A cool new collaboration by Karabo Poppy X Woolworths celebrates heritage and our diversely rich South African Roots. We chat to Photographer Celeste Jacobs and Creative Director Savannah Feeke-Fortune about the design process behind their striking shoot for the range.

Tell us a bit of background about yourselves.

Savannah: I was raised in the Cape but I currently reside in Joburg. An interesting by-product of the last few years is people’s willingness to collaborate cross-country, so as much as I am here in Gauteng, I feel no distance or dissonance with creatives elsewhere – even across our borders. I recently set up my Friends and Family agency. This is not an exercise in cronyism or nepotism, but there is something to be said in working with people I trust – and there is no one I trust more than my friends and family within the creative sector. There is an innate shorthand that also expedites projects and tasks that is priceless. 

Celeste: I’m a Kimberley-born, Cape Town-based editor, writer and photographer, with a background in psychology. My images celebrate nostalgia and embrace sentimentality while pursuing spaces that evoke a sense of calm in a fast-paced world. I’m a self-taught photographer who specialises in 35mm and medium film.

Tell us about what the collection is all about?

Savannah: Karabo ‘Poppy’ articulated it best, when she spoke about the visual aesthetic that is so unique to Africa, and how the collection conveys this through its own aesthetic of constant innovation and hybridity. It’s about celebration and preservation in a keenly South African way. 

What was the brief for the shoot?

Savannah: To show that home is where the heart is – physical environment can be barren and without any of our preferred comforts, but the presence of those we love is really all we need to change a space from strange to structured.

Celeste: Essentially to capture the Karabo Poppy x Woolworths collection. I knew we wanted to capture the images in a way that speaks to Karabo’s collection and that heroes the feelings that family and a sense of belonging evoke. We did this in a subtly surreal way – creating a home in a natural, but stark environment – but filling it with what actually matters and what actually binds us together.

How do you feel you encapsulated Heritage through your shoot?

Savannah: As a coloured woman, Heritage Month is usually tinged with a sense of the bittersweet. I am acutely aware always that it’s a fine line between cultural appreciation and celebration, and appropriation. It is an intentional commitment to giving flight to others without setting down patronising parameters based on our own internalised prejudices. From the moment the designs were briefed into Karabo, I ruminated on what would be a universal South African message that could speak to all of us. The images my subconscious flung at me were all immersed in the sense of home – a pink door, a blue comb, the faces of those I love dearly. Ultimately, those informed the shoot and became the foundation for the entire theme.

Celeste: I think when you work with an artist whose work is so much of a celebration of our continent and the people of our continent, combined with the sense of unity that the collection represents and the energy on set, that feeling comes through. It’s there in moments that feel tender between loved ones, the intention behind the work and the courage that goes along with that.

Did you have any other ideas before you decided on this one?

Savannah: Sometimes life is a lighthouse – without even realising it, your inspiration comes without any kind of concerted thought or effort. This is one of those times. The first idea was the only idea, and also turned out to be the best one. 

What was it like working with such an esteemed SA designer and brand?

Savannah: I feel blessed that Karabo chose me as her manager and constant companion. I am able to bear witness to the unqualified love and care with which she approaches every partnership, and I bask in the associated sunshine that comes from this positivity. What made it even more wonderful wasn’t simply the fact that we were collaborating with an industry giant like Woolworths, but that their team matched our enthusiasm at every juncture. It was a true collaboration in every sense of the word.

Celeste: An absolute honour. Karabo is just so incredible and somebody whose work I’ve always admired and respected. Woolies is also just such an iconic brand. The collaboration between two powerhouses and at that scale is something to behold. I felt the magnitude of it for sure! I also really value the trust that comes from shooting film – particularly now in the commercial sense – I can’t show you the shots while I’m taking them. The trust in that process meant the world to me.

What was your favourite part of the shoot?

Savannah: That the shoot was framed within family, and that I took part in it with my actual family. How amazing to work with a team of meticulous, inspiring people, and to be awed by the knowledge that this is my family. I am overjoyed to participate in an experience that shows the world just how many amazing people we each know – and I now have a phenomenal photo shoot with my incredible mom to show off! 

Celeste: The entire process was truly special – I think seeing it brought to life and following through on the intentions set made each aspect so meaningful. Everyone involved in making it happen also just added to the experience and elevated the project with their skills – super thankful to have been a part of such an amazing team.

Do you have a favourite shot?

Savannah: I have two: 

I love the dichotomy of the photo of my mom, where she is standing with the pink door and the misplaced chair and lamp. There is something extremely stylised about it, but at the same time, the familiarity of the deep connection to my mom gives it a normal and natural feel. It echoes the concept of the matriarch – a familial role that exemplifies both structure and sanctuary, offering a place of safety but within discipline.

The second is the picture of Karabo and Zara. You know the trend of writing your younger self a letter, with words of wisdom and advice learnt after years of experience. With this picture, I tried to make that conversation more reciprocal. I styled Zara’s hair based on how Karabo wore hers as a child of a similar age, so the photo is almost Karabo with her younger self – the Karabo of now is protective of the innocent child she once was, and Zara as her younger self brings a playfulness and pride of her older self to the photo. 

Celeste: I loved the shots of Karabo, her brother Lebo and her Dad. I could feel the genuine love and respect they have for each other throughout the day – it was really beautiful to witness.

What advice do you have for any up-and-coming young photographers wanting to get into the game?

Celeste: Everyone has their own approach – but I think even if you go slower, start small or need to pause for a bit – put one foot in front of the other. Don’t be afraid to pursue something if it matters to you – just take a route that makes sense at the time. Also, don’t be an island. There’s so much value that comes from a sense of community and collaboration. Find people who share a similar vision or values – and enjoy the process together.

Future plans?

Savannah: I want to continue to pour myself into projects that fill my cup. I want friends and family to continue to be a place that feels familiar and like home. This means creating a space that is mutable enough to invite innovation without losing the sense of refuge that we have established.

Celeste: In a nutshell – to keep writing, shooting, loving and resting with intention. 

Credits

Models: @karabo_poppy, Mr Moletsane, Lebo Moletsane, Wilma Feeke, Zara Jacobs, Mackenzie Chamberlain | Collaborating Artist: @karabo_poppy | Agency: @friendsandfamilyagency_ | Creative Director: @savannah.feeke.fortune | Photographer: @_celestejacobs | Producer: @a.typical.millennial | Stylist: @durand.tania5 | Hair and Makeup: @unswayedbeauty

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The second of three exhibitions focused on the Global South – “Liminal Identities in the Global South” – is now open at the Joburg Contemporary Art Foundation, and can be experienced either in person or virtually.

Traverse the Global South through the eyes of seven visual artists and two architects from various countries via the new “Liminal Identities in the Global South” exhibition at the Joburg Contemporary Art Foundation (JCAF). The show features work by nine influential women, each of whom reflects on contemporary issues through an art history lens. “The exhibition combines art, architecture and music from the 1960s to the present,” says JCAF executive director Clive Kellner. “Given the impact of Covid-19, the pandemic is the other curatorial thread running through the exhibition.”

The show features the work of Jane Alexander, Lina Bo Bardi, Lygia Clark, Kamala Ibrahim Ishag, Kapwani Kiwanga, Ana Mendieta, Lygia Pape, Berni Searle and Sumayya Vally/ Counterspace, and continues the JCAF’s focus on the viewpoints of those situated in the Global South, established via the foundation’s first show in 2020. A third exhibition will take place here next year, with the same purview.

Whether you experience it online or in person, this show is not to be missed. “The exhibition is divided into five areas: Prelude, Requiem, and Movements I, II and III,” says Clive. “Each area is conceptualised according to a

musical tempo – moderate, slow or fast – which denotes a time-based experience of the exhibition.” “Liminal Identities” features a wide range of forms of expression, and a wide time frame too: the pieces on display were created between the 1960s and the present. “Prelude is an archive of material related to the concept of cultural mixing,” says Clive. “Requiem reflects on two previous world pandemics – the Black Death, and the Spanish Flu of 1918. Movement I considers our current time of masks, and Movement II presents the precarious nature of life. Movement III addresses the concept of grace, depicted by artworks that use light, gold and reflection.”

“Liminal Identities in the Global South” will run until January 2022. Visit the JCAF website to book a guided walking tour, or download the JCAF app from your app store and immerse yourself in this thought-provoking body of work from the palm of your hand.

Looking for more on local art? Take a look at these South African abstract artists.

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W Design Architecture Studio’s Johan Wentzel and Grete van As have created a sophisticated building that combines elements of factory and laboratory to house the world’s first soil-less-grown truffle project.

Truffles are one of the world’s most desired delicacies. These rare finds are notoriously difficult to grow, and even harder to store – but that didn’t stop W Design Architecture Studio from confidently taking on the renovation of an industrial space in which Dagutat Science wished to realise its ambition to do so. In the organisation’s new building, Johan Wentzel and Grete van As have successfully created an environment that fosters growth.

“Dagutat Science produces edible mushrooms that are used as biological treatment in agriculture to deal with various diseases. It is the first company in the world to cultivate truffles in a moss chamber,” says Grete. “A few years ago, Dagutat Science bought an old factory building in Koedoespoort, Pretoria and asked us to refurbish it. We were inspired by their products and their approach to sustainable farming; this triggered our design concept.”

As she explains, Koedoespoort – located just east of Pretoria’s CBD – was originally surveyed and set out as a non-noxious industrial area. The site includes commercial and industrial properties – most of them, Johan says, “characterised by a uniquely industrial saw-tooth roof aesthetic”. He adds that the area is a dynamic, production-driven precinct with little concern for the streetscape or the “spirit of place”.

This is the backdrop for the Dagutat Science project, which required the renovation of a decommissioned small-arms ammunition factory. The change in the building’s purpose was a true 180-degree turnaround, when you think about it – so it’s no wonder that, as Johan explains, the conceptual idea for the project was inspired by Dagutat Science’s focus on creating “conditions for life”. “If we view the city as a living, breathing organism, then this project serves as the ‘urban acupuncture needle’ that can revitalise the whole by healing a part,” he says.

And indeed, a sense of life is now evident from the moment one arrives in Eland Street, where the building is situated, Johan says, because the very first point of contact for any Dagutat Science visitor driving through the street is a new forest of lavender trees – representing grace, calmness and, most importantly, life.

The layout and design of the building itself was a considered process – after all, it needed to house not only a fully functional laboratory, but also a test kitchen, and every process that takes place between growth and cooking. “The new laboratory pods are seen as ‘floating and light’ units – not touching the solid structure directly, but holding inside them the secrets to life,” says Johan. “Behind the protective veil of the new steel screen – or peridium, in reference to fungi’s protective outer layer – the elevated unfinished concrete office building houses a boardroom with a Zeiss microscope, to illustrate and visualise the minuscule scale at which Dagutat Science operates to make its huge impact on the world. The test kitchen on the lower level is fitted for experimental cooking based on the company’s latest development of cultivated Mustérion Craft Truffles – Winter Black and Winter White.”

In addition, Johan says, the updated design is a nod to the notion of permanence. “Architecture is a mixture of nostalgia and extreme anticipation. While the primary existing structure was retained, almost as a skeleton or a frame, we made room for things that matter by removing everything that doesn’t.” In line with this principle, all the building’s 1970s construction was clearly differentiated from the 2019 updates via choices of materials, connections and detailing.

“Buildings should be a reflection of an era, in a said instant,” says Johan – and it’s clear that this unique new creative space located in the heart of an industrial park is precisely that.

Looking for more architectural inspiration? Read more about W Design Architecture Sudio’s projects here.

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In an effort to reduce their impact on the environment and meet the growing needs of conscious consumers, global brands are working on ways to make more sustainable sneakers.

The fashion industry is notorious for its heavy footprint on the ecosystems within which it operates. Globally, according to the Pretty Planeteer, textile waste amounts to about 13-million tonnes of missed opportunities each year. It’s almost more than one can comprehend, and it happens with far too much ease – discarded clothing and offcuts end up in landfills at a rapid rate.

Fortunately, manufacturers have begun dancing to the beat laid down by consumers, and making attempts to give the planet a break by adopting more ethical production practices. Inevitably, they are still going to make products – but the growing trend urges them to consider how they’ll go about it. This more environmentally friendly twist on consumerism is a step in the right direction, and it ticks boxes for stylish and sustainable shoppers.

VEJA

These beauties are the golden child of the sustainable sneaker world. Since 2005, Veja has been paving the way forward for considerate kicks by combining social projects, economic justice and the use of environmentally friendly materials. Veja sneakers are made from Brazilian and Peruvian organic cotton, Amazon rubber and recycled plastic. Whether it’s pushing the boundaries by creating vegan sneakers – using cotton canvas coated in corn – or using fabric made from 100%-recycled plastic, it’s clear that the brand is not resting on its laurels. Rather, it is perpetually improving, and determined to keep doing so, one step at a time.

PUMA

PUMA’s RE.GEN collection makes a move towards re-valuing recycled material. Leather offcuts, cotton offcuts and polyester made from recycled plastic combine in a three-pronged approach to give materials that would ordinarily be discarded a second chance. Beyond this collection, PUMA says it is moving “Forever Faster” to make products that are “Forever Better”. As part of its sustainability strategy, the company’s aim is to ensure that, by 2025, nine out of 10 items it creates are made from more sustainable materials. Last year, more than 97% of PUMA’s leather, polyester and cardboard were sustainably sourced, which means five out of 10 PUMA products were created through more sustainable practices. This translates to less water and chemicals used in production processes – and a win for the environment. And of course, it doesn’t hurt that there is no compromise when it comes to the freshness of the kicks…

CONVERSE

The Renew recycled knit is the new lightweight, sustainable offering in the Converse stable. Its toe cap is made from regrind rubber; recycled polyester shape-shi s to create the laces, and the OrthoLite footbed makes this streetwear icon sustainable from the inside out. You’ve also got the option to elevate your fi t with the Chuck Taylor All Star Crater, which boasts an ethically sourced outsole, regrind rubber and an upper made from recycled plastic.

REEBOK X SEALAND GEAR

In a partnership designed to kick-start Reebok’s mission to become 100% sustainable by 2030, the [REE]cycled Classic Leather Legacy and Legacy 83 were born. Thirty percent of the uppers of both these silhouettes is made from recycled materials. Sealand Gear produced a limited-edition bag as part of the collaboration, and the first 300 South African shoppers to buy a pair of the sustainable sneakers were gifted one of the upcycled bags. Ninety percent of Sealand Gear’s products are already made from upcycled materials, so Reebok has undoubtedly found good common ground by working with a brand that’s an industry leader on the sustainability front.

adidas

The sneaker giant released an ecofriendly iteration of the well-loved Stan Smith silhouette earlier this year. The court sneakers can be found pounding pavements everywhere, happy in the knowledge that they’ve been produced with materials that help end plastic waste.

Adding further fuel to the joy-filled fire, these Stan Smith Forever sneakers come kitted with characters from Disney, Pixar, Star Wars and Marvel characters. But if you’re into the more classic silhouette, that option is available too – just be sure to reach for the PRIMEGREEN uppers.

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After completing a degree in fine arts at Wits, serendipity saw the founder and namesake of Tshepiso jewellery embark on a design course in Italy – which led to a boundary-pushing debut collection.

Now back on home soil, it’s almost certain Tshepiso’s inspired work will leave a mark on the South African jewellery industry. Her debut collection of fashion-forward, demi-fine pieces challenges gender-specific designs. “Times are changing – and my brand is keeping up with that by creating designs that are more gender-fluid,” she says. Tshepiso’s “Landing” campaign marks a turning point – the time before and after her work entered the South African landscape. To make it possible, Tshepiso joined forces with photographer Armand Dicker and creative director Anthony Hinrichsen. “I wanted something weird and ‘out there’,” she says. “Armand and Anthony gave me more than that. They had seen one of my Instagram pictures, which looked like the jewellery was on the moon, and they drew some inspiration from that.”

With help from their photographic assistant, Sibongile Mditshwa, the creative team designed an otherworldly shoot featuring an alien-like beauty landing in a dreamy desert. They used their muse Yongama Mgqibela as the star. “Patricia Ndeke and Mira Muamba created an out-of-this-world, antenna-like hairstyle,” says Tshepiso. “The gorgeous glittery makeup is by Amy-Louise Tourell, and the intricate, to-die-for nails are by Matthew Green.”

And this is just the beginning for Tshepiso, who holds much potential to refresh and rephrase what comes to mind when we think of jewellery. “I want to create pieces that are bolder and more body-conscious and play with the way the body moves and looks,” she says. “There is so much more to come – and I’m really excited about the future of the brand.”

Looking for more on jewellery? Here are 30 local brands you can shop online.

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LIM owner and designer Pauline Mutlow has no regrets about taking a chance and changing her career path at 39. LIM’s doors opened in 1997 – and, 24 years later, the brand still operates from the same location.

2014: ADINKRA MARRIAGE CABINET

In celebration of my 40th wedding anniversary, I designed a small range that incorporated the West African Adinkra marriage symbol as an engraved pattern on the doors. The units were manufactured in walnut, which represents a mature yet contemporary material to me. It also celebrates the concept of commitment and longevity.

2019: POPPY LAMPS

Inspired by the seasonal poppies sold by flower sellers at the side of the road, the Straight and Curved Poppy lamps combine to mimic the form of a bunch of flowers. These joyful lights are manufactured from steel tubing and black-coated epoxy. I feel happy every time I see them.

2019: CHEVRON DESIGN SERVER

With its geometric design, this server was originally created for a client’s dining room. Its minimalist nature doesn’t stop it from drawing the eye, particularly to the pattern on the doors. This four-door version is available to order in a variety of spray colours – we offer the option of customising it in-store and on our website.

STORAGE TOWEL RAIL

A customer wanted a towel rail with a storage facility included – that was the inspiration behind this piece. Square steel tubing and a flat tray top are joined by black-coated epoxy to produce a piece that pleases, both in function and in form. It’s always satisfying to design something that’s practical and fulfils a client’s needs.

2021: SHORT BENDIE LAMP

This lamp is another product inspired by meeting a customer’s needs. The client wanted a bedside lamp for reading that wasn’t imported, so we created this piece, which offers a great angle and affords the necessary light. It’s a quintessential LIM piece, honouring the sentiment that “less is more”.

For more information, visit lim.co.za.

Looking for more on South African design? Take a look at Egg Designs journey over the last 24 years.

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A monochromatic exterior conceals a celebration of colour, creativity and remembrance in this playful and joyful apartment.

If you’re looking for an architecture and design equivalent of “never judge a book by its cover”, this apartment in the Onyx must be it. Its white-accented black-mirror façade and similarly themed foyer and corridors provide little hint of the explosion of neon that awaits when you step into Gavin Hendricks’s apartment in this Cape Town Foreshore building.

It didn’t start out this way, though. The apartment was purchased renovated and, according to interior designer Etienne Hanekom, “The palette was quite stark and lacking in personality, but it wasn’t really a blank canvas. There were many black walls and finishes that we couldn’t ignore. Strong lines dominated the space, as did the use of white, light grey and black.”

That would’ve been fine for a corporate apartment, but Gavin wanted something more energetic. Layering colours and textures started to soften the hard edges, with some of the straight lines exaggerated and others softened. “There’s a bit of give and take around every corner,” says Etienne.

READ MORE: Etienne Hanekom’s Signal Hill Home

Monochromatic interiors have their place, Etienne says – but first, you need to understand that colour evokes emotion, and then you need to decide what emotion you’d like the room to evoke. “I have never been through a black-and-white stage in my life,” he says. “Colour is always with me, whether it’s muted or bright, crisp or dirty.” And this space is certainly an example of adding sparks of emotion to your surroundings through the use of colour, texture and pattern. “Colour does not bite – it is the essence of life; it forms part of life’s natural beauty,” he adds. “Colour allows us to distinguish between the different objects we find in the world, and influences how we perceive the world around us.”

Gavin’s apartment is the product of several bold ideas thrown into a bowl. Between him and Etienne, the options were mixed around and picked out one by one, resulting in a space that’s proudly unapologetic. And while it may appear brazen and carefree, it has depth too, with each room meticulously curated. “The colour and the sense of life is what I love about it,” says Gavin. “And that’s quite a dichotomy.

READ MORE: Green Point Apartment with Interiors by Etienne Hanekom

Because of what’s happened to me, I’ve got a firm philosophical belief that the best things in life aren’t things – and yet that’s not the impression you would get when you come in here. I think that’s why I’ve put Lenin in the lounge – he was such an ‘anti-things’ person, and quite homophobic too, so I decided to put him there to observe how happy the people he despises can actually be.”

There’s a poignant element to the apartment as well – it’s a reminder of love. The space is a celebration of the life Gavin shared with his husband Andy, who passed away on Valentine’s Day in 2020. The apartment’s number is also the date of their wedding anniversary.

Looking for more architectural inspiration? Take a look at this Keurbooms Lagoon home or this spectacular colouful pool Etienne worked on.

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Nestled in the Cradle of Humankind, the Cradle Boutique Hotel & Nature Reserve offers guests warm hospitality amid an ancient landscape that holds evidence of the origins of mankind.

Kobus Botha, CEO of the Cradle Boutique Hotel & Nature Reserve, has worked closely with the property’s owner since construction of the hotel began in 2015. “I love working here,” he says. “It’s only 40 minutes from Sandton and close to Lanseria Airport – and it’s situated in the most beautiful landscape. Three of the national heritage sites in the Cradle of Humankind, each with significant paleoanthropological value, are located right here in our reserve. The Gladysvale, Malapa and Motsetsi sites are currently still being worked on by Professor Lee Berger and his discovery teams.”

After a day spent viewing the sites – hotel guests, joined by expert guides, can take an “Origins” tour in open game-viewing vehicles – the perfect place to have an excellent night’s rest is in one of the Cradle Boutique Hotel’s new Sky Rooms. The design of these innovative spaces puts the environment first, Kobus explains. “We wanted to place the new rooms on the ridgeline above the hotel, for the best elevated views of the reserve,” he says.

“As this area consists mostly of dolomite rock, we decided to build lightweight structures and to place them on stilts. Prefabrication also saved us from having to accommodate a big building team on site, and thus potentially damaging the indigenous bush.”

To create the pods, Kobus and the Cradle team collaborated with Blockhouse, who prefabricated the Sky Rooms off-site. “The rooms were transported here on low-bed trucks, and cranes dropped them onto the platforms at the hotel site,” explains Kobus. Particularly appealing from an aesthetic point of view is the fact that the pods offer wide-angle views of the landscape. “They fit the surroundings perfectly,” Kobus says. “Modifying the original Blockhouse design to incorporate a hot tub on the balcony – which enables our guests to enjoy the stunning views while they soak – also seems to have been an excellent idea… Looking at our reservations, this combination is a winner!”

For more information, visit cradlehotel.co.za.

Looking for more architectural inspiration or dreamy local escapes? Take a look at these off-grid tiny cabin retreats.

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A beautiful bathroom can make a sanctuary out of a home. Liz Nass, marketing director of special projects for DADOquartz, tells us what the brand’s range of baths and basins has to offer.

South African bath and basin maker DADOquartz has been around since 1998, steadily becoming known as a premium manufacturer of bathtubs and basins.

“The brand is world-renowned, and features in many five-star hotels,” says Liz Nass, marketing director of special projects for DADOquartz.

“We supply two luxury ranges: ULIA and Sirene. ULIA is a designer range that presents bathtubs with unique lines and curves; the Sirene range presents bathtubs designed for everyday life that still carry the essence of luxury. We’ve built up a collection of 74 freestanding and built-in tubs and 95 basins in many styles and sizes, suited to any preference.”

With bright, bold colour very much back in vogue in bathroom design, it’s useful to know that the brand offers a range of 12 standard colours. Beyond that, the company can customise your bath or basin using any Pantone colour of your choice.

“When it comes to customising your DADOquartz bathtub, the luxury of choice is yours,” says Liz. “And if you ever want to revert your colourful tub to DADOquartz’s distinctive pure white, we’re able to do this in the comfort of your home.” DADOquartz bathtubs and basins are solidly built and hand-finished.

“We’ve set the benchmark in bathtub excellence by crafting bathroomware that is durable, with a lifetime warranty on all tubs and basins,” says Liz. DADOquartz products are sold by multiple retailers across South Africa.

The brand’s full range is also available to view at its two showrooms – in Centurion, and in Paarden Island, Cape Town.

Looking for more on bathroom design or architecture? Pick up a copy of the VISI Special Edition: Bathrooms.

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Add a touch of warmth to your home with accessories and staples during these colder months. Here are some of VISI’s favourites.

We’re spending more time than usual at home – the combination of the third wave and chilly days means that’s likely to continue for a while. As most of us have found – investing in our experience while being inside more is well worth it regardless of the budgets we’re operating in.

Coricraft’s new winter range ticks several boxes – from timeless staples to accessories that add layers of freshness to any space – the consistent factor is quality you can rely on. Here’s a look at what’s on offer.

Comforting couches

Among many, their Skylar slouch couch is a standout item. It’s plumped up by feathers and available in any fabric and colour from the Coricraft range.

Throw down

In terms of simple pleasures, the feeling of lying under a soft throw on a cold day is top tier. This season’s new throws are perfect for the couch and double up as bed-covering. For solid colours, reach for the Neve throw. If you’re after subtle patterns, opt for either the Lynx or faux Chinchilla fur throws.

Matter of fact

A quick-win for adding warmth to a space is the addition of a rug or carpet. The well-loved Helsinki rug is now available in soft grey, beige and charcoal. Prices start at R2 999 for 1,7 x 2,4m.

Pillow power

Natural tones reign supreme this season – from stone-colours to warm browns with inspired textures that pay homage to all things organic. These 100% cotton covers are priced from R399.

Speak of the vessel

The Valencia range, a new addition to their stable, is made up of sandblasted vases in a variety of shapes, sizes and hues. For flame chasers, the Granada candle holders are made to match the blue Valencia vases. And for those of you who draw inspiration from the ‘70s – the amber and brown Toledo lange speaks to your fancy.

For more information and to shop, visit the Coricraft website.

Looking for more on decor? Take a look at Douglas & Company’s new furniture collection called PIPE DREAMS.

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