WORDS Robyn Alexander PHOTOS Supplied

Gardens and Landscapes: 10 Spaces of Beauty

by Anna Scaravella, with photographs by Matteo Carassale and text by Sala Bartolomeo (Rizzoli, 2025)

Driven by breathtaking photography – always the case with titles published by Rizzoli – Gardens and Landscapes takes you on a journey through 10 magnifi cent private Italian gardens. And as author and renowned expert in landscape architecture Anna Scaravella suggests in her text, each one of them has its own unique beauty. There is much for the amateur gardener to be inspired by here, from the lush elegance of Villa Albera in Lombardy to the striking contrasts in the design of a Mediterranean garden on the island of Elba. Varied as they are, all remain oases of peace and beauty – and the book is a window into virtually visiting and admiring them. | rizzoliusa.com

Gardens That Can Save The World

by Lottie Delamain, with a foreword by Isabella Tree (Thames & Hudson, 2026)

One of the key ways urbanised human beings remain in touch with the natural world is via growing and tending plants. And going outside to do so, this inspiring new book argues, is one very good way to counteract feelings of powerlessness in a fractured world. Gardens That Can Save the World brings together 65 projects that revolve around plants, showing how they can have a big impact on people, their loved ones and the environment. It also demonstrates that green spaces can repair damage previously done to soil and water, empower communities struggling with conflict and hardship, and help to heal stress, isolation and trauma. This is an immensely uplift ing book that also encourages everyone to try easy-to-replicate strategies in their own garden, balcony or windowsill plant pot. | thamesandhudson.com

The Coastal Garden

by Phaidon Editors, with an introduction by Nigel Dunnett and texts by Sorrel Everton (Phaidon, 2026)

As anyone who has ever created a garden on the coast learns quickly, this sort of landscape requires working in harmony with the environment rather than attempting to compel it to conform to your will. This is the point made repeatedly by The Coastal Garden, which features landscapes as varied as a Mediterranean cliff side, a sheltered bay on the UK’s south coast, and the edge of a sandy beach in Australia. What all these gardens have in common is a sense of being rooted in their location, as well as beautiful views of the sea, an atmosphere of tranquillity, and an intense connection with nature. With gorgeous imagery and detailed explanatory text about each of the 48 extraordinary private gardens featured, there’s plenty to discover in terms of terrains, climates and garden styles here too. | phaidon.com

The Modern Japanese Garden

by Stephen Mansfield, Kengo Kuma, Mira Locher, Tim Richardson, Masuno Shunmyo and Pico Iyer (Thames & Hudson, 2025)

Japanese garden design has a lengthy history, which this major study of the subject begins by tracing, from pre-Shinto stone arrangements to the 19th century and into the present. The book also includes profiles of some of the most iconic and influential gardens in locations such as Tokyo, Kyoto and Fukuoka, and examines the work of several renowned Japanese garden designers. In addition – and much in the style of Japanese landscape design itself – interspersed throughout are short interludes on topics such as the ancient garden of Ryoan-jiin Kyoto, and essays by high-profile contributors such as architect Kengo Kuma and monk and garden designer Masuno Shunmyo, which consider various themes in Japanese gardening. | thamesandhudson.com

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PHOTOS Supplied

Tapping directly into the office design trends defining 2026, Belgotex’s new Terranova range introduces a touch of nature underfoot through texture, colour and materiality.

Conceived as a deliberate antidote to the clinical and corporate, the modular range speaks to a growing demand for tactile surfaces, nature-inspired tones and sustainable materials in office environments – creating zoned, layered and expressive interiors.

With its multi-high-low loop construction and tricolour SDN (Solution Dyed Nylon) yarn system, Terranova echoes the layered complexity of soil and embedded rock, resulting in a textured surface with depth and variation.

The palette consists of 25 nature-inspired colourways drawn from naturally occurring mineral pigments, offering a spectrum of earthy tones – from warm reds and ochres to muted greens and soft neutrals – that reflect the diversity and richness of the continent’s terrain.

Thanks to Terranova’s modular nature, its colourways work together to creatively delineate different zones within an office space:

• Willow Brook and Lake Blue, laid in a checkerboard pattern, create a high-impact, nature-forward first impression, making this pairing perfect for reception and arrival zones.
• The grounding hues of Goldstone and Stone Creek reference the warm mineral tones of sun-baked earth, making them a natural choice for collaborative zones and lounge areas.
• Lichen Mist and Blue Lustre, used as individual colourways, bring a calm, meditative quality to spaces designed for deep concentration.
• Together, Dusk Birch and Aged Bark create a sophisticated, quietly luxurious palette ideal for boardrooms and executive spaces.

With green building certification, reduced environmental footprint and circular design principles now central to how leading developers and interior designers specify products, the sustainably-minded tufted tile range is built to perform in the most demanding commercial environments. | belgotex.co.za

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WORDS Steve Smith PHOTOS Supplied

The 7th of April 2024 was a dark day in the storied history of one of South Africa’s heritage wine estates as a fire ravaged its historic Manor House and Jonkershuis buildings. Established in 1682 and recognised as the first registered company in the Cape Winelands, Blaauwklippen has played a formative role in the country’s viticultural, commercial and hospitality history. On 1 February this year, its boutique hotel officially re-opened, marking both a return and a renewal.

Guided by heritage architects and specialist craftsmen, the restoration balanced historical integrity with modern comfort. Original materials – including centuries-old bricks and fragments of Delft porcelain uncovered during the rebuild – were carefully conserved, and reintroduced where possible.

The restoration also incorporates contemporary interior design elements that honour the original architecture while offering the best in modern luxury, and Cape Town-based designer Francois du Plessis was given the task – and the weighty responsibility – of marrying the two. We spoke to him about his approach to this important piece of South African history.

How do you tackle a project such as this one?

“My guiding principle was to create interiors that feel as though they’ve evolved naturally over generations – as if the same family had lived here for centuries, adding layers, stories and objects over time. The spaces look simultaneously to the past and the present, allowing history and modern comfort to coexist.”

How would you describe the aesthetic you created?

“The Manor House and Jonkershuis were imagined as the homes of a well- travelled family. This informed the selection of furniture, objects and materials – pieces that feel collected rather than curated, sourced from across regions and eras. Obeche furniture, eclectic antiques and globally inspired elements were layered together to suggest journeys taken and stories gathered from around the world.

“Wherever possible, original furniture and salvaged pieces from the farm were reused, not overly restored, and allowed to retain their patina and imperfections. These details preserve the soul of the building and honour its legacy, ensuring that the fire did not erase its past, but rather became part of its story.

What drove your choice of materials?

“It was driven by both heritage requirements and sensory experience. We used Breathecoat SA – a specialist matte, breathable paint that had been recommended by heritage consultants and that was suitable for historic wall structures. The colour palette is soft and grounded, with warm earth tones that create calm, depth and continuity while aligning with the farm’s updated brand CI and Pantone guidelines. This ensures a consistent visual thread across the entire estate.

“Texture and tactility were essential in creating warmth. I’m passionate about layering contrasting materials, and here we combined linens, silks, velvets and leather to add richness and softness to the interiors. Given the hospitality context, all fabrics were selected for durability, meeting high rub-test requirements, with practical slip covers incorporated where appropriate.”

You’ve said this was a personal and creative milestone. How so?

“This project was deeply personal for me. The aesthetic aligns closely with how I live and design, and working within such a rich heritage context – particularly one marked by loss and recovery – was both challenging and profoundly rewarding. The result is a series of interiors that feel elegant yet unpretentious – historic yet alive.” fdpinteriors.co.za | newmarkhotels.com

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INTERVIEW BY Gina Dionisio PHOTOS Supplied

For Ruaan Dreyer and Marco Moors, the duo behind Moors Ceramics, location is indeed everything. Set among the flowers of the Lowensvlei Flower Farm, their ceramics studio is known for its small-batch, handcrafted pieces inspired by the shapes and seasonal colours of their surroundings. We spoke to the pair about life on a flower farm and how it has informed their approach to ceramics.

How did Moors Ceramics come to be – what led you to establish a ceramics studio on a flower farm in the Swartland?

“Moors Ceramics really began long before we ever owned a flower farm.

“I’ve always loved ceramics and handmade objects. Before moving to the Swartland, I owned a gift shop in Bloemfontein, so I spent years surrounded by beautiful homeware, decor and ceramics. I’ve always been drawn to pieces that feel like they have a story rather than simply serving a purpose.

“The name Moors Ceramics comes from my surname, which makes the studio incredibly personal. It’s not just a business; it’s something that carries my own identity.

“Four years ago, Ruaan and I took a leap of faith and bought Lowensvlei Flower Farm. It was a complete lifestyle change. Ruaan came from a corporate property background and naturally brought structure, planning and operational thinking to the farm, while I brought the creative side. Somehow those two worlds just clicked.

“Living on a flower farm has a way of slowing you down and making you appreciate the beauty in everyday things. Flowers, seasons, soil, colour and craftsmanship all became part of our daily lives, and starting Moors Ceramics felt like the most natural next step. It never felt like a separate business – it simply grew alongside the farm.”

Organic form, repetition and texture are central to your practice. How much of the landscape finds its way into the pieces?

“Probably far more than we realise.

“When you spend every day on a working flower farm, you begin to notice patterns everywhere. Long rows of flowers, trays of seedlings, fields planted in perfect repetition, and the way the landscape changes with the seasons all quietly influence the way you think about design.

“Our wall domes are a good example of that. Individually, they’re simple, but when they’re installed together, they create rhythm and movement, much like walking through rows of flowers stretching across the farm.

“The Swartland itself also leaves its mark on everything we make. It’s not a loud landscape; it’s subtle. The dry earth, soft neutral tones, changing skies and beautiful natural light all inspire the colours and finishes we work with.

“One of the things we love most about ceramics is that, just like farming, you can never control everything. You prepare as carefully as you can, but once the kiln is fired, the glaze develops its own personality. That unpredictability reminds us a lot of growing flowers. Nature always has the final say.”

The sculptural domes are quite striking. Can you tell us more about this collection and its making process?

“The domes actually started with a very simple question: how could we create something that brings warmth, texture and colour to a wall without overwhelming a space?

“We wanted something sculptural, but also timeless. Each dome is cast, finished and glazed by hand, so although they share the same form, no two are ever identical. The kiln gives every piece its own character. Sometimes the glaze develops incredible depth, sometimes it breaks softly over the curves, and sometimes it surprises us completely. Those little differences are exactly what we love.

“The collection has grown to include three sizes that can be displayed individually or combined into larger installations. We especially enjoy mixing them with our ceramic swallows, because together they create a feeling of movement across a wall. The domes bring calmness and balance, while the birds introduce a sense of life and playfulness.

“For us, it’s less about decorating a wall and more about creating something that feels collected over time rather than bought.”

How do you position Moors Ceramics within the broader South African design landscape, and how important is the sense of place to the identity of the studio?

“We’re incredibly proud to make everything here on our flower farm in the Swartland.

“There’s something special about creating pieces in the same place where we’re growing flowers every day. The farm isn’t just where the studio happens to be – it’s part of its identity.

“We’re not chasing perfect uniformity or mass production. We actually embrace the little differences that happen when something is made by hand. Slight variations in glaze, texture or colour are what make each piece unique.

“I think our different backgrounds also shape the business in an important way. I naturally lean towards creativity, while Ruaan brings structure, planning and a practical way of thinking. That balance has become the foundation of both the farm and Moors Ceramics.

“South African design has such a strong appreciation for authenticity and local craftsmanship, and we’re honoured to be part of that conversation. We want to create beautiful objects that people can live with for years, while knowing exactly where they came from and who made them.”

What does a typical day at Lowensvlei look like, and how do the rhythms of the farm influence the pace and direction of Moors Ceramics?

“No two days are ever the same, and that’s probably what we enjoy most.

“The mornings usually begin in the flower fields or tunnels. There are flowers to harvest, crops to check, staff to coordinate and orders to get out the door. Farming has its own rhythm, and it doesn’t wait for anyone.

“Somewhere between all of that, the ceramics studio comes to life. Some days we’re pouring moulds, trimming pieces or glazing new collections. Other days we’re unloading a kiln with the excitement – and sometimes the nervousness – of seeing what happened overnight.

“The biggest lesson we’ve learnt from both farming and ceramics is patience. Flowers bloom when they’re ready, and clay dries when it’s ready. Neither can be rushed without compromising the end result.

“Looking back, it’s difficult to separate Moors Ceramics from Lowensvlei because they’ve grown together. The farm gives us constant inspiration, keeps us grounded, and reminds us every day that the most rewarding things are often the ones that take the longest to create.” moors.co.za | @m_o_o_r_s

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WORDS Jo Buitendach PHOTOS Ana Hop (Portrait), Ana Hop, Francisco Nogueira, Kingston Levern

Layered, eclectic and bold, interiors by Stephanie Barba Mendoza balance rich colour with a striking interplay of contemporary and antique pieces. Born in Mexico, she began her career in London, initially working in residential interiors before joining the acclaimed Martin Brudnizki Design Studio. There, she contributed to an international portfolio that included hospitality, retail and private projects, gaining experience on a global scale while refining an instinct for spaces that feel both immersive and personal.

Nearly two decades later, her independent practice is defined by a fearless approach to colour, materiality and cultural reference. Collaborations with artisans and makers bring depth and texture to each project, resulting in interiors that feel expressive yet assured. She’s guided by what she describes as a desire for spaces that are “layered and bold, with some theatre – something unexpected.”

Stephanie heads up her eponymous studio alongside longtime collaborator and business partner Garrow Seal-Sinclair. Since its launch in 2020, the practice has grown to include a team of 10 designers, working on residential and commercial projects that are driven by Stephanie’s sense of vibrancy and opulence. The studio’s international portfolio spans private homes in London, Antwerp and Miami; boutique hotels in Lisbon, Vienna and Amsterdam; and a members’ club in the heart of Mexico City.

Inside the portfolio

One of Stephanie’s more recent projects, Wilde Lisbon, reinterprets the Portuguese capital’s maritime heritage through a contemporary, playful lens. With interiors conceived around a sense of immersion and movement, the boutique aparthotel draws on Lisbon’s relationship with the sea. References to water appear throughout, from softly curved architectural lines and wave-patterned glass mosaic flooring to a palette of deep blue and green that anchors the space. A bespoke ombré wallpaper echoes shift ing ocean tones, while materials such as marble, ceramics, timber and mosaic are balanced by tactile textiles to create warmth.

Conceived as a social living room for the city, the hotel blends wit with craft, subtly reworking traditional Portuguese motifs and tile references. Rattan details, greenery and sculptural lighting animate shared spaces, while a curved staircase leads to a mezzanine co-working area inspired by Portugal’s landscapes and expressed through organic forms, sun-washed hues and walnut finishes. Stephanie also curated a layered collection of local ceramics and international art, from mid-century pieces to contemporary works and site-specific installations, reinforcing the dialogue between Portuguese heritage and global perspective. @wildeaparthotels

In February 2026, returning to her home country for the first project since founding her London studio, Stephanie unveiled El Desconocido – a cultural club in Mexico City’s Roma Norte neighbourhood that fuses music, gastronomy and art. This homecoming is also her first professional collaboration with her brother, Alejandro Barba Mendoza, who conceived the club’s esoteric concept and curated its music, food offering and art.

The design embraces contrasts and immersive sequences, using sculptural lighting, high-gloss surfaces, brass accents and considered acoustics to transform the space. Velvet drapes, honey-toned floors, stained timber and antique mirrors amplify a surreal, tactile atmosphere, while intimate lounges, gilded furniture and dimmed lights create pockets for conversation. At the bar, eucalyptus-veneer joinery meets jaguar-print wallpaper, antique brass shelving and a copper island, marrying sound, mixology and theatre in homage to Aztec and Mayan symbolism.

Art and ritual thread through every corner of the space, from malachite-clad private rooms with velvet banquettes and lacquered tables to curated works by artists such as Leonora Carrington, Remedios Varo, Francisco Toledo and William Blake, as well as photographs of Coil, Diamanda Galás, Aleister Crowley and Gurdjieff.

“El Desconocido creates a space where the spiritual and the sensual can coexist,” says Stephanie. “It’s not about spectacle, but about sound, discovery and celebration of rituals. I’m so thrilled to collaborate with my brother in bringing this vision to life.” @clubeldesconocido | barbamendoza.com | @stephaniebarbamendoza

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COMPILED BY Gina Dionisio PHOTOS Supplied, Justin Patrick (Keiskamma Art Project), Loricia Short (David Krynauw Design)

While our feature on Pierre Frey’s latest textile collection looks to formal French gardens, here we explore local textile and wallpaper collections that celebrate South African flora and fauna.

Ardmore Design x Cole & Son

In 2025, Ardmore collaborated with Cole & Son, the renowned British wallpaper brand celebrated for its luxurious and artistic designs, to create the Baobab Collection. Consisting of nine designs illustrated with remarkable detail, the collection celebrates the diversity of life found among the branches of the Tree of Life. ardmore-design.com | cole-and-son.com

CoralBloom Studio x Robin Sprong Wallpaper

CoralBloom Studio is led by Dr. Michelle von Stein, a scientist-turned-designer with a PhD in botany and microbiology, who collaborates closely with her mother Ann, a botanical artist, and sister Megan, a conservation ecologist and scientific illustrator. Together, they create unique designs, such as Succulent Serenity, inspired by detailed scientific watercolours of South African plants. robinsprong.com | coralbloomstudio.com

Keiskamma Art Project × Clout/SA for Cara Saven

The magnificent tapestry-inspired wallpaper and fabric, Stitched, A Story of Our Home, is the result of a creative collaboration facilitated by Clout/SA for Cara Saven. Artists from the Keiskamma Art Project were challenged to create an embroidered piece that referenced what a scenic and quintessentially South African wallpaper might look like. keiskamma.org | clout-sadesign.co.za | carasaven.com

David Krynauw Design

David Krynauw Design’s latest collection of wallpaper and fabric designs, printed by Fabric Bank, comprises adapted historic prints from the Kleine Rijke collection dating back to the 1800s. David’s wife and fellow designer Jasmyn Krynauw, who heads up DKI – a division of David Krynauw Design – uses scale in creative ways and repurposes texture and colour to form new, locally inspired landscapes that carry a sense of whimsy and delight. | davidkrynauw.com

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The way South Africans live at home has changed dramatically over the past decade. Our homes have become more than places to eat and sleep – they’re where we entertain, work, unwind and reconnect with the people who matter most. It’s little wonder that contemporary homes are increasingly designed around shared experiences, with open-plan living, seamless indoor-outdoor flow and thoughtfully curated entertainment spaces taking centre stage.

As winter slowly gives way to spring and summer, many homeowners are thinking beyond seasonal updates and investing in design features that add lasting value throughout the year. Few elements achieve this quite like fire.

Whether it’s the comforting glow of a fireplace on a crisp evening or the unmistakable ritual of gathering around a braai with friends, fire has an enduring ability to transform a space. It creates atmosphere, encourages conversation and turns everyday moments into memorable ones.

Today, fireplaces and braais have evolved far beyond their practical purpose. They have increasingly become defining architectural features that shape the way we experience our homes.

Fire as a design statement

Rather than being added as an afterthought, modern fireplaces are now often considered from the earliest stages of a home’s design. They help anchor living spaces, introduce visual balance and create a natural focal point within a room.

Whether integrated into a striking feature wall, suspended as a sculptural centrepiece or used to subtly divide open-plan spaces, a well-designed fireplace contributes both warmth and architectural interest.

For those who appreciate the authenticity of a real wood fire, closed-combustion fireplaces offer an elegant balance between performance and aesthetics. Unlike traditional open fireplaces, these designs maximise heat efficiency while reducing emissions, making them a smarter solution for modern homes that value both comfort and sustainability.

Extending life outdoors

South Africans have always embraced outdoor living, and today’s homes increasingly blur the line between indoors and out.

A thoughtfully designed braai area has become a natural extension of the home – a place where cooking, conversation and connection happen simultaneously. Whether overlooking a garden, integrated into a covered patio or forming part of an outdoor kitchen, a premium braai area becomes both a functional appliance and a beautifully crafted design feature.

Much like a fireplace indoors, it anchors the space, encouraging people to gather long after the meal has been served

Investing in timeless living

The most successful design choices are those that remain relevant long after trends have passed. Fireplaces and braais offer exactly that: they combine everyday functionality with enduring visual appeal while adding value to the home.

Create a space that feels welcoming in winter, inviting in summer and effortlessly suited to every season in between.

After all, great design isn’t simply about how a home looks – it’s about how it makes people feel. And few features create warmth, connection and a sense of belonging quite like fire.

Whether you’re renovating, building from scratch or simply reimagining your living spaces, designing around the fire is an investment in a home that’s made for gathering, celebrating and creating memories all year round. | infinitifires.co.za 

The post Spaces That Bring People Together appeared first on Visi.

WORDS & PHOTOS Gina Dionisio

A new feature at this year’s Decorex Cape Town, FloodLight celebrated some of the best local lighting designs brought together within a showcase shaped by the 2026 theme ‘The Soft Life’.

At the heart of the immersive display – developed as a collaboration between Decorex and spatial lighting designer Martin Döller – was the idea of light as soft power: not simply as a function, but as atmosphere, emotion and a tool for wellbeing. Here’s a look at the pieces lighting the space:

Joe Paine

Brutalist in nature, the MAXIMA Standing Lamp contrasts hard edges with soft light. The lampshade fabric can be pushed in and out, augmenting the type and intensity of light. | joepaine.com

Luminaire d’Afrique

Originally launched at the Capitec handmadeAFRICA Pavilion during Decorex 2025, these Luminaire d’Afrique pendants are a collaboration between Handmade Africa, Ngwenya Glass, the Bambizulu team, master weaver Beauty Ngxongo and Johannesburg’s finest lighting manufacturers. Each light – made from hand-blown recycled glass, intricately woven palm, telephone wire textures and beads – blends centuries-old techniques with modern precision. | bambizulu.com

Mema Designs

Handmade using Mema Designs’ signature anodised woven aluminium mesh fabric, the surface-mounted Fan Lamp is inspired by intricate origami folds and classical tailored fabric detailing. | memadesigns.co.za

Ananta Design Studio

Ananta Design Studio is known for blurring the lines between craft, fashion and collectable design. The Misra Lamp – taking its name from the Sanskrit word ‘Misra’, meaning blended or combined – features steel, textile and beaded threads woven together to create a contemporary lighting object that speaks to heritage and the beauty of combining seemingly opposite worlds. | @studioananta_

Modern Gesture

Modern Gesture’s layered Woven Necklace Pendant embodies an African necklace shape through the use of wooden rings, which represent wholeness and timelessness. | moderngesture.co.za

TheUrbanative

The Ayanda Pendant Light casts captivating shadows when illuminated. This elegant homage to Zulu heritage draws inspiration from two iconic elements of a woman’s attire – the pleated skirt ‘isidwaba’ and the dignified silhouette of the traditional headpiece ‘isicholo’. | theurbanative.com

Bofred

The Martini Floor Lamp is from Bofred’s Villa Collection, an ode to languid, sun-drenched days. Featuring a sand-cast recycled aluminium frame with an oatmeal linen fabric lampshade, this version of the Martini Floor Lamp is finished in silver aluminium. | bofred.co.za

One to One by Martin Döller

Amphora is the physical embodiment of 20 years of thinking. Cast in solid bronze, the modular lighting system is hand-finished by South African artisans. Each piece is unique. | 1-to-1.world

MOS Products

MOS Products had two lights on display in the FloodLight showcase: the CATAWBA and the SINE.

The form of the CATAWBA, named after a grape varietal, was inspired by chain link lengths, using the form as the light itself, rather than as a suspension aid. The SINE, on the other hand, combines up and down light in a gentle ambient flow. The horizontal line from the hardwood forms the base on which the shapes flow, with the bulbs half hidden by the oval-esque shapes and swoops. The light illuminates the soft arch curves, adding another dimension to simple geometric shapes. | mosproducts.co.za

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WORDS Steve Smith PHOTOS Supplied

It took a certain amount of bravery to accept the Alfa Romeo gig. The storied Italian brand hasn’t exactly had the best run over the past four decades, with underinvestment, identity tensions and reliability issues seeing it rarely get out of third gear. On the other hand, design has always been Alfa Romeo’s strength, and even in the worst years, even if the cars haven’t exactly done the business, they have always looked it.

Which means Spanish car designer Alejandro Mesonero-Romanos must have had a bit of a think before taking the wheel as Alfa Romeo’s head of design. Arriving via VW-owned Spanish brand Seat and Renault, where he was known for designs that blended Mediterranean emotion with German proportions, he would’ve felt just that smidgen of extra pressure: the Alfisti – Alfa’s die-hard fans – don’t merely expect, they demand crackingly beautiful sheet metal. And this tribe is particularly fussy about the brand’s legendary triangular grille – the Leggenda Scudetto (Little Shield). Get it wrong, and swarthy Sicilians will no doubt be knocking on your studio door.

That brings us to the Junior – the first car designed from the ground up by Alejandro and his team. Adding to the challenge was the fact that the Junior would be sharing a platform with other similar-sized EV/hybrid vehicles in the Stellantis group portfolio – the Opel Mokka Electric, Peugeot E-2008, Fiat 600e and Jeep Avenger. It meant limited parameters to produce something that was distinctly Alfa. Plus there was that crucial decision every designer of an EV faces: should it look like an EV (i.e. a bit sci-fi), or should it fit more naturally into the brand’s product lineup?

Alejandro clears up that last notion immediately. “I never thought that being electric or hybrid needs to be formalised or visible in the design of a car,” he says. “I’ve been designing cars for 30 years, and I was there at the start of electric-vehicle design. This was my philosophy, always: don’t do anything differently in the design just because it’s electric. All the customer wants is a beautiful car.”

That, however, is easier said than done when there are economic and technical realities to consider, and not just the art of design. “Aerodynamics, weight and the cost of materials are the three factors that most influence design and limit our work – but we adapt,” says Alejandro. “And we must also add the homologation and regulations imposed by Europe, which are increasingly strict and difficult. I’m used to these constraints. We’re designers, not artists.”

Cue gasps, raised eyebrows and pinched-finger gestures from the Alfisti. But I reckon they can return their hands to their espressos, and cut Alejandro some slack. The Junior is by no means a neutral design, and is easily the best-looking of its Stellantis siblings. It has a front-end with plenty of character – perhaps a little too fussy for some, but I love the reimagined Leggenda Scudetto with its large reproduction of the Alfa Romeo emblem (an echo of which also makes an appearance on the C-pillars). Overall, the body is simple and muscular, incorporating all the values of the Alfa Romeo brand. “It’s intended to democratise Alfa’s sporty Italian design and performance. One of the most important parts of the design was proportion. As with everything in nature, proportion is the first consideration for beauty. Then we applied a design that was a little loud, in order to be recognised on the street.”

In an Alfa, that street cred also demands engaging on-road dynamics and performance. With its purposeful stance, dark 20-inch alloys, and coda tronca (truncated tail), the Junior Elettrica 280 Veloce certainly talks the talk. It walks the walk too – perhaps not quite with John Travolta’s Saturday Night Fever swagger, but confidently enough, thanks to its front-mounted 207kW/345Nm electric motor and, crucially, a Torsen mechanical limited-slip differential. The latter helps with traction out of the corners and, along with a wonderfully precise steering feel, makes for a fun little SUV crossover to drive.

All in all, I’d say job done, Alejandro. I’m looking forward to his versions of the next-gen Stelvio SUV and Giulia sedan, both scheduled for 2027/2028. | alfaromeo.co.za

The range

Alfa Romeo Junior Elettrica 280 Veloce:207kW/345Nm; R999 900. Alfa Romeo Junior Elettrica: 118kW/260Nm; R799 900.

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WORDS Bonolo Chepape PHOTOS Jan Ras

I chose these objects because they speak to a common thread. Each one carries a part of my life’s story, history and identity. From books that hold cultural memory to fabrics and garments that shaped my creative blueprint, these pieces reflect how history is preserved, inherited and lived. They represent rituals that deepen my understanding, objects that anchor my cultural connection, and design forms that hold the collective memory of a people. They’re objects and pieces I’ve collected and kept to remind me of the vastness of the world, the richness of culture, and a celebration of art and design.

The violin

More than 36 years old, it is a family heirloom passed down from father to daughter. It carries a quiet humour, and is a reminder of talents hoped for but not pursued. It speaks to play, possibility and the idea that not every discipline must become a profession – some exist purely for joy. More than anything, it remains a sentimental connection to a father who left it behind as an invitation for future dreams.

Ceramic piece by Anthony Shapiro

Gifted by a dear friend, this piece carries both artistic and personal meaning. I have long admired Anthony’s craftsmanship and his commitment to teaching others. When I see it, I think of our shared trade shows and the laughter between us; in these moments, I am left in stitches. It represents what creative practice should strive towards: generosity and the passing on of knowledge, friendship and joy.

Rothko by Jacob Baal-Teshuva

Acquired at an Anthropologie store in New York, this book is a masterclass in colour. Rothko’s work reminds me of the power of restraint and devotion to language; it reinforces my belief that everything is art, even the quiet discipline of balancing colour.

Traditional Pedi blanket

Passed down from my grandmother, this is one of my most sentimental pieces. It holds memories of womanhood within my cultural context; of her resting under a mango tree; of being wrapped around the waist by elders. I often sit on it when I design – a reminder of my grandmother’s presence in both spirit and object.

Patterned doek

An heirloom from my mother, this doek brings me joy through its patterned motifs, which reflect subtle Western influence alongside cultural significance across South African communities. It represents the intersection of the worlds I navigate: tradition and contemporary identity.

Calabash water vessel

An important object in my daily life, the calabash is part of a ritual passed down through my Pedi culture. Beyond its beauty, it is a tool for ancestral connection. It reminds me of the importance of knowing my background and honouring those who came before me, safeguarding the spiritual knowledge passed down through my lineage.

Henri Mattise print

Collected during my first visit to MoMA in New York; Matisse is one of my favourite artists. This print reminds me of the spirit of community and togetherness, and of the importance of collaboration and building supportive creative ecosystems. Its colour language and sense of play continue to influence my work.

Reflecting B(l)ack by The Manor

This book reveals the importance of documenting and archiving African history and culture. Through stories, imagery and representation, I find a point of connection as I shape my own understanding of how I would like to represent African culture in the future. It serves as a daily reminder of the responsibility of archiving.

Pink woven Cambodian throw

Discovered at Maison&Objet Paris, from a vintage Cambodian merchant, this textile embodies layered knowledge and craft . Made from offcut fabrics woven together, it champions silk thread, colour variation and the beauty of imperfection. It reminds me of resourcefulness, and the power of transforming remnants into something new, meaningful and environmentally conscious.

Boubou dress

A traditional Senegalese garment collected during a trip to Dakar, this piece reflects the cultural knowledge embedded in African textiles and print-making. I look to it not only to admire the natural dyeing techniques and inherited craftsmanship, but also as inspiration for my own practice, and where I hope it will evolve. | lulasclan.com

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