Think of a shimmering ocean, the dazzling water, with reflections of metallics and indigo blues. Crisp while still soft with baby pastels.
Fresh azure blues are featured with soft fabrics, sheer and see-through details. Sandy textures and organic touches. This is the light and cool break. The softer inclination still compliments the previous burnt and green palates. Silver metallics emerge to partner with rust and emerald shades seep through deep blue ocean tones.
MOOD: gloss, silvers, milky blue, clear waters, transparent fabrics, white light, indigo, sequins.
Dark meets light to create stark contrast and harmony. Simplicity is accented with metallics to add a little sophistication and glamour.
Colour-blocking and patterns merge to create a modern tribal design sentiment. Natural hues and textures are key as they help bring balance and help ground the obvious contrasts.
MOOD: Neutrals, charcoal, contrast, metallic, tribal, stark white, organic shapes, structure.
A sense of ethereal spirits flow through the fabrics, with a leak of light and combination of colours.
Hues and textures return to a bare base of creams and neutrals. Solid bases still emerge through outlines and in shades of pine green. A return to natural hues and warm tones. A soft reminder of dusk and dawn.
MOOD: Floral, sandy, shadows and light, womanly, palms, petals, mulberry, mist.
This trend goes back to basics with tones of rust and primal earth hues. Creative combinations emerge, praising the vibrancy of yellow, blazing oranges and warm apricots.
Following an organic direction, nature is featured by way of camouflage, tones of moss and Sulphur greens. All shades blend and merge through pastel hue connections resulting in a colour palette akin to our African sunset.
MOOD: Burnt landscapes, moss, red earth, blazing sunsets, volcanic ash, tent green, woodlands.
A juxtaposition of textural ethnicity and cultural pop – cut-outs, print clashes and amoeba-like shapes dominate the scene in every form.
Poppy red and turtle greens pop into existence complimenting the enriching blue and teal shades. Brave and bold describes this aesthetic collage of materials and solid base colours.
MOOD: Pattern clashing, summer blues, layering, woven texture, flow, fiery red, highlighting edges, colour blocks, abstract shaping.
In the African Kingdom of Swaziland, a mountain that resembles a basking crocodile can be found. At the foot of this mountain lies the village of Ngwenya – the Swazi word for crocodile – home to Ngwenya Glass.
The scene from the balcony above the furnaces is a compelling sight. Highly skilled workers manipulate molten glass in a series of fluid moves. Theirs is a rarely practiced art form requiring a studied precision born of patience and focus.
Founded in 1979 as a Swedish Aid Project that employed and trained locals in the art of glassblowing, the factory faltered and closed in 1983, leaving the artists without work and the collectors without their much-loved wares. One such collector, Cas Prettejohn, travelled to Swaziland with his family in search of the elephants they loved and found a derelict factory, coated in cobwebs and invasive wattles. The Prettejohns became the owners of what was the single glassblowing factory in Africa at the time, renaming it Ngwenya Glass, and within months had reinstated a handful of the former glassblowers and reignited the furnaces.
Ngwenya Glass has evolved into an inspiring success story with over 70 employees who, through Source, supply curated ranges to leading retail outlets around the world. Each piece of glassware is made with the age-old techniques, resulting in a superior and enduring product range. All the ranges offer a wide selection of designs within which to curate a unique collection. Master glassblower Sibusiso Mhlanga, who underwent advanced training at the Kosta Boda Glassworks in Sweden during the seventies, tutors apprentices and continues to travel abroad to work with some of the leading glassblowers in the world.
Community upliftment and the preservation of the environment are core values at Ngwenya Glass. Used oil from Swaziland’s KFC outlets is used to fuel the furnaces, and the wood from invasive exotic trees is used to create moulds needed for production. All the products are made from 100 percent recycled glass, most of which is collected by the local Swazi community who are paid for their contributions. In exchange for waste clean-up campaigns, local schools receive sponsorships that go towards funding the development of the schools. In 1989, Ngwenya Glass launched the Ngwenya Rhino & Elephant fund – Swaziland’s most successful wildlife conservation fund. A percentage of the factory’s profits are donated into the fund, which go directly to funding Mkhaya Game Reserve – a refuge for endangered species in the Swaziland Lowveld.
Wonki Ware is an artisanal ceramics studio that specialises in handmade dinnerware, serveware and home accessories.
The studio has cultivated a loyal following for its extensive product range in a dynamic offering of multiple colourways, shapes and distinctive decorative patterns.
Quality stoneware finished with non-toxic and lead-free glazes fired at 1300 degrees Celsius gives Wonki Ware its lightweight yet durable, microwave and dishwasher safe quality. The slow-craft, human-touch approach to production means that each Wonki Ware piece passes through 18 pairs of hands from clay mixing, rolling, shaping, sun drying, and firing, to decorating, waxing, glazing, and quality checking. Due to the handmade nature of these products, no two are identical, making each piece unique.
At Source, our selection criterion goes beyond the appeal of good design. We’re committed to choosing suppliers that also contribute to the communities and environments in which they operate. Since its founding in 1999, Wonki Ware has been dedicated to training people from economically disadvantaged backgrounds in the art of ceramics and today the company has grown to employ over 100 people. Wonki Ware is currently distributed in numerous countries globally, making it one of South Africa’s most successful design exports.
Source is passionate about the evolution of African design, and given the continent’s cultural wealth, unique narratives and incredible natural beauty, it’s no surprise that its fast becoming the new design frontier.
Singita Sweni – the most intimate of the Singita lodges – is an example of refined African design at its best. The lodge is a tranquil sanctuary nestled in a riverine forest that unfurls onto the banks of the Sweni river. Its location in an exclusive concession in the south-eastern part of the Kruger National Park, is an area well known for its high concentration of the Big Five and four notable prides of lion.
In keeping an authentic sensibility, the immediate environment continues to be an important source of inspiration for African design. Outwardly unassuming, Singita Sweni is inspired by the structures of lairs and dens found in the region. Notes from nature are carried into the interiors and enhanced through an effortless blend of light, warm colours, textures and contemporary design features, like their polished timber floors and chrome balustrades.
Built on stilts, each of the six suites and shared public spaces have been fitted with floor-to-ceiling glass panels and expansive decks, creating a seamless flow between the natural surrounds and interiors. Eucalyptus poles line the walls and ceilings, lending a dappled light effect that preserves the feeling of outdoor living. Each space is dressed in shades of brown, ochre and taupe – echoing the hues of the natural landscape, while leafy greens, teal and canary yellow have been added to refresh the earthy colour palette.