WORDS Martin Jacobs PHOTOS Grant Durr/Unsplash, Supplied

Birkenhead House

Suburb Voëlklip

Why watch here The quiet suburb has a rocky coastline elevated above sheltered nursery waters. It’s in these waters, close to shore, that southern right mothers and calves often spend extended periods.

The hotel That Birkenhead House enjoys the highest percentage of repeat guests across The Royal Portfolio collection speaks volumes. Positioned on a rocky promontory above Voëlklip Beach, the chic beach house occupies one of the most enviable positions on this stretch of coastline, pairing a breathtaking setting with intuitive hospitality that has guests returning time and again. With just eleven rooms, Birkenhead House is boutique, cultivating the atmosphere of an elegant seaside home – albeit one where every detail has been considered and every comfort anticipated. Hotelier Liz Biden’s eclectic approach to decorating makes for enchanting interiors in which colour, culture and comfort combine. Local art, exotic collectibles and eye-catching hues enchant, evoking a luxurious home-like atmosphere which, given that this was once the private holiday home of The Royal Portfolio’s founding family, is perhaps to be expected. The interconnected buildings today cascade gracefully downhill around a series of courtyards, fish ponds and swimming pools, gently drawing guests towards the communal lounges, dining room and infinity terrace below. Here, uninterrupted views sweep across Walker Bay to a soundtrack of breaking waves. Binoculars are thoughtfully placed throughout these shared spaces, ready for the moment a southern right whale surfaces just beyond the breakers.

Best Rooms for whale watching Rooms 1 and 2, located in the front house directly above the communal living spaces, enjoy both front- and side-facing ocean views. Floor-to-ceiling glass doors open onto compact private balconies, while separate dressing rooms and generously proportioned bathrooms make these Birkenhead House’s most luxurious suites. Room 3 enjoys the same elevated position, with both the bedroom and bathroom framing views across Voëlklip Beach and the coastline beyond. From the comfort of king-size beds with monogramed linen and perfect pillows, each of these three rooms offers exceptional opportunities for whale watching.

Other Options Positioned below Room 3, Room 4 also overlooks Voëlklip Beach, although with less elevation. Upstairs in the rear house, Room 6 similarly enjoys expansive sea views and makes an excellent alternative. What Room 5 lacks in views it makes up for with a private garden complete with Moroccan-inspired plunge pool.

Where to Eat With all meals, an extensive array of beverages – alcoholic and otherwise – as well as a generously stocked minibar filled with snacks and homemade chocolates included in the rate, there’s little reason to venture elsewhere. Breakfast and lunch are served from an à la carte menu featuring dishes such as eggs royal, prawn frittata, a ‘surfers croissant’, smoked sailfish carpaccio and squid ink seafood pasta, while dinner changes nightly to showcase the best seasonal produce. Dining is an integral part of the Birkenhead House experience, with generous, beautifully plated dishes served across several indoor and outdoor spaces, but predominantly in a dining area overlooking the ocean. Guests won’t go hungry, and the kitchen is adept at accommodating dietary requirements, doing so with attention to detail. | theroyalportfolio.com

The Marine

Suburb Central Hermanus

Why watch here The hotel’s elevated cliff-top position provides 180 degree views across Walker Bay, with the added bonus of easy access to Hermanus’s restaurants and cliff path.

The hotel Few hotels occupy such an iconic position along Hermanus’s celebrated Cliff Path as The Marine. Today a member of Small Luxury Hotels of the World^©, its story stretches back to 1902, when Walter McFarlane opened what was then a modest seaside hotel with just 21 rooms, two flush toilets per floor, and neither electricity nor running water in its guestrooms. A century later, following its acquisition and meticulous restoration by the late hotelier Liz McGrath in 1998, The Marine has become synonymous with understated five-star luxury. Its forty individually configured rooms ensure that no two stays are quite the same, while even the entry-level accommodation feels notably generous in scale. Recently refreshed by Dawn Dickerson and Carmel Naudé of HotCocoa Interiors, the interiors introduce a lighter, more contemporary palette of aquatic blues and sea greens, layered with classic detailing that acknowledges both the hotel’s heritage and its remarkable coastal setting.

Best Rooms for whale watching Suite 219, positioned midway along the upper floor, offers arguably the hotel’s finest vantage point. Double-volume in height, the suite features three soaring bay windows that frame uninterrupted 180-degree views across Walker Bay, with Gearings Point perfectly positioned within the panorama. A staircase leads to the mezzanine bedroom, where the bed enjoys its own memorable outlook through a distinctive circular oculus window found nowhere else in the hotel.

Other Options For guests seeking the same level of luxury without the staircase, neighbouring Suite 215 is an excellent choice, while Suite 102 offers equally generous accommodation on the ground floor. Those travelling with a more modest budget should consider Room 207, whose spacious layout and private balcony with side ocean views make it exceptional value.

Where to Eat Following HotCocoa Interiors upgrade, the restaurant’s first comprehensive redesign in almost twenty years, The Pavilion Restaurant has emerged refreshed while retaining its unmistakable identity. The signature black-and-white chequered flooring remains, now complemented by an elegant palette inspired by the surrounding fynbos – lush green velvets, metallic accents, marble, grasscloth wallcoverings and hand-painted murals create a space that feels simultaneously timeless and contemporary. The menu similarly balances familiar favourites with thoughtful additions. Longstanding signatures such as the fishcakes now arrive with a bright citrus, avocado and shaved fennel salad, while newer dishes include delicately seared Asian-inspired tuna. Desserts, particularly the passionfruit soufflé and fruit-laden pavlova, provide a suitably memorable finale. | themarinehotel.co.za

One Marine Drive Boutique Hotel

Suburb Westcliff

Why watch here With the New Harbour nearby for boat-based whale-watching excursions, this quiet suburb offers cliff path views over deeper coastal waters.

The hotel Occupying a privileged position between s historic Old Harbour and the working New Harbour, One Marine Drive offers a more contemporary interpretation of the boutique coastal hotel. Crisp architectural lines, polished finishes and understated luxury are softened by playful Californian surf-house influences, expressed through tropical wallpapers, colourful contemporary artworks and wall-mounted surfboards that bring character to both pool areas. The hotel’s two modern buildings are linked by indoor and outdoor walkways and together accommodate just sixteen rooms. Sea-facing rooms enjoy uninterrupted views across Walker Bay, placing guests in prime position throughout whale season.

Best Rooms for whale watching Room 9 is the standout choice. Positioned on the middle of the hotel’s three levels, floor-to-ceiling glass doors open onto a private balcony overlooking Walker Bay, while an additional picture window broadens the panorama, ensuring the ever-changing spectacle of the bay remains constantly in view.

Other Options Rooms 7 and 8, located alongside Room 9, also enjoy sea-facing views. One floor higher, Rooms 16 and 17 benefit from an even more elevated perspective across Walker Bay and provide excellent vantage points during whale season. For those seeking additional space, the Columbine Suite – named after the 1936 lighthouse at Cape Columbine near Paternoster – offers an expansive terrace complete with loungers and an outdoor dining table.

Where to Eat Immediately across the road, Ficks occupies a spectacular setting carved into the rocks beside a tidal pool, making it one of Hermanus’s most atmospheric lunch spots. Its menu of tapas-style small plates and pinchos pairs perfectly with an afternoon spent watching whales offshore. Within easy walking distance, Pure Bistro offers another superb terrace for whale watching. Alongside an accomplished seasonal menu, its frikkadel-style burger has earned a reputation as one of the finest in the Western Cape. | thelivingjourneycollection.co.za

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WORDS AND PHOTOS Julia Franco

I am Brazilian, and I run a Brazilian design store in Cape Town. Although I left Brazil nearly 20 years ago and have since lived on three continents, some instincts never fade. I remain instinctively drawn to craft , to the human touch in objects and, inevitably, to colour. Distance has given me perspective, but it hasn’t diluted that connection. If anything, it’s clarified it. And the position I now occupy, between Brazil and Africa, sharpened that perspective. In South Africa, too, there is a profound respect for material, for land, for handwork. The dialogue between Brazilian and African craft feels less like import/export, and more like recognition. Both contexts understand scarcity, adaptation, and beauty born from process rather than polish.

So when I flew to São Paulo in February, invited by the Brazilian Association of Utilities and Gift Companies to visit its main fair, I went with curiosity and a long mental shopping list. I’d been before, but this edition felt different: bigger, busier, louder. Hundreds of exhibitors – Brazilian brands and international importers – all gathered in one place, offering a snapshot of what design looks like when industry and creativity share the room. Alongside long-time collaborators of NOSSO, I met a host of new designers and makers.

Some of the most exciting discoveries came from unexpected corners. Cleaning tools, for example – brooms ingeniously designed for pet hair, sponges capable of tackling everything from oil to paint. Even hotel china surprised me: porcelain dishes engineered to maintain the temperature of the food without burning your hands. It was proof that serious design can elevate ordinary objects. Aisle after aisle revealed the most random, inventive and captivating pieces. Walking through the halls, it struck me that Brazilian design mirrors its people– a little messy, theatrical, full of personality. Even the smallest objects seemed to pulse with life. It felt like coming home.

I also noticed an interesting shift: some designers are keeping their collections conceptually local while producing components abroad – in Peru, Turkey or China. It’s a curious but compelling mix, introducing new finishes and materials without losing that Brazilian soul.

Beyond the main fair, I made time to visit smaller, independent studios – the kinds of makers we’re drawn to at NOSSO. In these smaller spaces, work unfolds more slowly and thoughtfully. The visits offered a welcome counterpoint to the grandeur of the exhibition halls, with design revealing itself as a process rather than a product, deeply rooted in material knowledge and in the sheer joy of making.

I was particularly excited to visit an atelier I’d had my eye on for some time: Atelier Da Renata. Renata, a ceramics teacher, started making her own colourful jugs and plates almost as a hobby. Her passion project became something much bigger – so she hired some of her students and today runs a vibrant studio with nine younger artists. Every day at 11am, the kiln is opened and everyone gathers around to see what’s come from the firing, cheering one another’s pieces as they come out. It was genuinely special to witness this ritual; a small daily moment that captures the collaborative spirit of the atelier. Later in the afternoon, at 3pm, they pause again for cake and conversation – an informal for cake and conversation – an informal break dedicated to chatting about studio life. Sadly, I had to miss that, although I suspect it might be just as important to the creative process as the kiln itself.

The trip concluded with a second event, organised by the Brazilian Association of High-End Decor Furniture Industries. Here, ideas that I had seen quietly brewing over the past few years finally emerged, bold and self-assured. It felt like witnessing a creative language that was coming fully into its own.

Comfort, Craft, Materials, Curves, Retro…

I feel the Latino world has been trending, and there’s a special comfort in seeing this world up close. There’s a rhythm, a warmth and a bit of chaos that somehow makes sense. Bad Bunny’s success (yes, I’m a bit obsessed with him right now!) reminds us there’s so much happening in Latin America – music, art, design; an entire world that’s full of personality. With everything else feeling uncertain, it’s grounding to see the beauty in that little mess, that organised chaos, and how it translates into strong colours and organic forms.

Comfort and warmth are in. Everywhere I looked, deep, earthy tones were making interiors feel cosy instead of stiff. They aren’t only used on furniture and details, but on walls and flooring too, making the homes look like a safe space to live in. Fabrics that you want to touch – linen, bouclé, suede, leather – were everywhere, reminders of the idea that a home should be enjoyed and not just looked at.

Handcrafted pieces were presented on a strong setting. They aren’t nostalgic; they are current, confident. Natural materials were a highlight, especially wood mixed with stone or other organic touches. One of my favourite pieces is from a collection that adds natural stone to porcelain, giving an imperfect shape to vases.

I loved seeing materials play off each other: wood, metal, textiles, all working together in balanced ways. Curves are still everywhere, but they are sharper and more precise: it’s structure tempered by softness. Retro elements are also quietly coming back: straw, wicker and outdoor furniture reimagined, giving that familiar feel to new shapes. Upholstered pieces are generous and inviting, quietly waiting for someone to rest on them.

Between Factories and Craft

One of the trip’s biggest takeaways was seeing the industrial and the handmade worlds coexist. On one side, factories are producing with consistency; on the other, small studios are shaping clay, fibres and pigments by hand, with irregularity part of their charm. Rather than competing, these two worlds seem to strengthen each other.

Functional objects are no longer satisfied with efficiency alone. They now aim to improve daily rituals – sleeping, cooking, organising – with a sense of individuality. Even the most practical tools seem to carry a dose of poetry. One cutlery supplier, for example, presented an affordable set with plastic handles that perfectly mimicked leather; the illusion was so convincing you almost couldn’t tell the difference.

Playful, Thoughtful, Human

There was also a strong presence of responsible and thoughtful design – products built to last that are beautiful and comfortable. Authorial design and artistic ceramics are getting more attention in big Brazilian platforms, with an honest connection to materials, usage and time.

But alongside that seriousness, there’s playfulness. Figurative objects – ice buckets shaped like fruit, tables that looked like puzzles, tiny sculptural containers – show that humour and elegance can coexist. Interiors no longer have to be neutral; they’re a reflection of the people who live in them. Colour is a statement. Form tells a story. The tactile and the playful live side by side with confidence, suggesting layered interiors full of intention and character, where every element speaks of time: time devoted to making, time spent composing each layer, time invested in collecting and shaping a space. It felt, instantly, that this young, jovial Brazil is maturing – carrying its history and references with greater depth without losing its spirit.

The Streets in São Paulo

Walking the streets between appointments, I noticed that the city itself feels like a design laboratory. Graffiti, hand-painted signs, street stalls, bold tiles on building facades… all of it feels curated and chaotic at the same time. There’s something comforting about it, actually, because it feels familiar. It’s life in motion: messy, sure – but the chaos has rhythm.

Even small objects can tell a story. A handmade bowl at a fancy restaurant, a brightly coloured chair at the barber, a tiny sculpture hiding in a corner of a shop – they are calling your attention to the moment. It’s as if the makers are saying, “Slow down and look!” And in a world that can feel too fast, the message is comforting.

I also realised that even the shortest trip can change your gaze. I saw familiar colours and textures, but the combinations were new. There’s joy in seeing something traditional, like a straw chair or a clay vase, reinterpreted in a way that feels fresh. That tension between heritage and invention is exactly what makes Brazilian design so alive right now.

Brazilian Design in Transition

Across fairs and studios, the picture is clear: Brazilian design is evolving. It’s rooted in heritage, but open to technology, collaboration and new ways of telling stories. Shape and colour matter – but so does meaning and emotional connection.

For me as the curator at NOSSO, this trip is already shaping what we will bring in next. We don’t chase trends; we listen to makers and the direction design is taking, so we can translate this energy into objects that can live in different contexts while keeping their character intact.

The future looks playful and strong in identity, making even the most practical objects a little surprising. And through it all runs that Latino heartbeat: colourful, imperfect, joyful, reassuring. It’s a reminder that chaos and beauty are not opposites – sometimes, they’re the same thing. | nosso.co.za

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WORDS Gina Dionisio PHOTOS Supplied

Defined by a philosophy of slow, conscious living, Olijvenkraal Winelands Lodge offers guests the rare luxury of a true escape. Created to be experienced with intention, the lodge brings together thoughtful interiors and the calm of the countryside to form a restorative and deeply personal Winelands retreat.

“The aesthetic reflects the rugged beauty of the Paarl and Franschhoek mountains,” says interior designer Lisa Bellamy, who carefully curated the retreat’s look and feel. “Every finish is a deliberate nod to the local environment. It is a study in ‘quiet luxury,’ where functionality meets an understated, festive spirit that celebrates the art of living well.”

The lodge features a communal entertainment area – The Clubhouse – with a bar, lounge and pool, and six private luxe suites, each spanning an ample 60 sqm and designed to cater for every comfort. Balancing intimacy with space, the suites include luxurious amenities, generous minibars, private patios with outdoor showers, and indoor lounge areas complete with attention-grabbing fireplaces. “The double-sided fireplace serves as a sophisticated focal point within each suite, providing a visual link between the bedroom and the lounge. The placement allows the warmth and glow of the fire to be enjoyed from both sides while maintaining an essential sense of privacy,” says Lisa.

Thoughtful design maximises indoor-outdoor flow, with large openings that frame views of the olive groves and wildlife – including free-roaming springbok, ducks and geese – just beyond. “We focused on verticality and versatility, using high-end materials to blur the lines between the interior and the natural deck environment,” explains Lisa. “Increasing the ceiling and glazing height was a critical move to maximise natural light and volume. By utilising bi-parting glazing systems, we achieved a space where the sash sections move independently. This allows for precise control over ventilation and gives the guest the option to have the space fully open to the deck or partially closed, depending on the weather.”

Every element of Olijvenkraal’s interior and exterior, from the material finishes to its colour palette, has been thoughtfully crafted to reflect the lodge’s immediate setting. To achieve visual harmony and ensure the lodge blends into the groves, Lisa selected a green exterior palette that allows it to sit harmoniously within its natural surroundings. “Throughout the lodge, we utilised the quiet hues of olive leaves to create a seamless connection with the environment,” she explains. “The use of timber furniture on the deck reinforces an earthy aesthetic and strengthens the connection to the surrounding landscape,” she adds.

The Clubhouse was designed with relaxation in mind. “The entertainment area needed to be a multi-functional, inviting space – accommodating summer parties with sliding glass doors, while remaining a cosy retreat for long winter days,” says Lisa. Its bar and lounge open onto generous outdoor spaces, with views that stretch across the estate. “To maintain the views, the bar was designed as a focal point that doesn’t obstruct the vista. For added flexibility, the curved sofa is on castors, allowing it to be easily moved for large gatherings. Additionally, shutters provide privacy for the outdoor braai and dining area without obscuring the view of the groves or the visiting wildlife.”

Wining and dining also form an integral part of the Olijvenkraal experience, where guests are invited to slow down and savour the flavours of the farm. At FYRE Restaurant, open-fire cooking takes centre stage, with seasonal menus complemented by curated on-site wine tastings. Rooted in a deep connection to the land, each culinary offering reflects the character of the Winelands, allowing guests to indulge in an immersive farm-to-table experience without ever needing to leave the estate.

“At Olijvenkraal Winelands Lodge, we created a space where the materials don’t simply decorate; they tell the story of the olives and the wine itself,” says Lisa. Between sweeping views, thoughtfully crafted interiors, and the slow rhythm of farm life, the lodge offers a retreat where guests can reconnect with the land and with themselves. | olijvenkraal.co.za

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WORDS Danielle Weakley PHOTOS Max Bohme/Unsplash; Supplied

Voaara, Madagascar

This is barefoot luxury at its finest and most toes-in-the-sand, with tropical-style thatched bungalows scattered along the northern tip of the island of Sainte-Marie off the coast of Madagascar. The island is renowned for its swashbuckling pirate past (Captain Kidd’s loot was said to have been buried here), and is one of the best spots in the world to view the humpback whale migration. With just seven stripped-back but quietly luxurious bungalows and one stunner of a three-bedroom villa, Voaara – designed by South African-Chilean architect Luis Mira – boasts a rustic, unbuttoned style thanks to the inclusion of local artisanal furniture and a wholly unpretentious energy. Do not miss the private dining experience of Bird’s Nest – it offers 360-degree views from its elevated top deck, making it perfect for sundowners and a romantic night of stargazing, telescope included – or a pizza while catching a movie at the outdoor cinema. | voaara.com

Cheval Blanc, Seychelles

This is the first Cheval Blanc maison in Africa, and LVMH’s newest property in its uber-luxury hotel portfolio. Architect Jean-Michel Gathy’s sculptural buildings curve around Mahé’s rugged Anse Intendance in the south, with villas ensconced in sunny eyries or perched atop the ridge, surveying the sprawling blue bay. The design is a sublime blend of modern and Creole – a dialogue between the tropical island and contemporary architecture. Expect floor-to-ceiling glass-fronted spaces with clotted-cream interiors offset by intricate latticing and African art – like the works of Madagascan textile artist Joël Andrianomearisoa. Slide back the glass doors to a private infinity pool and wraparound wooden deck. No luxury has been spared by parent company LVMH – the interiors are designer, the spa is by Guerlain, and the public spaces are utterly swoon-worthy. | chevalblanc.com

Waldorf Astoria Platte Island, Seychelles

Think the Seychelles, think private island – and this particular secluded escape integrates nature and conservation with architecturally airy beachfront villas that snake along the ivory sands of remote Platte Island. Inspired by the largely untouched lagoon, palm tree forest and coral reef of the island, the resort’s design echoes its natural surrounds. The main buildings take cues from the patterned shell of the native hawksbill turtles, forming faceted shapes that create canopies of dancing light; while the villa interiors surrender to nature’s palette of sage-green and off-white. The resort is not just eco-conscious in design, but in sensibility too – sustainable with its own solar field and produce gardens, respectful of the local ecology, and minimally intrusive towards the turtles nesting in the lush gardens. That said, you do need to arrive by plane… | hilton.com

Four Seasons Resort, Mauritius

Sustainability and luxury are the beating heart of this freshly renovated property at Anahita, on the lush east coast of Mauritius. From the seagrass meadow nursery that encourages marine biodiversity (you should be able to spot turtles, fish, stingrays and even seahorses in the newly planted underwater meadows) to an on-site seahorse conservation initiative, the biophilic resort is dedicated to preserving the natural splendour of the island. This same natural splendour is echoed in the contemporised interiors, where golden, beachy-toned colour palettes and natural finishes offer seamless integration between indoors and out, complete with basalt- encrusted private infinity pools. There’s a wellness spa that hugs the lagoon, as well as a spectacularly verdant oceanfront golf course designed by Ernie Els – both are not to be missed. | fourseasons.com

Soneva Secret, Maldives

There are just 14 villas tucked away at Soneva Secret, in the startling aquamarine waters of the Maldives’ Makunudhoo Atoll – a hyper-exclusive, super-private island enclave that includes a much-talked-about floating villa. Yes: the floating Castaway Villa can be dragged to different anchor points around the island to catch both the sunrise and the sunset as you live out your best Robinson Crusoe fantasy. Quirky Soneva touches are everywhere, from the reclaimed driftwood decks and rustic-chic upcycled decor to the pops of signature sunshine yellow, the retractable ceilings for stargazing, and the curvy water slides that deposit you straight from your deck into the water below. The villas are completely self-contained, so you’re off the grid in the best way possible – with endless unobstructed views, and your own so-called barefoot guardian and chef to cater to your every desire. | soneva.com

Jaz Amaluna, Zanzibar

Situated along the unspoiled shores of Uroa Beach on the east coast of Zanzibar, Amaluna is pure relaxation. Yes, there’s a mix of garden and ocean-facing suites – but there are also private swim-up terraces, a vibrant beach bar set along the powdery white sand, the sanctuary of an island spa, and three sprawling pools. The property pulls its exterior inspiration from Zanzibar’s diverse cultural heritage, with softly spoken interiors that are designed to take full advantage of the seemingly endless azure-toned vistas. | jazhotels.com

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WORDS Steve Smith PHOTOS The Aficionados

There is no better study in restrained drama than the traditional architecture on the Greek island of Santorini. Half of it comes courtesy of the geography – living on the lip of what’s still an active volcano tends to add some spice; the other half is the whitewashed cubic volumes, soft barrel vaults and terraced retaining walls that seem sculpted from the volcanic escarpment itself. Perch that on the edge of a blackened cliff with the deep-blue Aegean stretched out before you, and it’s all pretty dramatic.

Yet there’s an oasis of serenity among this that goes by the name of Aenaon Villas.

Built between the villages of Imerovigli and Oia on the caldera’s northern horn, the villas are situated on an ancient connecting path overlooking the beaches that span the east coast of the island. Conceived by engineer-owner Giorgos Alexiou and his wife Alexandra, together with architect Giorgos Zacharopoulos, the buildings are carved into the island’s rugged contours. Walls of volcanic stone, olive trees, and traditional Cycladic lines frame terraces, while interiors embrace the minimalist grace of Santorini’s white-on-white vernacular.

Behind this purity of form lies a narrative of identity and locality. The buildings seem to emerge organically from the rocky slope, sculpted by the cliff rather than imposed upon it. Windows and terraces are carefully arranged so that each view is framed: sea, volcano, sky. Pergolas made of timber and reed provide shade, while the volcanic stone offers texture and earthy contrast. Each villa has its own veranda; many feature infinity pools at the edge of the caldera so that water becomes a visual extension of the sea itself.

Interiors are generous in scale, yet proportioned so that no space feels cold or cavernous, with small stairwells, terraced floor plates and gentle curves softening the geometry. The decor embraces a pared-back aesthetic with sweeping windows that invite the Aegean light inside. The interiors preserve the sense of serenity and simplicity with walls, floors and much of the built architecture in layers of brilliant white, letting natural light bounce deep into living spaces. The furniture reflects this, restrained and designed for ease with deeply cushioned sofas, wooden pieces, often local craftsmanship and modern fixtures. The palette is almost ascetic; where colour enters, it’s in natural tones – warm wood, muted stone, soft fabrics.

This thread of serenity as the true luxury is also evident in the villa’s service. Instead of a restaurant, the owners designed a thoughtful room-pool-service concept: simple tastes of the island, served wherever the mood takes you. From breakfast on a private terrace overlooking the caldera to Greek salads by the pool and pre-sunset bites, dining here flows in step with the natural rhythm of the island. Some villas include kitchenettes for self-catering; there’s also a list of Giorgos and Alexandra’s favourite nearby tavernas and restaurants, ensuring guests will be welcomed like locals.

As a member of The Aficionados – a travel resource of more than 90 hotels, guesthouses and designer homes for those seeking lodgings that meld luxury, design and authenticity – it’s the villas’ name that captures the spirit of this retreat. “Aenaon” means “flowing continuously, unstoppably, eternally”. It’s a circular rhythm of timeless architecture, elemental design and quiet luxury. It’s design that respects silence, scale and tradition, but doesn’t shy away from modern comfort. For lovers of understated elegance and natural drama, Aenaon is both a sanctuary and a stage. theaficionados.com | @theaficionados

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With a profound respect for its past and a clear vision for its future, Vergenoegd Löw stands as a meticulously restored tribute to 18th-century Cape heritage. As one of the oldest working wine farms in Stellenbosch is home to two wine-driven, seasonally inspired restaurants, as well as an intimate boutique hotel and spa. Together, they offer an experience that feels deeply authentic yet effortlessly refined.

For those seeking a quietly luxurious Winelands escape, the Vergenoegd Löw Boutique Hotel & Spa provides the perfect base from which to explore the estate’s rhythms – from art walks and duck-watching to wine tastings and lingering seasonal lunches. At its heart lies the reimagined 1773 Homestead, once the working centre of the farm and now reserved exclusively for hotel guests, offering a deeply immersive and private stay experience. Breakfast, however, is available to the public by pre-booking, allowing day visitors a rare glimpse inside this historic space.

Among the estate’s accommodation offerings are the four vineyard suites which serve as private retreats, combining sweeping vineyard and mountain views with refined, contemporary luxury. Set just a short stroll from the historic 1773 homestead, the suites pays homage to the estate’s Cape Dutch heritage, echoing the whitewashed clay-and-lime walls of the original homestead, while contemporary lines and modern finishes bring them firmly into the present. Inside, the design is quietly sophisticated – a considered blend of clean-lined furnishings, natural textures and warm, earthy tones that reflect the surrounding landscape.

Beyond the accommodation, the estate’s culinary offering expresses its terroir at the table. At the heart of this are Clara’s Barn – one of the oldest surviving barns in the Cape, currently under renovation – and Geuwels. Geuwels’ refreshed interiors are quietly sophisticated, with warm timber tones, natural textures and contemporary furnishings that mirror the estate’s surroundings, creating a setting as inviting as the cuisine itself. The menu is thoughtfully composed, and with gastronomist Michelle Theron at the helm, the food draws confidently on local flavours, underpinned by a considered approach that is at one with the estate’s wines.

On the plate, dishes champion produce from the estate and its surrounds – think traditional werf chicken pie scented with fynbos; nostalgic Merino lamb frikkadelle; and carefully composed bites that let farm-picked vegetables shine. On Sundays, Geuwels extends its farm-led philosophy with harvest lunches served family-style –generous, seasonal feasts designed for convivial gathering and shared at the table, in keeping with the estate’s warm, communal spirit.

The wine list is, unsurprisingly, a focal point, and those keen to explore can settle in for a guided tasting or pairing at Geuwels’ Wine Lounge. A highlight among the curated wine flights and artisanal platters is the Indigenous Tasting. Celebrating South Africa’s rich culinary heritage, it brings together often overlooked local ingredients such as Kei apple, spekboom and kaiings, complemented by a selection of estate wines.

For those wishing to linger after a lunch and savour the estate’s natural beauty, the art walk provides the perfect way to spend the afternoon exploring the grounds on foot. Along the route, sculptures by local artists Manuela Holzer and Dylan Lewis punctuate the landscape, while flora- and fauna-inspired paintings and thoughtfully landscaped garden scenes invite discovery at every turn.

And of course, no stay at Vergenoegd Löw Boutique Hotel & Spa is complete without watching the estate’s famous Indian Runner ducks waddle across the lawns while you eat breakfast. These charming residents are more than a playful presence; they are an integral part of the estate’s regenerative farming practices – a gentle reminder slow down, hit pause and appreciate the harmony that exists between the land and vineyards at Vergenoegd Löw. | vergenoegd.co.za

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WORDS Annette Klinger PHOTOS Dook

As far as site-responsive architecture goes, the designers of &Beyond Suyian Lodge could hardly have asked for a more captivating muse than the Laikipia Plateau in Kenya. The 17 000-hectare Suyian Conservancy – where architects Nick Plewman of Nicholas Plewman Architects and Alex Michaelis of UK-based Michaelis Boyd, together with interior designers Fox Browne Creative, were tasked with creating the luxury hotel – comprises five diverse habitats, including grass plains, riverine areas, acacia woodland, granitic inselbergs and a phonolite escarpment. The lodge perches on a ridge overlooking a rock sanctuary, its design DNA undeniably evocative of its diverse surroundings, yet singular in execution.

The main lodge is situated at the heart of the development, its composite, stratified form echoing the granite outcrops of the rock sanctuary. Fourteen domed clay-and-stone-clad suites fan out across the landscape. Nick and Alex describe the structures as being in perpetual dialogue with their geographical context. “The main challenge was embedding quite a big development in a relatively small, pristine site in such a way that it would recede into its environment,” says Nick.

Beyond the architectural form, Nick and Alex tethered the structures to the landscape with a deliberate deployment of materials. Volcanic rocks from the surrounding escarpment form the cladding of the cylindrical walls; the wild grasslands of the plateau are recreated in miniature on turf rooftops; and even the reddish-brown volcanic soil of the site is used as external rendering on the domes, arches and walls.

“The volcanic stones have oxidised and aged with time, so cladding the walls with them helps to embed the structures in the plateau,” says Nick. “Similarly, the roughened soil-and-lime-plastered surfaces of the domes and walls will eventually grow mould, lichens and mosses that will age naturally and accrue the kind of patina of time that is attached to the rocks around here.”

Echoing and inverting the form and materiality of the architecture, the interiors speak to the creative synergy between the teams. For every earth-rendered dome outside, there’s a vaulted lime-plaster ceiling counterpart; for every convex stone-clad external wall, there’s a concave of polished concrete inside. “The granite outcrops inspired the architecture, which led the way for the interior design to follow,” says Chris Browne of Fox Browne Creative – a joint partnership with his wife Debra Fox. “We had to tell a story of the intersection of nature and culture.”

Deftly sidestepping any luxury lodge interior clichés, Chris and Debra opted for a cool, muted palette and tactile yet refined materials, keeping adornment minimal. “Our sense is that most guests have had enough of ‘stuff’ and amenity creep,” says Chris. When decoration is deployed, it’s done intentionally – like the nod to the endemic Euphorbia tanaensis in a sculptural chair by Georgina Anderson of High Thorn in the boot room, and a Sarah Kelly painting in the pool room.

Paying tribute to the culture and craftsmanship of the local Samburu – including the hand-built Laikipia homesteads of the surrounds – Chris and Debra commissioned almost 80% of the furniture and fittings in Kenya. Rugs by Jireh Hand Woven Craft, earthenware by Ceramiqa Pottery, outdoor furniture by Kaa Hapa and glassware by Kitengela Glass punctuate the lodge with a design language that feels unique and uncontrived. “As design professionals, we listened to each other, so a real ‘truth’ started to emerge,” says Chris. “‘Less is more’ sounds like a cliché, but in this instance it worked.”

Nick agrees: “There is a calm minimalism to the place that allows the guest to focus on the environment – but it’s also quite a celebratory space.” And right about now, a little serene celebration sounds like something most weary travellers can get behind. | andbeyond.com

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WORDS Gina Dionisio PHOTOS Supplied

Set along one of Cape Town’s most iconic beach strips, the new 90-room hotel in Camps Bay – the first Marriott Bonvoy Autograph Collection property in the city – draws heavily on its surroundings.

Brought to life by award-winning interior architect Tristan du Plessis, Morea House’s interiors are a celebration of contrasts: bold and sculptural, yet softened by natural textures.

Each of the 90 guest rooms and suites is layered with bespoke furniture and tactile embellishments. Hints of timber, stone and bronze combine with organic silhouettes, creating interiors that feel refined and inviting. The public areas unfold as a sequence of sensory discoveries, from the expansive terrace to intimate corners showcasing works by South African artists, with every detail designed to evoke delight, foster connection and nurture the spirit.

“From the architecture and interiors to the sweeping views of the ocean and mountains, the hotel unfolds as a place to pause, explore and connect with the Mother City and its people. Every detail invites guests to savour life’s pleasures, creating an experience that is personal, soulful and exactly like nothing else,” says Sandra Schulze-Potgieter, Vice President, Premium, Select & Midscale Brands, Europe, Middle East & Africa, Marriott International.

Wellness is woven seamlessly into every moment at Morea House – from bespoke holistic spa offerings designed to restore balance through multi-sensory experiences to curated activities and a variety of dining options. “When guests arrive, our intention is for them to feel as if they’ve discovered a sanctuary created just for them. We want them to leave restored, reconnected and carrying with them the essence of this place,” says Albert Smit, General Manager of Morea House. “Whether our guests are seeking a romantic escape, a personal reset or a base for exploring the Cape’s beaches, vineyards and mountains, Morea House delivers a distinctive experience rooted in place – unlike anywhere else.” | marriott.com

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WORDS Gina Dionisio PHOTOS Supplied

Perched eight metres above the Namibian bushveld, SkyBoma – the latest addition to Mokuti Etosha – is unlike anything seen in Africa’s safari tourism landscape. Developed by O&L Leisure, this innovation blends elevated dining, indigenous storytelling, and dramatic wilderness views.

“Every lodge has a boma,” says Sven Thieme, managing director of O&L Leisure. “We wanted to build something no one else had, so we moved it up eight metres. From SkyBoma, guests can now see the Etosha Pan. It’s the only structure of its kind in the world.”

Inspired by the local environment, SkyBoma’s sculpted base reinterprets the organic geometry of Namibia’s termite mounds, while its canvas roof mirrors the bold silhouette of the native Omajova mushroom. From above, the looping walkway forms an infinity symbol – a subtle nod to the enduring nature of the bush.

Guests are guided on a ten-minute bushwalk by members of the Hai//om community. Along the way, they stop at a termite mound, beneath a marula tree, and at SkyBoma’s base for traditional fire-making before ascending the winding walkway to dine.

“We’ve designed this experience to be a cultural journey. Everything from the architecture to the menu pays homage to Namibia’s landscape and traditions,” explains Thieme.

As travellers increasingly seek authenticity, exclusivity, and meaningful connections, SkyBoma stands apart as a unique experience. “No other lodge or reserve in the world offers an elevated bush-dining experience of this kind – visually dramatic, culturally immersive, and architecturally bold,” concludes Thieme. ol-leisure.com

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WORDS & PRODUCTION Steve Smith PHOTOS Greg Cox

Ekipa looks nothing like its siblings. While the other two pods that architect Sven Staby designed for the Gondwana Collection tread gently in the desert sands of the Namibian landscape (see our story on the Reverie Pod and Desert Whisper), his latest structure is metal-clad – and far more imposing. From a distance, seeing it glint in the Etosha sunlight above a forest of gnarled mopane trees, you’d be tempted to reach for sculptural metaphors. Depending on your angle of approach, you could describe it as an abstract great anvil, the prow of a warship, a warrior’s helmet. Sven’s designs for the Desert Whisper and Reverie pods were softer, more feminine, sympathetic to their surrounds – and the armour-clad Ekipa seems anything but.

Yet when you hear him describe its inspiration, and his interpretation thereof, you begin to understand that this too is a nod to the environment it sits in. The pod takes its name and shape from the iconic round-edged ivory buttons worn by Aawambo women as a marker of status. In homage, the pod is a square with soft edges, and rotated 45 degrees so that its apertures face the rising and setting sun. “Volume-wise, it’s the mass of an elephant seen against the plain, or the presence of a colonial defensive structure – both undeniably significant spatial entities in these landscapes,” says Sven. Further symbolism is in the dark blue- grey, diamond-shaped cladding that nods to the scales of the pangolin anteater that’s found in much of Africa. Fixed to the inclined brick walls, the cladding ensures proper insulation and creates a sense of seclusion. “I like to think that the presence of Ekipa is as much a natural expressive intervention in the landscape as the hulk of an elephant is a natural presence in a plain. It wants to be left alone, at peace with itself and with all around it.”

The fact that Ekipa is at peace in its space is testament to its designer’s commitment to keep going until the most fitting iteration was inked on the paper before him. By Sven’s own admission, it was “a rather difficult birth”. “The biggest challenge we faced was finding a suitable site – one that was away from the park’s noisy feeder road and the light pollution of surrounding settlements, yet with a view that would focus on the expanse of bushland culminating in the hills and mountains. The first concepts were too-literal copies of the living things, rather than interpretations thereof. Graphically, the discarded plans resembled the shape of a mopane worm or had the profile of a pangolin, and did not evoke any deep emotional reactions.”

What Sven was after was a strong yet simple form that would be perceived as an obvious part of the surroundings. And there was the practical side to it, too. “It needed to be a design that could be built in a remote locality and function as intended (be an awesome experience for the guests), yet also be flexible enough to incorporate design and technical improvements during construction (a work in progress until complete).”

Ekipa is also a testament to the relationship Sven enjoys with the owners of the Gondwana Collection, one of Namibia’s leading lodge groups. The pods have all been collaborative efforts, spitballed over beers and biltong. “The most rewarding aspect is having a client who is supportive, believes in your way of thinking, and contributes critically to the evolution of the designs,” he says.

Another part of this team is self-styled interior artist Melanie Redecker of Unleashed Design in Namibia. She created soft, gentle interiors for both Desert Whisper and Reverie – but this project required a different approach. “Ekipa’s strength, geometry and presence demanded interiors that could stand shoulder to shoulder with that exterior – proud, unapologetic, and deeply rooted in the tones and textures of Africa,” she says. “Ekipa’s identity became about strength, and the celebration of masculine forms, confident lines and the tonal depth of Africa itself. It honours boldness, it’s a celebration of place, yet it still holds moments of intimacy and warmth within that strength.”

From echoing the building’s rounded edges with painted interior walls, to the geometric tiles and fabrics that reflect the pangolin cladding, Melanie’s interior treatment is in constant dialogue with the structure. “We used the building materials as a paintbrush to colour walls with texture, patterns carved by shadow and light, surfaces that feel alive to the touch. Strong lines and tactile finishes give it a pulse of pride and presence – yet comfort too.”

Guests spending time in this fully catered two-person wonder will experience exactly that: African grandeur. In the expansive, luxurious bed on the upper floor, you’ll awaken to the orange glow of the Namibian sun rising above two distant hills. Filtered through a soft haze, it’s likely to be one of the few times you’re able to look directly at our star – now a deep orange rather than the usual fierce, yellow-blue-white blaze. And your view over the Etosha National Park will hold the promise of a memorable experience in a special place. | gondwana-collection.com

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