South African Design: Heritage in the Spotlight

Heritage isn’t static. It is alive, shifting and taking new form in the hands of those who carry it forward. Across South Africa, designers are weaving memory into modernity, grounding contemporary design in traditional craft, cultural symbolism and storytelling.

We interview six creatives who are doing more than designing – they are keeping tradition alive. From sculptural furniture that honours African hairstyles to jewellery that channels feminine mythologies, their work proves that heritage is constantly evolving and unapologetically contemporary.

Each of these designers carries a responsibility: to preserve craft, to honour culture, and to ensure that the stories, techniques and knowledge of their communities continue to thrive. And they do so with creativity, rigour and joy, reminding us that the future of design is rooted firmly in the past.

The space holder: Mpho Vackier, TheUrbanative

“Every design is a vessel for meaning”

Photo: Lutendo Malatji

Born in Johannesburg and raised between the Northwest and Soweto, engineer-turned-furniture designer Mpho Vackier grew up with “a deep sense of community and connection to place.” Today, she lives and works in Johannesburg, which she calls “the home of The Urbanative, and such a rich source of inspiration, collaboration and possibility for me.”

Her aesthetic, she says, is “intentional – every piece begins with a story, a reference or a cultural thread that we translate into contemporary form. It’s about designing objects that not only serve a function but also carry meaning, evoke memory or spark conversation.”

Visually, Vackier’s work “sits at the intersection of clean, modern lines and abstracted African identity, meaning bold yet considered, warm yet refined.” Heritage, craft, and storytelling are not add-ons but “woven into the DNA of our work, guiding both the aesthetic and the intention behind it.”

Photo: Ryan Abbott (left image)

Her African Crowns Collection, launched in 2018, embodies that philosophy. “It’s inspired by traditional African hairstyles, which for generations have been powerful symbols of identity, culture, status and beauty… designing this collection felt like an act of reclamation, a way to honour the crowns we wear unapologetically.”

For Vackier, “design can be more than functional – it can hold space for identity, for beauty, for history and for the future.”

The pattern finder: Laduma Ngxokolo, MaXhosa Africa

“Unapologetically bold and proud”

Born in Gqeberha and now based in Johannesburg, Laduma Ngxokolo has redefined African luxury through his knitwear brand, MaXhosa Africa. He describes his work as carrying “a sense of joy, but it’s also thought-provoking, profound and elegant. It is artistic and rooted in Ubuntu and identity, while also being prolific, aspirational and deeply personal.”

Heritage is central to his design process. “Many of the motifs I use are inspired by cultural artefacts, particularly traditional crafts like beadwork and other forms of regalia. The structure and design of these artefacts often influence the details I bring into my work.” Beyond the textiles, culture is woven into how the brand itself is presented and experienced.

At its core lies a commitment to African narratives. “My work is rooted in culture and the stories that keep it alive. At the heart of it is the history and anthropology of the Xhosa people… but I also draw from the histories of the AmaZulu, AmaNdebele, Abesotho, Amatswana, and many other African cultures.”

His first collection, Amakrwala, remains a defining statement: a contemporary interpretation of a centuries-old Xhosa initiation ritual. Balancing tradition and reinvention isn’t easy – but Ngxokolo remains undaunted. As he puts it, “the one that feels or sounds impossible and comes across as impossible, is the right one to do.”

The clay whisperer: Chuma Maweni, ceramicist

“We create to share – stories, traditions and wisdom”

Photo: Courtesy of Southern Guild

Born in Gqeberha in 1976, Chuma Maweni moved with his family to KwaPayne village outside Mthatha during the anti-Apartheid riots of the 1980s. Today, he lives and works in Cape Town, where clay remains his chosen medium. “Clay immediately establishes that living dialogue between the past and present – this is because it’s an ancient material that has been used for both function and creative expression for centuries.”

His practice, rooted in Xhosa ceramic traditions, translates inherited forms into contemporary works of timeless presence. “When all the elements come together – the hand-coiled shapes and patterned incisions – the end result are works that I believe are timeless, sophisticated and resolved.”

Heritage and storytelling remain central to his process. His first solo exhibition, iMvelaphi (2024), honoured his own lineage, with each piece named after a family member. “When I talk about each specific work, there is an accompanying story or memory I get to share about its namesake and, in doing this, I preserve their memory and honour them in the present.”

Ultimately, Maweni says, “we create to share – to share stories, to share traditions, to share wisdom.”

The thread weaver: Nkuli Mlangeni-Berg, The Ninevites

“Textiles as a tool to amplify underrepresented narratives”

Textiles are Nkuli Mlangeni-Berg’s chosen medium for storytelling. Born and raised in Kagiso, Johannesburg, and now based in Stockholm, she describes her work as “a celebration of Black culture” – one that uses fabric to “amplify underrepresented narratives, collaborate with other creatives and artisans and to connect people and ideas.”

Cultural references are woven into every collection. Her first drew on her isiNdebele background, alongside Peruvian craftsmanship. Later came Imitha, inspired by Nguni women’s pottery and grass-mat weaving, while other pieces nod to Congolese textiles and African design traditions more broadly. “Every collection tells its own story,” she explains.

For her master’s project, Mlangeni-Berg turned to literature, creating floor cushions based on classic titles such as Things Fall Apart by Chinua Achebe and I Write What I Like by Steve Biko. “For me, these books are part of our heritage and history, and something that Black people from different parts of the continent and beyond identify with. They are part of who we are.”

Ultimately, her wish is simple: “I want them to feel joy, and that my work is relatable and adds some beauty to a sometimes challenging world.”

The jewel keeper: Katherine-Mary Pichulik, PICHULIK

“Using the ancient language of jewellery”

Born in Johannesburg and now based in Simon’s Town, Katherine-Mary Pichulik has built a jewellery brand rooted in narrative and symbolism. She describes her aesthetic as “sculptural, contemporary, and celebrates craft with the alchemic and intentional use of cast brass, rope and stones.”

Her designs draw on both universal and local traditions. “Handcraft and embellishment are a universal language, but the nuance, colour combinations and relationship to a material express its locality.” With a team that is majority Xhosa, beadwork finds natural expression in the atelier, while brass – “a primary material used in African jewellery across the continent” – forms the foundation of her pieces. Colour palettes often reflect the flora and fauna of the Western Cape, while mythology and symbolism are woven throughout.

Each collection forms part of an unfolding story. Algiers SS22 honoured her patrilineal grandmother, born in the Aures mountains of Algeria. Mer SS25, she explains, “celebrated female custodianship of the ocean through the metaphor of a mermaid.”

Her hope for the wearer is simple yet expansive: “A sense of strength, self-affirmation, confidence, courage, kinship, joy and delight!”

The homemaker: Fée Halsted, Ardmore

“Inspiration from Africa’s rich and vibrant flora and fauna”

Born in Bulawayo, Zimbabwe (then Rhodesia), Fée Halsted later relocated to South Africa – first to Ardmore farm in the Drakensberg’s Champagne Valley, and then to Caversham in the KwaZulu-Natal Midlands, home of the renowned Ardmore Studios and Gallery.

The visionary founder describes Ardmore’s aesthetic as one “infused with fantastical and whimsical elements, inviting storytelling and imagination.” The studio’s range of luxury homeware and handcrafted ceramics is “deeply rooted in Zulu tradition, culture, and mythology, reflecting our heritage and creativity.”

Zulu craft traditions echo through the details: “You can see echoes of basket weaving in our patterns, the fine details and vibrant colours of Zulu beadwork, and the organic forms of traditional coiled clay work, such as Ukhamba pottery.” Storytelling remains central, with myths, folklore and lived histories woven into every piece.

This commitment extends to Ardmore’s museum in Caversham, which highlights Zulu symbolism and histories, while the studio’s artworks capture everything from traditional subjects to modern-day events like the HIV/AIDS pandemic and the KwaZulu-Natal floods. “These artworks are more than just visual representations – they are vessels for personal stories and experiences.”

Guided by the philosophy of Ubuntu, Fée explains: “We are because of others. We strive to embody this spirit in our daily lives, recognising the interconnectedness of our community and the importance of mutual support.”

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