Freedom is living life your way. Whether it’s an energising workout, productive hours in one of the city’s on trend shared workspaces, leisurely afternoons by the Lagoon, or sunset strolls along secure trails, Steyn City gives you the space to move freely and choose your own pace. With top-class education, a selection of eateries, convenient retail, and wellness experiences on your doorstep, you have the freedom to shape every day exactly as you wish, all within one extraordinary city.
Freedom is living life your way. Whether it’s an energising workout, productive hours in one of the city’s on trend shared workspaces, leisurely afternoons by the Lagoon, or sunset strolls along trails, Steyn City gives you the space to move freely and choose your own pace. With top-class education, a selection of eateries, convenient retail, and wellness experiences on your doorstep, you have the freedom to shape every day exactly as you wish, all within one extraordinary city.
STANDS | HOMES | APARTMENTS | SENIOR VILLAGE
STANDS | HOMES | APARTMENTS | SENIOR VILLAGE
As a maximalist, I believe more is more – more colour, more pattern, more texture.
What I’m about to say might make me unpopular with some of you, but I’m tired – exhausted – and, *sighs heavily*, fatigued by the all-white home interiors, the teddy sofas, and obligatory Monstera Deliciosa in the background. I may sound like the style police, but the design aesthetic inspired by a company I like to call ‘Studio McJeez’ (#IYKYK) has been grossly overdone. You know the type – interiors that chase Instagram trends instead of reflecting personal style. And I’m not being glibly disparaging; I’m just sad that we’ve lost our individuality when it comes to decorating and designing our spaces.
Look, I’m not going to hark back to ‘the good ole days’ when our parents had plastic covers on their couches and only took out the china at Christmas. But there was a time when we celebrated individual style. When people painted their houses pink and put miniature ornamental dolls on the mantelpiece. That’s where the term ‘kitsch cool’ comes from – recognising that our quirks are what make us unique. We’re not all meant to be minimalists, wearing linen and partaking in breath work.
Our spaces – whether it’s a mid-century-inspired home or an office space designed around an art sculpture – should say something about who we are. I’m a huge fan of interior designer Kelly Wearstler and her audacity (like placing an olive tree inside the foyer of a residential home). I admire how artists Charles and Ray Eames created timeless pieces. And don’t even get me started on Joburg’s beautiful architecture that is sadly being allowed to go decrepit. That’s why I was so pleased to read that Johannesburg In Your Pocket was part of the many who fought for the recent reopening of the Johannesburg Library, which turns 90 this year. As the gap between the haves and the havenots gets bigger because of access to AI tools, libraries remain crucial for our unequal society.
I say all this to highlight that design isn’t about throwing a couple of cushions onto a couch or putting a ping-pong table in your office.
As you’ll see when you page through this issue, design has been a part of the human lexicon since Zulu homesteads were first built around the 18th century. It’s why architects talk about the vernacular of a building in relation to its location, and why interior designers often say that rooms speak. Design tells you about a country’s beliefs, offers a glimpse into a family’s values, and highlights the principles of a company.
MY TOP PICKS
1. Wrapped in velvet and alive with elephants, monkeys, and beaded Zulu patterns, the Ardmore Sabie Sofa (Delta) is a limited-edition piece that brings maximalist African storytelling into the heart of the home.
2. Handblown in Cape Town using traditional fatto a mano techniques, Casa LV’s sculptural glassware transforms everyday objects into heirloom-worthy works of art.
3. Poetry’s Ella Small Oval Orange & Stripe Hand-Painted Platter is a quirky addition to your table, featuring eyecatching painted detailing.
4. An icon of 20th-century design, the Eames Lounge Chair & Ottoman marries moulded rosewood, supple leather, and sculptural form into a timeless expression of modern luxury. More than furniture, it’s a collector’s heirloom.
This is our most visually stunning issue to date, not only because of the spaces we’re sharing with you, but because of the people who create them, the brands that source rare materials, and how they use design as a tool for storytelling.
So, if you’re looking for decor inspiration or tips on building from the ground up, remember to honour what you want. Be bold, be brave, and colour outside the lines. That’s true luxury… Designing your life to suit you.
ON THE COVER
Photographer: Tom Fallon
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3 DAYS POWER RESERVE AUTOMATIC CALIBRE
CROWN PROTECTING DEVICE PATENTED IN 1956 500 M WATER RESISTANCE
DO YOU HAVE A FAVOURITE BUILDING OR INTERIOR SPACE?
RICHARD HOLMES
I’m a huge fan of Fox Browne Creative and architect Jack Alexander. In creating some of Africa’s most striking safari destinations, they have an uncanny way of translating the natural world into an interior aesthetic and emotion. The new Chichele Presidential Lodge in Zambia is just glorious.
See: p48
ONLINE THIS MONTH…
VEUVE CLICQUOT’S 2025 BOLD WOMAN AWARDS
Now in its fourth year in South Africa – and 53rd globally – the Veuve Clicquot Bold Woman Awards honoured trailblazers Retang Phaahla, CEO of Setsong Tea Crafters, and Dr Phindile Cebekhulu-Msomi, Founder of Hazile Group, at a ceremony in Johannesburg. The awards –with a performance by Zoë Modiga – celebrate women who embody Madame Clicquot’s legacy of courage and innovation
THYME WITH THE CHEFS POP-UPS
Cape Town chefs Asithandile Ndamase and Athi Ntwakumba are redefining African cuisine through their Thyme with the Chefs pop-ups. Hosted at Makers Landing at the V&A Waterfront, their sold-out dinners blend tradition with modern techniques, fostering a sense of community and sustainability. Explore more on YourLuxury.Africa.
PETRA MASON
American architect Philip Johnson’s Glass House. The mid-century modern masterpiece in Connecticut was his home from 1949 until his death in 2005. Considered Philip’s signature work, I spent two days photographing the house for a book and exhibition before it opened to the public.
See: p24
MONALISA MOLEFE
I admire Gauteng’s Stay by Inimitable and Bosjes Chapel in the Western Cape for their futuristic vision and ability to stir the sixth sense. Beyond aesthetics, Bosjes carries deep spiritual meaning, echoing the wisdom that we are always under the shadow of God’s wings, a space where design and spirit meet.
See: p10; p54
EDITORIAL & BEAUTY EDITOR Ingrid Wood ingrid@yourluxury.africa
CREATIVE DIRECTOR Kate Walters COPY EDITOR Tamlyn Cumings CONTRIBUTING EDITOR Leigh Herringer
ACCOUNT MANAGER: NATIONAL Gina van de Wall I gina@yourluxury.africa SALES EXECUTIVE: Sumeshni Pillay I sumeshni@yourluxury.africa
ADVERTISING SALES MANAGER: LONDON AND THE UK Louella Stocchi I louella@yourluxury.africa
MANAGEMENT: MANAGING DIRECTOR Yvonne Sha DIRECTOR Jacquie Myburgh Chemaly
DISTRIBUTION & PRINT: DISTRIBUTION On the Dot, Media Support PRINTED BY CTP Printers, Cape Town for YourLuxury PO Box 1053, Sea Point 8060, Cape Town. All rights reserved. Whereas precautions have been taken to ensure the accuracy of information, neither the editor nor YourLuxury Africa can be held liable for any inaccuracies, injury or damages that may arise. The opinions expressed in the articles may not reflect those of the publisher. All prices correct at time of going to print.
yourluxury.africa
INNOCENT NDLOVU
When it comes to interiors, I gravitate towards symbolic art and classic furniture pieces. I enjoy jewel colour palettes and plush materials like velvet and tassels that create a cosy and welcoming atmosphere. But I like to balance this with natural finishes. For me, the contrast between luxuriously layered textures and the grounded is what makes a space feel truly alive.
See: p42
CANNES YACHTING FESTIVAL
9–14 SEPTEMBER | CANNES, FRANCE
The Cannes Yachting Festival is one of France’s leading nautical events, drawing more than 600 boats and unveiling international debuts from leading names like Benetti, Sunseeker, and Princess. This year also marks the show debut of the 100ft superyacht LADY AMANDA, returning to the circuit for the first time since Monaco 2019. From vintage yacht parades and boutique shopping to elegant Riviera dining, Cannes delivers the perfect blend of maritime innovation and Mediterranean glamour. cannesyachtingfestival.com
CULTURE DIARY
VIRGIL ABLOH: THE CODES
30 SEPTEMBER – 10 OCTOBER | PARIS, FRANCE
Opening on what would have been American fashion designer Virgil Abloh’s 45th birthday, Virgil Abloh: The Codes pays tribute to the visionary who was appointed Artistic Director of Louis Vuitton’s menswear collections in 2018. Held at the Grand Palais in Paris, the exhibition spans nearly two decades of the Off-White founder’s innovative work across fashion, design, architecture, and music, highlighting his role in redefining streetwear. Showcasing hundreds of pieces selected from an archive of 20 000 objects –including prototypes, garments, sketches, photographs, and personal items – the exhibition offers a rich portrait of Virgil’s creative legacy. Curated by Chloé Sultan and Mahfuz Sultan, it expands on the 2022 predecessor exhibition and his collaborations with artists and athletes, such as Takashi Murakami and Serena Williams. virgilabloh.com
THE NEW YORK CITY CONCOURS
20 SEPTEMBER | NEW YORK, USA
Capturing the energy and pulse of NYC, Concours is an immersive celebration of rarely seen cars and motorcycles, and how they intersect with culture, craftsmanship, luxury, and innovation. Taking place on 72nd Street, between Fifth and Madison Avenues in Manhattan’s Upper East Side – a fitting location to display a curated collection of 50 classic, exotic, and historically significant cars and motorcycles. Guests can also look forward to a collectable sneaker display, live music, and art exhibitions. thenycconcours.com
DSTV DELICIOUS INTERNATIONAL FOOD & MUSIC FESTIVAL
20–21 SEPTEMBER |
JOHANNESBURG, SOUTH AFRICA
Lauryn Hill and Wyclef Jean of the Grammy award-winning hip-hop group The Fugees will headline Gauteng’s most prestigious lifestyle celebration, alongside the Marley dynasty featuring Ziggy, Zion, and YG Marley. On the local front, Zoë Modiga, Oskido, and Mandisi Dyantyis will take the stage as Kyalami Grand Prix Circuit transforms into a cultural and epicurean destination. With curated culinary experiences, art installations, and fashion exhibits, the event is renowned as South Africa’s definitive convergence of global musical royalty and homegrown creative excellence. Don’t miss it. deliciousfestival.com
MILAN FASHION WEEK
23–29 SEPTEMBER | MILAN, ITALY
With Demna Kering having presented his final collection for Balenciaga, all eyes now turn to his debut for the House of Gucci, which opens Milan Fashion Week. The spotlight will also fall on Fendi as it celebrates its centenary, while Giorgio Armani commemorates five decades at the helm of the legendary Italian fashion house. Milan’s most iconic venues, including Palazzo Reale, Triennale Milano, and Galleria Vittorio Emanuele II, will serve as backdrops for a series of spectacular runway shows, exclusive installations, and dynamic events across the fashion capital. milanofashionweek.cameramoda.it/en
WDividend The
WORDS BRIGHT KHUMALO
hen LVMH snapped up Belmond in late 2018, it felt like one of those corporate moves that’s more whisper than trumpet – a $25-per-share cash deal that translated into roughly a $2.6 billion equity value and an enterprise value close to $3.2 billion. The deal closed in April 2019, and what LVMH quietly bought was not just another leather-goods maker, but a global portfolio of living, breathing spaces: palaces, grande dames, seaside icons, vintage trains, and river cruises – the kind of assets that sell memories.
Today, Belmond sits under the LVMH umbrella as a collection of roughly 40-plus properties and experiential journeys across two dozen countries – hotels such as the Amalfi Coast’s cliffperched Caruso, the Hotel Cipriani in Venice, Reid’s Palace on Madeira’s Atlantic bluff, Cape Town’s blush-pink Mount Nelson, and Rio’s legendary Copacabana Palace; plus the Venice Simplon-Orient-Express and Belmond river cruises. Each property reads like a page from a travel-lover’s bible: astounding architecture, curated interiors and cuisine, and inviting public spaces.
Belmond properties are mostly heritage assets whose value accumulates not only through cash flow, but through scarcity and authenticity. When you buy LVMH shares, you don’t just
get Louis Vuitton or Dior, you also inherit a portfolio of vineyards, land, buildings, and long-standing customer relationships. That implicit value is easy to overlook when you only eyeball profit and loss statements.
Architecturally and operationally, Belmond is the quiet specialist of the group. These hotels and trains occupy prime real estate and trade on unique experiences – heritage facades, vaulted dining rooms, and chapel conversions come to mind. They are venues made for high-margin moments: exclusive dinners, weddings, brand experiences, and long-stay cultural itineraries that attract the wealthy traveller who wants authenticity, not sameness. In short, they are high-yield storytelling platforms that feed LVMH’s broader luxury ecosystem.
There’s another angle for the investor: fragmentation of market perception. Belmond’s assets are rarely priced explicitly into the fashion-heavy valuation headlines LVMH receives. For many analysts, LVMH is a luxury-goods story first and foremost; the hospitality arm registers as an experiential adjunct. That mismatch creates the argument that some of its intrinsic value is underappreciated – especially when you account for real estate, events, and long-dated brand equity. In a market that prizes visible growth, the quiet compounding of hard assets is an undervalued tailwind.
If you’ve stayed at a Belmond or ridden the Orient-Express, you know what I mean: these places age like fine wines. For LVMH shareholders, Belmond is the group’s patient, resilient luxury play; slower to move than a runway drop, but just as sticky –and sometimes, far more durable. Buy the product, enjoy the experience, and remember that some of the group’s best assets are quietly doing the heavy lifting behind the scenes. ■
10039903 NBPW Connected Wealth Print - Your Luxury Africa (165x240)
Bright Khumalo is a Portfolio Manager and Analyst at Vestact Asset Management
FRANCK MULLER
SFUMATO SLIM
With its softly shaded dial and ultra-thin in-house movement, the Sfumato Slim exudes quiet complexity. Inspired by Renaissance painting techniques, the toneon-tone gradient enhances the tonneau case’s graceful proportions – all wrapped in refined finishing worthy of a master atelier. POA, franckmuller.com
VACHERON CONSTANTIN HISTORIQUES 222
Launched in stainless steel to celebrate the Maison’s 270th anniversary this year, the 222 keeps the 1977 spirit alive. Sleeker, more ergonomic, and powered by the new Calibre 2455/2, this integrated case with the notched bezel is a masterclass in contemporary heritage design. POA, vacheron-constantin.com
CARTIER CRASH TIGRÉE
A cult classic reimagined in enamel and diamonds – revealed at Watches and Wonders 2022 – the Crash Tigrée builds on the anarchic elegance of the original 1967 design. Asymmetrical and surreal, it remains one of Cartier’s most provocative shapes. POA, cartier.com
FIRST IMPRESSIONS START WITH A WATCH’S CASE. SOME BRANDS HONOUR TRADITION WHILE OTHERS PUSH BOUNDARIES, USING BOLD SILHOUETTES TO CHALLENGE CONVENTION
WORDS DEBBIE HATHWAY
HUBLOT
MP-10 TOURBILLON
WEIGHT ENERGY SYSTEM
This watch, without hands, dial, or rotor, is pure sculptural invention. The eye-catching case, now in black ceramic or fully transparent sapphire, reveals a futuristic roller display, rotating indicators, and an angled tourbillon. Limited edition, POA, hublot.com
CASE IN POINT
FREDERIQUE CONSTANT CLASSICS MANCHETTE
A nod to 1980s glamour, this cu -shaped watch blends haute horlogerie with statement jewellery. The seamless Clou de Paris motif wraps around the bracelet, while variations like malachite, onyx, or diamonds enhance the minimalist square dial appeal. From CHF1 095, frederiqueconstant.com, picotandmoss.co.za
MASTER OF MATERIALS
AS WINTER FADES, JEWELLERY INSPIRED BY SUNSHINE SKIES AND BUDDING BLOOMS CAPTURES THE SPIRIT OF SPRING
WORDS DEBBIE HATHWAY
1. To mark its 20th anniversary, Messika unveils the Terres d’Instinct high jewellery collection – an ode to Namibia’s raw beauty. Inspired by Southern Africa’s wildlife and landscapes, this collection fuses onyx, baguette-cut diamonds, and sculptural geometry. The Fauve necklace echoes the shape –and raw power – of a lion’s claw, sculpted in pavé patterns. POA, messika.com, bhhboutique.co.za
2. Aria, Fope’s collection defined by its thinnest mesh, expands with new pieces featuring adjustable sliding clasps. This lariat necklace can be styled multiple ways – from a bow tie to a sensual drape between the neckline and bare back. POA, charlesgreig.co.za
3. Gra ’s Endless Summer campaign radiates the golden glow of long, sunlit days. The Tilda’s Bow pieces sees ribbons of yellow and white pavé diamonds entwine to form an elegant knot, with a 7.19ct and 5.79ct pair of Fancy Yellow pear-shaped diamonds (necklace), and Fancy Yellow pear and white round diamond earrings. Both POA, gra .com
NATURE’S
4. The Colours of Love collection by Fabergé blends vivid gemstones, bold design, and masterful craftsmanship. With responsibly sourced Mozambican rubies and Zambian emeralds from Gemfields, the collection brings colour to many lives through its initiatives in health, education, and biodiversity through ethical mining partnerships across Africa. The Rose Gold Oval Pink Sapphire Fluted Ring is set in 18kt rose gold, centred on an oval pink sapphire and flanked by a rainbow of gems. POA, faberge.com, murdocks.co.za
5. These vibrant Moraglione rings showcase the joy of Italian craftsmanship, brought to life through a kaleidoscope of natural gemstones. POA, moraglione.com, shemer.co.za
THESE BOLD, HANDCRAFTED PIECES FROM DIVERSE CULTURES FUSE HERITAGE, SUSTAINABILITY, AND STORYTELLING IN STRIKING FORMS
COMPILED BY DEBBIE HATHWAY
1.The Vulcan drip earrings by Londonbased designer Emefa Cole channel the folklore of her Ghanaian childhood into sculptural, tactile jewellery crafted from recycled metals and ethically sourced African gemstones. She is the first Curator of Diaspora Jewellery at the Victoria and Albert Museum in the UK. POA, emefacole.com; straussart.co.za
SculpturedSTORIES
2. The Lalibela ring from the Antiquity collection by Anoqi celebrates ancient African architecture. Inspired by the 11 rock-hewn churches commissioned by King Lalibela to mirror Jerusalem, the piece pays tribute to a sacred site still revered by Orthodox worshippers in Ethiopia. $120, @a.noqi
3. Adele Dejak’s bold, sculptural jewellery (pictured on the model) blends Nigerian heritage, European influences, and Kenyan vibrancy. From hammered brass chokers to handcrafted rings, cu s, and pendants, each piece is meticulously crafted in Nairobi using recycled materials. These statement pieces channel African artistry into wearable art, creating powerful adornments worn by icons like Beyoncé. POA, adeledejak.com
4. Aymer Maria’s Malian Collection is inspired by SudanoSahelian architecture in West Africa. This Tené Edit ring is handcrafted in recycled 14kt yellow gold and represents infinity through a continuous chain of pyramidal forms, each identical in size. £1 580, aymermaria.com
5. Dedicated to South African icon Miriam Makeba, these handcast brass earrings by Zenzile Makeba are bold, memorable, and rich in West African influence. Each piece is handmade in support of African metalsmithing traditions and creative economies. POA, jewelscentssong.com
THE SPIRAL OF TIME
A modern-day memento mori, this bar is steeped in symbolism. Its form echoes the fossilised ammonite – one of Earth’s oldest timekeepers – and extends into a geometric portrayal of time itself, reminiscent of an astrological clock. It also features the pendulums of a grandfather clock and the arc of human evolution.
Three skulls anchor the design in Vanitas tradition – a reminder that legacy, not possession, is the true measure of wealth. A sundial crowns the bar, evoking ancient wisdom and sacred African timekeeping sites. Structured around the number eight and guided by the harmony of triadic philosophy, it unites science and soul.
The Spiral of Time is more than a design – it’s a philosophy. Wealth is not merely owned; it is inherited, evolving through time. It represents the continuum of African legacy, redefining itself with each generation.
A LEGACY FORGED IN PRECIOUS METAL
THE
SPIRAL SERIES FROM METCON INTRODUCES TWO LIMITED-EDITION MINTED BARS THAT CELEBRATE TIME, NATURE, AND WEALTH
In African design philosophy, time and life are never linear. They evolve. They return. They renew. This sacred geometry is the heartbeat of MetCon’s Spiral Series – two limited-edition minted bars, each a collectable work of art with a philosophical meaning.
“Africa’s wealth has to regain its Ancient spirit of sharing As the Spiral of Life and The Spiral of Time Do an undulation dance
With a clear message to Chase away hunger and poverty.”
Dr Nokugcina Mhlophe Spiral of Life, Spiral of Time
THE SPIRAL OF LIFE
From the same ammonite form –inverted and mirrored – the Spiral of Life tells a di erent story. Energy radiates outward: two male zebras locked in ritual combat, the African continent cradled below, and a surge of life-giving water flowing from the curve.
Here, vitality and resilience meet the call for environmental guardianship. Water – our most fragile, life-sustaining resource –takes centre stage, both visually and symbolically. Again, the number eight and the sacred power of threes harmonise spiritual, ecological, and numerical balance.
THE EVOLUTION OF AFRICAN WEALTH
Forged in gold, silver, and platinum and deeply rooted in meaning, these two distinct bars mark a new chapter in the African luxury narrative. They are stories cast in metal and statements of a new kind of wealth. MetCon is forging African wealth that looks forward without forgetting – a wealth that elevates not only individuals, but generations.
To own a piece of the Spiral Series, visit metcon.co.za/spiralseries or contact wealth@metcon.co.za.
IN THIS EXCLUSIVE INTERVIEW, GRAFF SHARES THE INSPIRATION BEHIND ITS HYPNOTIC 1963 JEWELLERY SUITE
IODE to the A DAZZLING ’ 60s
n the world of high jewellery, where artistry meets engineering and diamonds tell stories, few houses embody both legacy and originality quite like Graff. Now, with the new 1963 high jewellery suite that was unveiled at Paris Haute Couture Week, the brand turns back the clock to its own origins – while propelling its design language into the future.
In 1960, a young, ambitious Laurence Graff founded Graff Diamonds. It was an era that ignited revolutions in art and music, and a decade defined by liberation and self-expression – qualities that pulse through every curve of the collection.
“The creative energy and sentiment of the 1960s are apparent in 1963,” says François Graff, Chief Executive Officer (pictured above). “These qualities are brought to life in magnificent Graff diamonds and gemstones throughout the suite’s hypnotic, swirling patterns, which also pay tribute to the optical art that was popular during the period.”
The swirl of diamonds and gemstones in 1963 echoes those in Op Art, an artistic movement that inspired the cultural mindset at the time. Concentric ovals spiral with such precision, they appear to move. “Creating a visual rhythm is an inherent part of our design DNA, with fluidity being one of the defining signatures of Graff jewellery,” François explains. “Our artisans dedicate hundreds of hours to crafting each piece, setting every stone with precision so that each jewellery creation possesses a distinctive suppleness that is unique to Graff.”
This fluidity is not just an aesthetic flourish; it’s a technical triumph. As Sam Sherry, Graff Workshop General Manager, reveals, 1963 is among the most technically challenging collections the House has ever created. “Each design is exceptionally intricate, featuring many carats and multiple layers of diamonds and gemstones. The elements are connected using complex setting techniques, all carefully concealed from view, so the pieces remain flexible yet secure.” Hidden within each creation lies another secret – a delicate line of pavé emeralds visible only to the wearer or a close observer. “The element of secrecy is integral to our high jewellery philosophy,” says Sam. “These details capture the imagination and reveal our artisans’ savoir-faire.”
The ability to balance heritage with innovation is a hallmark of Graff’s evolution over the past 65 years. From a single London boutique to more than 70 stores worldwide, the House has grown into a global custodian of some of the world’s most famous and historical diamonds. Yet, despite its stature, the brand retains the close-knit, family-led vision that shaped its earliest days. “Everything we do is defined by excellence, and it is this passion for perfection that can be found across every facet of our business,” says François.
And while heritage guides the brand’s core values, they understand the importance of pushing boundaries. “As a family, we are constantly asking ourselves – what’s next?” With 1963, the answer is a testament to the power of the past and the future. It’s a collection that dazzles not only with its carats, but with its courage to redefine what high jewellery can be. graff.com
For more on the inspiration behind Graff’s 1963 collection, go to yourluxury.africa
Private Clients by Old Mutual Wealth offers holistic, bespoke solutions for high-net-worth clients, collaborating with specialists to create integrated plans that encompass investments, wealth structuring, tax efficiency, and portfolio management. This personalised approach sets them apart, supported by a strong track record in wealth and investment management. As part of a brand with nearly two centuries of heritage and decades of hands-on experience, they help individuals, families, trusts, and entrepreneurs navigate, grow, and protect their wealth across generations.
AT
AN INSPIRING EVENING, PRIVATE CLIENTS BY OLD MUTUAL WEALTH HONOURED SOUTH AFRICAN WOMEN WHO ARE SHAPING CULTURAL AND FINANCIAL FUTURES
wealthprivateclients.co.za
Stellenbosch: 021 861 5300
Newlands: 021 524 4678
Johannesburg: 011 245 3805
Pretoria: 012 369 7236
KZN: 031 767 7300
George: 082 823 2731
Against the backdrop of Strauss & Co’s auction space in Johannesburg, guests recently gathered for an evening of conversation and connection. Moderated by curator and Under The Aegis founder Anelisa Mangcu, the panel featured renowned visual artist Lulama Wolf, Khetiwe McClain, Executive Director at Strauss & Co, and Sarette van den Heever, Wealth Director at Private Clients by Old Mutual Wealth.
Whether in art or finance, women serve as custodians, carrying forward cultural, familial, and community narratives that shape identity. Khetiwe observed that barriers have been broken down: women are producing, buying, and marketing art at the highest levels, reshaping the entire industry in the process.
“It isn’t easy to leave a legacy. It’s done with generational understanding. You constantly have to prove your intention and remain truthful to it. For me, that truth is anchored in the histories, memories, and identities I carry. You need to understand where you’ve come from to know where you’re going,” said Lulama, speaking of the personal and historical threads woven into her work, describing art as a means of cultural preservation.
Drawing parallels with her work advising multigenerational families on wealth stewardship, Sarette described her role as running the family office, guiding clients from first-generation entrepreneurs to fifth-generation inheritors. Noting the unprecedented transfer of wealth into the hands of females, she said, “Traditionally, women weren’t part of investment and wealth transfer conversations. Today, we’re seeing women not only inherit but take ownership, putting their identity and purpose into the legacy they pass on.”
From the art market's perspective, Khetiwe has noted a sharp rise in female participation.
Over the past five years, Strauss & Co has seen a 150 percent increase in women buying art, with younger collectors entering the market. “We’re seeing more female collectors, and more platforms led by women. This changes the audience, makes the market less intimidating, and opens the door for new collectors to see art not just as a luxury, but as a meaningful investment,” she said.
“When women take ownership of their stories, they create enduring legacies”
With Private Clients by Old Mutual Wealth providing the platform, The Art of Legacy served as both a celebration and a call to action to consider how today’s creative and financial choices can leave a lasting impact for generations to come. As Sarette noted, “Legacy is not only about what you leave behind, but about the values, principles, and impact you live every day. When women take ownership of their stories – in art, in finance, in life – they create legacies that are as enduring as they are deeply personal.”
PRIVATE CLIENTS BY OLD MUTUAL WEALTH
The crystals arrived before the guests did. Quietly, over two years, they found their way into the space – not selected, but summoned. “You don’t choose the crystals,” says Tanya Lopes, Spa Manager at the newly opened Saxon Spa Steyn City. “They choose you.”
It’s a poetic beginning for a spa that was never meant to be ordinary. Here, each treatment room bears the name of a crystal – Celestite, Malachite, Citrine –with the actual stone placed in the space to anchor energy and set intention. “Every detail has meaning,” says Tanya. “Even the salt lamps and room layouts are designed to cleanse and protect. My background is in psychology and healing, so the energy of a space matters.”
Spread across 1 400m² and two spacious levels, Saxon Spa Steyn City is one of the largest wellness destinations in Gauteng. And with this new chapter came innovation. “This wasn’t just a project,” says Tanya. “It was a purpose – it had to feel intuitive.”
Located within Steyn City’s Clubhouse Precinct, the Saxon Spa is the first to open outside of the famed Saxon Hotel, Villas and Spa in Sandhurst. Designed by Amanda Elliott and Matthew Fogg of Design Collective, the architecture mimics nature’s flow – soft curves, warm whites, and leafy greens echo the estate’s surrounding parkland. The elements of water, fire, earth, and air are also subtly woven into the spa’s identity, inviting guests to surrender to stillness.
In addition to renowned treatments like the Soul by Saxon Signature Journey and the Digital Detox, guests can experience Quantum Harmonics VibrAcoustic wellness journeys, something entirely
WELCOME TO JOHANNESBURG’S NEW LUXURY WELLNESS SANCTUARY
Inside the SAXON SPA STEYN CITY
new to the continent. The first of their kind in Africa, these sessions blend ancient meditation practices with cutting-edge sound therapy.
As guests recline in luxurious, lounge-style chairs with a headset, specific vibrational frequencies pulse through the body, encouraging deep relaxation and balance. The experience is enhanced by sounds of nature set to the right resonance, creating a calming atmosphere that gently guides the mind and body into harmony.
But the magic goes beyond the treatments. The spa is a multisensory experience, rooted in connection. Chandeliers, handcrafted by environmental artist Stephen Pikus using recycled glass collected by local street pickers, hang in each room. The bespoke mosaic work in the hydrotherapy area was created by local artisans, while each superfood powder and juice blend served in the spa’s wellness lounge is chosen for purity and impact, all enjoyed from its unique location overlooking a water feature.
WIN
“This space isn’t just about pampering,” Tanya reflects.
“It’s about returning to yourself, to nature, to what really matters.”
saxon.co.za
THE ULTIMATE PAMPERING EXPERIENCE
Stand a chance to indulge in the luxurious Himalayan Signature Package, VALUED AT R5 240
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When the tomb of Egyptian Pharaoh Tutankhamun was discovered in 1922, it ignited a fascination with Egypt that swept across the Western world. Along with the freedom of the Jazz Age, Egyptomania gave life to motifs that would soon become the hallmarks of Art Deco – hieroglyphics, pyramids, scarabs, and serpents – woven into bold, streamlined designs. By 1925, these elements had found their place in architecture, decorative arts, fashion, and popular culture. That same year, AfricanAmerican performer Josephine Baker captivated Parisian audiences in La Revue Nègre, a jazz-infused musical that first showed at Théâtre des Champs-Élysées, further entwining African culture with Art Deco expression.
AS ART DECO CELEBRATES A CENTURY, PETRA MASON EXPLORES ITS AFRICAN INFLUENCES – FROM PHARAOHS AND JAZZ TO AFRICAN SKYLINES – AHEAD OF THE 17TH WORLD
CONGRESS IN PARIS
ART DECO 100
YEARS
OF
Characterised by sleek lines, geometric patterns, stylised forms, and the lavish use of pattern, colour, and opulent materials, Art Deco emerged as a ‘total style’ that crossed many disciplines, from architecture and interiors to fashion and accessories. Drawing inspiration from Africa, the Middle East, Asia, and Mesoamerica, the popular movement celebrated futuristic streamlining, verticality (think skyscrapers), and the liberal use of ornamentation in the form of bold geometric shapes and patterns, zig-zags, chevrons, and sunbursts. Vivid, vibrant colours were favoured by architects, as was the use of precious metals, stone, chrome, and ebony.
Patricia Mears, Deputy Director of The Museum at FIT (Fashion Institute of Technology, New York), explains: “Works in the Art Moderne – or Art Deco –style were a pitch-perfect blend of modernism and innovation, executed with the highest level of craftsmanship and materials. Even though it was an expansive style that incorporated historical European and non-Western elements, Art Deco was also so perfectly distilled that it is instantly recognisable. No wonder we remain enamoured with works made during this golden age.” Patricia, a passionate Deco proponent, has extensively researched the style for her forthcoming book on interiors, commissioned by leading female fashion creators. “For the record, I love the fashion and decorative arts of the interwar years more than any other period,” she adds.
Art Deco enthusiasts don’t need to look to hard for inspiration. Baz Luhrman’s The Great Gatsby, based on F. Scott Fitzgerald’s 1925 literary classic, offers a visual blueprint of the era. Exquisite Deco details can also be found in Agatha Christie’s works; the much-loved detective Hercule Poirot has become an Art Deco icon in his own right – all the way down to his walking stick.
OUT OF AFRICA
Around the world, Art Deco Societies are preparing for the 17th World Congress on Art Deco – the global centennial event taking place in Paris this October. South Africa played host back in 2003, when Cape Town welcomed delegates to explore its Deco treasures. One such structure is the gold-leaf gilded Mutual Heights – a heritage building in the CBD formerly known as the Mutual Building. Now a residential conversion initiated by architect Robert Silke, the 1940s graniteclad building has a facade of sculptures portraying stylised scenes of indigenous African cultures, chiefs, tribesmen, farmers, explorers, and wildlife. This was designed by South African artist Ivan Mitford-Barberton and crafted locally in stone by Italian artisans Lorenzi and Brothers.
Architectural firm Robert Silke & Partners is adding more Art Deco curves to Cape Town’s skyline through building projects such as Dolce Vita Sea Point, The Tropicana Hotel, Tuynhuys, Holyrood, and The Flamingo. “We’re still modernist architects in that our practice wants to imagine a world where modernism was not a revolution against decorative beauty, but rather an iterative evolution that retained the best traditions of decorative form-making. In doing so, we seek to pick up where Art Deco left off,” says Robert.
CLOCKWISE FROM LEFT: Tuynhuys building; Interior details of development; The Flamingo; Holyrood apartment building –all in Cape Town
OPPOSITE, FROM LEFT: Les Palmiers smoking room from the residence of Mademoiselle Colette Aboucaya in Paris; Joburg’s Ansteys Building by Fiona Pole; Paul Poiret evening dress circa 1926; Ensemble at FIT circa 1929; Crystal Birch Bae Beret
ABOVE: Bird motifs on Broadwindsor apartment building Durban
RIGHT: Durban’s Berea Court
AFRICA’S MIAMI
Often referred to as ‘the Miami of South Africa’, the Durban Art Deco Society’s Michael Mulholland tells me that KwaZuluNatal’s Durban has more than a hundred significant Art Deco-style buildings. “Buildings in Durban include symmetrical facades reaching to the sky with stuccodecorated pilasters, as well as streamlined shapes with curved balconies, portholes, and flagpoles. An added feature in Durban is the local motifs such as eagles, lions, or fish in the decorations. Apart from the big city-centre buildings, the style was also adopted by Indian merchants for their humbler shops in the commercial area,” notes Michael.
ART DECO ON THE VELD
Setting the scene for Art Deco in Johannesburg is Professor Kathy Munro, Chairperson of the Heritage Association of South Africa and Vice Chair of the Johannesburg Heritage Foundation. “Johannesburg’s inner-city Art Deco is extraordinary,” she says. “It clusters around a very short period – roughly from the take-off of the South African economy and greater confidence in Johannesburg as the hub of South Africa’s mining industry. This post-Great Depression period (1933–1939) saw Johannesburg blossom with the creative talent of architects and architectural practices, leading to the erection of many fine buildings using the latest concrete and structural engineering technology to enable buildings to rise skywards – the skyscrapers of the city.”
An Honorary Visiting Professor at the School of Architecture and Planning at Wits, Kathy, now 80, lived in Art Deco Joburg. “The city emulated New York in its aspirations during this period. What is unique and remarkable for Joburg is that in a short period of time – a mere six to 10 years – the city was rebuilt and reborn, abandoning Edwardian styles,” says Kathy. “It is equally remarkable that so many of these buildings still remain – Ansteys, Manners Mansions, the Barbican, Canada House, Ottawa House, Chrysler Building, Normandie Court, Anglo American HQ, Clegg House, and the Union Castle building. Enough Art Deco buildings remain to excite and celebrate,” she adds.
“Art Deco emerged as a ‘total style’ that crossed many disciplines”
Brian Kent McKechnie, a Johannesburg-based heritage architect, has some favourites in the City of Gold. “The Anglo-American Building at 44 Main Street, designed by Burnett, Tait, and Lorne in 1937. It’s more stripped-down neoclassical than pure Art Deco, but it certainly has Deco elements. Ernest Oppenheimer didn’t want a building that was overly influenced by the fashion of the time, but rather one that was more restrained and wouldn’t date as tastes changed,” says Brian. “The building has decorative panels in sandstone depicting African fauna and flora – including elephants, rhinos, giraffes, buck, and blue cranes, as well as proteas and sea creatures. It is an exceptional design. The decorative panels were chosen to depict the riches and abundance of the African continent,” he adds.
TOP RIGHT: Joburg’s Rosebank Catholic Church
LEFT & BELOW LEFT: Details on the Anglo American building in Johannesburg
RIGHT: Art Deco window details on a building in Springs
HOLLYWOOD ON THE VELD
Johannesburg’s Carlton Centre finds itself the star of Ted Botha’s recently published book, Hollywood on the Veld Set in 1913, he recounts a story about I.W Schlesinger, an American business tycoon known only as I.W., who built a film studio in the City of Gold. He says, “I read somewhere, and it could be no more than legend, that the secretive American millionaire known as I.W. introduced Art Deco to South Africa, the same way he did big movies, the first traffic light and the American drug store. But given his inclination to bring new, and often outrageous ideas to South Africa, it's not entirely impossible.” ■
THE JOURNEY STARTS WITH YOU
FOR THESE THREE JOBURG CREATIVES, DESIGN IS NOT ABOUT FILLING A ROOM WITH FURNITURE AND ACCESSORIES – IT’S ABOUT SHAPING EXPERIENCES, STORYTELLING,
AND LIVING INTENTIONALLY WORDS LERATO TSHABALALA
If a space is a blank canvas, then Donald Nxumalo, Bilala Mabuza, and Daniela da Rocha are three distinct brushstrokes shaping South Africa’s interior design story. Donald blends urban elegance with bold sophistication; Bilala creates cocoons of memory through scent, texture, and ritual; while Daniela fuses European heritage with contemporary luxury, designing sensory, intentional spaces.
Though their styles di er, they share a philosophy: design is a dialogue between people, place, and purpose. A room must tell a story – one where the inhabitants see themselves reflected in every detail.
Their work breathes with intention. Texture, light, and colour are chosen not just for beauty, but for meaning. These designers are more than creators of beautiful rooms –they are storytellers, alchemising interiors that elevate the everyday and leave a long-lasting emotional imprint.
DONALD NXUMALO
DONALD NXUMALO INTERIOR DESIGN
In a city where glass towers meet heritage facades, Donald’s interiors feel like the perfect handshake between past and present. His spaces are bold yet thoughtful, rooted in African-urbane elegance that honours history while embracing the new. That duality has defined his rise from Pretoria local to one of South Africa’s most recognisable design voices.
Born in Tshwane, Donald studied design at the Tshwane University of Technology and founded DNX Interior Design in 2012. “My parents let me paint my floors with a stencil and paint my bedroom walls black whilst still in high school. They didn’t really understand, but they gave me the space to express myself boldly,” he says.
From modest beginnings, he built his brand, winning the SABC3 reality design competition Win A Home in 2014 – a turning point that elevated his profile and allowed him to launch his studio in Kramerville. In the early days, he served small businesses and balanced ethical practice with creative flair. His practice centres on “value, longevity, and sustainability,” and is described as “functional, beautiful, and dramatic.”
Donald’s design philosophy hinges on collaboration and empathy. “The client must see themselves in what I bring together,” he says, describing his process as a vessel for the client’s vision. This intuitive, respectful approach has drawn clients ranging from celebrities to consular homes, boutique hotels, and gallery-like o ces across Africa. “Clients are attuned to the fact that they can call us before they even build the house and we can be involved in the construction of their home,” he adds.
of LIVING the ART
Projects such as his heritage-hometurned-studio in Parktown reveal his genius for marrying old and new. Donald recounts: “While the house is heritage, one could ask oneself, whose heritage? We were able to influence and imbue our own heritage (…) to put my own stamp on what heritage means to me.” The space balances original architectural details – like exposed brickwork – with contemporary inserts, fluted glass doors, and elegant boardrooms, paying tribute to both lineage and modernity.
Donald’s career isn’t only about gorgeous interiors – it tells a story of his mom being one of his first clients, of winning a national platform, establishing a firm, and becoming a design figure of significance across South Africa… and beyond. “Winning the Designer of the Year in 2024 from the Department of Arts and Culture meant I was being seen as someone who has made an impact on our local design stage,” he says warmly. donaldnxumalo.africa
BILALA MABUZA
COCOON
LIFESTYLE STUDIO
Step into one of Bilala’s interiors and you’ll immediately see that her work is intentional and deeply personal –a living archive of memory and style inspired by the women in her family. For her, design is about creating elegant and embracing spaces.
Bilala Kanye Mabuza is the Creative Director, Designer, and Curator behind Cocoon Lifestyle Studio based in Johannesburg’s Steyn City. “Cocoon Lifestyle is a love letter to two remarkable women who raised me; my grandmother, Mme Masoenki Kanye – now 102 years old and a strong creative influence in my life – and my dear mother, Masechaba Kanye – an educator who celebrates family milestones,” she says, emphasising how they both taught her that homes are sanctuaries for memories.
Her years in the corporate and retail sectors instilled both strategic acumen and a talent for building meaningful relationships. “This helped me navigate the complexities of running a design studio and equipped me to engage with clients confidently and effectively,” explains Bilala. “The business of design is just as important as the creative outcome,” she advises.
“Design is memory,” she says of her philosophy. Her studio was inspired by childhood flavours – cinnamon, aniseed, vanilla, mint –layered into scent and material choices. “The studio is more than just a workspace; it feels, smells, and sounds like a fond memory with flowers and art. There’s always a candle burning a scent when I’m around.”
Her accolades speak volumes: she took home both the inaugural Woman in Design and Designer of the Year awards at 100% Design Week and Decorex 2025. Yet for Bilala, the greatest reward is the moment a house becomes a home, when clients gather in spaces she’s created and linger there naturally.
“By taking the time to understand who our clients are, we craft bespoke spaces that resonate on a personal level,” says Bilala. For her, an especially meaningful project was when a client’s 14-year-old son stepped into the design journey after his mother relocated – showing how design can evolve with life’s unexpected turns.
Bilala’s work bridges interior design, product curation, and retail. Through Cocoon Maison, she sources furniture, art, and objets, and is preparing a summer furniture collection infused with bold energy and form. “I don’t necessarily follow set rules in design, even though I understand that scale and proportion matter. I like to experiment, and prefer asymmetry with an appreciation for form, materials, texture, and some negative spaces with unexpected moments,” she says.
The design principles that guide her creative process? Bilala is not a fan of rigid rules, but rather values form and texture, and surrounds herself with items she loves that infuse her spaces with life and meaning.
Her digital presence, particularly on Instagram, is an extension of this: sharing work, connecting globally, and archiving creative stories in real time. “I love living with art, and the temporary nature of beautiful flowers reminds me not to take anything for granted.” cocoonlifestyle.co.za
DANIELA DA ROCHA
DA ROCHA INTERIORS & ATELIER
“Coming from a family that owns its own interior and furniture design company, Da Rocha Interiors, I already had the foundation to succeed in the industry,” says Daniela, Creative Director and Stylist at Da Rocha Interiors & Atelier, a family-run Johannesburg studio known for handcrafted luxury furniture and bespoke turnkey interiors. Her Portuguese roots in furniture craftsmanship, combined with formal training in Interior Design, Architecture, and Decorating from DVR Design Academy, feed her design sensibility.
In Daniela’s world, luxury is never loud – it’s a quiet confidence built from precision and an instinct for balance. She approaches each project like a conductor assembling a symphony, where lighting, texture, and proportion work in harmony to create interiors that feel effortlessly composed yet deeply considered.
Known for her signature “neutral palette with black and brass detailing,” Daniela weaves muted tones with rich textures and clean lines to create luxurious tranquillity. Her design philosophy encapsulates calm, balance, and timeless elegance.
One memorable collaboration was with interior designer Dorothy Van’t Riet during design school, where she was mentored early in her career. “This experience led to our collaboration on an exceptional Italian villa project, which was later featured on Top Billing,” she says.
“My design philosophy centres around creating calm, balanced, and timeless interiors that blend African grace with simplicity and European luxury,” she says.
Daniela fuses her heritage with contemporary workmanship, sensory richness, and incredibly high-quality finishes. Her brand is synonymous with curated sensory experiences – from furniture to lighting, fragrances to decor –delivered via a full turnkey service.
Her approach is holistic. “We work closely with our clients to understand their lifestyle, values, and vision,” she explains, meaning every detail – from layout to texture – works in harmony to create beautiful, personal environments. Daniela thrives on projects where the designer handles every stage, from concept to final styling. “I truly enjoy working on new turnkey solution homes (…) bringing a blank canvas to life, creating cohesive, move-in-ready spaces that reflect the client’s vision while ensuring every detail is thoughtfully considered,” she says.
Daniela notes, “One of the biggest misconceptions about interior designers is that their role is purely aesthetic-focused, making spaces look beautiful. In reality, interior design is a highly strategic and technical discipline that balances form with function.” darocha.co.za ■
DE TINATION D E S I G N
VILLA MABROUKA
TANGIER, MOROCCO
British designer Jasper Conran may have bought Yves Saint Laurent and Pierre Bergé’s Tangier holiday home on a whim, but he instantly knew he was going to transform it into a small hotel – one that would not only honour the home’s eclectic nuances but also seduce travellers with its understated glamour.
On reflection, Jasper said that the sensation of coming off Tangier’s narrow, bustling streets into the villa’s shady courtyard “full of banana and palm leaves before emerging into an oasis of big, sweeping lawns and an incredible garden looking out to sea,” could be likened to a feeling of being in paradise. And indeed, sitting under lime green umbrellas by the pool amongst rows of pink hydrangeas and bougainvillaea, or sipping sunset negronis on the rooftop terrace, feels utterly sublime.
Overlooking the Strait of Gibraltar and the North African Sea, and set in one of Tangier’s largest – and lushest – gardens, Yves originally wanted the home to reflect his childhood days in Oran, Algeria. “The theme was an eccentric 1950s Englishman who had come to live in Tangier,” says French interior designer Jacques Grange, who worked closely with the fashion icon on the home. “Yves wanted chintz and one colour per room. It was like decorating a house for characters out of a play by Tennessee Williams.”
EXPLORE THE DYNAMIC DESIGN AND CURATED AESTHETICS OF THREE UNIQUE AFRICAN HOTELS THAT WILL STEAL YOUR HEART WORDS LEIGH HERRINGER
“You are walking into a Mediterranean house with the gentle nuances of Morocco”
While Villa Mabrouka – which means “house of luck” – needed infrastructure upgrades, Jasper painstakingly preserved the look and feel of the original home, with meticulous details echoing the clean lines and simplicity of its 1940s architectural narrative. He describes himself as a custodian of the house, while infusing it with “the quiet eccentricities and traditional service of an English country house, and the yesteryear romance and magic of the Riviera’s golden era of travel in the early 20th century”.
Nine new buildings were developed on the property before it opened in 2023.
The hotel’s 12 suites retain their original layout, ceilings are still as high, and handmade tiles have been put back to good use. The colour palette masterfully balances shades of ochre, green, and dusty pink with crisp white – serene yet somewhat daring. Depth and texture shine through layers of Mauritanian rugs and embroideries, mother-of-pearl marquetry, velvet slipper chairs, and details like midcentury lamps and Venetian sconces, quirky trinkets, and Roman mosaics. The custom-made furniture, tableware, and linens were designed by Jasper and made locally in Morocco.
New restaurants and a bar have recently opened at the hotel, along with three exquisite pavilions for private dining. The menus, like everything else at Villa Mabrouka, reflect its beauty and its colourful past. “My aim was to protect the magic of both the house and its ravishing gardens,” Jasper says. “It has been a conservation and preservation project as much as a design one.” villamabrouka.com
RITZ CARLTON
MASAI MARA SAFARI CAMP, KENYA
Ritz Carlton’s new Masai Mara Safari Camp – an ultra-luxurious lodge set among the treetops along the banks of the Sand River – is the hotel group’s first venture into the luxury safari space. Having opened this August, it marks a new chapter in design-led safari hospitality.
Tasked with bringing this vision to life, international firm LW Design Group – known for creating some of the world’s most iconic destinations – used biophilic principles to seamlessly blur the lines between lodge and landscape, sophistication and authenticity. “Every stitch, every surface, every spatial gesture is part of a larger narrative,” says Pooja Shah-Mulani, Creative Managing Partner at LW Design. “We’re not building lodges on the land; we’re building stories with the land.”
The camp was purposely elevated three metres above the ground to protect against seasonal flooding and limit impact on the land, while providing canopy-level vantage points. Each of the 20 suites delivers an immersive safari experience, with sunken lounges, private plunge pools, and indoor-outdoor bathrooms. Roll-up canvas walls invite natural light inside, along with the birdsong and sounds of the wild, blurring the line between interior and landscape.
Every piece of furniture and joinery was made locally; textiles were woven on hand looms by artisanal women, and Kenyan artistry is on display throughout the lodge. Solar power and rainwater harvesting systems also ensure minimal impact on the natural environment.
With a subterranean wine cellar and an elevated stargazing deck, dining experiences have also been carefully considered within the design language of the Masai Mara’s newest safari sanctuary. Masai Mara Safari Camp is a prime location to see the annual Great Migration – and can be captured on complimentary Canon cameras that are available for use during stays. ritzcarlton.com
“We’re not building lodges on the land; we’re building stories with the land”
GRAYS EDEN SANCTUARY
MAUN, BOTSWANA
Arriving at Grays Eden Sanctuary in the dusty outpost town of Maun feels like stepping into a lush oasis on a scorching day – it restores balance and calm. This is exactly what the owners, Sam and Sandrine Morris, envisioned when they purchased a piece of land overlooking the Thamalkane River, in partnership with Ker & Downey Botswana, which manages and markets the property.
“Grays Eden holds a very personal meaning for us. The name is inspired by our two children, Grayson and Charlotte Eden. We wanted it to reflect a peaceful, beautiful paradise where guests can feel at home,” says Sam.
The first luxury boutique hotel in Maun, Grays Eden serves as a gateway to the Okavango Delta, and lounging by the 12-metre pool built into the cliff face overlooking the river, is a delicious taster – and a sweet ending – for travellers heading to and from their safaris.
With just five villas and seven cottages, guests are enveloped in a sense of luxury that is gentle, understated, and soothing. “The aesthetic blends soft, minimalist modernity with organic, natureinspired forms,” says Walter Smith, Sales Director at Ker & Downey Botswana. “It’s an open, peaceful ambience that mirrors the sense of space found in the African wilderness.”
High thatched ceilings and tall archways add volume and flow, while expansive windows fill the rooms with light and air. The interior palette is a calming blend of light blues, soft whites, and natural browns coupled with wood and wicker. A spacious veranda features a white latte ceiling and laid-back furnishings dotted with pops of fuchsia bougainvillaea. Another key design point at Grays Eden is the incorporation of the five elements, whether dining riverside by the fire, tasting wines in the private cellar, or surrendering to the spa.
“The sanctuary’s design intentionally nurtures all senses and fosters balance: the light-filled spaces, gentle curves, and organic materials evoke calm and inspire a true feeling of escape,” says Walter. “It’s the contrast of refined luxury and organic beauty that stays with our guests long after their journey ends,” he adds. grayseden.com ■
SUGARBAKERS INTERIORS TRANSLATES VISIONS INTO TIMELESS SPACES ACROSS THE GLOBE
TIMELESS DESIGN by
Some interiors make an impression. Others make you feel. For more than 30 years, Sugarbakers Interiors has been designing spaces that linger in memory and reflect the personalities of the people who live or work in them.
Founded in Johannesburg in 1994, this boutique design studio has quietly earned an international reputation for bespoke, deeply personal interiors. Their work spans continents – from Australian beachfront homes and Middle Eastern desert escapes to boutique safari lodges in Botswana and, most recently, a luxury ecoresort in the heart of India.
At the helm are visionaries Andre Meeuwis and Jas Jhol (above right), whose philosophy is simple: great interiors aren’t just seen, they’re experienced.
For Jas, the creative spark always begins with immersion. “We start by listening to the client’s stories of travels, or of their happy spaces.
Understanding our clients is crucial because, at the end of the day, the space and vision must belong to them. We only act as translators of their vision.” This means not only understanding their personality and lifestyle, but also absorbing the spirit of the project’s setting by spending time exploring its history, architecture, and daily life, engaging with local artisans, and observing how people interact with their surroundings. “Our aim is to respect and celebrate the cultural narrative while infusing it with our design expertise, so that the final space feels both authentic and timeless,” Jas adds.
In a world where trends rise and fade at speed, Sugarbakers takes a more considered approach.
“Global trends provide inspiration, but they are never the starting point,” says Andre. “We generally advise our clients not to follow a trend in its totality. We see them as something to draw from selectively, ensuring they don’t overpower their whole vision.”
For Sugarbakers, every project has a narrative. “Storytelling is at the heart of our work,” Andre adds. “We translate these into tangible design features: textures that evoke a landscape, colour palettes inspired by travels, or bespoke details crafted by regional artisans, weaving in contemporary influences that enhance the space’s relevance and luxury appeal.”
This philosophy allows them to create interiors that remain rooted in place; spaces that endure in style and substance.
“When a guest steps into one of our spaces, we want them to feel the story – to sense the journey, the thought, and the emotion behind every detail,” says Jas. “It’s this narrative depth that transforms a beautiful space into a memorable experience.” sugarbakersinteriors.com
SEPTEMBER AUCTIONS
Modern and Contemporary Art, Photography, Mid Century Modern Furniture and Design, Luxury Bags and Accessories, and Jewellery
Evening Sale: Modern and Contemporary Art
Tuesday, 16 September 2025 at 7pm 2nd floor, Brickfield Canvas, 35 Brickfield Road, Woodstock, Cape Town
www.straussart.co.za
Tretchikoff, Masai
a suite
LUXURY GOES ECO-CONSCIOUS AS FASHION, LEADERSHIP, AND FEMALE EMPOWERMENT INTERSECT AT THE SUITE STANDARD SUSTAINABILITY SEWN-IN WOMEN'S EVENT, HOSTED BY STANDARD BANK
As part of its philosophy to champion sustainable female education and leadership, as well as support South Africa’s creative industries, Standard Bank is hosting The Suite Standard Sustainability Sewn-In women’s event in Cape Town. The highly anticipated gathering takes place on 11 September at the Zeitz MOCAA Museum, and while it promises to be a celebration of style and glamour, it also amplifies bold ideas that need to be heard.
“In my mind, the conversation about sustainability is something we, as women, need to own,” says Marilyn Maki, Head of Corporate and Investment Banking Cape Regions. “We have to find pockets of the things we can design and influence as they will lead to sustainability.”
and sustainable leadership, which is supported by Standard Bank’s successful campaign and podcast series, Why She Leads
While networking with some of South Africa’s most dynamic and influential women, guests will experience farm-to-table cuisine at immersive food stations where local, seasonal flavours and artisanal craft take centre stage.
“The conversation about sustainability is something we, as women, need to own”
The highlight of this collaboration between Standard Bank and YourLuxury Africa is a fashion showcase featuring the latest collections by South Africa’s top designers, all of whom are committed to sustainability practices without compromising on style or sophistication.
On arrival, guests will be welcomed by an ambient cocktail setting. This will be followed by talks on sustainable education, focusing on Oprah Winfrey’s Leadership Academy for Girls,
From curated talks and mindful design to gourmet food and fabulous fashion, the event is not only a celebration of women, but a pledge to nurture female talent and leadership, to drive change, and turn visionary ideas into tangible impact.
From aspiring actress to finance powerhouse, read our interview with Marilyn Maki at yourluxury.africa
VIVIERS
Renowned for its artistic, conceptual, and earth-conscious collections inspired by the origins of mankind, VIVIERS has fast become one of South Africa’s most dynamic fashion labels. Launched by designer Lezanne Viviers in 2019, the brand celebrates the luxury of local raw materials and how they are reimagined by craftspeople into signature collections. From its Glasshouse atelier in Johannesburg, clients can co-create capsule wardrobes that are tailored to their lifestyle and personality, or acquire pieces from bi-annual exhibitions, limited edition, ready-to-wear, and signature ranges. viviersstudio.com
EUROPA ART
Europa Art has been synonymous with luxury designer footwear in South Africa for more than 50 years, and is renowned for its impeccable quality, innovative design, and commitment to style. Specialising in handcrafted Italian and Brazilian footwear, each collection merges timeless sophistication precision detailing, becoming a work of art. In addition, the brand also o ers a curated selection of bags, belts, and accessories, completing true expressions of style in all seasons. europaart.co.za
fashion purpose with
MAXHOSA AFRICA
With showrooms in Johannesburg, Cape Town, and New York, luxury fashion house MAXHOSA AFRICA by Laduma Ngxokolo celebrates contemporary African style and a heritage that’s rooted in South Africa’s Xhosa culture. The brand’s distinctive patterns draw from traditional beadwork that is rich in colour, symbolism, and cultural meaning. Also inspired by broader African aesthetics, each collection blends historical motifs with bold silhouettes and unexpected colour combinations that are crafted by skilled artisans, redefining the continent’s place in the global luxury space. shop.maxhosa.africa
MORS DESIGN
A small, black women-owned fashion brand, Mors Design’s colourful and chunky mohair garments are handcrafted by skilled female artisans living in townships across Cape Town. Since its inception in 2015, the brand has championed eco-ethical and sustainable slowfashion practices. The mohair is sourced locally from the Karoo, and each piece is created using techniques that have been preserved through generations, weaving skills development, job creation in local communities, and distinctive character into each garment. morsdesign.com
GERT-JOHAN COETZEE
From humble beginnings to the world’s fashion capitals, Gert-Johan has always believed that dreams are not only stitched from fabric, but from imagination, perseverance, and heart. After graduating as the top student from design school, he launched his label in 2010 and has since established himself as a leader in South African luxury fashion, empowering future generations with his bursary programme. Gert-Johan has collaborated with Disney, dressed local celebrities like Bonang Matheba and Hollywood stars like Oprah Winfrey, and debuted at London Fashion Week in 2024. Earlier this year, he unveiled The Arrival, a groundbreaking – and his most personal – collection. shopgert.com
KIRSTEN GOSS JEWELLERY
After studying jewellery design at the University of Stellenbosch, Kirsten launched her eponymous jewellery brand in London in 2002. Soon recognised for her bold, sculptural designs, she was invited to Buckingham Palace to meet Queen Elizabeth II – a career-defining honour. Over two decades later, Kirsten Goss Jewellery has evolved into a multi-store luxury business with locations in Cape Town, Johannesburg, and Durban. A creative entrepreneur with an unwavering commitment to craftsmanship, the brand is entering a powerful new chapter of art-led fine jewellery collections that blur the line between sculpture and adornment. kirstengoss.com
meet designers the
RUBICON
Established in 2002 by Founder and Creative Director, Hangwani Nengovhela, Rubicon is one of South Africa’s most iconic fashion brands and an internationally recognised label tailored for the modern woman. Synonymous with sophistication and subtle opulence, each collection combines African silhouettes with a global style that’s not only seasonal, but transitions e ortlessly from day to night. Honoured with prestigious accolades including the Mbokodo Award for Women in the Arts, Rubicon also inspires community upliftment, having sponsored matric dance dresses for underprivileged girls. rubiconclothing.co.za
CAPE COBRA LEATHERCRAFT
Cape Cobra Leathercraft is a third-generation, womenled family business producing luxury handbags and accessories from sustainably sourced speciality leathers. Founded in 1972, it is Africa’s longest-standing luxury leather goods atelier. Creative Director and CEO Justine Schäfer joined the company 15 years ago after completing her fashion design studies. She spent several years working in the atelier where she learnt what it takes to produce exquisite heirloom pieces that are ethically sourced and handcrafted using intricate, age-old techniques that preserve the brand’s core values of quality and timelessness. capecobra.com
At first BLUSH
Designing a home is intensely personal – even more so when your life unfolds in the public eye.
For Real Housewives of Dubai star Caroline Stanbury and her husband, Sergio Carrallo, the challenge was to create a space that balanced polish with personality, and glamour with liveability.
Caroline, a British fashion entrepreneur, podcaster, and former stylist, and Spanishborn Sergio, a former pro footballer-turneddigital-marketer, turned to Kate Instone, founder of Blush International, a design studio known for interiors that favour soul over spectacle. With a reputation for emotionally intelligent design and an unwavering attention to detail, Blush creates spaces that reflect real lives, not just aspirational lifestyles. No two Blush homes ever look – or feel – the same.
Tucked away in Dubai’s lush Al Barari estate, the villa is more than just a screen-ready backdrop. Off-camera, it’s a layered, lightfilled sanctuary where considered design supports the way the couple lives. At its centre is a striking glass-lined courtyard with a monumental bonsai tree that had to be airlifted into position. It serves as both a focal point and a filter, creating spatial hierarchy with a nod to traditional Arabic architecture.
“I’ve been good friends with Caroline since our days in London, so I already had a strong sense of her personality and preferences,” says Kate. Their shared London background – where fashion, design, and high-profile connections cross paths – laid the foundation for their seamless creative partnership.
“Caroline was determined not to fall into the trap of designing for others’ expectations. She wanted her home to be unpretentious, personal, and connected to her own tastes and lifestyle.”
The brief was clear: a contemporary, lightfilled home with a strong connection to nature. “Nothing you see in this home today is an original feature,” explains Caroline. “The only thing we said to the team was not to touch the plants growing by the lake. I wanted it to feel like a jungle, and that is so refreshing in Dubai.”
For Kate and her team, the challenge was translating Caroline’s cosmopolitan glamour into a luxurious, liveable space. “Caroline is a dream client – she designs from the heart, and if she loves something, she embraces it,” says Kate. “Rather than following a rigid aesthetic, the space evolved as a curated collection of pieces that hold meaning for her… glamorous and cosmopolitan, much like Caroline herself, but there’s also a refreshing honesty and warmth to it.”
Caroline’s favourite space? “I’m obsessed with the master suite. It’s more than a bedroom –it’s a whole mood. Kate just got me. I love that I can go from glam in the dressing room to recording a podcast in my own private space, then wind down in the spa-like bathroom with its floating platform and view.”
The master suite, created by transforming the entire second floor, was one of the project’s most ambitious undertakings. “It wasn’t just about creating a bedroom; it was about crafting a sanctuary that supports Caroline’s lifestyle and career,” explains Kate.
“We used pink onyx and motherof-pearl in the steam room with hidden storage throughout –balancing luxury with practicality,” Kate explains. “The colour palette was carefully considered: soft pinks mixed with warm natural woods and beige tones, creating a space that feels both feminine and masculine, glamorous yet grounded. It’s a space that feels entirely her – and that’s what I’m most proud of.”
Caroline’s design choices reflect her bold aesthetic.
“I love how bold we went – the purple media room, the geometric marble floors, the punchy colour combinations. It’s all so me: glamorous, unapologetic, but totally liveable,” she says.
One early surprise that grew on her? “The wallpaper in the media room. At first, I wasn’t sure. But Kate was confident, and I trust her. And now I love it. It adds this unexpected richness and depth.”
“I’m obsessed with the master suite. It’s more than a bedroom – it’s a whole mood”
The geometric floor was one of the few non-negotiables from the start – and a design challenge for Kate. “Achieving symmetry and flow in a floor design like this requires technical precision,” she says. “We had to work meticulously to adapt the pattern so it aligned seamlessly. In the end, the floor became a powerful anchor for the entire design.”
When asked about the creative process, Caroline emphasises trust and mutual respect. “Kate didn’t try to dilute my ideas – she elevated them. It was a true collaboration. I would throw out wild ideas, and she’d find a way to make them not only work, but look effortless and elegant.”
Beyond her high-profile clients, Kate thrives on projects that challenge and inspire. “Designing and creating my own home has been one of the most memorable and creatively fulfilling experiences of my career,” she says. “It was an incredibly complex project architecturally. I had a very clear vision, and through sheer determination, we made it a reality.”
It is this unwavering clarity that makes Blush International shine in the world of luxury design. From Dubai to Bali, and in private homes across Europe, Kate’s work stands as a reminder that true luxury is less about show, and more about soul. @kate_instone_blush_int ■
IN A DESIGN LANDSCAPE INCREASINGLY AFFECTED BY ALGORITHMS AND FLEETING TRENDS, A NEW GENERATION OF AFRICAN DESIGN STUDIOS IS RESHAPING THE NARRATIVE, PLACING PEOPLE, CULTURE, AND COMMUNITY AT THE HEART OF INNOVATION
WORDS INNOCENT NDLOVU
From the bustling streets of Johannesburg to the tranquil alleys of Kenya’s Lamu Island, a quiet design revolution is underway. Among a growing class of brands crafting this new reality – where traditional African values are seamlessly woven into a global contemporary aesthetic – studios such as Johannesburg’s Daily, created by Joey Khuvutlu in 2023, and Kenya’s Saba Studios, founded by Moran Munyuthe in 2016, are redefining modern living with bold, functional, and consumer-driven homeware.
Each studio draws from its local surroundings and cultural heritage. Daily creates organic pieces that blend seamlessly with the environment, while Saba Studios channels the spirit of Swahili architecture, crafting objects that are as meaningful as they are modern. A standout example: a striking coffee table featuring mashrabiya –an intricate wooden latticework used for ventilation and privacy in Arabic vernacular architecture – reimagined here as both form and function.
C R A F T I N G C U L T U R E
Daily and Saba Studios are creating designs that transcend the present, shaping a future grounded in storytelling and a renewed appreciation for indigenous African craft traditions and design languages. Drawing on the continent’s rich natural resources, both studios champion purpose-driven creations, from sustainable practices to deeply rooted cultural expression.
We speak to Joey and Moran, the visionaries not merely responding to global movements, but shaping them.
JOEY KHUVUTLU
DAILY | JOHANNESBURG, SOUTH AFRICA
COMING FROM A BRANDING AND MARKETING BACKGROUND, WHAT KEY LESSONS HAVE SHAPED YOUR APPROACH SINCE LAUNCHING DAILY?
The importance of storytelling and understanding that the product must be well made. I’m always conscious of what each piece is trying to say and to whom it is trying to speak to. Everything is a story.
WHAT IS THE NARRATIVE DRIVING ALL OF YOUR DESIGNS?
My design inspiration comes from my cultural influences as a black, African man living in South Africa. It’s about proposing furniture as a part of popular culture – the same way music, sneakers, and fashion are. In other words, introducing our generation to who we are as Africans and creating pieces of furniture around that representation.
HOW DO YOUR PERSONAL EXPERIENCES INFLUENCE YOUR AESTHETIC?
I come from Giyani in Limpopo. It gets very hot, and you’ll find people sitting under trees on very low stools that have been carved out of a tree trunk, and that’s a point of reference for me. My work is often inspired by my experiences.
HOW DOES YOUR HOMETOWN DETERMINE YOUR CREATIVE VISION?
Giyani has a specific architectural style – it’s a bit post-modernist. The houses there remind me of Frank Lloyd Wright’s architecture, so it has been a great influence.
HOW HAVE ARCHITECTURAL DESIGNERS FRANK LLOYD WRIGHT AND VIRGIL ABLOH IMPACTED YOUR APPROACH TO FORM, FUNCTION, AND MEANING IN YOUR WORK?
I find them to be great designers because they are multidisciplinary. They challenge what is normal but do so in a functional way. They are from different generations but approach design in a similarly brave way. Their designs are accessible.
HOW DO YOU DEFINE SUSTAINABILITY?
A key thing for me is a sense of timelessness – a design that can last the test of time. In addition, our main material is pine plywood, and it’s sustainable.
WHY IS DEMOCRATISING DESIGN IMPORTANT TO YOU?
For me, designing is a tool for solving problems. I launched Daily because most of the beautiful furniture I saw and liked was inaccessible. When I design, I think about how I can create beautiful products that are durable and reasonably priced.
LOOKING TO THE FUTURE, WHAT’S YOUR VISION FOR DAILY?
We want to be a continental brand. Our ambition is to expand to North Africa. Beyond that, we’d like to be an Ikea for the continent. We want to produce our designs across the region and build a successful model that can be replicated. daily.store
“It’s about proposing furniture as a part of popular culture – the same way music, sneakers, and fashion are”
MORAN MUNYUTHE
SABA STUDIOS – LAMU ISLAND, KENYA
HOW DID YOUR EARLY CAREER – STUDYING IN LONDON AND WORKING IN EUROPE – INFLUENCE HOW YOU THINK ABOUT DESIGN TODAY?
My journey started with an appreciation of design as a language. When I was at university, I was exposed to Western styles of expression, but never saw anything that was contextualised within Kenya or Africa, so I began to ask myself what we have within our context. This question kept repeating itself in my head, and I felt compelled to go back home and answer it myself.
SPEAKING ABOUT DESIGN AS A LANGUAGE, WHAT STORIES DO YOU HOPE TO COMMUNICATE THROUGH YOUR WORK?
It always starts with people. The stories we carry are of the craftsmen, their heritage, and their identity. We want to unlock stories that honour the people we work with.
WHAT PRINCIPLES DEFINE YOUR OWN DESIGN PHILOSOPHY?
Kenya has a rich woodcarving heritage. We pick elements from our culture and insert them into contemporary design pieces. For example, our mashrabiya chair and side table take a building motif used in Lamu as a means of creating privacy and cross ventilation, and we apply it to design items. We transform something that is an architectural element into a domestic detail.
HOW DO LAMU ISLAND AND SWAHILI TRADITIONS ENHANCE THE IDENTITY OF YOUR STUDIO?
I'd say it’s the foundation, because Saba Studios was born out of collaboration with Swahili carpenters. Personally, context and surroundings are everything. We borrow from the lifestyle of Lamu that honours craft.
IN WHAT WAYS ARE YOUR SUSTAINABILITY VALUES REFLECTED IN YOUR DAILY PRACTICES AND LONG-TERM VISION?
To us, sustainability means reinvesting in people, training, and tools. It involves passing on knowledge, diversifying material practices, and introducing systems that allow artisans to survive and evolve. We’re conscious of how we use materials. And that's why we design heirlooms. We design for longevity.
WHAT DOES SCALING MEAN TO YOU?
One thing I find di cult with scaling is maintaining quality and intention. It’s a balancing act of moving the needle and staying true to your values.
HOW DO YOU SEE AFRICAN LUXURY AND FURNITURE DESIGN EVOLVING?
Africa has always been a place for design and luxury. There’s a lot that we o er in terms of culture, heritage, and raw materials. I’m glad we live in the digital age, where there’s more autonomy when it comes to storytelling. The African luxury renaissance is going to come from our own reframing.
sabastudios.shop ■
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NOW IN ITS 18TH YEAR, FNB ART JOBURG REAFFIRMS ITS PLACE AT THE CENTRE OF CONTEMPORARY AFRICAN ART
WORDS TAMLYN CUMINGS
FNB Art Joburg has once again cemented its place as Africa’s leading contemporary art fair, bringing together artists, galleries, collectors, writers, and art lovers. Over the course of three days, the Sandton Convention Centre in Johannesburg was a vibrant intersection of creativity and innovation.
With its distinct sections at the fair –including gallery HUB (contemporary African art’s finest works), gallery LAB (emerging works in the contemporary African art landscape), MAX (largescale installations), ETC (books, prints, catalogues, and magazines), GIF (film and photography), and more – the fair offered a curated yet inclusive experience.
The City of Gold, as always, was a fitting host. “Johannesburg is more than a city; it is the African continent’s cultural engine,” says FNB Art Joburg managing director, Mandla Sibeko. “We are proud to contribute to an economy where culture is not a by-product, but a driver of growth, imagination, and possibility.”
And the commitment doesn’t end there. FNB Art Joburg champions art as a vehicle for economic mobility and societal development. “FNB’s longstanding partnership with Art Joburg reflects our belief in the prowess of African talent and our commitment to supporting the growth of the continent’s creative economy,” says FNB’s Chief Marketing Officer, Faye Mfikwe. “Through this partnership, we facilitate access to global markets, providing African artists with opportunities to showcase their work on the global stage.”
THE CITY AS A GALLERY
This year’s edition revived Joburg’s cultural scene through Open City, a 16-day programme that transforms the city into a living gallery. Spotlighting both independent and emerging cultural practitioners, Open City reaches a wider audience across multiple venues. One highlight was BMW Art Generation at NIROX Sculpture Park, which blended nature, performance, and connection in one event. Now in its fifth year, the BMW Young Collectors Co. – a members’ club for executives, founders, and entrepreneurs under 40 – has introduced more than 1 500 future leaders to the contemporary African art world.
ART CITY andthe
Recognising that art appreciation has no boundaries, the BMW Collectors Co. was introduced for over-40s, ensuring the important work does not stop with one age group, but grows richer, more informed, and more resilient.
In addition, BMW Art Generation opens the club’s programmes to the public, inviting others to engage with leading and emerging artists, curators, and academics through talks, exhibitions, and performances.
NEW GENERATION OF VISIONARIES
FNB Art Joburg’s impact extends far beyond the fair itself. One way this is achieved is through the annual FNB Art Prize, and the 2025 recipient, Thato Toeba (pictured top), reminds us that art allows us see the world and ourselves differently.
A multidisciplinary artist, lawyer, and social sciences researcher from Lesotho, Thato works with mixed-media photomontage and assemblage. They received an LLM from Humboldt University, in Berlin and is concluding a two-year residency at the Rijksakademie in Amsterdam.
Thato’s work, which looks at how black life is represented and misrepresented, was first exhibited at Stevenson in Johannesburg in 2023 as a part of the gallery’s STAGE initiative. “What makes Thato’s practice stand out today is how intentional it is,” says Mandla. “In a time when quick visuals and surface-level messages are everywhere, their work takes another route.”
Thato receives a cash prize and a solo exhibition at Johannesburg Art Gallery in 2026. “This means a lot to me. When I started five years ago, I felt very insecure about whether I am an artist or not. This is a very affirming answer to that,” says Thato.
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NAMED AFTER A LATE MASTER TRACKER, LIZ BIDEN HAS REWRITTEN THE SAFARI RULEBOOK IN BOLD STROKES OF COLOUR, CULTURE, AND CREATIVITY AT MASIYA’S CAMP
WORDS
RICHARD HOLMES
If there was ever a rulebook for what a tented safari lodge should look like, Liz Biden didn’t just ignore it. She tore it up and fed it to the hippos. With the opening of Masiya’s Camp, the dynamic founder of The Royal Portfolio – which includes The Silo Hotel, Cape Town’s stunning urban retreat, and Winelands villa Franschhoek House – has flipped the script on safari style.
Situated in a private concession within the Greater Kruger National Park, Masiya’s Camp is not only a tribute to its namesake but a bold celebration of African art and creativity. And that’s evident from the moment my Land Cruiser crunches to a halt at the entrance.
Instead of khaki neutrals and vintage nostalgia, Masiya’s Camp bursts from the bushveld in a splash of colour and creativity. This is safari with a side of Palm Beach maximalism: saturated colours, layered patterns, and fearless personality. And while that kind of riotous design might fall flat in other hands, in Liz’s, it sings.
Opened in May 2025 as the fourth lodge in The Royal Portfolio’s private concession, Masiya’s Camp joins Royal Malewane Lodge, Waterside, and Farmstead – each with its own character and charm, but none quite so singular in style.
Wander down the wooden stairs to the main lounge and dining areas, and you’ll discover that khaki has been banished. Neutral tones are gone. Natural textures? You’ll find them beyond the glass stacking doors that let the bushveld views in. Inside, it’s a riot of colour and pattern, from the candy-striped canvas roofs to the sinuous banquettes in the dining area. The bar takes centre stage, with its bold accent lights and embroidered stools, inviting guests to pull up a seat. On the walls,
colourful the legacy of Wilson Masiya
a pair of colourful canvases by Zimbabwean artist Tafadzwa Tega – one of Liz’s personal favourites –take pride of place.
That boldness continues in each one of the six dusty-pink canvas suits, with roofs that rise above the treeline of bushwillows, and there’s a sense that the camp already feels rooted in place. Though colour may seem out of place in the bushveld, much of the palette is drawn from the wild. Look closely and you’ll notice the colours of the southern carmine bee-eater, woodland kingfisher, and the impala lily.
“For Masiya’s Camp, we wanted something different, fun, and exciting,” explains Liz. “I love Marrakech, which is where the inspiration for the colour of the tents comes from. I wanted it to represent rose-pink, which is also the colour of the African sand. The European roller inspired me with its vibrant pink, green, and turquoise plumage – it’s always been one of my favourite birds.”
All six suites share the same generous footprint, but each is individually styled. Headboards are covered in richly embroidered fabrics. Lacquered writing desks invite a relaxed hour of journaling. Thirsty? Help yourself to the mini bar, which is far from small and well-stocked. I take my drink onto the deck, where one of four (yes, four!) outdoor relaxation areas beckon. Sun lounger or gazebo? Spacious couch beneath lazily swirling fans, or bistro-style table in the shady corner. I try them all, as well as the heated plunge pool that seems to flow straight into the bushveld.
And it is, after all, the bush that draws you here in the first place. As with most of the private reserves that cling to the western border of the Kruger National Park, The Royal Portfolio’s private concession offers the memorable game viewing you’d expect of the Greater Kruger –with the added benefit of exclusive traversing rights, well-managed sightings, and some of the best guides in the business. And that’s no empty superlative.
“This is safari with a side of Palm Beach”
It began, fittingly, with a man named Wilson Masiya (opposite, far left).
Together with his guiding partner Juan Pinto, Wilson was among the first employees of Malewane, the original lodge in The Royal Portfolio. One of only a handful of master trackers in the world, he and Juan were a formidable team shaping the conservation ethos of The Royal Portfolio. Wilson succumbed to cancer in 2015, and Masiya’s Camp was named in his honour – but his legacy endures beyond the boundaries of this landmark lodge.
Unlike many luxury lodges, Masiya’s Camp puts tracking at the heart of the safari experience, following in the formidable footsteps of Wilson. “Tracking is fundamental to humanity,” says Juan, now Director of Wildlife and Conservation for Royal Malewane. “There are only two things we can share with the first humans: to look into the fire, and to look at a footprint in the sand and understand the story it has to tell.”
Juan believes that sharing those stories with guests is central to any meaningful safari. “It completes the experience, and if you don’t have it, you’re missing a key part of the experience of conservation in wild land,” he says.
That’s also the thinking behind the Tracker Institute, housed at Malewane’s Conservation and Research Centre. “It’s an avenue for retired master trackers to pass on their skills to guides, trackers and researchers across the globe,” adds Juan. “The Tracker Institute is the legacy of Wilson in action.”
That legacy is also evident in the way The Royal Portfolio has distinguished itself by training its guides and trackers. Currently, only 13 professional field guides hold FGASA Scout status worldwide, and two of them – Juan and Nikolas Vonnou – are part of the Royal Malewane team. Moreover, only two master trackers are working in the Greater Kruger National Park – both employed by Royal Malewane.
And while all eyes are likely to be on Liz’s fabulous decor, for me, the true soul of Masiya’s Camp isn’t in the art or architecture, but in a quiet corner just off the reception area. Here, a pencil-sketch portrait of Wilson hangs against a backdrop of Liz’s colourful wallpaper. Wilson is smiling broadly, perhaps quietly proud of the camp that bears his name. He certainly should be. theroyalportfolio.com ■
ELECTRIFIED LEGANCE
LEXUS RAISES THE BAR WITH TWO REVOLUTIONARY PLUG-IN HYBRID SUVS
Lexus, pioneer of the luxury SUV, embraces a bold new era with the introduction of plug-in hybrid electric vehicles (PHEVs) in its RX and NX ranges. Combining the whisper-quiet, emissions-free benefits of electric power with the convenience of hybrid efficiency, these premium SUVs offer more than good intentions – they deliver a smarter, smoother way to drive.
At the heart of this evolution is the fifth-generation Lexus RX, which introduces the brand’s first-ever RX plug-in hybrid: the RX 450h+. This model is a cornerstone of Lexus’ Next Chapter – a vision that blends advanced electrification with refinement. Alongside it, the Lexus NX 450h+ – its compact sibling – brings the same philosophy to the mid-size luxury SUV segment.
FORM AND FUNCTION REIMAGINED
The RX 450h+ blends Lexus’ heritage with cutting-edge innovation. With its assertive stance and signature spindle body design, it’s all sleek lines and quiet power. Inside, the tazuna cockpit creates a clean, tech-forward environment where everything is intuitively placed – because true luxury is as much about ease as it is elegance.
Under the bonnet lies a 2.5-litre four-cylinder paired with a robust 18.1kWh battery and electric allwheel drive. It accelerates from 0-100km/h in just 6.5 seconds, and in EV mode, offers up to 65km of pure electric driving – ideal for daily commutes and school runs without needing a drop of fuel. What sets the RX apart is how seamlessly it transitions between electric and hybrid driving. Unlike many plug-in competitors that revert to petrol once the battery is depleted, the RX transitions seamlessly to its hybrid system. The result? Impressive fuel efficiency of just 1.3L/100km, and CO₂ emissions under 29g/km.
COMPACT BUT NO COMPROMISES
The Lexus NX 450h+ builds on this electrified formula in a slightly smaller package. It delivers the same combined output of 227kW with a sportier edge, reaching 100km/h in 6.3 seconds. Its electric-only range stretches up to 76km – more than enough for most drivers to go about their day with zero emissions.
Luxury is never compromised. A panoramic sunroof is standard, along with a 17-speaker Mark Levinson sound system. Practical upgrades include a new towing package (up to 500kg), while ultra-wideband (UWB) digital key technology helps guard against keyless theft.
LUXURY RECHARGED
ELECTRIFYING ENERGY:
The Lexus NX (above) and RX (below) PHEVs welcome a new chapter in excellence for the marque
The RX and NX PHEVs are shining examples of Lexus’ leadership in electrification. Where others are just entering the plug-in hybrid space, Lexus is refining it, offering vehicles that are not only efficient and high-performing but also deeply luxurious and supremely comfortable.
These models are about so much more than reducing emissions; they’re about enhancing every journey. Whether gliding silently through the city or chasing openroad adventures, both models promise a drive that’s as rewarding as it is responsible.
In a crowded SUV market, the RX 450h+ and NX 450h+ don’t just raise the bar – they redefine it. With Lexus’ renowned craftsmanship and innovation paired with cuttingedge hybrid technology, these vehicles stand at the forefront of a new, electrified era of luxury.
BY DESIGN
FROM BENTLEY’S BOLD NEW VISON TO FERRARI’S PROVOCATION AND VW’S ELECTRIC NOSTALGIA, THESE ICONIC CONCEPT CARS PROVE ONE THING – IT ALL STARTS WITH THE SILHOUETTE
WORDS EDWARD MOLEKE MAKWANA
Automotive design – that alchemy of form and function that stirs emotion before an engine even roars to life –is at its most intoxicating in the world of luxury cars. This month, I’ve explored three standout automotive visions: Bentley Motors’ futuristic EXP 15 concept, a design manifesto pointing to the marque’s all-electric future; the charismatic Volkswagen ID. Buzz, crowned 2025 World Design Car of the Year; and the captivating Ferrari 296 Speciale, a sculpted expression of pure performance.
“As the reigning World Design Car of the Year, the Volkswagen ID. Buzz feels like a joyful reunion with an old friend”
VOLKSWAGEN ID. BUZZ
RETRO REIMAGINING
Few vehicles manage to capture nostalgia and innovation in the same breath. The Volkswagen ID. Buzz does exactly that – channelling the spirit of the beloved 1950s Microbus into a modern, all-electric multipurpose vehicle.
As the reigning World Design Car of the Year, the ID. Buzz feels like a joyful reunion with an old friend, yet it is fully equipped for tomorrow with nearly 400km of range, overthe-air updates, and advanced driver assistance systems. Its short overhangs, low centre of gravity, and rear-wheel drive pay homage to the original’s engineering while offering contemporary refinement.
During my brief test days in the ID. Buzz Cargo, I felt the same sense of connection that I had in my father’s 1980s VW Caravelle – a dependable family chariot that carried a community. This new chapter adds versatility and a warm, lounge-like cabin, proving that smart mobility can still have soul.
Picture a long weekend in the Cape Winelands: the ID. Buzz effortlessly carrying friends, luggage, and cases of your favourite vintage. Or a surfboard neatly stowed as you chase the sunrise to Jeffreys Bay. This is more than a vehicle –it’s a companion for those who measure luxury not only in leather and chrome, but in the freedom to roam.
When it finally arrives in South Africa between 2026 and 2027, expect both the passenger and cargo versions to turn heads and win hearts.
BENTLEY EXP 15
MODERN AWAKENING
Inspired by the legendary 1930 Bentley Speed Six “Blue Train”, the EXP 15 reimagines the grand tourer spirit for the 21st century. But this is more than Bentley’s first allelectric concept car – it’s a declaration that configures over a century of craftsmanship into a thoroughly modern, all-electric vision.
FERRARI 296 SPECIALE
SPORT MODE
Some cars simply don’t stand still; they seem to pulse with energy – even at rest. The Ferrari 296 Speciale is one of them: an ode to Maranello’s racing DNA sculpted into a provocative work of art.
Following in the footsteps of its predecessor, the 296 GTB, the Speciale has had some significant upgrades, making it lighter, faster and, well, just that much better. From its scalloped bonnet to its aggressive splitter, every surface speaks of aerodynamic intent. The trimaran-shaped front intake, side wings framing the tail, and reimagined diffuser are all motorsport in origin, drawing inspiration from the 296 Challenge and the F80 concept.
The roof’s dark finish creates a floating greenhouse effect, amplifying the car’s stance, while the forged five-spoke wheels –
The EXP 15’s exterior balances poise and presence with its blend of old and new, digital and physical: a unique three-door configuration with two doors on one side and one on the other, a reinterpreted upright grille illuminated with cutting-edge light technology, Bentley’s classic ‘endless’ bonnet, a rear-set cabin, and sweeping haunches that suggest restrained power. Inside, the experience borders on the theatrical with a lounge-like threeseater layout – the passenger seat can swivel outwards and a single rear seat is positioned diagonally. It’s flexible enough for luggage, leisure, or even tailgate entertaining under the stars complete with a picnic set. There is even a new ‘B’ logo on this concept car.
Bentley has embraced virtual reality to offer customers a glimpse at the infinite customisation options. Think sustainable wool textiles in ombré tones from Fox Brothers placed against 3D-printed titanium finishes, and physical switches that merge seamlessly with disappearing digital interfaces, adapting to the driver’s mood.
Robin Page, Bentley’s Director of Design, says, “The beauty of a concept car is not just to position our new design language, but to test where the market’s going.” If the EXP 15 is any indication, the future of Bentley’s sedans will be as electric as they are elegant.
Imagine pulling up to a discreet members-only retreat, the EXP 15 gliding silently over cobblestones, its illuminated grille announcing your arrival with quiet authority. Inside, it’s less a car and more a travelling companion – where conversation flows, champagne flutes find their place, and the outside world fades into the muted hum of electric refinement.
born from Ferrari’s carbon-fibre racing rims – complete the look. It’s the kind of design that doesn’t just anticipate motion; it demands it.
Think of a long road-trip with your partner, meandering (rather quickly) through the Franschhoek Pass, the Ferrari 296 Speciale hugging each curve with precision, its twin-turbo V6 engine providing the soundtrack. It’s definitely less about the destination and more about the journey. ■
A PORTRAITFamily
FOR PARIS-BASED ARCHITECT AND DESIGNER ELLIOTT BARNES, ART AND DESIGN ARE GROUNDED IN A DEEP REFLECTION THAT HONOURS A STORY AND MIRRORS TRUTHS
WORDS MONALISA MOLEFE
TOP RIGHT:
Elliott at home in front of The Barnes Family by Noah Davis, 2013; armchair designed by Elliott ABOVE:
Salon Dom Ruinart at La Maison Ruinart
RIGHT:
Salon at Louis-Champagne Billecart-Salmon
Elliott Barnes has always lived between worlds. Raised in Los Angeles among books, art, and the discipline of piano lessons, his childhood was filled with gestures that only revealed their full meaning years later. As a boy, the American architect –who now calls France home – would redraw sailboat interiors and quietly recompose classical music during piano practice.
“I’d change the score – not improvise, just change it,” he says. “It drove my teachers mad. But I think I was just wired to reimagine how things could be.”
After graduating from New York’s Cornell University with a master’s degree in architecture and urban planning, he moved to Paris where he spent nearly two decades working with renowned French interior and production designer Andrée Putman before founding Elliott Barnes Interiors in 2004. Today, Elliott is a highly respected figure in global interior architecture, with projects spanning private residences, luxury hotels and Maisons, as well as cultural landmarks. But it is his private art collection, Barnes Contemporary, that reveals the true depth of his design philosophy.
For Elliott, designing and collecting are grounded in attention, trust, and a deep listening to what the subject – a person or a space – is asking for.
“A home, a portrait, a project, they’re all mirrors. I’m not designing for myself. I’m reflecting someone else’s life back to them,” he says.
This approach shaped his recent work for the Champagne house Billecart-Salmon, where he created a new tasting centre rooted in the land itself: grape skins from the vineyard were pulped into bespoke wallpaper while dried chestnut leaves from a 150-year-old tree became decorative panels. “We called it wine paper. It can only be made once a year. It belongs to that place; it couldn’t exist anywhere else.”
This was a rare example of a commercial brief that aligned with his cultural values. “It’s an example of how you can tell a story without saying a word. The material speaks. The land speaks. That’s where real luxury lives.”
THE BARNES LEGACY
Elliott comes from a lineage of boys – no sisters or daughters – which has shaped his art collection. It began in 2012 with a single commission: a portrait of the Barnes family by artist Kenturah Davis, using the text of Rudyard Kipling’s poem If – a rite of passage memorised by every man in the family. “That’s when I shifted from collecting serendipitously to collecting with intention,” he explains.
The lessons from If – of resilience and self-mastery – anchors a growing archive initially intended as a gift for his mother (featured right), but now consists of more than 100 works that include paintings, drawings, and sculptures. “It started with that one portrait, and from there, it became a story I wanted to tell. These are works my family will inherit. There’s no resale. No transaction. If something were to happen to all of us, it goes to an institution.”
As a writer, I find myself pausing here. For centuries, portraiture has chronicled royalty, nobility, and white European families. Yet in all this history, there are so few archives that centre black families with this same degree of care and permanence. Elliott may not frame his project in racial terms – he insists this is not an “African American family collection” – but the gravity of the legacy he is building cannot be overlooked. “I didn’t want to call it an African American family. That would create a layer of separation. This is just a family. A different family, yes. But a family, full stop.”
Artists are selected with intention, with trust at the core. From Davis to contemporary sculptor Jordan Kelly and photographer Delphine Diallo, every work is a collaboration grounded in shared respect. “There’s no creative brief. I don’t micromanage. I ask them to trust their vision.”
“A home, a portrait, a project, they’re all mirrors. I’m reflecting someone else’s life back to them”
Each selection is deeply personal – some artists are introduced through friends, others discovered via exhibitions or social platforms. “This project is about perspective. About how we are seen, and how we choose to be remembered,” he explains. When London-based artist Sahara Longe was commissioned to paint his brother, Elliot recalls, “There was a moment I saw it and thought, ‘He’s going to be so proud of this.’ That’s when I know it’s right – when the work holds dignity and strength without explanation.”
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In 2022, Barnes Contemporary was exhibited at Septieme Gallery in Paris under the title Portrait of an American Family, a deliberate repositioning of the collection within universal rather than marginalised narratives. “The exhibition was important. It was the first time the work existed outside my walls. But it also reaffirmed something that these stories don’t have to be rare. They just have to be told.”
A recent sculptural commission, Sex and Racism in America by Jordan Kelly, inspired by a book his father read in the 1960s, signals a new chapter. “I’m always pushing myself to open doors I might not fully understand. The other side of fear is beautiful.”
What Elliott values most is longevity – in materials, in ideas, and relationships. “The most valuable thing I can offer is care. I’m not trying to dazzle. I’m trying to build something that lasts.”
While his design work spans continents and clientele, his most enduring project may well be the collection that lives quietly, deliberately, at home. For Elliott, art is not an accessory to design – it is its conscience. A space where memory becomes material, and lineage becomes form. “It’s about presence,” he says. “To be seen as we are, not explained, not categorised. Just seen.” ■
TOP: Salon at Louis-Champagne Billecart-Salmon
ABOVE: Portraits of the Barnes family men, 2012-2016, by Kenturah Davis
Reception gallery of BillecartSalmon
ABOVE: Glynell Barnes by Wangari Mathenge, part of the Portrait of an American Family exhibition in Paris
way ANNA’S
YOU WORK WITH FAMILY AT WEYLANDTS. HOW DID YOUR DESIGN JOURNEY BEGIN, AND WHAT’S IT LIKE WORKING WITH YOUR FATHER, CHRIS?
A
THIRD-GENERATION CREATIVE, ANNA WEYLANDT IS THE DIRECTOR OF STRATEGIC GROWTH AND BRAND DEVELOPMENT AT WEYLANDTS.
I started studying fashion, but pivoted to interior design. My career began at a hospitality design studio in Cape Town, and at 24, I joined the family business as its first furniture buyer. Working in a family business fuels my sense of purpose and drive. My father is an inspirational leader, and learning from him has been a privilege. Our relationship is incredibly rewarding; we inspire each other, and it remains one of my greatest gifts.
BASED IN CAPE TOWN AND INFLUENCED BY HER NAMIBIAN ROOTS, SHE CHATTED TO US ABOUT SHAPING THE FUTURE OF THE LIFESTYLE BRAND, FLOWER ARRANGING, AND HER BELOVED PUGS COMPILED BY LERATO TSHABALALA
TEXTILES SIT WHERE FASHION AND INTERIORS MEET. TELL US ABOUT YOUR COLLABORATION WITH THEBE MAGUGU. It came about so naturally. We share a value system, which is the true marker of a successful collaboration. Fashion, interiors, and furniture are interlinked as a means of storytelling, and we were able to share our brands’ unique stories through the pieces we created.
CAREER HIGHLIGHTS?
There have been so many. Our collaboration with Thebe (pictured right), and hosting a talk with him at our Castle Street space during Cape Town Furniture Week is one. But working with and building my all-female team must be one of my proudest achievements.
Respect for the material, the customer, the people who make it, and the people who create it with me.
IF YOU COULD TIME-TRAVEL, WHICH DESIGN ERA WOULD YOU CHOOSE?
The modernist era of the ’50s and ’60s.
If I could have worked on any project, it would be the Chandigarh project in India with Le Corbusier, Maxwell Fry, and Jane Drew. WHAT INSPIRES YOU ABOUT SOURCING IN ASIA?
I love working in Asia – the energy of the people, the vibrancy of the cities, the willingness to strive for improvement and make things possible. I enjoy stepping out of my comfort zone and working in environments that drive my inspiration and creativity.
TOP FIVE TRAVEL ESSENTIALS? Surprisingly, I’m an anxious traveller and have honed my essentials list to avoid this. It includes Excel spreadsheets, a detailed packing list, and a spare outfit in my Rimowa carry-on. When I’m at my destination, my only essential is curiosity.
ONE OF YOUR PUGS IS NAMED MORITZ. IS THIS AFTER THE SKI RESORT? That would be very chic, but he’s named after a character from a German children’s book I grew up with. The story follows two naughty boys, Max and Moritz – a fitting name for a mischievous pug. My other one is called Miso. YOU’RE OFTEN SEEN ARRANGING FLOWERS ON SOCIAL MEDIA. WHERE DID THAT LOVE COME FROM? I started a few years ago, just for fun, and did an ikebana workshop with florist Lana from Myuzu. Since then, it’s become a creative outlet – a moment to be truly present. Finding an outlet outside of work to play with your creativity is important.
WHAT IS LUXURY TO YOU? Luxury, to me, is freedom.
YOUR TOP CAPE TOWN PICKS FOR BRUNCH, LUNCH, AND DINNER?
WHAT’S YOUR DESIGN PHILOSOPHY?
I believe in design authenticity, and drawing from natural materials has led me to a more monochromatic design language. Respect is my guiding principle.
Brunch: Arthur’s Mini Super. Cute neighbourhood spot with a diverse menu. My current order is the anchovy butter on toast. Lunch: Loading Bay. My favourite place to eat a meal alone. I love to sit at the bar and read a book or do some work. For a light lunch, I recommend the “simple chicken”.
Dinner: Ouzeri. Probably everyone in Cape Town’s has this recommendation. The tomato dish on the current menu is sublime.
■ @anna_weylandt
From the heart of Africa, Sarah Langa and Mmuso Maxwell honour the essence of living well with Johnnie Walker Blue Label in hand and legacy in view.
