Monolithic, commanding, stark, bold, colossal, austere, severe, but also, crafted to hold. Weylandts’ latest Artblocks function as monuments that celebrate design in its most earnest form.

A recognition of the structures that hold things – to hold, to be held, to have held. Adorned with trinkets, art, lamps, sculptures, memories, vases, floral arrangements, these pieces stand as pillars that mark memory. They harbour their own stories of erosion and material history while communicating the idea and feeling of the objects they present.

Expanding on the current range, these pieces were designed by Weylandts and crafted in India. During their travels, Chris and Anna Weylandt explored new materialities and techniques to define this range. From hydroleathered finishes to geometric details, they sought to create forms that felt both monumental and deeply tactile.

Hydroleathered marble showcases the layered nature of the raw material. Originally conceptualised as floor tiles, the team decided to apply this finish to sculptural pieces instead, creating surfaces that reveal the depth and movement within the stone. The result is a finish that feels weathered, textured and rich with character. The Textured Artblocks feature intricately carved timber surfaces that emphasise the handcrafted elements of each piece. Repeating patterns create depth and shadow, transforming each face into a landscape that shifts as light moves across it. In contrast, the Angular Artblocks are defined by sharp lines, geometric silhouettes and architectural forms. Faceted planes create tension and balance, allowing the pieces to take on new identities from every angle. | weylandts.co.za

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A soulful way of living begins with pieces made with care, quality and character. Noha creates premium furniture, lighting and decor shaped by genuine craft, natural materials and respect for how homes are lived in.

From solid timber and woven textures to leather, textiles and natural fibres, each piece is designed to bring warmth, depth and lasting beauty into everyday spaces.

Quality in the Craft

Every piece begins with the material. Responsibly sourced wood, reclaimed timber, tactile fabrics and hand-finished details come together through a slower, more meaningful way of making. Materials that might otherwise be overlooked are reimagined into furniture and decor with strength, soul and lasting presence.

Rooted in Honest Materials

Drawing from nature, local craft and the character of real materials, each piece carries a sense of origin. From visible timber grain to textures that invite touch, the beauty is found in quality you can see and feel.

Made for Everyday Living

Made for the moments that give a home its feeling. Quiet corners, shared spaces and daily rituals become warmer and more personal through furniture and decor made with care, craft and soul. | noha.co.za

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WORDS Palesa Mohola PHOTOS Courtesy of Merchants

Merchants has transformed into a contemporary space that champions installation-based storytelling through African design. The newly released limited-edition hand-felted blanket series – a collaboration between textile artist Stephanie Bentum and Merchants’ creative director Tiaan Nagel – is a continuation of Merchants’ evolution and ongoing commitment to local makers and collectable design.

“We’re shifting toward a more gallery-led articulation, and away from traditional retail. In this new chapter, we’re working directly with a few designers from our community to develop products that are true to their handwriting, but original and unexpected. Pieces you will only find at Merchants. It reinforces our curatorial point of view; a filter our customers trust to be innovative, forward-leading, and rooted in craft,” says Tiaan.

For Tiaan, selecting the right collaborator is essential. “Authentic storytelling, elevated craft, and a strong sense of place. We’re drawn to designers who are already exploring these ideas in their product development. Take Stephanie, for example – weaving and wool are part of her family history. We were excited to work with her as both designer and as master craftsperson to create something that communicates that depth of knowledge in an instant – but in a directional, modern way,” he says. “It’s not about suppressing their point of view or translating it into ours. It’s about working together to arrive at something original, something that could only come from this partnership. I’ve always admired Stephanie’s ability to let the material lead the work. This collaboration gave us the opportunity to explore new colour palettes, scale and application while respecting the integrity of her process. The result is a collection that reflects a shared appreciation for craftsmanship, thoughtful design and pieces designed to be lived with for years to come,” he adds.

Released in three distinct colourways – Natural, Multi-Stripe and Indigo – the limited-edition collection demonstrates how subtle shifts in colour, texture and composition create different expressions of Stephanie’s felt-making practice, with pieces that move between throws, blankets and sculptural accents within the home.

“Every collaboration asks different questions of the material,” says Stephanie. “Working with Tiaan encouraged me to rethink not only colour and proportion, but where my felted knit practice could go next. It challenged me to explore familiar materials in unfamiliar ways, creating pieces that could live in new ways while remaining true to the hand of the maker.” The collaboration began with a clear creative brief. “I received a mood board, packed neatly into a specific size with three colour stories – seaside blues, natural clay tones and vibrant coloured stripes,” she explains. ”Collaborating with Tiaan wasn’t about changing my personal style but an interpretation of his concept based on an existing technique by introducing a new colour story.”

Felt is essentially a non-woven fabric made by compressing fibres together. Since heating causes wool fibres to shrink, one of the main challenges in creating pieces for this collection was the finishing process. “The yarn for the knitted base is treated with a ‘Superwash’, and the top layer comprises non-Hercosett wool tops, resulting in one fibre shrinking and the other not,” explains Stephanie. This meant she had to work out the exact dimensions of the knit and develop a production technique during the fulling process to achieve the desired size of the throw. “Despite first doing test runs, going into production we had to be conscious of the tightening of the different fibre qualities during the complete process and in particular at the finishing and drying stages. It was important to ensure that technical constraints did not hurt the creative process,” she says.

“The handmade nature of a product involving skilled artisanal labour with a keen eye on careful structural detail, including the use of colour combinations, evokes an emotional connection to the item placed in a space where the touch of texture transcends basic function and elevates into luxury,” she adds.

Stephanie has spent more than a decade exploring the technique across fashion, interiors and film, using locally sourced merino wool and mohair from farmers who follow animal-friendly practices. “I only work with natural fibres; it’s my mantra. The blankets are made from 100% South African merino wool, which is a highly tactile texture,” she says.

The Merchants x Stephanie Bentum limited-edition collection is available in-store and online. merchantsonlong.co.za | stephaniebentumtextilemaker.com

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WORDS Gina Dionisio PHOTOS Supplied

A much-anticipated highlight on the decor and design calendar, Decorex Joburg offers design lovers a chance to engage with the best in local and international decor and its makers.

Throughout the four-day exhibition, visitors will encounter designer-led installations, thought-provoking showcases and carefully considered spaces that invite a slower, more intentional way of engaging with design.

Over recent years, Decorex has explored the forces reshaping our environments, from sustainability and technology to the systems and cultural shifts influencing how we live and work. This year’s theme – Soft Life – builds on this thinking, turning attention to the human experience within those spaces that prioritise wellbeing and clarity as the new markers of contemporary design.

A number of installations at this year’s showcase directly echo this broader shift towards design that speaks softly, yet with conviction. Here are our must-see highlights:

Kitchens defined by a quietly luxurious way of living

For nuuma, the contemporary kitchen is no longer defined by function alone. It’s an immersive space where materiality, atmosphere and daily ritual come together with quiet intention.

Rather than relying on excess, the brand works with refined proportions, layered finishes and subtle detailing to create luxury kitchens that feel calm, warm and deeply resolved.

Each space is designed to support the way people live, gather, cook and connect. Here, considered materials – stone, satin lacquer, textured glass and curated finishes – are chosen not only for their beauty, but for the feeling they create.

As modern interiors continue to move towards more immersive and personal expressions of design, the kitchen has become central to the experience of contemporary living.

nuuma’s work reflects this shift: bespoke kitchen design that is sophisticated, liveable and quietly luxurious for refined homes across South Africa and the African continent. nuuma.co.za | @nuuma_sa

Designer-led spaces exploring comfort

The Soft Life Pods bring this year’s theme into physical form through a series of intimate, designer-built micro-interiors that explore comfort, tactility, atmosphere and the future of wellness-driven living.

Each pod offers a distinct interpretation of intentional living, showing how thoughtful design can shape experiences, enhance functionality and create environments that feel both restorative and inspiring.

Local luminaries who shine

A new feature at this year’s Decorex, FloodLight celebrates some of the best local lighting design, brought together within a showcase shaped by the 2026 theme. At its heart is the idea of light as soft power: not simply as function, but as atmosphere, emotion and a tool for wellbeing.

Developed as a collaboration between Decorex and spatial lighting designer Martin Döller, the feature adds an experiential layer to the installation, using light to create mood, depth and theatre across the space.

New work from fresh talent

100% Fresh – Rising Talent shines a spotlight on the next generation of creative voices. Dedicated to emerging designers and makers, the platform showcases original work that explores new material narratives, evolving craft traditions and innovative approaches to contemporary living.

Reflecting the principles of Soft Life, the feature highlights designers whose work prioritises meaning, tactility and emotional connection, offering a glimpse into a future where design is not only innovative, but also more considered, adaptable and deeply relevant to the way we live.

Objects designed for living

TenxTen presents Soft Life as object-language – tactile, considered pieces that upgrade the everyday through detail and intention.

The immersive installation brings together 100 of the most compelling design objects of 2026 across 10 categories that map design from floor to ceiling. Objects have been selected by Decorex co-creative directors Alan Hayward and Garreth van Niekerk, along with a panel of category experts.

Dates & Times

30 July – 2 August 2026 | Sandton Convention Centre | Open daily 10am–6pm | decorex.co.za

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The post What to See at Decorex Joburg 2026 appeared first on Visi.

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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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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In a market increasingly focused on quality, sustainability, and transparency, Ducko Down stands out by offering locally manufactured and ethically sourced duck down and feather products. Proudly based in the North West, they combine traditional craftsmanship with a commitment to responsible sourcing practices to create premium bedding designed for comfort and lasting durability.

Ducko Down offers a carefully curated range of premium bedding products, including down duvets and pillows with various fill options, designed to suit a variety of sleeping preferences. For centuries, down duvets have been trusted for their exceptional warmth, breathability, and lightweight comfort. Their natural insulating properties create a cozy sleep environment without the heaviness of many synthetic alternatives, making them a time-tested favourite for winter bedding.

With a focus on comfort, quality, and ethical responsibility, Ducko Down continues to provide South Africans with premium duck down products that offer warmth, support, and peace of mind. duckodown.co.za | orders@duckodown.co.za | 014 537 2124

Don’t forget to enter our competition. One lucky VISI reader stands a chance of winning a luxurious King Autumn Duvet and two Feather/Down Pillows from Ducko Down, worth R5 205.

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WORDS Robyn Alexander PHOTOS Ethan Herrington/Cottagecore, Elliot Sheppard/Life Inside a Cottage, Alex Baxter/Wild Isle Style, Supplied

Cottagecore: New Countryside Living

by Gestalten Editors (Gestalten, 2025)

From a remote, converted goat shelter in Ireland to a 19th-century farmhouse in France and a revived 1842 sandstone dwelling in Tasmania, the cottages featured in this visually driven book carry the imprint of both their rural environs and their inhabitants’ highly cultivated sensibilities. Beguiling in a variety of ways, the spaces range in aesthetic from airy, minimalist and contemporary to more layered and cosy. What they have in common is a similar approach to living in the countryside – one that prioritises mood and atmosphere over a single visual style. gestalten.com

Life Inside a Cottage

by Nell Card and Rachel Vere (Hardie Grant, 2026)

Subtitled “Interior inspiration from today’s cottage dwellers”, this beautiful compendium of cottages from around the world does exactly what it says on the tin – and we’ll be surprised if you don’t immediately wish to depart your urban dwelling for something cottage- like while perusing it. Life Inside a Cottage also delivers on the promise in its title by exploring practical things such as thatching, the making of a cottage garden and the everyday challenges of living in this sort of space. But of course, it’s really all about the spectacular visuals of cottage-style buildings, which run the gamut from award-winning designs in Wales to Japanese woodland escapes. publishing.hardiegrant.com

Wild Isle Style: Resourceful and Sustainable Interior Design Ideas

by Banjo Beale (Quadrille, 2023)

Banjo Beale won the BBC reality show Interior Design Masters in 2021, and lives on the remote Scottish island of Mull. This (his first book) is more of a guide to finding your own interior styling preferences than it is an instruction manual showing you how to recreate his look. That said, fans of the foraged, the second-hand and the upcycled will discover a kindred spirit here, and there’s plenty of inspiration for anyone looking to make their home feel cosier and more cottage-like. Plus, Beale has a wonderful way with texture in interiors and a keen eye for memorable detail, so you’ll find loads of ideas for both those elements too. penguin.co.uk

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The countdown is on for the industry’s most exciting exhibition – a dynamic showcase of gift, fashion, decor and design trends. This is your chance to uncover the latest products, upcoming trends and connect directly with leading suppliers all under one roof.

From products launches to inspiring displays, the exhibition floor will be packed with exciting discoveries around every corner. Whether you are sourcing new products, searching for the latest trends, or looking to grow your supplier network, this is where business happens.

Trade buyers attending the exhibition gain access to hundreds of exhibitors showcasing their products. It’s the ideal exhibition to compare products, build relationships and stay ahead of what’s next in the industry.

Register as a trade buyer and join us this August for an exciting opportunity to connect, source, gain industry insights and grow your business.

SARCDA 2026 takes place between 12 -14 August 2026 at Gallagher Convention Centre, Midrand. For more information, visit sarcda.co.za or contact SARCDA at information@sarcda.co.za and 011 728 6668.

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Get ready for an exciting showcase of gift, fashion, decor and design trends this August as one of the year’s most anticipated trade exhibitions opens its doors. Coming just in time to stock shelves for the festive season, SARCDA 2026 brings together leading brands, entrepreneurs and serious buyers all under one roof.

For exhibitors, this is your opportunity to showcase your products directly Infront of verified trade buyers searching for new products, fresh suppliers and business partnerships.  Whether you are launching new products, growing your brand, or are looking to connect with high-quality leads, the exhibition floor will be buzzing with decision-makers ready to connect.

For buyers, expect an inspiring experience packed with brand new products, networking opportunities, and exclusive industry insights. Discover what’s next, meet the faces behind the brands, and gain access to thousands of products.

This is where business happens, relationships are built and future opportunities are discovered.

Now is the time to apply to exhibit or register as a trade buyer. Don’t miss the opportunity to be part of SARCDA 2026!

SARCDA 2026 takes place between 12 -14 August 2026 at Gallagher Convention Centre, Midrand. For more information, visit sarcda.co.za or contact SARCDA at information@sarcda.co.za and 011 728 6668.

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