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 Jo Buitendach PHOTOS Supplied, Wolfgang Stahr, Robert Rieger, Supplied

Berlin-based architect and designer Gisbert Pöppler has little patience for conventional solutions. His motto – “All or nothing at all” – drives an approach defined by bold colour, eclectic contrasts, and an effortless mix of high-and low-cost elements. This sensibility informs every discipline his studio spans, from architecture and interior design to custom furniture and fittings, lighting design and colour concepts. Gisbert is known for weaving these threads together seamlessly, pairing broad spatial vision with attention to detail.

Having trained at the California College of Arts and Craft s in San Francisco and at the Technische Universität Berlin, he earned his engineering diploma in 1996. Working in several Berlin studios during a period of renewed architectural activity, he gained a foundation that shaped the direction of his own practice. In 2004, he established a boutique full-service studio; today, his team is known for creating commercial and residential spaces that balance tradition with contemporary expression.

Whether it involves sourcing unique vintage pieces or collaborating with local artisans on custom furnishings, each of Gisbert’s projects is tailored to the client. The process begins with observation and conversation – understanding how clients live and work. The result is always a design solution in which function, atmosphere and artistry are tightly integrated, producing spaces that feel considered, personal and beautifully resolved.

“Good design is like a tailor-made suit,” says Gisbert. “It should fit perfectly without being the centre of attention.” And nowhere is this more evident than in The Village, a rooftop pavilion/ apartment that he and his team reimagined in the heart of Berlin. Set atop a 1930s building, the space centres on a large glass enclosure within which three intimate rooms are arranged like standalone structures, dividing the volume into subtly defined, semi-public zones (and inspiring the project’s name). The apartment feels open and generous while remaining warm and inviting. Gisbert achieved this by layering materials, surfaces and textures, with lacquered wood panelling meeting a matte milk-white linoleum sideboard, teak accents and limestone relief. Each element adds depth and character without overwhelming the space.

His own home, the Border Center, sits in an up-and-coming area of Berlin’s historic core. The apartment showcases Gisbert’s eye for underappreciated pieces, each with its own story and provenance, often reflecting the dramatic changes Berlin underwent at the end of the Cold War. Inside, he’s assembled a treasure trove of objects, including a heavily customised conductor’s chair rescued from a dumpster and a travertine marble display table salvaged from a former department store. Each item carries its own sense of history.

Not content with interiors alone, Gisbert has also turned to custom furnishings and product design. Since 2006, his studio has craft ed bespoke pieces for select clients, filling gaps where nothing on the market could complete the vision. With Gisbert’s love of delightfully irregular forms, skewed lines and oval shapes, the ideal object is often easier made than found. Every piece, from storage cabinets to dining tables and couches, is realised through collaboration with artisans across Europe. Many of the designs also showcase his signature colour flair, making each creation a statement.

In collaboration with porcelain producer KPM (Königliche Porzellan-Manufaktur), Gisbert reimagined classic porcelain in a contemporary way to create bowls in fashionable colours that he describes as “independent, exciting and great fun”. Presented in duos, each set features two colour combinations with reversed placement. Originally created in 1929 by Wilhelm Löber, whose simple, elegant forms have long inspired Gisbert, the bowls are brought to life through his signature colour-driven spatial thinking. Targeted accents highlight subtle details such as the rim and foot of each piece, giving the classic forms fresh, modern energy.

On the textile front, Gisbert’s Dadi cashmere bed throw offers versatile styling possibilities by folding the contrasting colour combinations of its two sides. This luxuriously heavy blanket is handwoven in a small Nepalese manufactory just outside Kathmandu, on a traditional loom that was custom-built for Gisbert. | gisbertpoeppler.com

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WORDS Steve Smith PHOTOS Jan Ras

It wouldn’t be inaccurate to say that Robert Silke has had a seismic impact on Cape Town’s urban landscape. His designs for a series of apartment blocks and hotels in Sea Point and the city centre have kicked off a move away from right-angled steel-and-glass cubes towards softer, retro-inspired and ultimately more approachable structures. Tuynhuys apartments in Gardens, ANEW hotel in Green Point, Tropicana hotel, The Flamingo apartments, and now The Cole/Dolce Vita in Sea Point – all have inspired a flowering of architectural copies around the city.

While undoubtedly an homage to Art Deco and Modernism, Robert’s designs take it a step further, adding another layer to the architectural lexicon, playing with those idioms, and showcasing a contemporary interpretation that not only makes for striking architecture, but that also amplifies the original Art Deco/Modernist buildings nearby. And giving some insights into his aesthetic and passions are Robert’s keepsakes…

Daimler Super 8

“Classic cars are a romantic pursuit, and this was the last-ever Daimler. Only 750 were made, and (in a fit of madness) I imported this 2006 unicorn. The interior is a gentlemen’s club in burled walnut, pleated ivory leather and lamb’s-wool rugs – with a funereal facade in ‘Garnet’, a pearlescent blackened ruby. This feudal stretch saloon was meant for those who get driven rather than those who drive (making me a chauffeur!), but the technology comes from the future. The body is pressed aluminium; the chassis is aluminium; the air suspension system is in cast aluminium too.

“When Danny DeVito enthused (in Other People’s Money) over the perfect suspension and technical prowess of the last-ever golden horse carriage to have rolled off the production line, this is basically it.”

Memphis Carlton Room Divider Miniature

“I lost out on the full-size version bidding against Lucie de Moyencourt at the Prop House auction – but my stepmother Rhonda Raad gifted me the consolation prize of an authorised miniature, apparently signed by Ettore Sottsass himself. Which is more than can be said for the one from the Prop House…”

Eris Silke Portrait

“If only all mothers could paint how they believe their sons look. Or looked.”

Bronze Wall Scones

“We discovered these at the antique lighting shop near Kalk Bay train station, and had them refurbished and rewired by Neville Henry at Classique Lighting in Wynberg, with glass tulip shades from The Lamp Workshop in Voortrekker Road When I asked Neville whether I should clean them up, he answered, ‘You can polish them in no time, but it will take you decades to get back to that patina.’”

Mickey Mouse Watch

“My late grandparents brought me a classic Mickey Mouse wristwatch from Disneyland, in about 1982. Although it was my grandfather’s last gift to me, four- year-old boys are neither sentimental nor careful, and I’m not sure if that watch even survived until Aubrey’s untimely death in 1983. I seem to recall it was too big for me then, and would certainly be too small for me now. But if happiness is to be defined as the adult fulfilment of childhood dreams, I finally got to turn back the proverbial clock in 2018, while travelling through Chicago. We took an Uber down South Side (yes, like the rap lyrics) to the “jewellery department” of Walmart where, for the princely sum of $12, we bought back my childhood. And I’ve been looking aft er it ever since.”

Wink Recliner

“We love Japanese art and design. One of our great finds at The Space Agency was this original 1981 Wink recliner by Toshiyuki Kita for Cassina, upholstered in what can only be called grey-school- pants material. We found a pale teal distressed leather at Woodheads that (along with branding marks) served to reinforce the recliner’s alien corpulence.”

Mr Allsorts Totem

“Lifelong friend Colin Braye (of Vorster & Braye) gift ed us a supersized version of his magnificent Mr Allsorts lamp as a housewarming present – a campy nod to Memphis Postmodernism.”

Walter Battiss Drawing

“Picked up at a fi re sale at Stefan Welz & Co, this original ink drawing gets more interesting the longer you study it. People are drawn in, only to recoil.”

Strelitzia Nicolai

“Any garden I was the owner of was going to have at least one giant strelitzia. I’ve been obsessed with strelitzias since boyhood, when one of my mom’s friends, Geraldine Aron, published the children’s tragedy Why Strelitzias Cannot Fly.”

Maralunga Sofa

“While browsing Cape City Modern’s [online Mid-century Modern furniture merchants] Instagram account, I scrolled past something in tubular steel (sold, of course) – only to scroll back, having seen something important in the periphery of the same image. Deceptively upholstered in staff-room-blue cloth was a rare-as-hen’s-teeth Maralunga sofa by Vico Magistretti for Cassina. Bendable and posable thanks to a sophisticated and elaborate system of concealed bicycle chains and gears, it cleaned up nicely in tan leather!” | robertsilke.com

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WORDS Jo Buitendach PHOTOS Suppled

Eastern Cape duo Zani Alberts and Martin Tallie are the design obsessives behind DEFT Studios, a small designer-maker studio they founded in 2020. Focused on handmade contemporary furniture, they champion thoughtful processes that ensure each piece provides long-term functional and emotional value. We caught up with them to learn more about their craft.

After completing our master’s degree in architecture, our first professional year coincided with the pandemic. We realised employment opportunities would be scarce and decided to forge our own path. Furniture design felt like a natural fit, sharing many principles with architecture. We headed to the nearest hardware store, bought a drill, and the rest is history.

Our creative chemistry stems from a shared goal and drive. We have a magical unspoken understanding, and share the same vision and values. This collaboration makes the design process seamless, with all ideas nurtured through mutual input.

We are both hands-on in the workshop every day. Martin tends to approach things pragmatically and thrives in a clean, structured environment, so he leads production. Zani, on the other hand, thrives in a bit of chaos, always seeking new opportunities and risks. She focuses on the creative projects and marketing.

DEFT sets out to “delight + excite”. We approach design playfully, craft ing each piece with intent to deliver an experience worth having and keeping.

We don’t actively seek inspiration, or force it. For us, inspiration is a by-product of doing the work and committing to our craft . Sometimes it comes from nostalgia, or from discovering new materials and techniques. We are constantly drawn to details, shapes, textures, patterns, angles, colours – endless possibilities that the eyes can see, and the hands can touch.

We always document our ideas and observations. Every so often, the urge to create something new strikes – and when it does, we revisit these ideas. This process often uncovers hidden gems amid the chaos. As designer-makers, we have a sense of which ideas are truly worth pursuing.

Over the past five years, design has been at the heart of all our decision-making. Looking ahead, we plan to focus more on operations, management and productivity within the workshop. But we would also love to embrace a more multidisciplinary creative approach, including getting involved in gallery projects and functional art – and perhaps even a return to our architectural roots.

We’re excited about the release of new pieces, and the exhibition of the first edition of the Melkman Project (which took place at ICTAF’26). A milk stool is a humble piece of practical furniture, characterised by its three legs. The Melkman was our own take on it. The Melkman Project began as a creative challenge and has grown into a playful, exploratory series – a way to experiment exploratory freely with various ideas, materials and techniques. It draws inspiration from nostalgia, life experiences, pop culture, art, food, heritage and design. Each piece tells its own story and carries a unique personality. What we love about this collection is that there’s bound to be at least one stool that resonates with you. It’s a collection for everyone. | deftstudios.co.za

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WORDS Dumisani Mnisi PHOTOS Supplied; Marijke Willems (portrait)

Created by industrial designers Pia Findlay and Josh McNally, Tandem Design House is a collaboration that opens a fresh dialogue around materiality and its influence on space. Their latest collection, Phlat, is an intergalactic-inspired range of tables, shelves and lamps craft ed from recycled plastic, designed to be modern and well-made, and enduring as heirlooms.

The collection stems from extensive conversations about and research into plastic, and its potential for ethical repurposing. The retro-futuristic aesthetic, evident in both form and colour, asks a provocative question: what does the future of furniture look like in a world that’s drowning in plastic?

From their light-filled studio in Victoria Yards, Johannesburg, the pair shares how they keep ideas flowing.

Pushing each other is the foundation of our relationship.

Josh: As a designer, you have to practise letting go of ideas that you think are amazing if they don’t work.

Pia: Josh brings his technical and manufacturing knowledge to the table, and turns wild ideas into actual tangible objects. I tend to challenge the idea of the square box and come up with things that push boundaries.

When it comes to materials, it’s all about ingenuity.

Pia: Our designs are heavily based on our context. In South Africa – and in Johannesburg specifically – we have limited resources and manufacturing processes. Wood and steel are readily available materials. We reimagine how these are used, and how we can develop them into beautiful, innovative ranges.

Josh: We don’t want to just add to the world of waste; we want to create products that last a long time and have value. Oak, for instance, is an heirloom-quality timber that’s always been used to manufacture furniture, and it’s well suited to our variety of climates. We need to use timber that’ll stand the test of time. We design for South Africa, for ourselves, and that tends to bring us to materials we can trust, like steel. It’s strong and dependable, but it also allows us to keep up to date with modern manufacturing techniques such as laser cutting and CNC bending.

Inspiration for us comes from a mindset of curiosity.

Josh: Our inspiration is ever-evolving, and we are constantly seeking new ideas. We’re behind-the-scenes people. We don’t want to see what’s in the storefront; we want to go to the workshop at the back. Who is making the product, and what tools are they using? How do they do it? That hunger has always led us to value craftsmanship.

Pia: A word that definitely comes to mind is curiosity.

A well-designed piece of furniture is intentional and considered.

Josh: It’s easy to tell the difference between a piece that’s just been put together and a piece that has been designed. Is it balanced? Does it serve its purpose? Does it make sense visually and functionally? Consideration and intention are key in design.

Pia: Being intentional is the process of designing. It’s all about doing things on purpose.

Our favourite pieces are the Tall Boy locker (inspired by the Muizenberg huts) and the MeshMash chair.

Josh: The Tall Boy locker is my favourite because it’s inspired by our Foldi range, and was designed with that aesthetic in mind. We used wood exclusively from the Muizenberg huts, and our Foldi legs. The product ties in with our design beliefs: reusing this reclaimed timber, learning, and creating a modern piece that’s both beautiful and innovative.

Pia: I love the MeshMash chair because it’s playful – and play is such a crucial part of designing and unlocking creativity. | tandemdesignhouse.com

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WORDS Steve Smith PHOTOS Marijke Willems, Sarah de Pina, Supplied

Joburg-based design studio TheUrbanative is known for contemporary furniture and products that mix modern, minimalist shapes with rich African stories. Mpho Vackier and her team create designs that feel rooted, fresh, stylish – and deeply personal. Read the stories behind her most treasured objects, and you’ll understand exactly why.

My grandmother’s 1960s Coffee pot

“This coffee pot belonged to my grandmother Lydia, who I am named aft er. It is the only piece of hers that I have. The spout once broke, and we repaired it with glue and a touch of gold leaf, which feels fi tting because her strength always shone through the cracks. I oft en look at it and wonder when she bought it. Was it from the time she lived in Sophiatown before she was forced to move? Did she pack it carefully and take it with her because it mattered to her? I used to think it was such an odd and slightly ugly thing, but as I have grown older, I have come to love it more – and I’m grateful that I held on to it.

“My grandmother was gentle but sure of herself. I did not always understand her, but I learnt a great deal by watching how she moved through the world. This coffee pot reminds me of where I come from, and of the woman I learnt so much from about showing up as your most authentic self, every single time.”

Haberdashery Warrior by Anastasia Pather

“This artwork is one of my most treasured. Anastasia’s work explores the balancing act women are expected to perform. We must be everything to everyone all at once while navigating a world shaped by patriarchy. In her ‘Pretty Face’ collection, she plays with the idea of confidence as a kind of armour. She wraps strength in beauty. Prettiness becomes a shield that allows us to move through spaces that are not always kind to us. There is a quiet resistance in that approach.

“Haberdashery Warrior was one of the first artworks I ever purchased for my own collection. Buying it felt like a declaration that I was starting a life that would hold beauty, art and intention. It still brings me joy every day, and it holds pride of place in my home as a reminder of feminine power, creativity and the parts of ourselves that deserve to be seen and celebrated.”

My telescope

“When I was young and proudly nerdy growing up in Soweto, I dreamed of being an astronaut. Before engineering. Before design felt possible. I was obsessed with space, the idea of seeing worlds beyond our own. I wished I could have a telescope so I could feel a little closer to the stars.

“When I met my husband, I told him about that childhood dream of nerdy little Mpho who wanted to explore far away galaxies. While we were still dating, he remembered that story – and, on one of my birthdays, he surprised me with this telescope. He delivered a dream I had carried for decades. This telescope represents the way he supports every idea I dream up – even the ones that seem wild, unlikely or sometimes forgotten. He shows up with his whole heart, and he has done that since the beginning. When I look at this telescope, I think of the girl who wished for the stars, and the love that reminds her she can still reach for them.”

Moeke’s knitted baby toy and birth announcement bear

“When my son was born, my mother- in-law, and his Moeke’chocolat as she’s fondly known, brought a handmade wool baby toy and a customised birth- announcement bear filled with Belgian- chocolate-covered almonds (suikerboon), which is a traditional way of celebrating a baby in Belgium. The almond symbolises new life and fertility and, since the almond tree blooms early and its kernel is hidden inside its shell, it became a metaphor for the promise of growth. It was thoughtful, and personal.

“These two keepsakes sit where motherhood, heritage and belonging first came together for me. They remind me that, from his very first day, my son belonged to more than one world – and both were ready to love him.”

My son’s bracelets

“When my son was in Grade 9 and 10, he travelled to Nepal and Japan on school trips, and each trip came home with two bracelets. He chose them himself, carefully, and handed them to me with a mix of pride and awkwardness that made it even sweeter. That small moment was the beginning of a tradition. When he travels, he brings me a bracelet; when I travel without him, I bring him cheesy touristy keepsakes that crack him up. It has become our inside joke and our way of staying connected.

“I cherish these bracelets because they carry a piece of him. They remind me that even when he is on the other side of the world, he is thinking of me. They hold the feeling of watching him grow more independent while still wanting me to be part of his adventures. Whenever I wear them, which is oft en, they keep him present in my day-to-day life, even when he is far from home.”

The Night Circus by Erin Morgenstern

“My favourite book and the one I return to almost every year is The Night Circus. It inspires my imagination in a way few other stories do. Every time I open it, I’m transported to a world that is magical and mysterious, but also somehow familiar. I know the characters and the scenes vividly in my mind, like they live there. It feels like stepping into a space where creativity is allowed to run free.

“I tell everyone about this book because it reminds me of the power of storytelling. It explores big themes like love, sacrifice, creativity, time and community, which continue to resonate with me each time I reread it. The story unfolds visually and emotionally, and I fi nd myself imagining the circus in my own way. That feels close to the way African stories are oft en told, where you build the characters in your mind and the magic exists partly in what is left unsaid. It reminds me to stay curious and to keep imagination at the centre of what I do.”

The kilted skirt

“I grew up in a matriarchal family filled with strong women. All my aunts and my mom have worn this kilted skirt. As a girl, I used to watch them heading out into the world in it, and I would wonder when it would be my turn. Now it is mine and I treasure it.

“The fabric is worn down in places, and the pleats do not sit quite as sharply as they once did, but that makes its history feel even richer. I have no idea who it belonged to first, but each woman who’sworn it has added something of herself to it. Some of the strongest women I know chased their dreams in this skirt. They made big decisions. They built families. They found their voices. And now it has become part of my story too.

“Every winter I bring it out and put it on. It feels like an heirloom passed down through generations, even though it was never formally declared as one. When I wear this skirt, I feel all of them with me. It reminds me of where I come from, and of the women who raised me to stand firm in who I am.”

My thrifted Vivienne Westwood boots

“I fell in love with these boots the first time I saw them. Thrifted, slightly worn and bursting with personality, they are joy in shoe form. I love how whimsical they are. Whenever I wear them, I feel a little spark of freedom. Vivienne Westwood believed fashion could be a statement. She used design to challenge norms, stir imagination and celebrate individuality. Her work was rooted in craft , heritage and a touch of rebellion. These boots feel connected to that same spirit in their own way.

“They take pride of place in my dressing room. They reflect how I see creativity – bold yet grounded, playful yet real. They remind me to embrace whimsy in my work; to trust my ideas and stay curious about what design can become. I wear them for the style… and for the story they carry, one of discovery and fearless expression.”

The Nyika overcoat

“The Nyika overcoat is the result of a collaboration between TheUrbanative and Romaria Knitwear. It’s part of the Kusafiri collection, which opened a new creative door for me. It allowed me to explore clothing design, something that has always been close to my heart. My mom was a seamstress, and for many years I believed I would become a fashion designer. This piece feels like a quiet nod to that early dream.

“The name Nyika is a Swahili word meaning wilderness or hinterland. The design draws from the patterns and textures found on the Nyika Plateau in Malawi, known for its wildlife and rolling whaleback hills. Anyone who knows me knows that I love a good kimono-inspired silhouette, so this piece feels like the perfect fit for my personal style and for my creative journey. The Nyika overcoat represents the power of collaboration, the joy of storytelling through fashion, and the belief that old dreams can evolve into new realities.”

The Wambo pod chair

“The Wambo pod chair is part of our Outdoor Collection, yet its story and roots reach into both the African Crowns Collection and my grandmother’s garden, where I spent my childhood summers. Its woven mesh reminds me of her world – the textures of outdoor living, chickens roaming and afternoons under the trees. The form, with its long, curved ribs, draws from the remarkable eembuvi plaits worn by the women of the Mbalantu people of the Ovawambo tribe in Namibia, where hair could grow into elegant lengths that became a symbol of beauty and identity.

“The Wambo pod is special to me because it shows how stories can live in material things. It carries the memory of the women who shaped me, and a celebration of African heritage that continues to inspire my work. It proves that design can be functional and rooted, contemporary and full of history, personal and proudly communal all at once.” | theurbanative.com

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WORDS Steve Smith PHOTOS Supplied

It must’ve been about three editions of Decorex Joburg ago that we first noticed Kipekee Studio. They had a small stand tucked away among the heavy hitters of the 100% Design showcase, and on it were a couple of outdoor pieces – a lounger, maybe a small table. There was a simple, relaxed and slightly playful element to the clearly very-well-made furniture that made me stop to find out more. And that name was intriguing too.

Cut to 2025, and the profile and reputation of this Ballito-based studio, founded by husband and wife Kylie and Michael Bornman, has moved way beyond the confines of that little stand. We’re seeing their pieces pop up in more and more properties featured in VISI – high time, then, for an in-depth profile on the talented couple behind the brand. She – a teacher-turned-designer – and he – a quantity surveyor-turned-furniture maker – have both transformed their lifelong hobbies into the distinctive, desirable brand you see here.

Let’s start with the name…

“Kipekee means ‘unique’ in Swahili, and that meaning was central when we chose the name. From the start, we wanted our designs to feel distinctive – pieces that reflected what we both love and that could, over time, become recognisable as part of our brand.”

How does it reflect your philosophy as a studio?

“For us, uniqueness isn’t only about design. It’s also about how we operate as a business. In the early years, Kipekee was very much a family aff air – Kylie often helped in the workshop with toddlers on her hip. We took our time before bringing in staff because we understood what it meant to offer stable, meaningful work in South Africa. That awareness has shaped the way we’ve grown. We’ve always aimed to build not only beautiful furniture, but also a small team whose lives are positively impacted by the work we do together.”

Describe the Kipekee aesthetic.

“It’s natural, simple and clean, guided by Scandinavian and Japanese influences. We focus on honest materials, soft forms and a sense of calm in every piece. There’s a quietness to our furniture that feels intentional yet lived-in – something that reflects both our design approach and the way we hope people experience our work.

“Our vision has always been simple – to design and build furniture we’d love to have in our own home. Scandinavian minimalism, with its focus on simplicity and honest use of materials, has always resonated with us. At the same time, we’ve been inspired by Japanese joinery, and the way every connection is considered and purposeful.

“Over time, these two influences formed the foundation of how we design and build. They’ve guided our approach, but our work has naturally evolved into something that feels uniquely ours, shaped by our hands, our environment and the way we live.”

Has living and working on the KZN North Coast played a role in shaping the brand’s character, values and material sourcing?

“We chose to make Salt Rock home because of the community we found here and the lifestyle it offered. From the beginning, we wanted our studio to feel playful and intimate – a place that could grow organically, like the environment around us. Those values are still at the heart of Kipekee today.

“The North Coast has changed a lot since we started – there’s been incredible growth and truly beautiful development in the area. But the biggest influence has been the climate. It’s both harsh and unique, and it’s shaped how we think about materials and manufacturing. Every timber, fabric and component we use is chosen with our coastal conditions in mind. It’s a constant reminder that good design isn’t only about how something looks – it’s also about how it lives in its environment.”

How do proportion, joinery and detail reflect your design philosophy?

“As we’ve grown over the past eight years, we’ve placed more and more emphasis on this. Every piece we make is constantly evolving, and function and comfort always come first. The proportions need to offer enough strength and stability while still feeling light and balanced.

“Our approach to joinery has also developed over time. We embrace technology where it makes sense, but we stay true to the traditional carpentry techniques that have guided furniture making for centuries. We don’t take shortcuts, and we build with the intention that our pieces last for generations.

“Details are another area that’s always shifting and improving. As a general rule, if a detail doesn’t serve a purpose, it doesn’t stay. That constant refinement – evolving while remaining true to our design intent – sits at the heart of our philosophy.”

Do you see Kipekee contributing to a uniquely South African/African design language on the global stage?

“We would love for our work to play a small part in showcasing African design on the global stage. South African designers have so much to offer – there’s a depth of creativity, craftsmanship and perspective here that feels both distinctive and world-class. It’s been inspiring to see so many of our local studios gaining international recognition.

“For us, the goal has always been to stay true to who we are – to design and build furniture that feels honest and grounded in our own story. If that authenticity resonates beyond our borders and contributes to a uniquely South African or broader African design language, we’d be incredibly proud.”

What role do chosen timbers like oak and walnut play in your design identity, and how do you decide which material suits which piece?

“From the beginning, our timber choices have been guided by both sustainability and performance. We’ve always been mindful of our environmental impact, and we look for materials that are responsibly harvested, stable, and structurally reliable. American White Oak and American Walnut both meet those standards beautifully — they’re consistent, durable, and a pleasure to work with.

“In terms of design identity, timber plays a huge role. We’ve always loved the rich, deep tones of walnut — it has a warmth and presence that gives a piece a quiet confidence. White Oak, on the other hand, offers a more neutral and versatile base. It brings a calm, minimal sensibility that works beautifully in different spaces.

“Those contrasts have guided us from early on: Oak grounds our minimal aesthetic, while Walnut adds depth and character. Choosing between them always comes down to the mood and intent of the piece.”

Where do you usually find inspiration – in architecture, nature, textures, or everyday objects?

“For both of us, inspiration often comes from slowing down – spending time in nature or immersing ourselves in thoughtful architecture. Those moments of quiet observation seem to spark the best ideas.

”Our Chameleon Dining Chair has become somewhat of an icon for us, and it’s a good example of how inspiration finds form. The design was originally inspired by the way a chameleon’s hand grasps a branch – a small, natural gesture that we wanted to capture in shape and structure.

”Since then, that idea has continued to influence our work. We often build on one design to explore the next, drawing from a mix of sources – nature, architecture, and everyday details. For us, inspiration is just the beginning. The real process is working through many iterations until the design feels resolved, balanced, and unmistakably ours”

How do you balance functionality with beauty – ensuring a piece is practical without losing its sculptural quality?

“There’s always a natural tension between beauty and function. A piece can be beautiful, but if it isn’t functional, it’s no longer furniture – it becomes something else entirely.

“For us, it’s a process of trial and error. We keep refining and improving, working each design until it feels balanced – sitting somewhere between pure function and pure form. That space in-between is often where our work feels most resolved.

“We also live with many of our prototypes and current pieces in our own home. It’s the best way to understand how they behave in everyday life – how they last, how they feel, and how they add value to our home experience. The most meaningful improvements in function often come from that lived-in experience.”

How do trends influence (or not influence) your design process – do you follow them, resist them, or reinterpret them?

“We’ve always tried to stay true to our original design intent. Coming back to that helps keep us grounded – it reminds us why we started and what feels authentic to us.

“That said, trends do play a small role. They often reflect shifts in how people live and what they value, and that can guide how we refine certain details or finishes. But we don’t allow trends to drive our process. Our focus has to remain on creating pieces that we genuinely love and that feel timeless.

“If anything, technology and a deeper understanding of joinery have influenced our work far more than trends. Those advances allow us to keep improving the way we design and build, without losing the essence of what makes a Kipekee piece what it is.”

What’s in the pipeline?

“This year, we’ve focused heavily on refining our existing range – adding new iterations where needed, but really making sure that every piece we off er is the best version it can be. It’s been about improvement rather than expansion, and that’s felt like the right approach.

“We recently launched our Selah range, Dreamer bed range and Chameleon range, each with a few new additions that build on our earlier designs. We’ll continue developing these collections into the new year, evolving them as we learn and grow.

“Looking ahead, we’re also working on an upholstered range – something more sculptural, generous in proportion, and deeply comfortable. It’s an exciting step for us, and one that feels like a natural extension of what we already do. We’re also focusing on outdoor products – expanding our Holiday Often range and, hopefully, designing and building some bespoke outdoor structures.

“As a team, we’re genuinely excited about what’s ahead. We love that we get to do this – we get to design, to make, and to keep growing. The future feels full of possibility.” | kipekeestudio.co.za

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The post Unique in Meaning and Execution appeared first on Visi.

WORDS Jo Buitendach PHOTOS Gieves Anderson (Printemps), Antoine Wagner (portrait), Stephan Julliard (Hotel Hana), Jérôme Galland (Casa Monti), Courtesy of Cartier, Matthieu Salvaing (Saint James), Tony Pradeu (Kapla Disco, Bosphore), Supplied

Paris-born interior design Laura Gonzalez is known for a creative universe where classic, maximalist and contemporary influences meet, guided by a respect for craftsmanship and a passion for art, sculpture, photography and painting. Her spaces are curated, soulful and unmistakable. She works her magic from a studio that occupies a six-storey Belle Époque mansion in Paris’s 16th arrondissement; more a country estate than a traditional office, it exudes warmth and elegance through patterned carpets, printed fabrics and curated details at every turn. It is from here that Laura collaborates with artisans such as cabinet makers, ceramicists, sculptors and decorative painters to transform spaces into poetic, one-of-a-kind interiors.

For Laura, design is about storytelling as much as about aesthetics. “My ambition is to compose interiors that tell a story,” she says. “Every piece, every pattern, every texture contributes to a visual narrative. I like to invent wandering daydreams, drawing inspiration from panoramic landscapes, wallpapers with sweeping scenes, and delicate touches gathered during my travels.”

Not content with interior design work alone, Laura has in recent years expanded into furniture, lighting and object design, contributing pieces to both permanent and limited-edition collections. She’s also opened galleries in Paris (on Rue de Lille) and New York (on Franklin Street), which function as exhibition spaces, creative laboratories and staging areas. “I often reconfigure them with a scenographic dimension, based on themes,” she explains, thus turning each space into a constantly evolving narrative.

Laura’s first book, Intérieurs (published by Rizzoli in 2023), offers a glimpse into her most emblematic projects and recent creations, tracing the evolution of her distinctive style. From elegant homes and luxury hotels to restaurants transformed into works of art, it is both a retrospective and a source of inspiration, showing how she seamlessly blends tradition with modernity.

Among her many notable projects, the Saint James hotel in Paris’s 16th arrondissement stands out. Laura has transformed a private mansion into a sumptuous 50-room château-hotel, in which Art Deco touches, 19th-century references and a rich collection of antiques converse with the building’s grand architecture. The lounges, rooms and suites celebrate colour, texture and the artistry of French craftsmanship, offering guests an experience that is both refined and delightfully eclectic.

March 2025 saw the arrival of Printemps in New York – a showcase of Parisian savoir-faire in the heart of Manhattan. Laura’s interiors explore a poetry of contrasts, pairing marble with soft fabric and classicism with contemporary boldness, and translating the spirit of the iconic Parisian store for a global audience. Highlights include a brasserie, a bar, and her reimagining of the historic mosaicked Red Room (by Hildreth Meière, 1931), which has been transformed into an enchanted forest where gigantic silver flowers bloom, their petals catching the light and casting ever-shift ing shadows.

The recently opened Casa Monti in Rome embraces a sunny, colourful aesthetic rooted in Italian tradition. In a celebration of la dolce vita, each space functions as a stage, inviting guests to experience the hotel as a living tableau, and effortlessly blending Italian elegance with bohemian fl air.

Laura and her team also designed several boutiques for Cartier, including Cartier Azabudai in Tokyo and Cartier Haikou in China. These projects extend her ongoing collaboration with the maison, allowing her to explore a more international design language. Cartier Haikou is an interior interpretation of the tropical island of Hainan. Spanning three levels, it takes visitors on a sensory journey through a variety of spaces and moods, from the island’s marine depths to its lush mountain peaks. | lauragonzalez.fr

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The post The Vanguard: Laura Gonzalez appeared first on Visi.

WORDS Steve Smith PHOTOS Tink Photography, Supplied

A “vessel for life” is how Mick Haigh describes each piece in his new collection. Created from clay dug by hand from the riverbank near his home in the KZN Midlands, and fired in a Japanese-style Anagama wood kiln, the pieces are meant to be lived with, used, admired and passed down.

Mick views his role as a maker as that of both a guide and a witness: he shapes the clay and sets the kiln conditions, but he allows the materials to respond in their own way. No two pieces are alike – the slow, elemental Anagama process means that fire, ash and heat leave their unpredictable signature across the surface of each item.

Tell us more about the Anagama firing process.

“Anagama firing is about learning the kiln. Every kiln has its own character, and its shape and location make it behave in a unique way. How the kiln is packed influences the airflow, flame path and heat patterns, all of which have an impact on the reduction atmosphere inside. The placement of each object determines how it will look after firing: the fire enters at one end and exits at the chimney, and the flame’s path dictates everything in between.

“The process is long and demanding. A firing can last anywhere from 48 to 72 hours, with wood being stoked by hand every few minutes to keep the temperature up. At its peak, the kiln reaches about 1 180°C – hot enough to vitrify the clay, making it hard, glass- like and durable. Different types of wood, the rhythm of stoking and even the weather outside can all play a role in shaping the final surface. The marks of the fire – ash deposits, flame paths, colour variations – remain visible on each piece, recording the entire journey of the firing.”

What drew you to it?

“I am never fully in control of the fire; I can only guide the flame. It is a dialogue between maker and kiln. By working with and directing this seemingly random process, I can shape the outcome while still leaving room for chance. After firing, the piece itself tells the story of what happened, where it stood in the kiln, how the fire moved around it, and what marks the flame left behind.”

Has this always been your process?

“Yes – but my journey has evolved. Initially, I focused on making what I thought people wanted. Over time, I’ve shifted to creating in response to what the clay and fire themselves can produce. For me, form follows function, follows fun – it follows what wild clay and fire reveal as their best expression.”

What features does Anagama firing give your work?

“Anagama firing leaves its signature on every piece. The flame marks and ash deposits embellish the surfaces, softening the forms and giving them character. In the oxygen-deprived atmosphere of the kiln, earth pigments and oxides are transformed, shifting from static, solid hues into natural shades and tones that reflect the raw beauty of the earth.”

Where do you take inspiration from?

“It comes from absorbing the world around me. It isn’t a cerebral process; I don’t sketch pieces before making them. Living in nature provides rhythm and influence. I’ve never made pieces in a city, but I imagine they’d look very different from those shaped amid this natural landscape.

“I’ve had a lifelong fascination with earth and clay. The fact that I can dig clay from the ground in its soft, malleable form, and then, through firing, transform it into something of lasting value, continues to inspire me.”

What about the 2025 collection?

“It was inspired by building the Anagama kiln at my studio and working with wild clay that I dig locally. This allows me to create an ecologically sound body of work that’s rooted in place and process. Each piece is conceived as something made not just to be used, but to hold meaning, memory and presence. My hope is that they become keepsakes – companions that live with people over time.” | mickhaigh.com

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The post Firing Memories appeared first on Visi.