WORDS Bonolo Chepape PHOTOS Jan Ras

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

The violin

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

Ceramic piece by Anthony Shapiro

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

Rothko by Jacob Baal-Teshuva

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

Traditional Pedi blanket

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

Patterned doek

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

Calabash water vessel

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

Henri Mattise print

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

Reflecting B(l)ack by The Manor

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

Pink woven Cambodian throw

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

Boubou dress

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

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WORDS Dumisani Mnisi PHOTOS Tremayne Ward-Smith; Supplied

Heritage in form

“Bringing the comfort of the indoors outdoors” was the guiding outlook for Locha Design Studio’s new outdoor range, the Akan Collection. Created by industrial and product designer Tshidzo Mangena, the range comprises bold, futuristic furniture pieces perfectly suited to the South African climate. “We felt that there isn’t much on offer in the outdoor space from local designers, and we wanted to close that gap,” he says. Launched at Design Week South Africa, the range consists of couches, chairs and tables conceptualised from the studio’s popular existing piece, the Ivory couch.

For Tshidzo, the range is about changing the conversation around how people look at and experience outdoor furniture. With the emphasis usually being on practicality and weather durability, style and creativity can often be overlooked. He poses the question: why can’t it have both?

With a background in fine art and industrial design, Tshidzo is fascinated by pushing boundaries, especially when it comes to materials and shapes. “As an artist, I approached the products from a playful perspective, wondering what interesting things I could bring out of a specific material,” he says.

The Akan Collection is an intersection of shape, colour and materiality, embodying the essence of African design. The range is named after the Akan people, one of the largest ethnic groups in Ghana, West Africa, known for being skilled artisans. “We decided to name our pieces after artefacts, places or people from the continent – a way of connecting us as Africans while educating our client base about the continent.” The Akan, renowned for their craftsmanship in metalwork, art and textiles, are reflected in this outdoor range through its stainless- steel foundations and the detailed craftsmanship of the cushioning.

Intention and thoughtfulness were the driving factors behind this collection. Tshidzo believes furniture must “endure” all types of weather, whether it’s in sunny Johannesburg or battling the strong winds of Cape Town. “We used stainless steel because it’s corrosion-resistant and lasts longer,” he says. The studio initially conceptualised the range in aluminium, but it’s a softer metal that dents easily. “Our objective is to create heirloom-quality pieces – pieces your children will fight over because they are modern, lasting and well designed.”

There is a striking contrast between the furniture’s brutal form, defined by symmetrical, sharp, straight lines, and the softness and playfulness introduced through its cushioning and colour. The colourful aspect of the range is inspiredby Africa’s landscapes and culture. As a descendant of the Tsonga and Venda people, who are known for embracing vibrant colours, Tshidzo celebrates these elements in the Akan Collection. “We wanted to offer excitement and freshness, with a wide spectrum of colours to suit client tastes.”

From mustard yellows to deep, rich blues and even neon colours, the idea is of something custom-built. “People need to express themselves through the furniture they buy; it should speak to their style and aesthetic.”

There is intent in the colour palette used to launch the collection. A deep, oxidised red is symbolic of the red soil clay found across Africa, which serves multiple functions in African culture, and is used to protect skin from the sun or in decorative applications in the home. That is what the Akan Collection and Locha Design Studio are about – creating a brand that’s enduring and solid while honouring African heritage.

Art meets design

Locha Design Studio is a synergy of Tshidzo’s love for art and design, but it also aims to refine the ways in which people talk about and understand African furniture. It subverts the stereotypes of how furniture from Africa should look, emphasising its infinite possibilities.

Tshidzo achieves this by experimenting with materials, shapes and textures. With more than 20 years of experience as a fine artist, his work has gravitated towards celebrating the multiplicity of Africa’s landscapes and cultures. This focus was channelled into product and furniture design after he graduated from the Cape Peninsula University of Technology, where he focused on industrial product design.

Art consistently influences his perspective as a product designer. “Design stems from being able to draw and conceptualise, then translate those ideas into shapes, lines and shades,” he says. “I begin creating from an art silhouette, then apply my industrial design skills to ensure functionality and a great user experience.” This approach is evident in a studio showstopper: the Kigali chair, a well-constructed wooden piece that showcases both creativity and craftsmanship.

Tshidzo’s superpower lies in his ability to connect and collaborate, researching and understanding his industry while building a solid clientele. He uses his experience in exhibiting and curating to pilot his pieces on platforms such as Decorex, gauging public engagement and usability before placing the product on the market.

“It’s all about innovation and freedom – about being untethered in the way we pursue and design our products, and how we run the business.” | @locha_design_

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WORDS Dumisani Mnisi PHOTOS Matlhatsimo Galanyane

Meetlo furniture designs are bold, resonant, and focused on preserving South Africa’s heritage, transforming interiors and celebrating identity. And head designer Oageng Manana, co-founder of the brand with his partner Tshegofatso Ramothibe, knew that he wanted to express himself through design at a young age. His earliest influence was his father – “a naturally curious man who loved figuring out how things were made, and just fixing anything”, he says. Oageng himself is a scientist at heart, with an honours degree in physics from the University of Johannesburg and another in medical physics from the University of Pretoria – and he eventually realised that he wanted to fuse creativity with material science. Design became that bridge.

“I love all design disciplines, but furniturewas the most accessible starting point. It became my first medium of expression, with the aim of expanding into other fields,” he explains.

Creating pieces that exude regality in both craftsmanship and naming, Oageng draws deeply from his upbringing in Klerksdorp in the North West. Born and raised among the area’s Batswana and Sotho communities, his aesthetic vocabulary has been shaped by these cultures. “My aim is to merge past and future aesthetics, imagining how modern African design could look.”

We spoke to Oageng to find out more.

“Meetlo means ‘customs’ in Sesotho, and this serves as a built-in guide for our design principles. I’ve always been committed to telling stories of the unsung and the marginalised, and to telling our own stories – the ones that we understand best. As a South African artist, designer and scientist, I wanted to use my work to preserve heritage, customs and history while translating them into functional, collectable pieces.”

“Everything I do starts with a moment of inspiration, whether it comes from a dream, a feeling, an event or an artefact. From there, I sketch or interpret the idea into a tangible, elemental form, then define the purpose, story, memory and function of the piece.”

“Material selection is an art in itself. It is the medium that carries the story and evokes the emotion. The materials must feel and look like the story we want to tell. From there, guided by the complexity of the piece, we move to manufacturing. We take our time, because the goal is timeless quality. Every piece goes through rigorous quality checks before completion.”

“My days are full. I am a partner to my business collaborator, Tshegofatso, and a father, so mornings begin with family and home life. Then I dive into managing the business, meeting clients, sourcing materials, and crisscrossing Joburg. Lunch is oft en from a street vendor – and in between, I carve out time to design.”

“The names of our pieces are in Sesotho and Setswana. In African cultures, naming carries history, identity, spirituality and belonging. By naming my pieces, I’m not only identifying them but also embedding purpose-driven messages in the work. It’s about cementing African identity on the global stage, and sparking curiosity around South African design and influences.”

“My garden inspires me, both as a designer and a creative. Working with soil teaches us patience, respect for process and humility. Nature does not follow our rules – yet it produces incredible beauty when given time and attention. To respect nature is to respect creativity. Nature is always in its element – and that is where I find mine.”

“If I had to single out favourites, two pieces hold meaning for me. The Semoya bench reflects my spirituality. It reimagines how an ancestral assembly area (kgotla/lekgotla) might look – particularly the benches where elders meet and deliberate – and is a handcraft ed tribute to that space. The Seanamarena office table is inspired by the Basotho Seanamarena blanket. I envisioned it as a luxury African executive piece, incorporating 100% brass, brass-dust engravings and soft genuine leather to make a bold statement about African luxury in the corporate world.”

“Next up for me is a solo multidisciplinary exhibition that unites visual arts and furniture design, bringing my full skill set into one space.” | @meetlo_studios

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WORDS Jo Buitendach PHOTOS Supplied

Joey Khuvutlu is a furniture designer, creative entrepreneur and founder of Daily – a brand celebrated for timeless, accessible, beautifully craft ed pieces. Thoughtful and stylish, his Johannesburg home – shared with his partner Kath and their children – reflects the same design philosophy. He welcomed us in and shared his keepsakes – one meaningful piece at a time.

MY WEDDING RING “This special signet design with a band that slots neatly inside was made by Eric Loubser at Tinsel. Eric and the team suggested using yellow and rose gold for a subtle contrast, but what I really wanted was the mechanics of one ring fitting into another.

FLORAL SHOES “I bought these suede men’s shoes at a street market in Thailand about 16 years ago – my first overseas trip on my own dime, with a group of friends, in our 20s. I’ve never worn them, but they’ve stayed with me. They remind me of that trip.”

ATLAS OF FURNITURE DESIGN “For my 40th, Kath gave me Vitra Design Museum’s Atlas of Furniture Design. I started as a design enthusiast, not a furniture designer, collecting books and visiting museums while travelling. This book feels like the sum of years of quiet research. I’m drawn to Mid-century and Scandinavian design – timeless pieces like the Eames lounge chair, originally made to be affordable. At Daily, we carry that same ethos: quality design that lasts, without the luxury price tag.”

MUSIC “My dad was a music lover, and it’s something he passed down to me – it’s how we bonded, buying records together in Hillbrow when I was a kid. I have a record player, a CD player, even a tape deck, with music systems all over the house. Two favourites are The Best of Sade and Marvin Gaye’s What’s Going On. I grew up hearing Marvin Gaye’s songs, but listening to the album was a revelation. It made me start collecting records again, to experience music the way it was meant to be heard: as a complete body of work.

THE MOONSWATCH “The Omega x Swatch MoonSwatch is based on the iconic Omega Speedmaster, the watch worn by the Apollo moon crew. I’m a watch lover, and this one is a classic. When this edition launched in Sandton I couldn’t be there – my dad had just passed, and I was travelling – so Kath queued from 4am to get it for me. I’d love to find another one someday, so I can gift one to each of my boys when they’re old enough to appreciate it (and not lose it!).”

DAKALO DINING CHAIR “Dakalo means ‘joy’ in Tshivenda. It was one of the first pieces I designed, so seeing the prototype was a truly joyful moment. This version is the ‘swingback’, named for the way the backrest curves and fl exes. I was inspired by Gerrit Rietveld’s Zig-Zag chair. I used pine plywood, which isn’t typically considered a designer material, but it’s strong and lightweight – and flexible.”

DENIM JACKET “This jacket is by IFUKU, my friend Rodney Mudzengerere’s brand. He works exclusively with denim, designing original pieces and sourcing rare thrift ed garments from around the world. I love his work for its construction and functionality. All his pieces are unisex, with interesting cuts and details. Right now, IFUKU is my favourite local brand.”

LADY IN FUR COAT BY ZANDILE TSHABALALA “Kath is passionate about connecting with artists, not just their work. We met Zandile Tshabalala at a fair, kept in touch, and eventually commissioned this piece. The brief was simple: something personal. Although the palette is dark, it doesn’t feel heavy. We don’t buy art for value – if it speaks to us, that’s enough.”

VISI #136 “I was featured in VISI’s Design Issue, which was a big moment. My background is in graphic design and advertising, not in traditional furniture design, so to be recognised by such a respected platform early on meant a lot. It gave my work credibility, quietened the imposter syndrome, and affi rmed that I’m on the right path.”

PHOTOGRAPH “This photograph is of my mom and dad – Antonia and Tiyani – taken on their wedding day. It’s a very special image. I never knew my biological father; he passed away when I was about 10 months old. Photos and stories are all I have – but people oft en say I’m a lot like him. I was also lucky to have an incredible stepfather, Norman; he passed away three years ago. To me, there was no ‘step’ – he was simply Dad. I feel I had two fathers: one gave me my genetic gifts, the other gave me lived experience. My stepdad was an avid entrepreneur, and I know that I do what I do today because of his influence. Both are gone now, but I feel deeply privileged to have had them – and my mom, who’s the real rock star!” | daily.store

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WORDS Gina Dionisio PHOTOS Marguerite Oelofse INTERIOR Anette de Jager 

The Karoo’s open plains, shifting light, rugged escarpments, and resilient flora have long served as a source of reference and inspiration for the sculptural lines in Jan Ernst‘s latest collection. “Childhood journeys along its gravel roads and through its orchards, combined with last year’s renewed exploration, allowed me to translate the Karoo’s stillness, hidden textures, and contemplative emptiness into sculptural form,” he says.

From an early age, the Surrealist movement and the work of Walter Battiss shaped the designer’s visual language, encouraging him to see the world as both tangible and imagined. “In Cavus, these influences surface subtly in forms that feel both organic and slightly otherworldly,” explains Jan. “The collection is about uncovering hidden spaces – within the land, within memory, and within ourselves. Each piece carries the weight and quiet poetry of the Karoo, inviting a slower, more contemplative way of experiencing form and light.”

Each piece in the collection – sculpted primarily in white stoneware, and also available in terracotta and black clay – engages in its own dialogue with the Karoo. The table light, inspired by the acacia seed, captures nature’s subtle geometry; the armchair echoes the undulating profiles of the Karoo hills; the cabinet draws from the hollows carved into rock floors; the tables are inspired by the mighty Fish River; and the pendants capture the interplay between clouds and landscape.

Together, the pieces form a collection that feels unearthed rather than made – an invitation to look inward, to dwell within the carved spaces of matter, memory, and imagination.

The Cavus Collection will debut at Objects with Narratives, Brussels, in November 2025. | jan-ernst.com

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WORDS Gina Dionisio PHOTOS Supplied

The Foschini x RICH MNISI limited-edition capsule collection is a multi-generational ode to memory and culture, as the retail chain celebrates its centenary and the South African designer marks 10 years.

“As Foschini celebrates 100 years, collaborating with Rich Mnisi at his 10-year milestone creates a natural synergy,” says Robyn Wenlock, Foschini Managing Director, Ladies Fashion & Beauty Stack. “Together, we honour women, connect heritage to the future, and reaffirm our commitment to making exceptional design accessible to all South Africans.”

“Women have always been my starting point,” adds Rich Mnisi. “This collection is a love letter to them, to the resilience woven into their wardrobes. And when I think of the legacy of dressing women for 100 years and 10 years for us, I just think of how inspiring the silent resilience and power that women hold and how generational it is. I also think of my mother.”

For the designer, the creative process began with feeling rather than form. “The first reference I pulled when designing the Foschini auction collection was definitely the feeling of nostalgia,” he explains. “I thought of just my grandmother walking in Sophiatown. I thought of pleats, blouses, silks – just a very chilled elevated look with a lot of print. That whole aesthetic and vibe really did influence a lot of the collection.”

The Foschini x RICH MNISI Capsule Collection

The limited-edition capsule reimagines Rich Mnisi’s most iconic design signatures as versatile pieces for the contemporary woman:

• Signature dresses that merge archival influence with modern silhouettes.
• Tailored separates and soft knits bringing luxury into everyday life.
• Statement prints and wrap silhouettes inspired by family gatherings, first dances, and quiet acts of resilience
• Accessories as final flourishes – subtle yet powerful tributes to intention.

Each piece carries RICH MNISI’s recognisable bold prints and sculptural approach, now accessible through Foschini’s reach and price point.

The Foschini x RICH MNISI capsule collection launches in selected Foschini stores and online on Bash.com on 9 October 2025. shop.richmnisi.com | bash.com/foschini

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WORDS Jo Buitendach PHOTOS Supplied

Product and furniture designer Joe Paine is no stranger to VISI – with more than 15 years of experience in creating distinctive furniture, lighting and homeware under his eponymous brand, he’s long been a local design favourite. But never one to rest on his laurels, Joe recently launched Ridge Forrester Utility – a brand dedicated to compact, functional and durable outdoor equipment.

Perfectly suited to South Africa’s climate and abundant natural beauty, this exciting new label focuses on picnic, camp, overland and safari gear. And, as the saying goes, it’s all in the name: anyone of a “certain” age will recognise Ridge Forrester as a character from iconic soap opera The Bold and the Beautiful. As Joe explains, “Ridge Forrester is a main character on the show. Like the show’s other names – Brooke, Storm, Thorne – his is linked to nature. We all love ridges and forests…”

But at its heart, Ridge Forrester Utility is about rethinking the way we camp. Focused on gear that is both efficient and durable, the brand blends thoughtful design with aesthetics that work with the environment, rather than against it. Its expedition-ready products are inclusive, forward-thinking and grounded in core principles of good design. “Forget the macho, militaristic or colonial cosplay vibes – this is outdoor living for a new era,” says Joe.

What inspired Joe, besides his own love of camping and the great outdoors? “With the time available during lockdown, I started to refine many of the ideas I had to make my personal setup more efficient. This, happily, dovetailed with the rising interest in outdoor products over the following year or so. There’s no single ‘correct’ or ‘best’ camping setup – everyone has different needs and budget – so designing products with a high degree of user customisation was key, and still guides the process.”

He also credits the Japanese and Korean approach to camping, where gear is minimal and designed to be used low to the ground (at chair height), which naturally encourages intimacy. The result? Equipment that’s compact, lightweight and functional. Every piece is designed to off er maximum utility without adding unnecessary bulk or weight.

So what’s next for Joe and Ridge Forrester Utility? “More trips, more friends, more product testing, and definitely more fun,” he says with a grin. We can’t wait to see where the adventure leads next! | ridgeforresterutility.com

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INTERVIEWED BY Steve Smith

We’ve previously featured Lulasclan’s collaboration with furniture brand Popstrukt, and recently interviewed founder Bonolo Chepape to learn more about the brand. Through pattern design, Bonolo explores her relationship with her roots by honouring and celebrating the diversity of Africa. The Milala Collection is a vibrant continuation of that journey.

What inspired the Milala range?

“The Milala collection takes its name as an eponym derived from the film The Lion King. We reimagined Milala not as a fictional landscape, but as a utopia—an imagined place celebrating both Africa and its people. At the heart of this collection lies a deep appreciation for African design and architecture, which became both an anchor and a point of departure for our creative journey. Through this lens, we sought to construct a world that could visually represent Africa in its diversity, multiplicity, and cross-cultural design influences.

What emerged from this design process was the recognition that there is no singular or definitive way of representing Africa. Instead, I developed a visual language that embraced varied techniques, styles, and applications inspired by the continent’s rich history, cultures, and people. This process moved Lulasclan away from a homogeneous, uniform aesthetic towards an eclectic assemblage of individual pieces—each contributing to the central inquiry: As a people, what would our collective utopia look like?

The result is a collection that encourages a journey of discovery. It invites viewers to engage with a design language that is simultaneously grounded in African heritage and open to multiple interpretations, enabling each person to encounter a piece that resonates with their own vision of Africa.”

How do you feel you have progressed/advanced the Lulasclan aesthetic with the range?

“The Milala collection marks a significant evolution in the development of the Lulasclan aesthetic. It serves as a departure point for articulating a unique visual language that encompasses the elements that make Africa what it is: historically rich, culturally significant, artisanal, diverse, and multi-dimensional.

This range challenged me to reconfigure the way we engage with our own established brand elements—particularly the bold black lines that have become synonymous with Lulasclan. In this collection, these lines evolve into new expressions of fluidity and growth, signaling the brand’s ongoing transformation. Moreover, Milala expanded my capacity to showcase the breadth of my textile design discipline. By combining craftsmanship with narrative storytelling, I demonstrated that our work can respond to diverse stories while remaining rooted in the essence of the brand.”

Do you have a favourite piece in the collection? Why?

“My personal favorite piece is the Zaariah Throw Pillow. This design integrates multiple cultural and architectural references: the color-blocking tradition of Pedi attire, the Ndebele ankle bracelet’s form and colour usage, and the scalloped flaps and triangular motifs derived from Hausa-influenced Zaria architecture in Nigeria. Collectively, these elements embody the ethos of the Milala collection: a synthesis of place, people, and culture. The Zaariah piece exemplifies how design can serve as a vessel for layered narratives, connecting diverse African traditions in a singular, yet multifaceted, object.”

And do you have any plans to expand the collection?

“I approach every collection as an ongoing research project and exploratory body of work. Rather than envisioning Milala as a finite collection, I see it as the opening chapter in a much larger narrative. Each piece contributes to an evolving archive of learnings and design explorations that I aim to preserve in physical form.”

The concept of “home” will continue to underpin my creative practice, reinterpreted through varied forms as we experiment, learn, and build upon our visual language. In this way, the Milala collection is not a conclusion, but a beginning—an invitation to continually reimagine what an African visual language of home might look like in the present and the future. | lulasclan.com

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WORDS Steve Smith PHOTOS Hannah St Clair

There are many reasons to celebrate the emergence of South African interior design on the global design radar, and one of them is the range of aesthetics our creatives have embraced. Diversity is our country’s strength, and it shines through in the furniture, lighting, ceramics and interiors they’re making. Leading the charge for a more pared-back and elegant Afro-minimalist approach is Walter Train, a talented young interior and furniture designer living in Paarl.

From a young age, Walter was drawn to the world of art, fashion, product design and architecture, and he describes his career journey up to now as an exciting one. After studying architecture and interior design at university, he spent eight years gaining industry experience before taking the leap to start his own venture called White Sheep Studio – a luxury furniture brand that produces bespoke, playful, collectable furniture pieces. “This step was both daunting and rewarding, pushing me to refine my vision and embrace my own design voice,” he says.

“Good design is a balance of functionality, aesthetics and emotion. It should be visually striking, but it should also serve a clear purpose and evoke a meaningful response. Additionally, great design is honest and true to itself, reflecting authenticity in concept and execution. It requires bravery to push boundaries, explore new ideas and challenge convention while maintaining a sense of integrity and purpose. The key principles I like to focus on are balance and harmony, storytelling, materiality, and craftsmanship.”

“My aesthetic is modern, bold and unconventional. It blends clean lines with striking forms and unexpected details. I gravitate towards designs that make a statement through unique materiality, sculptural silhouettes, or a daring use of colour and texture.”

“I draw inspiration from human emotion, storytelling and the world around me. I use design to challenge perceptions and create meaningful experiences. Influenced by society, architecture, art and fashion, I blend structural precision with expressive details, balancing minimalism with bold, statement-making elements. My work is about changing narratives, pushing boundaries, embracing the unexpected, and crafting designs that serve a purpose and tell a compelling story.”

“My design process begins with research to understand the context, trends and user needs. I then move on to sketching to explore form and proportion, followed by 3D modelling to refine scale and functionality. After that, I carefully select materials to enhance the design, before creating a prototype to test and refine the concept, ensuring it is both visually striking and functional.”

“One of my favourite pieces is The God’s Iris table. What makes it special to me is the deep, meaningful story behind it. It’s not just a piece of furniture but a true art piece, blending craftsmanship with storytelling. The design pushed boundaries, both in terms of the manufacturing and the narrative it tells. The level of detail and the bold use of materials really challenged traditional expectations of what furniture can be. It represents the intersection of design, craftsmanship and meaning, making it a standout piece in my body of work.”

“My local design influences include Tristan du Plessis’s contemporary approach, Bryce Henderson’s balance of innovation and timeless elegance, and one of my favourite collaborators, Tracy Lee Lynch of Clout/SA. Her visionary approach, rooted in storytelling and the inclusivity of local designer-makers, has deeply influenced my own perspective. In furniture design, I draw inspiration from the distinctive, fun style of Dokter and Misses; and from Laurie Wiid, who sets the benchmark for craftsmanship. Porky Hefer’s organic, playful designs captivate me, while OKHA’s Adam Court impresses me with his minimalist blend of functionality and artistry.”

“My typical working day combines creativity with practical co-ordination. I usually start by reviewing my current projects, whether it’s sketching ideas for new furniture or refining an interior layout. I check in with clients, contractors and suppliers to make sure all is on track. “When working on furniture design, I spend time sketching and creating 3D models, experimenting with materials, and sometimes visiting craftsmen or fabricators to see prototypes come to life. It’s a hands-on process in which every detail matters, and I love seeing a concept evolve into a tangible piece.

“For interior design, I typically spend time on site, assessing spaces, taking measurements and fine-tuning plans. I work closely with contractors and suppliers, selecting materials, finishes and furniture that will bring the vision to life. The most rewarding part is seeing a space transform, whether it’s a home or a commercial project. Everything is a balance between creative thinking and logistical execution, always with one eye on the big picture and the other on the details. By the end of the day, I’m reviewing what’s been done and what comes next, ensuring the design vision and timeline stay in sync.”

“I have some exciting projects on the go. For White Sheep, we’re developing a Collectables Collection, which is all about unique statement pieces that are a blend of art and furniture. The collection focuses on sculptural designs that push boundaries, combining bold materials and forms to create something truly distinctive. “On the design studio side, we’re about to break ground on a luxury villa project in Mauritius. The development is centred around the concept of wellbeing, offering clients a resort-style experience that combines the best of luxury with complete tranquillity. Every element of the design is focused on creating a sanctuary – an environment that promotes relaxation, connection to nature and ultimate comfort.” whitesheep.studio | walter_train

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WORDS Gina Dionisio

What is tiny but mighty and designed to keep drinks cool? The new FIELDBAR Mini Bar.

While the newest edition to the FIELDBAR family might be petite in comparison to the original Drinks Box (and Gin Truck), it is the most portable – and personal – FIELDBAR cooler box to date.

Weighing in just over 1kg and with a 4-litre capacity, the Mini Bar can keep six standard beer cans icy-cold. Each trunk features a comfortable grip handle or an optional long strap, allowing for a stylish hands-free carry. You can also personalise the handle of your Mini Bar by adding a name or initials.

The new addition to the FIELDBAR range will be available in the brand’s six signature shades:

• Sea Boat Blue
• Safari White
• Parisian Green
• Orchard Orange
• Bazaruto Blue
• Oyster Grey

The FIELDBAR Mini Bar is set to be officially released on July 1, but the brand has already opened its waiting list. | fieldbar.co.za.

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