNWAY MUSIC, AND UNISEX FRAGRANCE. NOW, AS THE V&A MUSEUM CELEBRATES HER EXTRAORDINARY LEGACY, DANIEL ROSEBERRY IS ENSURING SCHIAPARELLI REMAINS AS PROVOCATIVE, ARTISTIC, AND IMPOSSIBLE TO IGNORE AS EVER WORDS LERATO TSHABALALA

t began with a sweater.

In 1927, Elsa Schiaparelli arrived at lunch at the Ritz wearing a black knitted sweater decorated with what appeared to be a white cravat tied neatly around the neck. Except there was no cravat. The bow was knitted into the garment using trompe-l’oeil, the Surrealist trick of making the eye believe it’s seeing something that’s not really there. The sweater caused a sensation. Almost a century later, standing before it at the Victoria and Albert Museum in London, Schiaparelli Creative Director Daniel Roseberry describes it as “her first garment, basically”. “She made this trompe-l’oeil bowknot sweater in 1927, and everything kind of came from this,” he says during a YouTube interview for the V&A Museum. “It speaks so much to her modern perspective on the woman’s wardrobe.” The sweater announced a designer who would spend her career challenging ideas about what clothes should do. Elsa is widely credited as the first designer to use music during runway shows, and was a pioneer of themed collections, exposed zips, visual merchandising, and unisex fragrance. Fashion, for her, could amuse, provoke, unsettle, and start conversations.

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It’s this legacy that the Schiaparelli: Fashion Becomes Art exhibition, on at the V&A Museum in London until 8 November, examines, tracing a creative universe in which the boundaries between fashion, painting, sculpture, theatre, and performance repeatedly dissolve. Born in Rome and based in Paris, Elsa became, as Sonnet Stanfill, V&A Senior Curator of Fashion, puts it, “one of the most discussed designers of interwar Paris”. Her approach was never simply about making women beautiful. It was about making people look twice. Schiaparelli collaborated with Man Ray, Jean Cocteau and, most famously, Salvador Dalí. She described working with artists as “exhilarating”, and the resulting garments were less exercises in embellishment than wearable Surrealism.

its decoration shifts between two faces staring at one another and a vase overflowing with roses. Metallic embroidery traces the image like a drawing, while blue beads form glinting eyes and ruby-red metal strips create lips. “It’s a very exuberant, almost storytelling approach to dressing,” says Sonnet. Even its fastening is playful: a button shaped like the skirt and single leg of a cancan dancer. The coat, originally made for Viscountess Castlerosse, illustrates the level of confidence Elsa expected from her clientele. “She created conversation starters with clothes like this,” Sonnet says. “The women who wore the clothes… would have had to have a lot of confidence to walk into a room wearing something like this.”

Her 1937 Lobster Dress, created with Dalí and worn by the Duchess of Windsor, remains one of fashion’s great acts of provocation. A large lobster was positioned across the front of an otherwise elegant white evening gown. The same year produced another masterpiece – an evening coat created with Cocteau and embroidered by Maison Lesage. Viewed from behind,

“Her approach was never simply about making women beautiful. It was about making people look twice” A B O V E & L E F T: Choker from the Pagan collection, autumn 1938; Tears dress with veil by Schiaparelli and Salvador Dalí, summer 1938 C LO C KW I S E F R O M TO P R I G H T: Lady Mount Temple (oil on canvas) by Hannah Gluckstein; Mae West wearing Schiaparelli in Every Day’s A Holiday; Collarless jacket and hat with butterfly trimmings, British Vogue, March 1937; Lobster Telephone, Salvador Dali, 1938; Drawing for Schiparelli by Jean Cocteau, 1937 O P P O S I T E: Awar Odhiang in Schiaparelli by Daniel Roseberry, Schiaparelli Haute Couture autumn/winter 2024

Those women included Josephine Baker, Marlene Dietrich, Mae West, and aviator Amy Johnson. Schiaparelli’s fascination with performance also extended to theatre and film, with designs for productions in New York, London, and Paris. The house eventually closed in 1954. Yet the vocabulary Schiaparelli created – trompe-l’oeil, anatomy, displacement, humour, Surrealism, and objects placed where they seemingly do not belong – proved remarkably durable. When American designer Daniel Roseberry became Artistic Director in 2019, he was not simply inheriting a famous fashion house. He was inheriting a mythology. Daniel’s answer has been neither a nostalgic recreation nor a wholesale reinvention. Instead, he’s taken Elsa’s central proposition – that fashion can behave like art – and translated it for an era in which a couture dress might be experienced first through a phone screen. “There’s something about the immediacy of black velvet, black satin, boom, just the embroidery, that feels so Schiap and so predictive of the digital instant gratification age that we live in,” he says while examining an archival embroidered cape.

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“The beauty of Schiap is that we’re not trying to sell you anything. We’re trying to inspire you”

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FA R L E F T & R I G H T : Schiaparelli Haute Couture autumn/winter 2024, looks 26 and 30 B E L O W, F R O M T O P T O B O T T O M : Elsa wearing her own design, Vogue 1940; Evening coat designed by Elsa and Jean Cocteau, 1937; Schiaparelli by Daniel Roseberry, long sheath gown from the Matador Couture collection; Schiaparelli designer Daniel Roseberry

There was the sharply shouldered, extravagantly embroidered Matador jacket from autumn/winter 2021; the anatomical creations of Purgatorio, in which Daniel’s paintings were enlarged to human scale and individual brushstrokes translated into embroidered paillettes; and spring 2024’s Schiaparalien, inspired by Alien’s Ellen Ripley and the emergence of artificial intelligence.

IMAGES: VICTORIA AND ALBERT MUSEUM; EMIL LARSSON; P HORST (GETTY IMAGES); KUBA DABROWSKI COURTESY PATRIMOINE SCHIAPARELLI, PARIS; BRIDGEMAN IMAGES; GIOVANNI GIANNONI; FREDRICH BAKER CONDÉ NAST (GETTY IMAGES)

One of that collection’s most unforgettable creations incorporated motherboards, cables, crushed CDs and DVDs, mirrors, paillettes, and Swarovski crystals. Even the embroidery became a collision between past and future. His Schiaparelli has also become a fixture of contemporary celebrity dressing. Ariana Grande’s ruby-red Academy Awards gown, created for her performance of Somewhere Over the Rainbow, concealed a pair of ruby slippers on its back – an Elsa-like act of visual displacement that was revealed as the singer walked away. “What I’m always looking for… is what’s going to make it an unforgettable moment, not just a dress,” Daniel explains. For him, dressing a performer is an “act of service”. “Our job is to help her tell a story and make her feel amazing while she does it.” He brought the same approach to the outfit he created for Beyoncé for her record-breaking Renaissance tour. Yet it is couture where Daniel’s ideas become most concentrated. “Couture is sort of the moment for a house to say something about what it stands for, in the creative space,” he says. “Schiaparelli, the legacy is art and fashion.” His autumn/winter 2026–27 Haute Couture collection (which he voiced as the soundtrack) pushed that philosophy further. Beginning with the French concept l’appel du vide – the call of the void, that strange impulse to step towards the unknown – Daniel deliberately pursued ideas he could not immediately resolve. “I wanted to do something that I couldn’t figure out,” he says.

The vision arrived, unusually, almost fully formed as he left the set of the previous couture show: mirrored floors, silver chrome, a particular colour palette, and the need to invert what had come before. For him, couture increasingly “starts to feel less like clothes” and more like “a mirror in and of itself to where we are in culture”. “What is our eye hungry to see in an age and in a day or an era where our eyes are so exhausted from seeing so much?” he asks. “What can we put in front of people, and even what can we put in front of ourselves?” His answer lies in connection rather than simply commerce. “The beauty of Schiap is that we’re not trying to sell you anything. We’re trying to inspire you. We’re trying to connect with you.” It’s difficult not to hear Elsa in that sentiment. From a sweater that made diners at the Ritz look twice to a couture house creating images capable of stopping the endless digital scroll, Schiaparelli has always understood attention differently. It’s not enough to make something beautiful. It should be strange enough to linger in the mind. Daniel describes the house today as existing “outside of the machinery”. More importantly, he believes its scale still allows it the rare privilege of uncertainty. “It’s such a luxury to ask questions,” he says. “It’s a luxury to not know.” Perhaps that is the thread connecting Elsa Schiaparelli’s cravat sweater to Daniel’s most fantastical couture. Neither tells us exactly what fashion should be. Instead, almost 100 years apart, they ask us to look again. ■

Schiaparelli: Fashion Becomes Art is on at the V&A South Kensington Museum until 8 November

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FASHION BECOMES ART EXTRACT

FROM CHILDHOOD GAMES OF DRESS-UP TO HOLLYWOOD AND THE PARISIAN AVANT-GARDE, THIS EXTRACT EXPLORES THE ENDURING PULL OF PERFORMANCE ON FASHION’S GREAT PROVOCATEUR STAGE AND SCREEN BY SIMON SLADEN

‘H

ad I not by pure chance become a maker of dresses, what could I have become?’ While best known as an acclaimed fashion designer, Elsa Schiaparelli’s life mirrored the theatricality of her garments, with both stage and screen playing a significant role throughout her career. In her autobiography, Shocking Life (V&A Publishing), she admits: ‘To be an actress would have tempted me… The sublime power of throwing oneself into all kinds of emotional situations, to be able to play on an expectant audience…yes, that I would have liked. And many times I have lived this career in my dreams.’ Schiaparelli’s affinity with the performing arts can be seen throughout her fashion career. Early collections took inspiration from the circus and Commedia dell’Arte, with garments featuring equestrian and harlequin-style patterns and buttons in the shape of acrobats and theatrical masks. While the eagle-eyed might have spotted Schiaparelli as a background artist in films, and her Paris salon appearing as a backdrop itself, it was her designs and garments for theatrical productions in New York, London and Paris, as well as Hollywood blockbusters, that put her well and truly centre stage. An inquisitive and creative child, one of Schiaparelli’s earliest memories was spending hours alone in her family’s attic, trying on her mother’s wedding gown and other old dresses. Perhaps the hours of ‘examining these treasures’ were an early example of Schiaparelli encountering the transformative power of clothing. Through dressing up, Schiaparelli’s make-believe transported her to another time and place, exploring different emotions and momentarily becoming someone else, just like the art of acting. Schiaparelli’s autobiography is rich with storytelling full of embellishment, anecdote and conflicting statements for dramatic effect. Indeed, it is surprising that Schiaparelli’s life has not been made into a film or musical with its excellent potential for eccentric characters, settings and plots, from her short-lived marriage to Vaudevillian husband ‘The World Famous Dr. W. de Kelor!’, whose act was described by Variety as ‘fortune-telling for members of the audience’, to a tale of Isadora Duncan stripping and dancing for her husband having ‘marked him as to be won’. Schiaparelli seemed to find herself at home in communities of creative people, particularly performers. She befriended many stars of stage and screen, such as Russian actress Alla Nazimova, her first private customer, American actress and writer Anita Loos (Gentlemen Prefer Blondes, 1925), members of Barnum & Bailey Circus, and Polish opera singer Ganna Walska. Schiaparelli even asserted that not only did she discover Katharine Hepburn, but was also once mistaken for Russian ballet dancer Anna Pavlova. Her eclectic performance tastes ranged from the Ballets Russes to Shakespeare, Charlie Chaplin, Ram Gopal, The King and I, The Pickwick Papers and cabaret. After being introduced to the cabaret bar Le Bœuf sur le toit by Man Ray, she spent many evenings in the company of avant-garde, innovative and influential artists, performers and musicians, including Jean Cocteau, who later asked Schiaparelli to design costumes for his 1940 play Les Monstres Sacrés at Théâtre Michel, Paris. Schiaparelli and friends enjoyed a mixed programme of entertainment at Le Bœuf sur le toit, which featured British puppeteers Frank and Maisie Mumford and their puppet Mademoiselle Zizi, billed as ‘sex appeal on strings’ and for whom Schiaparelli is said to have designed a sheath dress of silver sequin net overlay fabric lined with shocking pink nylon jersey. ■ Schiaparelli: Fashion Becomes Art is text copyright © Victoria and Albert Museum, 2026 Shocking Life is text copyright © Schiaparelli SA

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Elsa Schiaparelli in her boutique at 21 Place Vendome, Harper’s Bazaar, October 1935. Photograph by Francois Kollar © GrandPalaisRmn - Gestion droit d’auteur Francois Kollar © Victoria and Albert Museum

SCHIAPARELLI

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Back to

BLACK

DOLCE&GABBANA RETURNS TO ITS DEFINING CODES FOR THE NEW SEASON, EXPLORING THE TENSION BETWEEN MASCULINE TAILORING, SICILIAN SENSUALITY, AND THE ENDURING POWER OF BLACK

or Dolce&Gabbana, Fall/Winter 2026 is a return to familiar territory: Sicily, lace, tailoring, devotion, and sensuality. But rather than simply revisiting the signatures, the collection shifts the proportions and context and brings them firmly into the present, making the case for the ultimate luxury: knowing exactly who you are.

T A I L O R I N G : R U L E S A N D E X C E P T I O N S Tailoring provides the collection’s backbone. Pinstriped wool, doublebreasted jackets, crisp white shirts, and ties establish a masculine vocabulary, before being reworked around the female form. Oversized blazers reveal delicate lace beneath, while the classic Dolce jacket accentuates the waist and hips. Doublebreasted construction even appears unexpectedly at the back of jackets, creating a striking trompe-l’œil effect that deserves a second look.

B E T W E E N P R I N T S A N D E M B R O I D E R Y The collection’s black canvas is punctuated by white flowers across sheer fabrics, while archival patterns inspired by Sicilian tradition appear on chiffon, charmeuse, and fluid shirt dresses. Lace, embroidery, and delicately applied sequins add texture and luminosity without weighing down the silhouettes.

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S E N S U A L I T Y

Lace brings a softer sensibility to the collection. Black shawls, crochet, and traditional Sicilian dress evoke the island that has long shaped the house’s identity. The sensuality is more restrained. Lace traces the body, while transparency, plunging necklines, and weightless layers create a subtle game of conceal and reveal. Fitted silhouettes alternate with longer, more voluminous forms, balancing seduction with mystery.

T H E

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Few colours are as closely associated with Dolce&Gabbana as black. Here, it becomes the collection’s unifying thread, moving between the solemnity of Sicilian tradition and the sleekness of contemporary tailoring. Black shifts character from look to look – severe, romantic, sensual – while warm browns provide occasional richness and contrast.

F U R - F R E E O U T E R W E A R Outerwear revisits the techniques of 1930s fur craft through fur-free shearling. Intarsia, carving, and openwork techniques create richly textured surfaces, while generous volumes contrast with the body-conscious silhouettes beneath. The result continues the collection’s central conversation between strength and softness, heritage and modernity.

S P O T L I G H T S

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The new Nonna bag brings old-world glamour into the present, offered in different sizes and leathers and concealing a refined mirror inside.

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That dialogue extends to accessories. Low leather lace-ups borrow from menswear, while pointed pumps and squared silhouettes offer a more polished alternative. Masculine-cut socks layered over sheer knee-highs play with the same contrasts, while archival Sicilian shawls, recreated with crochet workmanship and knitted fringes, become statement outerwear.

The My Sicily Bag returns in precious materials and finely stitched leather, while crochet influences both the Dina and Carla bags. Floral stitching gives Dina the appearance of knitwork, while Carla combines leather and knit through an interwoven construction. For Fall/Winter 2026, Dolce&Gabbana doesn’t need to look far for inspiration. Instead, it revisits Sicily, tailoring, lace, and black – the codes of the house – and brings them into something more tactile, restrained, and contemporary.

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FUL

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ALMOST A DECADE AFTER WOOLWORTHS FIRST CHAMPIONED THEBE MAGUGU AS AN EMERGING SOUTH AFRICAN DESIGNER, THE TWO ARE REUNITING FOR THEIR MOST AMBITIOUS COLLABORATION YET

here’s something fitting about Thebe Magugu returning to Woolworths almost a decade after their relationship began. In 2017, long before international awards, global stockists, and fashionworld acclaim followed, the South African designer was among the emerging talents given a platform through the retailer’s #StyleBySA initiative. Nine years later, Thebe returns not as a designer on the rise, but as one of South Africa’s most internationally recognised fashion names. This time the partnership is bigger, extending beyond clothing into fragrance and unfolding across three drops. Appropriately, it also has a name that speaks to both where he’s come from and the stories that connect us: Lineage. “I’m so excited for people to see this range,” says Thebe. Launched on 10 September to coincide with Heritage Month, the exclusive Woolworths collaboration explores the histories, traditions, and perspectives that shape South Africa. Rather than treating heritage as something fixed or nostalgic, Lineage considers how different visual languages and traditions can exist alongside one another. The concept feels particularly suited to Thebe, whose work has often drawn on South African history, culture, and personal narratives while filtering them through a contemporary fashion vocabulary. “Woolworths supported my work early in my career, so returning to the relationship in this way feels particularly meaningful,” he says. “With Lineage, we have been able to create a complete world across fashion and fragrance. The collection explores the beauty that emerges when different traditions and histories exist alongside one another, while inviting people to connect with those stories in their own way.” That world will be revealed gradually. The collection spans womenswear and an exclusive signature fragrance, with three drops rolling out. Across both categories, Lineage brings together contrasting references to create a contemporary take on South African identity.

The addition of fragrance is significant. It allows Lineage to move beyond the purely visual and introduces another way of interpreting Thebe’s creative universe. Together, fashion and scent give the collaboration a dimension beyond the traditional fashion collection. “Our relationship with Thebe began at an important stage in his journey, and it has been incredibly rewarding to witness the impact he has gone on to make both locally and internationally,” says Manie Maritz, CEO of Woolworths Fashion, Beauty and Home. “Lineage allows us to come together again in a far more expansive way, creating a collection that celebrates South African creativity, honours our diverse heritage and brings Thebe’s distinctive vision to our customers across fashion and beauty.” The timing is deliberate. Lineage launches during a month devoted to considering South Africa’s cultural inheritance, but its message is less about looking backwards than recognising how heritage continues to evolve. The collaboration also forms part of Woolworths’ Inclusive Justice Initiative, which seeks to create opportunities for local producers and broaden access and empowerment across the retail value chain. Partnering with South African creatives is one expression of that commitment, alongside support for the country’s own manufacturing industry. There is a satisfying symmetry to Lineage. A platform that once introduced Woolworths customers to an emerging designer is now bringing his fully realised creative world to a much broader audience. For Thebe, it is a return to an early supporter. For Woolworths, it demonstrates what can happen when investment in local talent develops into a relationship rather than a moment. And for shoppers, Lineage offers something more immediate: an opportunity to wear – and now even smell – a distinctly South African story.

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because my relationship with Woolworths predates Thebe Magugu as people know it today. After graduating, I interned at Woolworths, which was my first education in the realities of the fashion business – production, scale, how a product moves from an idea into something that can reach thousands of people. I then left to start my own label, and a few years later Woolworths returned to support me through #StyleBySA. Coming back together now, almost a decade later, is special. So much has happened: winning the LVMH Prize, taking the brand global, collaborations with houses I deeply admire, and building Magugu House here at home. But the relationship with Woolworths existed before any of those accolades. Lineage isn’t really a new relationship, but an overdue revisit. HOW DO YOU DIFFERENTIATE THIS PROJECT FROM THE THEBE MAGUGU BRAND? The distinction was very intentional.

WHAT CAN CUSTOMERS EXPECT FROM THE CAPSULE COLLECTION?

There are vivid, almost hand-drawn interpretations of the South African landscape and references to our joint heritage, but they’re deliberately abstract. I didn’t want someone to look at a motif and be told exactly what it means. I wanted people to recognise fragments of their own memories in it. Some scenes feel incredibly familiar – travelling home over Christmas, the colours of traditional dress, the intensity of a South African sunset. Those references are there, but they’ve been distorted and reassembled into something contemporary. That idea of contrast runs throughout Lineage: restraint against exuberance, tradition against modernity, structure against fluidity. South Africa itself is full of those contradictions, and they give us such an interesting visual language.

IMAGES: SUPPLIED

Thebe Magugu is a luxury fashion house, and I approach it almost forensically. Collections can take quite dense subjects – history, politics, family, sociology – and translate them through

COLLABORATION

fabrication, construction, research, and craft. There are pieces within the house that almost function as documents or artefacts, and focus on my point of view. With Lineage, I wanted something that translates these subjects through the scale and accessibility of Woolworths. Having its own identity and logo allows the line to exist in its own right.

HOW DOES IT FEEL TO BE COLLABORATING WITH WOOLWORTHS AGAIN? It’s incredibly full-circle,

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THE NEW SEASON EDIT

PRADA

EVERY SEASON HAS A MOOD, AND THIS ONE FEELS LIGHTER, SOFTER, AND FAR MORE EXPRESSIVE WORDS NOMPUMELELO NTINTILI

C O B A LT

ALAIA BOTTEGA VENETA F

F L A T

VICTORIA BECKHAM

LANVIN

LOEWE

his spring/summer is serving up more ideas than any single issue could possibly hold. Utility dressing gets an elevated update at Lemaire, Balmain, and Akris, who reworked cargo jackets and pocket-laden shorts in buttery-soft leathers and suedes, while Rick Owens and Ralph Lauren carried those same military-inspired codes into sheer fabrics. Collegiate dressing made its own comeback at Thom Browne and Ralph Lauren in hyper-saturated colours rather than the usual muted plaid. And lace is pushing its case as a season-defining detail at Dolce&Gabbana, worked through trousers and full silhouettes rather than confined to necklines and hems. The runways gave us no shortage of ideas, but these are the five trends we’ll be taking into the season ahead.

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A new hue is taking over as the season’s most saturated shade of choice: cobalt blue. This unmissable shade appeared everywhere from apparel and accessories to eyewear. Lanvin used it to punctuate classic silhouettes, while Chanel, Victoria Beckham, Loewe, and Tove each wove it into their own take on the trend, from sculptural accessories to head-to-toe looks. For anyone easing into colour after seasons of neutrals, cobalt offers a lowrisk, yet high-impact entry point: one considered hit of colour can transform an otherwise restrained look.

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C H I C

Ballet flats are giving way to something with a little more attitude: the hybrid ballet-derby. Slim-soled, glove-fitted, and finished with delicate lace-up detailing reminiscent of an elevated jazz shoe, the style made its runway debut under Michael Rider at Celine’s resort 2026 collection, styled with everything from jeans to sharply tailored separates. Dries Van Noten, Tibi, Jil Sander, Bottega Veneta, and Ralph Lauren all offered their own takes, proving the evolution of the flat shoe is only just beginning. The derby borrows the polish of a loafer and the ease of a ballet flat, combining the two in a single silhouette. Pair it with a breezy midi skirt, ankle-grazing denim, or dress it up with a slip dress. Its appeal lies in that tension between polished and practical – a show that can move effortlessly between both.

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PRADA

LOUIS VUITTON

HERMES

PRADA

Bags are softening into slouchy, boho-leaning shapes this season, trading structure for ease. Valentino and Loewe led with relaxed, unstructured pouch silhouettes, while Prada explored the same free-spirited mood with a softer, low-slung bag. It’s the anti-hardware bag moment, with a softer, more instinctive silhouette that feels almost secondary to the outfit rather than its focal point. The shape suits the season’s mood: lived-in, unfussy, but still distinctly polished.

LOEWE

HERMES

T H E P O U C H E F F E C T

PRADA

W R A P P E D

The scarf is stepping out of the accessories drawer and into the main look. Hermès and Ferragamo styled theirs wrapped, draped, and layered as an integral part of the outfit – no longer an afterthought, but the centrepiece. Ralph Lauren, Valentino, Louis Vuitton, Celine, and Alaïa each offered their own version of the styling trick, whether knotted at the neck, tied at the waist, or draped over the shoulder like a second skin. Locally, Ardmore’s hand-illustrated twill scarves bring that same statement-making quality, alongside Something Good Studio’s own take, proving this trend has a place beyond the European runways. The ultimate multi-tasker, a single scarf can double as a top, a belt, be slung over the shoulder, or knotted around the waist, making it one of the easiest ways to refresh a wardrobe without buying another thing.

T H E

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BLACKCOFFEE

HELON MELON

T U R N

Skirts are grounding the season, offering a canvas for texture and vibrant colour. Bottega Veneta, Dries Van Noten, Loewe, Louis Vuitton, and Alaïa all explored fuller silhouettes, treating volume as the statement. Locally, Black Coffee, Helon Melon, and Irene Makhavhu’s collections at SA Fashion Week worked in that same sculptural register, proving fullness and drama translate just as powerfully on home soil. It’s a silhouette built for the climate as much as its mood – enough volume to catch the breeze and move with the body, yet structured enough to anchor a look without trying too hard. Styled with a fitted top or a cropped jacket, a full skirt brings instant proportion and drama to even the simplest pairing.

“A full skirt brings instant drama to the simplest pairing” 43

yourluxury.africa

3. 1.

15. 14.

16.

17.

GET THE LOOK

9. 13. 10. 12.

1. D&G Majolica print poplin dress, R38 000, dolcegabbana.com 2. Burberry Gabardine asymmetric trench skirt, R33 600, burberry.com 3. Karl Lagerfeld tie waist blazer in nougat, R8 990, europaart.co.za 4. Boggi Milano herringbone linen and wool jacket in light blue, R17 990, europaart.co.za 5. Celine half moon soft triomphe, from R53 000, celine.com 6. Polo unisex 6 panel herringbone peak cap, R599, polo.co.za 7. Camie Lyons x Trenery brooch, R1 000, woolworths.co.za 8. GG extra fine cotton jacquard polo shirt, R28 000, gucci.com 9. Gucci horsebit Ristretto medium shoulder bag, R71 200, gucci.com 10. Birkenstock Repetto Arizona natural leather patent sandals, R8 999, birkenstock.co.za 11. Christie Brown Shika burgundy corset, $450, christiebrownonline.com 12. Fendi “Arco” colorblock slingback sandal, R24 900, apsley.co.za 13. Karl Lagerfeld Ikon textured cardigan in cannoli cream, R4 890, europaart.co.za 14. Christie Brown Ellie pants, $380, christiebrownonline.com 15. Country Road Gwen mule, R 1 799, woolworths.co.za 16. BOS Retro Running Kicks in Chilly Red, R2 999, boysofsoweto.co.za 17. Vivienne Westwood platinum cream rose pearl earrings, R3 990, europaart.co.za ■

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SHADES CHIMI Tony sunglasses in Umber, R4 999, chimi-online.com/za

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TAKE CENTRE STAGE WITH FRAMES THAT COMBINE IMPECCABLE DESIGN AND TIMELESS APPEAL COMPILED BY NOMPUMELELO NTINTILI

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COLLABORATION

SHADE

Shifters

THIS SEASON, GIVENCHY SHARPENS THE GAZE WITH SCULPTURAL SILHOUETTES AND GRAPHIC ATTITUDE, WHILE BVLGARI BRINGS ITS JEWELLERY CODES INTO FOCUS, TRANSFORMING THE ICONIC SERPENTI INTO A STATEMENT FOR THE EYES

FENDI FFold transforms the iconic FF logo into structure and movement. R8 750

TAG Heuer Drive in a blue frame with a full blue tint lenses. R5 600

FENDI Five Sisters Aviator, featuring the iconic bar design on the temples. R8 600

BVLGARI Aluminium in black with brown lenses. R8 800

BVLGARI Tubogas sunglasses with semi-rimless cat-eye frame and Serpenti Tubogas décor. R24 000

A B O V E : BVLGARI’S iconic Serpenti takes on a seductive new expression. The signature serpent head is set with pavé zircons and onyx eyes. Delicate mesh gold-plated beads are soldered on the central gold coil. T O P : Kaia Gerber wears GIVENCHY Available from Picot & Moss Eyewear, +27116690790

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IMAGES: SUPPLIED

CELINE Wire – Metal with asymmetrical triomphe signature on the temples. R10 200

GIVENCHY BOLD is a classic optical frame in a black acetate. R6 725

DESPITE SEVERE SIGHT LOSS, MOZAMBICAN DESIGNER TAÍLA CARRILHO CONTINUES TO CREATE DISTINCTIVE JEWELLERY ROOTED IN LOCAL MATERIALS AND AFRICAN CRAFT WORDS DEBBIE HATHWAY

A VISION T

aíla Carrilho was 11 when she began selling handmade Christmas cards at school. A drawing on paper didn’t feel finished enough, so she covered each card in the transparent adhesive film normally used to line drawers and carefully trimmed the edges. The result looked more professional, she thought. Her creativity was not formally cultivated at home, although her father drew, sang, played guitar, and wrote poetry, while her mother had once wanted to become a pianist. By her mid-teens, she was reciting poetry, singing, selling paintings, and staging fashion shows with clothes made directly on friends, using fabric and pins because she didn’t know how to sew. At home, she draped a skipping rope over the couch and used one handle as a microphone, singing Celine Dion, Mariah Carey, and Whitney Houston to an imaginary audience. Even then, she was exacting, repeating each line until she could match the pitch and English pronunciation. One of her brothers encouraged her musical interests, introducing her to beat-making, and she later joined a hip-hop group and began producing music. She also created photographic sets and portraits. “I was a very naturally creative person,” she says. “It just happened, even though no one taught me.”

W E A R A B L E A R T:

The collection celebrates the beauty of locally sourced materials and artisanal skill

Taíla left Mozambique to study graphic design, multimedia, and product design in Cape Town, where she discovered Adobe Illustrator and began translating her drawing skills into digital work. Then, in 2009, her vision changed. Dark spots moved across her field of vision and, when they did not disappear after several days, she consulted an ophthalmologist. She was diagnosed with sickle cell retinopathy. Her eyesight continued to deteriorate, forcing her to suspend her studies for a year and stop driving. Her parents largely left her to find her own way. In retrospect, she considers that freedom important. She says she could easily have been overprotected as a child with sickle cell disease, but they “let me fly”.

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Her relationship with them is collaborative, although not always straightforward. She pushes craftspeople to move beyond familiar methods and repeated designs, challenging them to find another way when the usual tool or technique won’t work. “Creativity is the most amazing thing,” she says. “If you cannot do it one way, you can do it another. Then you learn something new.”

DESIGNER

YOUR

Mozambique shapes her work beyond the materials she uses. She draws inspiration from women selling goods beside the road, children walking long distances to collect water, crowded public transport, classrooms beneath mango trees, and the country’s baobabs. Her work reflects both the beauty of the landscape and the resourcefulness of its people. Through CONFORME, the organisation she founded to raise awareness of sickle cell disease, Taíla also challenges the isolation surrounding an illness that’s often invisible. Creativity, she believes, gives the mind somewhere else to go when the body is in pain. Taíla is now approaching 40, an age she describes as the best time of her life. “As long as my brain is working, I can do anything,” she says.

OF BEAUTY

Her ambitions extend well beyond Mozambique. Having exhibited in Rwanda, Paris, and Portugal, and with invitations to show elsewhere in Europe, she’s seeking sponsorship that would allow her to accept more of these opportunities. She wants to introduce Mozambique’s makers to a wider audience and prove that locally made objects can hold their own anywhere in the world. tailacarrilho.com ■

For someone who had built her identity around visual expression, the loss was profound. Reading, writing, drawing, and working with small beads became increasingly difficult. Double vision and the loss of facial detail further altered her experience of the world. She stopped drawing for several years. “I was very lost,” she says. “I live for my art. I started to think that if I couldn’t do it, there was no purpose.”

“Creativity gives the mind somewhere else to go when the body is in pain”

Another one of her brothers, an illustrator, reminded her that nobody else knew what she intended to draw: if the result was beautiful, it didn’t have to resemble her original idea. Her father encouraged her to draw the world as she saw it now, including its doubled forms. Taíla began making one drawing a day and learnt to work with the unexpected outcomes rather than discard them. “I explore other ways of drawing, other techniques, and other ways of seeing the world and sharing it with people,” she says.

IMAGES: SUPPLIED

At Atelier Taíla Carrilho, that approach extends to jewellery. Taíla describes her pieces as wearable art, made by hand and seldom repeated. Brass, ceramics, semi-precious stones, gold, horn, and indigenous woods meet in combinations that put material, form, and workmanship ahead of conventional ideas of preciousness. She recovers horn as a by-product of the food industry, and her wood comes from a supplier involved in replanting. She’s stopped using ebony because it’s become increasingly scarce and her supplier cannot replace the trees. More recently, she’s begun experimenting with locally grown bamboo. Her work also creates a platform for Mozambican craftsmanship. A single handbag can pass through the hands of five artisans, including specialists in horn, wood, lining, and clasps. Taíla wants future catalogues to name these makers and share something about their stories. She’s seen their confidence grow when she encourages them to develop and sell ideas of their own.

HANDCRAFTED:

From horn and wood to ceramics and stone, Taíla embraces an eclectic palette

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SINGAPORE after

FROM SECRET DOORS BEHIND DELIS TO AGAVE-FUELLED ENCLAVES, STEP INSIDE THE CITY’S MOST INTRIGUING SPEAKEASIES WORDS THEMBALETHU ZULU

here most global cities announce themselves loudly through scale, with towering skylines, sprawling neighbourhoods, or decades of history, Singapore has quietly written its own rules. From the moment you land at Changi Airport, you’re greeted by Jewel, a glass-domed complex built around the Rain Vortex, the world’s tallest indoor waterfall, flowing forty metres through a five-storey masterpiece. One of three sovereign city-states in the world, Singapore is where rainforest and financial district, heritage shophouses and mega-mall exist within a short distance of each other. It also has one of the highest concentrations of Michelin stars per square kilometre in Southeast Asia, and a public transport system that makes traversing the city effortless. But scratch beneath its famously orderly surface, and the city reveals a mischievous streak. Nowhere is this more evident than after dark, when the city’s bar culture has quietly become one of its most compelling assets. Behind delis, coffee shops, and unmarked doors is a thriving speakeasy scene that rewards curiosity.

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DRINKS

YOUR

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H O N G KO N G

S T R E E T

HIDDEN SECRETS: Behind closed doors, Singapore’s nightlife comes alive

Along Hongkong Street is the grande dame of the city’s speakeasies. Back in 2011, it opened without fanfare or signage, introducing Singapore to the New York-style, hush-hush speakeasy model. Since then, it’s grown into an iconic institution – and still has no signage. Hidden inside an unmarked shophouse façade behind a heavy curtain is the sultry, award-winning bar. The quietly unpretentious space sets the mood with dimmed lights, a centrepiece bar flanked by discreet leather booths, and a hiphop soundtrack. The cocktail menu offers both the classics and inventive house creations, poured over bespoke ice by bartenders who are happy to make a recommendation suited to your tastes. The drinks menu rotates periodically, but do ask the bartenders for an off-menu suggestion. 28hks.com T R Y :

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T W I C E

With just 40 seats, Live Twice is an intimate space entered via an unassuming passageway. The bar’s name speaks to its central premise of being a place where, after a hard day’s work, one can shed the day’s restraint and become someone else after dark. Inspired by mid-century Japan, it’s designed like a Japanese home, with a cosy living room in one corner, a sultry bar in another, and a large, irregularly shaped communal table anchoring the room. The chic hideaway is opulent in a quiet way, with plywood-lined walls, vintage stools, and lots of leather. Live Twice’s menu is split into two distinct chapters. One Life for Yourself... leans into refined takes on the classics, while ...And One for Your Dreams is made up of creations drawn from geisha personas. The food menu includes Japanese-leaning bar snacks, from sandos to a cult-favourite clam dip. livetwice.sg T R Y :

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P L AY E R S

T A B L E

It’s not often that an evening out can please both beer enthusiasts and cocktail lovers, but on the fringe of the CBD, Players Table offers a reprieve from the usual compromise. Beer aficionados can enjoy an evening at WitBier, but if you look closely, past the pool table, you will notice a nondescript black door marked “Players Only”. Behind it, in what used to be the beer bar’s kitchen, is a speakeasy that offers an exclusive 12-drink signature menu, each strictly built with a base of just two ingredients, relying heavily on technique, with no fancy garnishes in sight. Alongside the signature cocktails are the classics and some non-alcoholic options. Due to its size, at around twenty covers, the venue only accommodates walk-ins. @players_table T R Y :

PA N D A N

C O C O N U T

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C H A M PA G N E R Y

Behind focaccia deli Mamma Mia, at the least likely address for a champagne bar, is The Champagnery. Walk past the deli counter, with its trays of cured meats and pesto in plain sight, and through the hidden entrance to find a cosy lounge wrapped in dark timber, deep velvet tones, and low lighting. As the name suggests, champagne is this intimate bar’s central focus, with an enviable collection of established maisons and smaller grower-producer names. Unsurprisingly, the cocktails are also mostly built around champagne, with food from the deli, served until the early evening, completing the offering at this perfectly decadent enclave. @thechampagnery.sg T R Y :

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Only a neon-red Cheshire cat sign announces Cat Bite Club, which is located inside Monument Coffee. A set of heavy grey curtains leads through to an industrialchic space, with crimson lighting and a cult following that has seen the bar develop its own merchandise. The founder-led bar is built around agave and rice spirits, boasting an impressive collection. More than 300 bottles line the backlit shelves, split between Mexican distillates and Asian rice-based liquors such as soju, shochu, and baijiu. The menu comprises classic cocktails with two interpretations, one built on agave and the other on rice. High tables keep every seat at eye level with the bartenders, seamlessly creating a warm, conversational night out. catbiteclub.com C A T

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In search of

MEXICO

Mágico

ANCIENT CENOTES, RESTORED HACIENDAS, JUNGLE ARCHITECTURE, AND ONE OF THE WORLD’S MOST REMARKABLE FRESHWATER LAGOONS REVEAL A RICHER, MORE SOPHISTICATED SIDE OF MEXICAN TRAVEL WORDS & PHOTOGRAPHY JARED RUTTENBERG

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YOUR

HACIENDA, WAKAX The first note was struck inland, at Wakax Hacienda, where the region’s colonial-era estate tradition has been reinterpreted with flair and sensitivity. Set across 160 acres of dense greenery, lakes, and cenotes, the property feels less like a hotel than a private world – part historic fantasy, part design retreat. Classic hacienda architecture reflects the colonial past, matching practical design with quiet grandeur. Typically arranged around a central courtyard, the haciendas feature thick stuccoed walls made in the traditional Chukum method: a natural, tree-bark-based plaster that’s made by boiling plant cortex and adding limestone. The sustainable technique gives an earthy, wabi-sabi feel.

here are winter escapes, and then there are winter corrections. The kind prompted not by whim, but by a quiet refusal to tolerate another slate-grey British sky. On one such evening in London, the answer arrived with simplicity: a direct flight to Cancún, and from there, the Yucatán Peninsula – the lush, jungle-fringed corner of Mexico where Maya history, tropical modernism, and warm hospitality meet in seductive harmony. Having never been to Mexico before, what lay ahead was undiscovered and exciting. With so many enticing corners catching my attention, I plotted our journey, passing through three distinct locations that together offered a portrait of the peninsula shaped by architecture, atmosphere, and the increasingly sophisticated language of Mexican luxury. First, and nearest the airport, a hacienda stay offering introductory insight into Maya culture. Second, two hours away, a dreamy Bohemian strip of Caribbean coastline. Lastly, a fourhour drive to the Belize border for a habitat so beautifully unreal, it seemed AI-generated.

“Descending through Wakax’s cave systems, and then swimming through cathedrallike chambers of clear, cool water, was one of those rare travel experiences”

This is a place that draws much of its glamour from context. The hacienda form itself is a relic of the Spanish colonial era, yet here it feels gently reclaimed by the landscape. Pathways disappear into jungle; courtyards open onto still water; birdsong fills the silence left by the absence of urban life. It is deeply photogenic, yes, but more importantly, deeply transporting. Owner Alejandro Patrón proudly shared the journey with me: “Thirty-five years ago, I started the project with a very clear vision: to create a place that would bring together historical heritage, nature, and an authentic experience for visitors. Today, I can say that Wakax is the realisation of that dream; it’s the evolution of an idea that, over time, found the right place, right people, and right circumstances to become a reality.” The property also offers a compelling introduction to the Yucatán’s Maya inheritance. The peninsula is riddled with cenotes – freshwater sinkholes formed by the collapse of porous limestone, once considered sacred portals to the underworld. Descending into Wakax’s cave systems, and then swimming through cathedral-like chambers of clear, cool water, was one of those rare travel experiences as we navigated hundreds of metres of caves, admiring the rock formations, fossils, and creatures that call the caves home. Ancient, elemental, and faintly surreal, it felt less like sightseeing than initiation. wakaxhacienda.com

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TRAVEL

YOUR

HOTEL, TULUM

A variety of suites lie hidden in the jungle; our penthouse suite was surely among BeTulum’s best, with an outdoor copper tub and private rooftop complete with a pool, a sala, and views across the jungle to the beach. In keeping with Tulum’s wellness culture, I joined the inclusive yoga, meditation, and Qigong sessions. The week’s programme even included sessions with renowned relationship coach Bibi Brzozka.

From inland quietude to coast, the aesthetic mood shifts entirely. Tulum, for all its Instagram-era visibility, still possesses a singular atmosphere – equal parts wellness republic, design laboratory, and beachside bliss. It’s a place where the barefoot and the impeccably curated coexist, sometimes uneasily, mostly beautifully. Among its many addresses, BeTulum remains one of the most desirable: in a strip crowded with hotels angling for attention, this one does not shout. It understands the luxury of discretion: hidden entrances, lush planting, softly lit pathways, suites that feel secluded rather than staged – and the perfect introduction to jungle brutalism. Throughout Tulum, a distinctive architectural language has emerged that pairs the muscular forms of Brutalism with the wildness of the jungle. Exposed concrete provides a dramatic backdrop for native plants, natural stone, polished plaster, and handcrafted wood details, while generous openings invite light, breeze, and birdsong into every space. The emphasis is less on decoration than on texture, proportion, and a seamless relationship with the landscape.

Close to the hotel was the Tulum Ruins, an archaeological site perched dramatically above the Caribbean. The walled Maya settlement is one of the region’s most atmospheric ancient sites, its cliffside maritime location creating a particularly dramatic setting. Boutique-boho aside, Mexican cuisine is another reason people come hungry, and both hotels and local eateries offer elevated versions of the familiar tacos, enchiladas, burritos, and quesadillas. In search of a unique dining experience, but still locally rooted, Climo Ristorante was our choice: combining contemporary Mexican cuisine and Sicilian technique, it’s a slice of Italy in the Yucatán. Chef Christian’s octopus carpaccio, brightened with xcatik chilli aioli, smoked chillies, yellow lemon, and fresh rocket, proved a particular favourite – the perfect combination of Italian technique and Mexican flavours. betulum.com

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YOUR

HABITAT, BACALAR From hacienda to hotel, the final stop on our trip would be to breathe in one of the most unique habitats in the world. Three hours south, Bacalar is built adjacent to an astonishingly beautiful lagoon, where seven shades of blue paint a watery wilderness. The lagoon is home to stromatolites – living fossils that are among the oldest forms of life on Earth. Combined with the biofiltering action from the mangroves, the water is remarkably clear. Our home base was Our Habitas, a luxe tent escape in the jungle. On the water’s edge, our days comprised lakeside languishing, interrupted only by a series of lagoon dips and the hyper-local cuisine – the finest expression of Mexican food we’d had so far. We’d wake up salivating at the thought of chilaquiles: tortilla chips soaked in red or green salsa, heated up, and then topped with eggs, avocado, shredded cheese, and a chef’s garnish. A private sailboat tour is unmissable to explore the freshwater lagoon. Captain Irving sailed us to the famous Cenote Negro – the darkest of the seven shades of blue – and then to the mangrove islands, where we were able to wade and swim through the aquamarine water. PURE MAGIC: From the food and scenery to the culture and hospitality, Mexico is a bucket-list must

“The lagoon is home to fossils that are among the oldest forms of life on Earth”

There was also a deeper encounter with ritual. At Our Habitas, we took part in a Temazcal, the ancient Mesoamerican steam ceremony that blends purification, meditation and communal reflection. Conducted in darkness and heat, with volcanic stones, herbs, chanting and prayer, it was unexpectedly moving; less a wellness treatment than a recalibration. My heart soared in the steamy dark as our guide Herme unexpectedly led a short song with the chorus “Siyabonga wena mama” – isiZulu she’d learnt from a fellow African. In the heat of the moment, gratitude was indeed the word of the day, and a fitting ending as we reluctantly exchanged our newfound tropical jungle for an urban one back home. ourhabitas.com ■

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WHERE

INSURANCE MEET

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Protecting them effectively – against repair, restoration or theft requires cover that is as unique as the investment assets themselves. Regardless of our preferences for Banksy or Boticelli, that’s something we can all appreciate, isn’t it?

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SILENCE is Golden

here’s something appealing about a luxury SUV. The drive is quiet, acceleration is effortless, and without an engine taking up space, there’s more freedom to rethink how space, comfort, and technology come together.

QUIET, EFFORTLESS, AND DISTINCTLY LEXUS, THE RZ MAKES A COMPELLING CASE FOR ELECTRIC LUXURY WHILE RETAINING THE QUALITIES THAT HAVE LONG DEFINED THE MARQUE

The new Lexus RZ embraces those qualities and brings the brand’s familiar treatment: considered design, technology, and serenity. When YourLuxury Africa attended the RZ’s South African media launch in February, it was the car’s ease in the city that made the strongest impression. Smooth, quiet, and easy to manoeuvre, it felt well suited to urban driving. Unlike electric vehicles adapted from combustion-engined models, the RZ was designed from the outset as a batteryelectric vehicle. Its dedicated architecture allows Lexus to optimise packaging, weight distribution, structural rigidity, and aerodynamics, while giving the SUV a clean appearance. Each model of Lexus RZ has its own character. The RZ 550e F SPORT brings a more assertive edge through functional aerodynamic elements, while the RZ 600e F SPORT Special Edition takes the performance-inspired aesthetic considerably further. Already available in South Africa, the Special Edition makes a striking statement through a considered series of bespoke carbon-fibre and aerodynamic details. Sculpted carbon bonnet vents are paired with front lower and side spoilers, carbon

headlamp bezels, and a carbon roof. At the rear, there’s a carbon wing and lower spoiler, while carbon turning vanes and underdoor mouldings add further definition. A pronounced arch moulding and signature F SPORT emblem on the front fender complete the look.

Inside, the mood changes. The cabin is technology rich without being overwhelmed by it, following the brand’s Tazuna philosophy by placing key controls and information within easy reach and sight of the driver. Depending on specification, there are Ultrasuede seats, a 14-inch multimedia display, a 13-speaker Mark Levinson audio system, a Head-Up Display, and a digital rear-view mirror. The panoramic roof can also switch between transparent and dimmed settings at the touch of a button. Particularly enticing are Lexus’ radiant heaters, which use infrared panels to warm the driver and front passenger directly. According to Lexus, the system consumes about eight percent less energy than conventional heating – a small but important consideration in an EV. Across the RZ portfolio, Lexus’ DIRECT4 intelligent all-wheel-drive system continuously manages torque distribution between the front and rear axles. The RZ 550e F SPORT adds Steer-by-Wire technology, performance dampers, and an Interactive Manual Drive system that simulates the sensation of an eight-speed transmission.

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COLLABORATION

“The cabin is technology rich without being overwhelmed by it, following the brand’s Tazuna philosophy”

Charging has been considered carefully, too. A 22kW onboard AC charger and battery pre-conditioning are designed to make ownership more convenient, with charging from 10 to 80 percent taking approximately 30 minutes. Ownership is also compelling, with a seven-year/105 000km maintenance plan and vehicle warranty, while its battery is covered for eight years or 160 000km.

IMAGES: XXXX

For Lexus, the RZ represents more than an electric SUV. It shows how the qualities associated with the brand – quietness, comfort, artistry, and effortless performance – can translate naturally into the electric era. After time behind the wheel, that feels like the RZ’s strongest argument. In a segment defined by screens, statistics, and the pursuit of even more performance, there’s something appealing about an electric SUV that makes navigating the city feel incredibly easy.

For the latest information on the Lexus RZ, the specifications, or pricing, customers can visit lexus.co.za

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Italian

AFFAIR

AT MONTEREY CAR WEEK, FERRARI, LAMBORGHINI, AND BUGATTI SHOWED THAT THE SWEETEST LIFE IS NOT THE QUIETEST ONE. THEIR LATEST CREATIONS TURNED SPEED, SCULPTURE, AND PERSONAL EXPRESSION INTO THREE VERY DIFFERENT VISIONS OF AUTOMOTIVE LUXURY WORDS EDWARD MOLEKE MAKWANA

or a few sunlit days each August, California’s Monterey Peninsula becomes an outpost of European glamour. Supercars idle beneath cypress trees, and collectors gather on lawns overlooking the Pacific. It’s a setting made for la dolce vita, infused with petrol, electricity, carbon fibre, and craft. Among the highlights of the 2026 Monterey Car Week were three cars that approached indulgence from markedly different directions. Ferrari’s CZ26 interpreted exclusivity as intimate collaboration; Lamborghini’s Revuelto SV pursued the intensity of an uncompromising driving experience; and the Bugatti Destrier transformed a track-focused machine into rolling sculpture. Together, they reflected a shift at the rarest end of the market. Power remains essential, but provenance, personalisation, and design narrative matter just as much.

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FERRARI CZ26 The Ferrari CZ26 is perhaps the purest expression of this philosophy. Developed for an unnamed American client through Ferrari’s Special Projects programme, the one-off took about two years to realise, with its owner involved throughout the design and verification process. Beneath its unique body sits the SF90 Stradale’s plug-in hybrid hardware: a twin-turbocharged 4.0-litre V8 and three electric motors producing a combined 735kW. Ferrari claims 0 to 100km/h in 2.5 seconds and a 328km/h maximum. Yet the CZ26’s significance lies in the transformation around those foundations. Its low, horizontal form draws inspiration from 1970s Italian industrial design. A capsule-like centre is framed by muscular wheel arches, while an ultra-slim lighting treatment, full-width grille, and sharply truncated rear create an appearance that is futuristic without becoming visually chaotic. The liquid-like Argento Veloce silver paint is punctuated by Rosso Lampante red details and pigmented carbon fibre. Inside, technical fabric, additively manufactured seat inserts, and carbon fibre woven with metallic filaments continue the theme. Its ultimate luxury is specificity: a Ferrari that exists nowhere else.

“The Bugatti Destrier makes artistry the headline and horsepower the supporting act”

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LAMBORGHINI REVUELTO SV If the CZ26 is a tailored suit, the Lamborghini Revuelto SV is haute couture with a more aggressive agenda. The initials stand for Super Veloce, or “super fast”, a designation that began with the Miura SV 55 years ago and has since marked some of Lamborghini’s most focused road cars. Limited to 1 963 units in reference to the company’s founding year, the Revuelto SV builds on Lamborghini’s first V12 hybrid supercar. Its naturally aspirated 6.5-litre engine and three electric motors produce a claimed 783kW and 1 425Nm. Lamborghini says it will reach 100km/h in 2.4 seconds, 200km/h in 6.7 seconds, and exceed 345km/h. The SV gains 80 percent more downforce than the standard Revuelto and features racingderived adjustable dampers, new carbon-ceramic brakes, and specially developed Bridgestone tyres. Its one-minute, 41.6-second Hockenheimring lap, set by factory driver Marco Mapelli, is presented as a production-car record.

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The fixed rear wing, exposed carbon fibre, and centre-lock wheels make its purpose clear. Inside, lightweight panels, carbon-shell seats, and a steering-wheel-mounted Pilota selector centre the experience on the driver. Its five-stage tractioncontrol system allows greater circuit adjustment, although few owners will explore its limits away from a controlled environment. That tension is part of the Revuelto SV’s appeal: it’s an object of luxury engineered to perform feats that public roads cannot responsibly accommodate. Its sweetest moments may therefore be found not on a coastal boulevard, but in the precision of a well-executed lap.

BUGATTI’S DESTRIER Bugatti’s Destrier offers the strongest counterpoint. The third creation from the marque’s Programme Solitaire, it uses the carbon-fibre monocoque and 1 176kW, quad-turbocharged 8.0-litre W16 powertrain of the Bolide. But where the Bolide wears its aerodynamic apparatus openly, the Destrier asks what remains when wings, vents, and other track-focused details give way to purity of proportion.

The interior moves decisively away from the Bolide’s austere cockpit. Leather and nubuck in warm Ambre Voyageur are joined by a three-dimensional knitted textile threaded with copper yarn. The effect is closer to a tailor’s atelier than a pit garage. Even with one of the most formidable combustion engines ever installed in a roadderived Bugatti, the Destrier deliberately makes artistry the headline and horsepower the supporting act.

The result stands only one metre tall, with 20-inch front and 21-inch rear wheels beneath its pared-back body. Bugatti’s C-line pauses near the front wheel before continuing towards a widened horseshoe grille, while a blended rear wing closes the silhouette with restraint.

These machines are far removed from ordinary mobility, raising the inevitable question of whether such cars are made to be driven, displayed, or treated as assets. Their environmental contradiction is harder to overlook: hybrid assistance may enable limited electric running, but does little to disguise the extraordinary scale of power on offer.

Its name refers to the powerful war horse ridden by medieval knights. That inspiration appears in the car’s poised stance and in the hammered finish applied to selected metalwork, recalling hand-worked armour. Sapphire Celeste paint, containing a diamond-like sparkle, is contrasted by polished aluminium and subtly tinted exposed carbon fibre.

Still, Monterey has never been primarily about restraint. At its best, the week celebrates the motor car as engineering, culture and art. The CZ26, Revuelto SV, and Destrier each offered a different definition of la dolce vita: possessing something made only for you, feeling a machine come alive in your hands, or simply standing back to admire a beautiful object. ■

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Leaving his

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TEN YEARS AFTER FOUNDING IMPRINT ZA, MZUKISI MBANE TALKS ABOUT BEING A SELF-TAUGHT DESIGNER AND RECOGNITION IN PARIS BY BALENCIAGA, WHILE REVEALING A SOFTER SIDE SHAPED BY FAMILY, MUSIC, AND DREAMS OF A SLOWER LIFE COMPILED BY LERATO TSHABALALA

I remember just how excited I was to be in fashion. I was completely taken by the idea that, as a self-taught designer, I was creating clothes in my mom’s kitchen using her old sewing machine – and people were willing to pay me for them. The biggest surprise has been just how far I’ve been able to take the brand. In the beginning, it was about creating something deeply personal to me: clothes that I’d want to wear myself, with the bonus that other people might want to buy them too. I never imagined that I’d go on to build an internationally recognised brand. THE NAME IMPRINT ZA AND YOUR BRAND PHILOSOPHY, “LEAVE A MARK”, HAVE BECOME SYNONYMOUS WITH YOUR WORK. WHERE DID THAT PHILOSOPHY COME FROM, AND HOW HAS ITS MEANING EVOLVED? I’d already made my

career choice by studying accounting science, yet I could never run away from fashion – it had imprinted itself on me. That’s where Imprint came from. Over time, “Leave a Mark” became about the work I create and my desire for it to stand for something bigger than just clothing. I want the work to touch people. YOU WERE RECENTLY RECOGNISED BY BALENCIAGA THROUGH THE AFRICA FASHION UP PROGRAMME. WHAT DID THAT MEAN TO YOU, AND HOW DO YOU HOPE IT WILL SHAPE THE FUTURE OF IMPRINT ZA?

It was validation that I’m on the right track; that I’m building something of value and that Imprint has a place in the international fashion world. What stood out during my time in Paris, particularly while attending masterclasses with different luxury houses, was the importance of creating something that can stand the test of time. WHAT DOES YOUR IDEAL DAY OF DOWNTIME LOOK LIKE?

I love cooking, hosting friends at my home, and having fun with my two dogs, Levi and Zion. But since the beginning of this year, I’ve spent so much time out of the country that I had to fly them home to stay with my mom. So lately, my idea of downtime is flying home to my mom, spending time with family away from industry life, and having her cook me umleqwa (hard-body chicken) with steamed bread.

WHAT FUELS YOUR CREATIVITY? Most of my

inspiration comes from music. Not necessarily the words of a song, but how it makes me feel. I listen to and draw a lot of inspiration from artists such as Mandisi Dyantyis, Caiphus Semenya, Thandiswa Mazwai, Bongeziwe Mabandla, and The Soil. Thandiswa Mazwai’s Abenguni helped me shape and conceptualise my SS2019 collection, Inkomo YaBenguni. Music has a way of opening up an entire visual world for me. HOW DO YOU SPEND YOUR FREE TIME? I love cooking and baking. When I’m not being a fashion designer, I’m basically cosplaying as Bree Van de Kamp from Desperate Housewives! Most people don’t know that I was on Celebrity MasterChef South Africa in 2025. WHAT’S ONE ITEM IN YOUR WARDROBE THAT YOU’LL NEVER PART WITH?

I’m very sentimental, so most of my clothing means something to me. But if I had to choose, I’d never part with any item of clothing that once belonged to my late brother. WHERE WOULD YOU LIKE TO SEE IMPRINT BY THE TIME YOU CELEBRATE ITS 20TH ANNIVERSARY? I’m moving towards a slower life and a more purpose-

driven place of creation. Earlier this year, I made the decision to close my production operation in Joburg, with the vision of eventually building a more sustainable home for the brand in the Eastern Cape, where my mom comes from. I want it to become more than a manufacturing space; I want it to be a home for Imprint’s future and a place that can create meaningful impact. WHAT DOES LUXURY MEAN TO YOU? Initially, my idea of luxury was rooted

in the price tag. Something was considered luxury because it was made well and priced high. Over the years, I’ve come to understand that, for me, luxury goes far beyond that. It’s about how something makes me feel, how I access and experience it, and what it means to me. ■ imprintza.com

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