Whether it’s ketchup on chips or a jus that’s taken days to make, poured tableside at a restaurant, the right sauce is intrinsic to food. It enhances and elevates every dish to which it is invited, bringing flair to the flavour.

Sweet, savoury, tangy or spicy; béchamel, velouté, hollandaise or béarnaise; good old gravy, mayonnaise or aioli; crème anglaise, fruit coulis, salad dressing, mint sauce on roast lamb, brown sauces, butter sauces, emulsified sauces, hot sauces, cold sauces… The only limit is imagination. While chefs keep sauces in their arsenal of secrets, if you manage your expectations and skills, there’s no reason not to up your game at home.

For inspiration, we asked Eat Out-starred chefs to tell us about their favourites and how they use them – and the variety they brought to the table (sorry, not sorry) is astounding.

Garlicky goodness

“Favourite sauce? It’s difficult to pinpoint one, but it has to have heat,” says Mathew Armbruster, chef-proprietor at The Chefs’ Table in Umhlanga, which won one star at the 2026 Eat Out Woolworths Restaurant Awards. “Durban life trained me well – chilli’s basically my everyday seasoning now. A simple, well-made peri-peri, the kind I’ve had in Mozambique, is up there. Chilli, garlic, herbs, lemon juice and oil – I can slap that on anything.”

A sauce that stands the test of time has to be an aioli. Kitchens are nothing without it, says Mathew. “You can eat it as it is or use it as a base to create endless sauces – its simplicity and versatility are its magic.”

Big in Japan

Delaire Graff’s Hōseki, winner of two Eat Out stars and named after the Japanese word for jewel, is where Virgil Kahn’s in-house shoyu forms the backbone of the Japanese dining experience the Stellenbosch restaurant offers. “When I began developing this shoyu, the goal was simple – to create a sauce that truly elevates our sushi and honours our vision of showcasing the Cape coast without losing touch with our Japanese roots,” says Virgil. “By introducing local seaweed, most notably Cape kelp, and incorporating West Coast bokkoms, the shoyu developed a depth of salinity and flavour that’s unmistakably ‘Cape’ in character. This unique blend not only enriches the sushi but also ties in with our Koshihikari rice, bringing an added layer of nuance to every bite.”

Better with butter

Julia Hattingh of Eat Out one-starred Reverie Social Table in Cape Town debated for a week while considering savoury sauces. Green vs butter vs gravy… and butter was the winner.

“Beurre blanc is one of my absolute favourite sauces – incredibly versatile and not super-technical to get right,” she says. “It’s basically a vinegary base that’s emulsified with butter into a silky-smooth sauce that complements fish, eggs, shellfish and more, adding richness and acidity at the same time. Probably the biggest draw is that you can flavour a beurre blanc so easily – just infuse your base reduction, or use a flavoured butter. It’s a great wine-pairing sauce!”

From Jozi, with love

At Cyra in Johannesburg, also a one-star winner, sauces made with love matter to chef Candice Philip, because they transform something basic into something memorable. “A sauce isn’t just an addition; it’s the element that brings balance, depth and personality to a dish,” she says. “It adds character, comfort and excitement; richness, freshness and acidity.”

For Candice, sauces are a form of expression. They show intention – how a meal is meant to feel, not just how it tastes. “A good sauce will elevate the most humble of ingredients, but also tie everything together to create a complete experience,” she says. “Without sauce, food can sometimes feel unfinished; with the right sauce or dressing, the dish feels alive and thoughtfully made.”

One of her favourites is her leek-and-sesame crème (delicious with sea bass). Another, which is more of a dressing but remains a firm favourite regardless, is her version of a ceviche dressing.

Au lait!

Roxy Mudie of The Waterside at the V&A Waterfront, which has two Eat Out stars, says one of the best sauces she’s ever had the pleasure of making is café au lait. “It’s a classic I was taught to make at La Colombe, and I’ve loved it ever since,” she says. “We serve it with our wagyu, and the truffle with crushed black pepper is the perfect luxurious pairing for such a special protein. It’s rich and indulgent, slightly sweet and peppery, and it has the most wonderful balance.”

Visit these restaurants to try their secret sauces for yourself:

• The Chefs’ Table: 1st Floor Protea Mall, 1 Chartwell Drive, Umhlanga | thechefstable.co.za

• Hōseki: Delaire Graff Estate, Helshoogte Road, Stellenbosch | delaire.co.za

• Reverie Social Table: 226A Lower Main Road, Observatory, Cape Town | reverie.capetown

• Cyra Restaurant: The Houghton Hotel, Lloys Ellis Avenue, Houghton Estate, Johannesburg | cyra.co.za

• The Waterside: Pierhead Building (next to the NSRI), V&A Waterfront, Cape Town | lacolombe.restaurant/waterside

===== This article first appeared in the 2026 Eat Out Magazine, a sumptuous, collectible coffee-table style book that celebrates South Africa’s vibrant dining scene. Inside you’ll find in-depth profiles of award-winning chefs, sommeliers and mixologists, a guide to the 66 Eat Out star restaurants and big-picture explorations of South African food identity, sustainability and design-led dining spaces. Buy your copy in the Media24 Shop.

This magazine can also be purchased at Woolworths.

The post SA’s Top Chefs Share the Secrets Behind their Signature Sauces appeared first on Visi.

WORDS Jo Buitendach PHOTOS Supplied

Khwebula Arts is a design studio where furniture meets art, and African where furniture meets art, and African culture takes centre stage. Founded by Sipho Khwebula Twala in 2019, the studio quickly gained recognition, with Sipho named Design Indaba’s Emerging Creative in 2020, and a top 10 finalist in the Nando’s Hot Young Designer competition. An Ekurhuleni native, Sipho learnt his craft through a combination of formal training and self-taught experimentation. From his first foray into product design to becoming a skilled furniture maker, he’s continuously pushed the boundaries of his work while valuing the guidance of mentors who shaped his journey. We spoke to Sipho to find out more.

“I usually introduce myself as a furniture designer, but I feel I’m gradually morphing into an artist. I want to make sure I leave no stone unturned during my time on this earth. Life is an adventure – and I am a fervent adventurer.”

“I grew up in the Ncala section of Katlehong, and as a child I never imagined I would one day become passionate about building things. My grandmother Zenzile, who raised me, was a tailor, and my uncle Alfred was a cabinet maker. They both shaped who I became – but my creative awakening happened elsewhere. I fell in love with design on the streets, and when I was first introduced to David Krynauw, the furniture designer and maker. I still remember walking through his factory doors for the first time, amazed that someone could bend wood with such elegance. At that point, I felt like an empty can, eager to be filled with knowledge; fortunately, he was just as eager for me to join his team.

“I worked with him for five years. We were like scientists, experimenting, developing new machining techniques, inventing bold joinery, and exploring unconventional shapes. We designed, built, and constantly pushed ourselves, transforming into confident creators in the process. When I eventually left, I was a completely different person – and truly a designer. I will always be grateful for the opportunity he gave me and for everything I learnt during that time.”

“The first object I ever designed and made was a shoe. Phillip Hollander, founder of Houtlander, helped me build it. I remember us wrestling to clamp the sole into place, although I’m not sure he remembers that moment. At the time, his studio was still finding its footing; it was part of the Furntech Incubation Programme while I was a student there.”

“My design training blends formal, informal and self-taught learning. I was first introduced to woodworking at Furntech, a formal institution offering wood machining levels 2, 3 and 4. I studied up to level 3 before catching the eye of David Krynauw, who brought me into his team – a mix of architects, interior designers, industrial designers and a welder. The only piece missing was a CNC (computer numerical control) operator and programmer, which became my role. CNC programmers bridge the gap between design and manufacturing – and this gave me an advantage, because I learnt from both carpenters and designers.

“David even left me with the keys to the workshop, which gave me access to the computer whenever I wanted. I spent countless nights teaching myself AutoCAD and Inventor for 3D modelling through YouTube tutorials. By the time I was done, I’d become a bit of a hybrid – a carpenter, CNC programmer and draughtsman capable of creating 3D models and photorealistic renderings.”

“My approach to furniture making has shifted over the past two years, thanks to mentorship from other designer-makers. Phillip Hollander has guided me on navigating the industry and building a profitable brand without gatekeeping. Rejoy Khumalo of Joy Boy Designs helped me move from treating design as just a hobby to treating it as a business, giving me focus and purpose when I needed it. Hamza and Ahmed Pandor of Pandors Designs reminded me to balance business sense with passion for craft, showing me that success requires both. These mentors have shaped not just my work, but also my growth as a designer and as a person.”

“I enjoy working with oak, ash and kiaat. They’re reliable materials, easy to cut, bend and sand, with beautiful grain and durability. I love exploring patterns and complex shapes; every piece I build sharpens my design and manufacturing skills. New pieces are the most satisfying because they always spark fresh ideas.”

“Khwebula was the name of my great-great-grandfather, an iconic figure whose name became part of our izithakazelo or clan praises. I named the business after him to honour my bloodline and culture. My work is an artistic representation of African culture, celebrating its patterns, traditions and fashion. Culture and heritage are the foundation of our identity – which is why I place African heritage at the heart of everything I create.”

“A typical day at our Khwebula Arts studio and factory involves designing, sanding, programming, running to the CNC when the suction fails, celebrating confirmed orders, and dealing with missed deals. There’s shouting, laughing, pacing, occasionally crying. Disappointed clients can tear you apart over late deliveries; happy clients applaud your efficiency. Every day is unpredictable – like watching Game of Thrones for the first time. You never know what’s coming next, and that chaos is exactly what makes it so much fun.” | @khwebula

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The post Art in Form appeared first on Visi.

WORDS Steve Smith PHOTOS Jan Ras

Millennial beige is not something you could ever associate with Cape Town-based interior designer Roxanne Ferreira. Her Arrange Studio designs – and, as you can see, the clothes she wears – are all about colour. “We believe colour can make you happy,” she says on her website, reaffirming the brand’s mission “to transform surroundings into somewhere that exudes joy”.

We paid Roxanne a visit to get a sense of the personal objects that have informed her aesthetic. Many of her traditional keepsakes are in storage – “We’ve moved quite a lot during the past few years, including onto a sailboat!” – but these are the everyday keepsakes she holds dear.

My ring

“This ring belonged to my husband’s grandfather – he found it in the glove box of a second-hand car he had just bought. He tried his best to find the original owner, with no luck. It was then passed on to my husband’s mom, but it didn’t fit her. And then my husband (then boyfriend) gave it to me for my birthday 10 years ago. It fits perfectly; I’ve been wearing and cherishing it ever since.”

Set of chairs

“My parents were gift ed these for their wedding more than four decades ago. I love them – they’re light and foldable, so we’ve had many picnics in the garden on them. They’ve travelled to three different cities with us, and hopefully we can pass them down to our daughter one day too.”

Missibaba bag

“Chloe Townsend of Missibaba custom-made this hold-all baby bag for me just before our daughter was born, and I’ll cherish it forever. The colours make me so happy! There are compartments inside for bottles, and even a custom striped changing mat.”

Hats

“These are just some of the hats my friend and milliner Albertus Swanepoel made for me. He passed away last year and I miss him every day.”

My mom’s jeans & dungarees

“I’m so lucky that my mom kept many of her clothes from the 1970s, ’80s and ’90s, and that my sisters and I get to wear them now. These jeans and dungarees are some of my all-time favourites – how great is the striped lining on the hem of the jeans?”

Sea shells

“I’ve been collecting shells since I was little. The rush of finding a whole sea urchin in a rock pool is unmatched! As I’ve grown older, the collection has grown to include shell-shaped bowls and plates too.”

Stickers

“My love for stickers started when I was young, and my sticker book was one of my prized possessions. My collection includes fancy stickers bought in Japan – but also some cute ones found at local stationery shops. I’m always adding to this collection because I love using stickers when making birthday cards for friends. My daughter recently discovered them too, so the stash will soon get depleted if I don’t store them somewhere safe!”

Small plates

“These are a few of the many small plates and painted ceramics I bought in Japan. I try to use them often, not just keep them for ‘one day’ – they bring back wonderful memories of that country with each use.”

Pins

“Some were gifts, some used to belong to my parents… They’re such a fun way of personalising your wardrobe.”

Prototype of an Arrange Studio light

“This is the original prototype for Arrange Studio’s Paradise light. I’ll always be thankful to this light and its design, and the joy and pride it’s brought me.”

Crocheted blanket

“My mom crocheted this for me years ago – it reminds me of a Missoni pattern. There’s something about a gift that took many hours and lots of love to create that makes you cherish it even more.”

Bracelets

“I inherited these from my mother-in-law after she passed. She loved dressing up and had the most incredible jewellery collection. I’ll keep these for my daughter.” | arrangestudio.co.za

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WORDS Gina Dionisio PHOTOS Supplied

Conceived as a quiet alternative to industrial hardware, Urban Toolshed creates elevated fittings that highlight materiality and craftsmanship. Founded by two architects and a homeware buyer, the Cape Town-based studio prides itself on creating considered hardware that serves both structure and ritual.

The newly released Gerrit Giebel Collection, designed by Gerrit Giebel, foregrounds Urban Toolshed’s commitment to elevating fittings into objects of lasting purpose.

Consisting of five knobs, formed in aluminium and anodised in four colourways, the Gerrit Giebel Collection presents a playful yet functional twist on graphic lines.

Named for their geometry, the five designs in the collection are architecturally considered but not austere: the Bulbous, rounded and generous, invites touch; the Pitch tapers to a point, offering precise geometry with a quiet confidence; the Stack layers horizontally; the Parabol arcs outward from its centre, catching light differently with every shift in angle; and the Invert turns the familiar form inside out, concave where others are convex.

The collection is produced in 100 per cent aluminium, anodised for lustre and longevity. Each colourway is anodised into the aluminium, not applied over it. The permanence of this process ensures that the colour does not just ‘sit’ on the surface of the knobs – the colour becomes the surface.

• Ochre – a warm amber tone, suited to kitchens and studies, to unlacquered oak and honed stone.
• Mussel – a muted coastal teal that reads quietly against pale cabinetry and natural materials.
• Pure – an off-white hue that allows the form of the knob to take centre stage.
• Plum – a deep, dusty mauve, perfect for bedrooms and wardrobes.

The Gerrit Giebel Collection, along with Urban Toolshed’s other minimal and graphic ranges, is available online. urbantoolshed.com | @urbantoolshed

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The post The Geometry Of Touch appeared first on Visi.

PRODUCTION Olga Lewis PHOTOS Alana Landsberry/Are Media/Magazinefeatures.co.za

With its generous room proportions and period details such as parquet floors, geometric cornices and stepped architraves still intact, this 1939 apartment building was a good example of residential Art Deco design in Sydney, Australia. And its heritage significance was always top of mind for its new owner, Peter Stewart – especially since he had bought two mirror- image apartments and was planning to merge them into one. “I imagined what might be possible if they could be joined,” he says. “Each had a logical layout and flow, so the design aimed to make as few changes as possible while ensuring that the finished apartment would feel coherent and original.”

Happily for him, the new space seemed bigger than the sum of its parts. Previous unsympathetic modernisations were reversed, mirrored walls were stripped back in the reception area, and bathrooms were restored to original condition. Peter’s intention was to keep the appearance seamless and authentic, without it being a pastiche of a 1930s flat. The finished space retains its pre-war detailing and layout, and is simply furnished with 20th-century bespoke pieces and personal objects. “Curated interiors can sometimes feel stiff, so the aim was a home that’s relaxed, individual and not too considered,” he says.

“The twin chandeliers in the dining room are the only exuberant touch – but the room can take it.”

To visually shorten the linear apartment, Peter created focal points by filling in doorways at either end of the corridor. He placed consoles in front of these, with paintings hung above, so there is always something to look at when moving between rooms. Not that lovely views are in short supply: every room has one, including the bathrooms and the kitchen. He also hung mirrors opposite some doorways to bring views and light into the corridor.

Two factors informed Peter’s selection of furniture, art, fittings and finishes: appropriate scale, and his preference for a clean Mid-century aesthetic. He first drew the furniture placement on a floor plan, then confirmed it in the room using newspaper cut to size and laid out on the floor to ensure the pieces would fit and the rooms felt uncluttered. When suitable furniture could not be found, he had it commissioned and made locally.

When a home doubles in size, the risk is that some of the new space doesn’t get used – but Peter quite cleverly overcame that. “At planning stage, we made sure that a few frequently used rooms were scattered throughout to ensure the entire space was well utilised in the course of a day.”

As you’d expect, merging two separate apartments into a single space that offers the internal flow of something originally designed as one could never be achieved without some challenges. The structural issue of combining the two proved relatively straightforward with the creation of a linking corridor between two walk-in cupboards. This now forms the spine of the apartment, off which all other rooms flow. There was a minor challenge when it came to aligning the mismatched corridor walls – one jutting out further than the other – but a few sheets of plasterboard solved that. “The biggest hurdle was obtaining approval for the project; it took several years of negotiations,” says Peter. “Whenever I felt like throwing in the towel, I was reminded of the potential of the finished place… and of a favourite family mantra: ‘If at first you don’t succeed, try, try and try again!’ The result was worth the effort.”

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WORDS Gina Dionisio PHOTOS Supplied

Founded in 2021 by Chelsea and Andrew Makin, the design studio produces sculptural yet functional objects that explore texture, geometry and balance through sustainable thinking and experimentation.

Designed by Chelsea, ‘Gathered’ exemplifies the brand’s approach to creating tactile, collectable designs shaped by material play.

The pendant’s design sits between the botanical and the architectural. Taking its name from the act of folding – the gathering of pleats in cloth, the gathering of petals around a stem – ‘Gathered’ fans outward from a central point in deep, radiating flutes that cast their own shadow play, depending on the angle of light.

Like Alkaline’s WAYST pendant, ‘Gathered’ doesn’t shy away from the marks of its making. The surface carries the horizontal texture of a 3D-printed original – a record of the process, preserved in the casting rather than sanded away. Chelsea began with a 3D-printed prototype but, confronting the material limitations of printed plastic near heat, chose to scale up the original form, make a mould and cast it in resin and gypsum instead. The result is a shade with the surface memory of its digital origin but the weight, opacity and permanence of a cast object.

‘Gathered’ is available in four colourways, each with a colour-matched textile cord. alkaline-shop.com | info@alkaline-shop.com

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The post To Gather appeared first on Visi.

WORDS Steve Smith PHOTOS Supplied

When the original Volkswagen Golf launched in 1976, it quietly rewrote the rules of performance design. There were faster cars, and more luxurious ones, but none blended everyday usability with sharp-edged intent so convincingly. Over five decades, the GTI has evolved from a stripped-back experiment into a design icon, its visual language continually refined without losing the DNA that made it instantly recognisable. Red pinstripes, tartan cloth, subtle aggression – these cues have been reinterpreted across eight generations, each reflecting its era’s tastes and technologies. This is the story of how the Golf GTI grew up without ever losing its youthful edge. 

THE ORIGINAL STATEMENT: Mark I (1976–1983)

The first GTI was never meant to be a design revolution, yet it became one through restraint. Based on the clean, geometric lines of the standard Golf, its designers introduced a new visual vocabulary for performance: minimal but deliberate. The (now legendary) thin red grille surround offered just enough flair to signal intent without excess. Black plastic wheel-arch extensions gave it a grounded, purposeful stance, while the absence of chrome hinted at modernity.

Inside, the tartan upholstery added personality to an otherwise functional cabin – an early example of performance design extending beyond mechanicals into lifestyle. The Mk1 GTI’s genius lay in its clarity: it didn’t shout; it sharpened.

REFINEMENT AND MATURITY: Mark II (1984–1992)

Reflecting a broader 1980s shift towards rounded forms, the Mk2 GTI softened the original’s starkness. It grew in size, too: a more substantial silhouette, with larger glass areas and smoother transitions between surfaces. Yet, crucially, the GTI identity remained intact.

VW’s designers retained the red grille accent and black arch trims, but integrated them more cohesively into the body. The proportions grew, lending the car a more mature presence without sacrificing its sporty stance. Inside, the tartan continued, reinforcing continuity. This generation marked the GTI’s transition from rebellious upstart to established icon, its design less raw and more resolved.

SUBTLETY TAKES OVER: Mark III (1993–1999)

By the early 1990s, the GTI’s design language became more conservative, mirroring a broader industry trend towards safety and aerodynamics. The Mk3’s rounded, almost softened face reduced the visual aggression of its predecessors. The red detailing remained but felt less pronounced, while the body lost some of the crispness that had defined earlier models.

This was a GTI that blended in more than it stood out. The restraint signalled an important shift: the GTI was becoming less about visual rebellion and more about everyday integration. Design became quieter, almost understated – a theme that would echo in later generations.

PRECISION AND QUALITY: Mark IV (1998–2004)

The Mk4 GTI marked a turning point in perceived quality and design precision. Its surfaces were cleaner, tighter and more sophisticated, reflecting VW’s push into premium territory. The design language became minimalist, with subtle creases replacing overt detailing. This generation was modest in terms of styling, and was the first and only GTI to do away with the iconic red strip in the radiator grille. Nevertheless, the vehicle still became an icon, celebrated today as the starting point of a new, cleaner era of vehicle design.

Aluminium accents and improved materials inside elevated the cabin, moving the GTI into a more upscale space. This generation prioritised cohesion over character, losing some of the earlier models’ playful edge, but gaining a sense of solidity and craftsmanship that would define Volkswagen design for years.

THE RETURN OF ENERGY: Mark V (2004–2009)

The Mk5 GTI reintroduced visual excitement after the restraint of the Mk4. Its design embraced contrast and texture: a bold honeycomb grille, the red pinstripe was back, and sculpted bumpers gave the car renewed vitality. The proportions felt more athletic, with a wider stance and stronger shoulder line. The circular fog lights embedded in the grille became a defining feature, adding a playful yet aggressive touch. For the interior, tartan upholstery returned with confidence, reconnecting the GTI to its roots. This generation struck a balance between heritage and modernity, reminding the world that the GTI could still have fun.

EVOLUTION, NOT REVOLUTION: Mark VI (2009–2013)

Visually, the Mk6 GTI refined the Mk5 rather than reinventing it. The lines became sharper, the detailing more precise, the overall aesthetic more polished. Slimmer headlamps that introduced LED lighting, a narrower front grille with the iconic red pinstripe and simplified taillights all made for a more angular and aggressive design compared to its predecessor.

This was design as iteration: careful, considered and controlled. It was a more “premium” look that avoided over-styling while still maintaining the “hot hatch” identity. The Mk6 didn’t seek to surprise; it aimed to perfect what already worked.

SHARPENED IDENTITY: Mark VII (2013–2020)

The Mk7 GTI embraced angularity, reflecting a shift towards sharper, more technical design language in the 2010s. Built on a new platform, its proportions improved dramatically – it became lower, longer and wider.

Crisp character lines ran along the body, giving it a taut, almost architectural quality. The front end became more assertive, with a wider grille and more integrated lighting elements. Inside, a digital interface began to reshape the cabin experience, although traditional GTI cues remained. This generation successfully modernised the GTI’s design without diluting its identity, achieving a balance between heritage and innovation.

DIGITAL MINIMALISM MEETS TRADITION: Mark VIII (2020–2026)

The latest Mk8 GTI represents the most radical shift in interior design while maintaining a familiar exterior identity. The exterior evolves the Mk7’s sharpness with slimmer headlights, a lower grille and more intricate lighting signatures, including illuminated elements that redefine how the GTI is recognised at night. The red stripe persists, now integrated into a broader lighting narrative. Body surfaces are cleaner, almost minimalist, reflecting contemporary design trends.

In the new interior, physical controls have given way to digital interfaces, creating a futuristic environment that contrasts the tactile charm of earlier generations. Yet touches like tartan seats remain, anchoring the car in its history.

The latest version of this storied performance hatchback launched in South Africa towards the end of last year. Dubbed the GTI 8.5, it features new LED Plus headlights and standard 19-inch “Queenstown” alloy wheels. Inside, the cabin has ergonomically designed supportive seats, a new 12.9-inch infotainment system and a fully digital cockpit.

We’ve purposefully kept performance out of this design-focused feature. But to underline the Golf GTI’s evolution, the Mark 1 boasted 81kW and 140Nm from its fuel-injected 1.6 litre engine, while the Mark 8.5 offers 195kW and 370Nm from its turbocharged 2.0-litre power plant.

There’s more to this latest GTI than mere performance figures. It’s a car that demonstrates how a design icon can adapt to a digital age without losing its soul – proof that evolution, when handled carefully, can be just as powerful as revolution.

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WORDS Jo Buitendach PHOTOS Courtesy of Strauss & co, Supplied

Art jewellery pushes beyond traditional jewels and gold to focus on ideas, creative expression and one-of-a-kind pieces that act as sculptures for the body. Often made with unconventional materials, it challenges expectations of what jewellery can be.

In South Africa, the movement emerged in the mid-20th century and grew through generations of makers who blur the line between art and adornment. Its defining feature is an emphasis on the artist’s vision over the intrinsic value of materials, resulting in unique, meaningful pieces rather than mass-produced objects. Its significance was underscored in October 2025 when auction house Strauss & Co (straussart.co.za), together with Stellenbosch University’s Creative Jewellery and Metal Design division, presented “Origins & Legacy of Art Jewellery in South Africa” – an online auction and exhibition that traced the movement from its Mid-century pioneers to contemporary leaders.

South African art jewellery took shape as European goldsmiths arrived after World War II and began to experiment with more modern ideas, new forms and materials that were unconventional. Early figures such as Erich Frey, Else Wongtschowski, Dieter Dill, Kurt Jobst, Egon Guenther, Eone de Wet, Mauro Pagliari, Margaret Richardson, Maia Holm and Frida Blumenberg helped to establish an exploratory, artist-driven approach that connected jewellery to wider creative movements.

Today, the local scene may be small, but its makers are exceptionally inventive. We spoke to a select group about what drives their work:

Dr Khanya Mthethwa is an award-winning South African artist, jewellery designer and academic.

Khanya sees art jewellery as “sculpture in motion, carried by the body” – a form that moves “beyond ornament into a space of cultural memory, identity and political presence”, where adornment becomes a kind of language, and the body becomes part of the artwork. Her practice reframes indigenous African knowledge systems that have long been marginalised or reduced to craft. Moving fluidly between jewellery, sculpture and new media, she works with metal, beads, alternative materials and digital processes.

“South Africa is a site of layered history, rupture, resilience and cultural multiplicity,” she says. “It shapes my sensitivity to questions of erasure, survival and reinvention.” This awareness underpins her expanding engagement with African dialogues, both conceptually and materially. Khanya is currently deepening her sculptural and digital practice while developing new bodies of work that engage African archives and memory. She is also preparing for upcoming international exhibitions and research-led collaborations across the continent and abroad. @changingfacets

Geraldine Fenn and Eric Loubser own Tinsel Gallery in Melville, a space that serves as their studio and a showcase for South Africa’s contemporary jewellers. Together, they create, exhibit and champion innovative jewellery.

“We create all kinds of jewellery. As manufacturing jewellers we produce commercial pieces – but everything is handmade and bespoke, so almost every piece is unique. We also make art jewellery, experimenting with materials and concepts, and the two approaches feed into each other creatively,” say Geraldine and Eric.

“Sharing a studio means we constantly influence each other, even while working on separate pieces. Our aesthetics are shaped by our environment and our South African childhood. Living here can be challenging… But it also encourages resourcefulness and experimentation.

“Geraldine is preparing for a solo show at Montreal’s Noel Guyomarc’h gallery in June 2026, supported by a grant from the Art Jewelry Forum.” @ericloubser | @geraldinefenn | @tinselgallery

Joani Groenewald is a lecturer in the Department of Visual Arts at Stellenbosch University, and a jewellery designer, goldsmith and artist.

For Joani, the beauty of art jewellery resists neat categorisation, challenging conventions of value, function and wearability. She uses scale and weight to explore land, ownership and social politics in South Africa, creating pieces that range from large, conceptually heavy forms to smaller, wearable works. Her practice is closely tied to place and materiality, oft en incorporating found objects, clay and plant matter that carry memory and history. Living and working in South Africa informs both her materials and her ideas, while her dual role as researcher and practising artist allows her to move fluidly between thinking and making. She is currently preparing a chapter on activism, and developing a new body of work in her studio. @joanigroenewald1

Dr Bongani TP Mashange is a Zimbabwean-born contemporary jeweller and academic, currently lecturing and pursuing postdoctoral research at Stellenbosch University.

Bongani calls himself “a contemporary art jeweller” – a perspective that shapes everything he does. He sees contemporary jewellery as far more than decoration or craft; for him, it’s an artistic practice that blends traditional and modern techniques to explore ideas. His work delves into the complexity of African identity, with “Afropolitanism” at its heart. Drawing on his Ndebele and Shona heritage, his Zimbabwean roots and life in South Africa, his pieces resemble sculptural objects rather than conventional jewellery. Looking ahead, Bongani plans to deepen his exploration of African identity through the Afropolitan aesthetic, and create new work that reflects diasporic identities and the nuances of trauma. @bonganimashange

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Ducko Down crafts beautiful duck down products that offer superb quality, durability and value for money. Ducko’s bedding and accessories redefines the sleep experience, ensuring a luxurious, soft, warm and comfortable night’s rest.

Ducko duvets and pillows are hand-filled with pure locally sourced feathers and down, and encased in 100% cotton down-proof fabric, making them perfect for all seasons.

All Ducko’s down and feathers are locally produced from certified free range ducks. The feathers are washed and sterilised on the premises, after which they are sorted and filled into the brand’s famous duvets, pillows and scatters. duckodown.co.za | orders@duckodown.co.za | 014 537 2124

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PHOTOS Supplied

Some places don’t need to announce themselves – they simply shift your pace the moment you arrive. Yellowwood Cottage is one of those rare gems, with just the right ratio of ease to escape. Just a short drive from Cape Town, in the secluded hamlet of Churchhaven, where the landscape opens into fynbos, salt air and the vast stillness of the surrounding lagoon, Yellowwood Cottage sits right on the water’s edge as though it has always belonged, anchored in its surroundings and softened by wind and tide. The architecture honours its fisherman’s-cottage heritage with refined ease: camphor wood beams, rattan ceilings and a natural, sun-washed palette are layered with considered modern furnishings, creating a space that is both grounded and supremely luxe. Three en suite bedrooms face calming lagoon views, each fitted with a fireplace for cooler months. A fourth bunk room, complete with books and board games, adds to the relaxed family-centred warmth. Living spaces flow effortlessly onto a shaded veranda that’s been designed for slow mornings, long lunches and the unhurried rhythm of holidays. Fully off-grid and powered by solar energy, the cottage offers thoughtful, curated comfort – luxury linen, a well-equipped kitchen, Wi-Fi, and paddleboards for still-water exploration. In winter, Yellowwood reveals its most intimate secrets through access to fynbos trails under crisp skies, mussel pots simmering in the kitchen, and evenings spent by the fire with red wine – and conversation – in full flow. In spring, from early August to late September, the West Coast puts on one of the Cape’s most spectacular natural displays: a vibrant carpet of wildflowers. In summer, it’s all about swimming, cycling and flamingos drifting across golden sunsets. No matter the season, the setting remains quietly unforgettable. yellowwoodcottage.co.za | reservations@ellekecollection.co.za | 087 711 5500

*The prize is worth R40 500. Ts & Cs apply. Travel costs not included. Valid until 30 September 2026.

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