They might linger on the poolside loungers or the bar where umbrella-topped cocktails are on tap, but it’s the sea that first grabs your attention on Ile Maurice.

Unless you’re arriving at the gates of Paradis Beachcomber Golf Resort & Spa. Here, where the road along the south coast runs out of room heading west and bends north, it’s Le Morne that grabs your attention.

Whether you’re out on the water or wandering the fairways (more on those shortly), it’s the rocky massif of Le Morne Brabant — one of two World Heritage sites on the island, alongside Aapravasi Ghat in Port Louis — that frames the view.

Paradis Beachcomber makes the most of that setting, pairing Le Morne’s drama with the easy-going pleasures Mauritius does so well.

“West is best” goes the old island cliché — shorthand for powdery beaches and sunset views — and Paradis Beachcomber doesn’t disappoint on either front.

Part of the Beachcomber group and long a favourite among South African travellers, Paradis Beachcomber excels at serving up the combo of sun, sea and sand that Mauritian holidays are made of. Book the generous all-inclusive package and it’s easy to see why the brand has been a local favourite for decades.

South Africans certainly can’t seem to get enough of the island. In 2025 more than 11,000 of us hopped over to Ile Maurice, making Saffas the island’s fifth-largest market. In an age of multi-generational travel, resorts like Paradis Beachcomber tick all the right boxes.

Bungalows were first built here in the 1960s, catering for travellers arriving to enjoy the wide lagoon to the north, sandy beaches facing the sunset and Le Morne rising behind.

Bungalows grew into a resort — then two, with the addition of the neighbouring Dinarobin — with the most recent renovation in 2023 giving Paradis Beachcomber a R220m refresh. And it shows, with a fresh, contemporary character across the property.

That’s evident in the refurbished suites, remodelled in a breezy island style of pale timbers, natural textures, muted colours and an easy indoor-outdoor feel that makes the most of the seaside setting.

Rooms open towards gardens or the sea — and though nearly 300 rooms and suites are on offer, the low-rise buildings are scattered among palms and sprawling lawns, so it rarely feels busy. It also means you can choose a setting that suits you: near the pool if you have kids, further down the beach if you don’t.

Our room was close to the 18^th hole of the Paradis Beachcomber golf course — ideal for anyone planning to spend time on the fairways. Mauritius has long been all about the beach, but it’s fast growing a reputation as a global golf destination. New courses have opened in the north (Mont Choisy) and the south (La Reserve) of the island, and in 2024 the International Association of Golf Tour Operators named Mauritius the Tropical Island Golf Destination of the Year.

Before them all, there was Paradis Golf Club. It’s one of the oldest courses on the island, and while it might not have the championship credentials of newer rivals, it’s an ideal resort course. At 5,924m, it’s one of the shortest on the island, but length is hardly the point. The appeal lies in the setting, with fairways squeezed between Le Morne, the Black River lagoon and the Indian Ocean, and with tidal channels and water carries adding just enough risk and reward to ensure a challenging round.

This is perfect holiday golf, with no punishing forced carries or lightning-fast greens. Just enough strategy to make you think and fairways forgiving enough to cut you a break — all except the signature 16^th, a par-five that curls around the lagoon, where you’ll be tempted to cut the corner in search of the green. Or you can, like me, come back to search for your ball at low tide.

While I was on the golf course, the rest of my family found their own entertainment. To start, the lagoon is one enormous playground. Sailing, water-skiing, kayaking, stand-up paddling and snorkelling are all on offer — for free — and the sheltered waters make it easy for children to spend long days in the sea. There is also a dedicated kids’ club buzzing with activity day and night.

That’s good news for parents looking to enjoy a quiet dinner for a change, and Paradis Beachcomber offers plenty of culinary distractions.

Zest became our go-to table for most of our stay, with a breezy, sea-facing design, excellent service and a Mediterranean slant to the menu. Pizza for the teen. Pickled octopus for me. Everyone was happy.

Next door, Blue Marlin elevates the service and cuisine into the realm of fine dining, making it the kind of place to dress up a little. For the rest of the time, island chic was the dress code of the day.

Staying longer and needing more choice? Guests at Paradis Beachcomber also have full use of the restaurants at the neighbouring Beachcomber resort, Dinarobin.

But if there is one restaurant not to miss, it’s La Ravanne. Set apart from the main resort, with tables beneath thatched pergolas on the sand, La Ravanne — the traditional drum central to the Mauritian sega dance — puts Creole cuisine front and centre. Here the menu leans into island flavours, with curries, local seafood and generous family-style dishes.

Wild boar salami with cinnamon and cloves was a wild departure from seafood plates ranging from octopus to line fish. Can’t decide? The platter of seven local curries lets you taste your way around the island.

That mix of international appeal and local influence is perhaps what you’ll remember most about Paradis Beachcomber. This isn’t the fanciest resort on the island, nor the newest, but in its blend of authentic hospitality and local culture, together with location, family appeal and one of the island’s most enjoyable golf courses, it’s a place where holidays feel truly effortless. And it’s all set beneath one of the most beautiful mountains in the Indian Ocean.

beachcomber.co.za

Wanted

Out of this unfolding reality, Brutal Fruit Spritzer’s The Pink Table has emerged as a global movement that celebrates the beauty of women coming together. It holds space for authentic self-expression, personal style, sisterhood and the depth of shared moments in a fun and spirited way. Its popularity is due to an ethos that elevates ordinary moments, finding magic in affinity and audaciously taking up space.

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With memorable experiences in Paris in 2025 and Milan in 2026 — where digital cover star and content creator Tebby Leburu and her besties indulged in Milan Fashion Week and Lake Como — The Pink Table brought its spirit of friendship and La Dolce Vita home to Durban at the Manor House in October. Johannesburg can look forward to its turn at the end of November 2026.

While The Pink Table events celebrate women’s connections and the sweet life on a grand scale, The Pink Table At Home Kit allows friends to curate similar experiences in intimate ways that romanticise and find joy in everyday life.

From a slow dinner to a spontaneous catch-up with friends, the kit elevates the occasion; however, besties choose to gather. And it amplifies the notion that the sweet life isn’t waiting to be had or earned. It can be anywhere and anytime you choose to have it.

For Leburu, gathering is about prioritising and leaning into community.

“The world has a way of moving so fast, and capitalism will have your head buried in ‘work’ if you let it. It’s important to me to prioritise time for myself and the people closest to me. I want to create space for intimate, vulnerable and meaningful moments,” she said.

“Quality time is one of my most valued love languages, so being together in person matters to me. It’s not something that can be fully experienced over the phone. We need to see each other, feel each other’s presence, and love each other.”

The Pink Table At Home Kit includes a tablecloth, glassware, coasters and conversation cards. The latter inspire thought-provoking discussions and substantial conversations for enriched, lingering moments at the table. They’re also on trend and aligned with luxury products (such as Prada’s Games Box) that foster connection for intentional dining or social experiences.

“Sometimes the most meaningful moments happen in the comfort of our own homes,” Leburu said. “The Pink Table At Home Kit allows us to bring the magic of The Pink Table into our own spaces. For me, it’s about creating room for intentional connection, because in a world that constantly demands our attention, being fully present with one another is a luxury of its own.”

With its signature colour, Brutal Fruit Spritzer’s The Pink Table celebrates femininity boldly and invites women to interpret it expressively and playfully. Personal style is a language and fashion, its dialect. The Pink Table is a fun excuse to dress up, celebrate your authentic self and lasting bonds, while creating new memories.

In speaking to what fashion allows her to say, and the expression The Pink Table has helped elevate, Leburu said, “Through every garment I wear, I get to honour the woman I want to be, while having the freedom to explore different sides of myself because fashion isn’t permanent; it’s always evolving.

“As someone who doesn’t often wear pink, The Pink Table has allowed me to consistently explore my femininity through fashion in ways I might not have otherwise. I love it! The Pink Table creates an environment where women can exist, experiment and express themselves without the fear of being judged for being OTT. Trains, flower crowns, corsets, pigmented blush — you name it! It all has a home at The Pink Table.”

And while the elaborate outfits and grand settings have become part of The Pink Table’s appeal, the pleasure of dressing up needn’t be reserved for a special event.

“Getting dressed for The Pink Table is part of the pleasure of the occasion. What each woman wears becomes an expression of her personality and the energy she brings,” says Candice van den Bosch, brand director for Beyond Beer at Brutal Fruit, Flying Fish, Redd’s and Black Crown.

“With the Pink Table At Home kits, that ritual can happen at home too. Set the table, wear the outfit you love and make an occasion of spending time with your favourite people.”

The Joburg edition of the Brutal Fruit Spritzer’s The Pink Table 2026 takes place at Ground The Venue on November 28.

To bring the spirit of The Pink Table to your home, readers and followers stand a chance to win The Pink Table At Home Kit. Follow Brutal Fruit’s social media pages for competition announcements and entry details.

Responsibility is central to how Brutal Fruit shows up in consumers’ lives. Through SAB Sharp, South African Breweries’ responsible-consumption platform, the business promotes a comprehensive approach built around three connected pillars: Educate, Enforce and Innovate. This means empowering consumers with information to make informed choices, supporting compliance with alcohol laws, and providing options that meet different occasions and preferences. Brutal Fruit supports this commitment by encouraging responsible enjoyment and ensuring that every celebration is both memorable and mindful.

brutalfruit.co.za

Wanted

The full-electric Range Rover has been on the cards since 2012, when the company switched to a lighter all-aluminium monocoque body structure, cutting an impressive 420kg from the heavy steel unibody of the previous generations, improving performance and efficiency, and paving a way to electrification.

In 2020 we drove the first plug-in-hybrid Range Rover model powered by an efficient petrol four-cylinder engine mated with an electric motor, and walked away impressed. The culmination of that development work is the new and full-electric Range Rover, tested in Scotland.

The company stresses the new model does not signal a wholesale change in powertrain direction. It is an additional model available to interested customers. The conventional petrol, diesel and hybrid derivatives continue to be built and sold.

The P550 is powered by a 118.5kWh battery and a pair of 260kW electric motors located at the front and rear axles. They are designed in-house for proper laying down of particular Range Rover textures and capabilities. The lushness of the drive is evident from the first kWh dispensed onto the road.

It is a proper Range Rover, with only the alloy wheel designs as the major aesthetic differentiation from its ICE-powered cousins. It is a similar story inside, where high-end materials and digital wares flourish. You have to fish out the BEV-specific graphics from inside the menus, but the rest, including the standard size and aura of luxury, is intact.

JLR has added a soundscape akin to a V8 engine on the move, and a deep growl that sounds graceful instead of tacky is emitted when you floor the throttle. It unleashes 404kW and 850Nm, endowing the Range Rover EV with startling acceleration off the line and everywhere else.

In flagship P550 guise it is rated with a 0-100km/h sprint time of 4.3 seconds, the fastest of the big-body Range Rover models, and marginally slower than the more compact but twin-turbo V8-powered Range Rover Sport SV.

In Eco mode, the drivetrain delivers half of the potential power output to save driving range, and the 800V system allows up to 598km of driving in total, able to charge from 10-80% in just 22 minutes using a DC fast charger. We drove the model enthusiastically for more than 300km from Inverness to the Scottish Highlands, arriving with plenty of charge to spare.

On the narrow and mostly wet roads known as the North Coast 500, the big Range Rover EV swept through bends with a poise that belied its nearly three-tonne weight, 5,052mm length and 2,209mm width.

The electric motors are finely tuned and deliver precise amounts of urge when needed, while the suspension soaked up the many bumps along the route with aplomb.

Picturesque Scotland, with thousands of freshwater lochs and chilly weather, is what we would term Range Rover terrain. The wafting Range Rover fits like a glove there. Should the need to explore further deep into muddy and rocky forest paths arise, as it did, takers will find a capable mud-plugger.

The electric drivetrain features all the bits and bobs for high-level off-road driving, including a hill-descent control, adjustable air suspension up to 900mm in ride height, traction management systems and more. We used the tools extensively and the vehicle negotiated a rocky beach, river crossings, and scaled steep, inclined and muddy hills without flinching.

In South Africa the new Range Rover electric will be priced from R3,916,800 for the SWB EV550 HSE, rising to R6,035,000 for the flagship LWB EV550 SV Ultra.

Business Day

Aston Martin, however, has gone to considerable lengths to ensure its new Valhalla Spider makes as few concessions as possible.

Following the introduction of the mid-engined Valhalla Coupé earlier this year, the British marque has unveiled its open-top counterpart, which retains the same 794kW plug-in hybrid powertrain and electronically limited top speed of 350km/h.

More remarkably, that figure is achievable with or without the roof, making it the fastest open-cockpit Aston Martin yet.

The Spider shares its dramatic, low-slung proportions with the coupé, along with much of the advanced technology developed in collaboration with Aston Martin’s Formula 1 team.

Naturally, removing the roof from a car capable of such extraordinary speeds presents a few challenges. In this case, Aston Martin has paid particular attention to keeping the car stable and its occupants comfortable.

A removable black fabric roof comes as standard in most markets, allowing speeds of up to 200km/h when fitted. For those who prefer a more substantial covering, an optional carbon-fibre hardtop allows the car to reach its full 350km/h. With the roof completely removed, that same top speed is still achievable.

To keep things reasonably civilised in the open cockpit, Aston Martin has developed a removable wind deflector that directs air over the occupants while maintaining airflow to the engine. The distinctive air intake behind the cabin has also been raised by 35mm and reshaped to suit the Spider.

When not in use, the wind deflector folds away into one of the new storage compartments built into the car’s sills.

The Spider also retains the coupé’s active aerodynamics, which automatically adjust how air moves around the car to improve grip and stability. With the roof fitted, the system can generate more than 600kg of downforce, helping keep the Valhalla firmly planted at high speeds.

Underneath, the Spider uses the same formidable powertrain as its fixed-roof sibling. A bespoke 4.0-litre twin-turbocharged V8 produces 609kW, while three electric motors contribute another 185kW, delivering a combined 794kW and 1,100Nm of torque.

Two of those electric motors power the front wheels, while the third works alongside the V8 to drive the rear. The arrangement allows the car to distribute power between its wheels as needed, improving traction and handling whether it’s negotiating a tight corner or accelerating out of one.

A sophisticated electronic control system manages everything from the suspension and brakes to the powertrain and aerodynamics, adapting the car’s behaviour to the driving conditions and selected driving mode.

The intention is to give the Valhalla the versatility to feel equally at home on the road and the racetrack, without requiring its driver to have the reflexes of a Formula 1 champion.

The Spider also retains the coupé’s lightweight carbon-fibre structure, developed with input from Aston Martin’s Formula 1 engineering specialists. It’s designed to provide the strength and rigidity needed for a car with this much performance, while keeping weight to a minimum.

There are a few subtle changes elsewhere. The signature upward-opening doors remain but now feature frameless glass and revised mechanisms for smoother operation. The shape of the door glass has also been adjusted to make getting in and out a little easier when the roof is fitted, while inside, a new carbon-fibre touring seat comes as standard.

According to Aston Martin CEO Adrian Hallmark, the Spider builds on the advances introduced by the coupé. “Valhalla Spider builds on those impressive ‘firsts’, preserving the aesthetic beauty and dynamic bandwidth of Valhalla Coupe while introducing the expanded opportunities for enjoyment and engagement that can only be found in an open-cockpit supercar,” he says.

Of course, whether the Spider delivers quite the same handling precision and driver engagement as its fixed-roof sibling remains to be seen. But Aston Martin appears determined to ensure that removing the roof doesn’t mean sacrificing the qualities that make the Valhalla special.

The Valhalla Spider will make its public debut at the 2026 Concours at Wynn Las Vegas, with customer deliveries scheduled to begin in the third quarter of 2027.

Wanted

With time, Killik’s passion for riding evolved into something deeper: a drive to build, design and understand motorcycles “as expressions of personality, engineering, and art”.

According to Killick: “The business itself was born from a desire to create something genuinely different within the South African market. It was never intended to be a conventional dealership or workshop focused on volume. The vision was centred around individuality and craftsmanship, the belief that every motorcycle should possess its own identity and that no two motorcycles leaving Corse Customs should ever be the same.”

Drawn to Italian motorcycle engineering, motorsport culture and racing heritage, Killik has built a business that combines these elements with South African creativity and individuality. This ethos is reflected in the name, with “Corse” representing “speed, performance, engineering and the emotional side of Italian automotive and motorcycle design”. “Customs” is based on the belief that every build should be unique and personal.

Corse Customs focuses on Ducati motorcycles, which, for Killik, are a unique combination of emotion and design. “There is a rawness and passion to Ducati that naturally aligns with our philosophy. Their strong visual identity and racing heritage provide an exceptional foundation for bespoke customisation,” he says.

He views the Ducati Monster S4R 1000 “Paolo Tex” build as one of their best. It combined classic Italian performance culture and racing heritage with aggressive styling and bespoke craftsmanship, resulting in a motorcycle that felt both raw and refined. Paolo “Tex” Tesio is an Italian designer and motorcycle builder known for bespoke full-body kits for Ducati, especially the Monster, and his work inspired the Corse Customs build.

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“The Ducati Monster S4R platform was the ideal foundation due to its iconic trellis frame, aggressive stance and visceral riding character. We didn’t overcomplicate the motorcycle. The focus was on preserving and enhancing the motorcycle’s raw mechanical beauty. Every detail, from stance and fitment to finishes and component integration, was approached with the intention of making the motorcycle feel like a natural extension of Ducati’s racing DNA,” Killick says.

Corse Customs’ design and customisation philosophy is centred on balance. While aesthetics is important, functionality and rideability are critical. Visual design mustn’t compromise engineering, which means every decision, whether it involves ergonomics, suspension setup, wheel fitment, paint finishes, exhaust routing or component selection, must work cohesively.

Geometry and fitment are also important. Killick points out that a motorcycle can look exceptional standing still but feel completely wrong dynamically if proportions and setup are not carefully considered.

“Attention to proportion and detail is everything. We prioritise clean lines, purposeful aggression and timeless design rather than excessive styling. The ultimate goal is for a build to feel factory-developed — almost as though it could have been produced directly by Ducati or another premium manufacturer — while remaining unique. We believe in restraint, proportion and purposeful design. Less clutter. Better materials. Functional beauty.”

In this technological era, one aspect that can be the greatest challenge in a build is electronics. Even though my motorcycle is 10 years old, it has cruise control, rider aids, etc. For Corse, because today’s motorcycles are highly integrated, making significant mechanical or aesthetic changes while retaining factory reliability requires careful engineering and experience.

In addition to customising motorcycles, Corse Customs carries a range of motorcycle and automotive parts and accessories, including performance wheels, riding apparel, exhaust systems and protective equipment from brands such as Ducabike, ⁠Ilmberger Carbon, Ackrapovič, ⁠Woodcraft, New Rage, ⁠Öhlins and Pro-Bolt.

Their criteria for the brands they work with are heritage, technical credibility, local market suitability, reliability, and after-sales support, as opposed to simply following trends. As Killick says: “If we would not personally use or fit a product ourselves, and our community isn’t enthusiastic about it, we generally will not carry it.”

They use this same approach for the custom parts they produce.

“We see ourselves as curators of enthusiast culture, not just retailers or builders. The next phase for us, having built a strong reputation through bespoke builds, carefully curated premium accessories and a focus on authenticity and craftsmanship, is evolving into a fully established premium and lifestyle house in South Africa, combining motorcycles, automotive performance, lifestyle and design under one identity.”

The most recent milestone in this evolution is the introduction of internationally recognised performance brands in the stable, with the latest coup being a partnership to launch OZ Racing in the country.

As their vision expands, they remain committed to craftsmanship, individuality, authentic products, purposeful design and a genuine enthusiast culture. I am here for that, and look forward to seeing what’s next for Corse Customs.

corsecustoms.co.za

From the June issue of Wanted, 2026.

The 7 Series is still fairly traditional in overall philosophy but, in 2022, the current generation car divided opinion from a stylistic perspective.

And certainly, BMW has, over the years, shown an openness to experimenting with design, not averse to controversy either. The present car was somewhat brutalist in execution, with upright sides and a severe front-end defined by enormous kidney grilles.

That remains largely unchanged for the 2027 model we tested in the Newport area of Los Angeles last week. Instead, BMW has sharpened up the aesthetic in the same way a facial hair enthusiast might sculpt the edges of a beard.

Study that prow and you may notice the more defined borders of the kidney grille, with sharper edges. Those slim headlamps incorporate a crystal-like lighting signature.

A similar approach has been taken at the rear, with updated elements offering brighter illumination, all rounded off with a fresh selection of alloy wheel options and additional shades, including the retention of a two-tone scheme.

With its lengthy silhouette, stern posture and striking details, the 7 Series is still very much a car whose presence elicits a mixture of admiration and unease. Behind those tinted windows, the owner profile remains people of influence, those who can change fates with a WhatsApp message.

Of course, this type of character applies to many large, premium sedans, particularly when sporting a shade of black: the Mercedes-Benz S-Class and Audi A8 have a similar air of underlying menace. Our test units were finished in slightly friendlier shades of burgundy, green and grey.

Thinking back to our initial drive with the 7 Series in 2022 at the Palm Springs global launch, it was a daunting encounter because the car was so different to anything that had preceded it.

Now we are more accustomed to the modern BMW way — and the updated 7 has adopted the latest operating concept that debuted in the second-generation iX3 and launched locally last month. This iX3, you may recall, is the first of the Neue Klasse family, an archetype for the new BMW way going forward.

So, the 7 Series gains the large rhombus-shaped infotainment screen, the option of a front passenger screen and the Panoramic Vision display. This spans across the lower breadth of the windscreen, offering customisable displays based on the information you want on view.

The main interface is a powerhouse that mirrors the best smartphones in terms of expected capabilities, offering the same extent of applications. We were listening to anything we could think of via Amazon Music. All the while, the other vehicle systems (like the navigation) ran seamlessly in the background, unaffected.

The 7 does digital rather well, but what about the hallmark trappings of luxury? Well from the moment you open one of its autonomous doors (opened and closed hands-free, Rolls-Royce style); you know you are in for a treat.

Some might have forgotten that BMW owns Rolls-Royce and the trickle-down of DNA is evident. From the lush shag pile, which may inspire barefoot driving, to the thickness and aroma of the hide upholstery, this is a genuine luxury item.

And of course, it is best savoured from the backseat. The rear quarters of the 7 Series are an ideal remote working (and leisure) environment. Sitting behind the front passenger chair allows the engagement of a party-piece: reclined seating that allows for outstretched legs.

A special setting moves the front passenger seat and backrest as far forward as possible while a separate leg rest folds out. You can close all the blinds, deploy the large rear screen and have all the Teams meetings your heart desires.

Once you are done hiring, firing and settling on strategy, take the wheel of the big Bimmer for yourself. There is good reason the 7 has long been regarded as the quintessential business limousine for the driving enthusiast. And that bragging right is still firmly intact.

The test car we drove in Los Angeles was equipped with the highest tier of the BMW semi-autonomous driving capability, allowing for operation that was nearly hands-free.

This will not be available in our market, though our vehicles will still have a high level of driver assistance, including adaptive cruise control and steering aid. We are a nation of involved drivers anyway.

From the precise steering that is light around town, weighing up at higher speeds, to the nimbleness that belies its overall length, it is no more intimidating than a 3 Series to pilot quickly.

And you do go quickly, even in the case of the 740 xDrive considered as an “entry-point” of the range.

It uses the famed B58 motor, with its 3.0l displacement and straight-six configuration. That gives you 294kW/540Nm and a claimed 0-100km/h sprint time of 5.1 seconds.

Imposing, luxurious, digitised and dynamically competent, the updated 7 Series leaves no room for doubt when it comes to its status as the flagship BMW sedan.

SA prices with VAT and Motorplan, excludes CO2:

740 M Sport - R2,790,000

740d M Sport - R2,790,000

i7 50 xDrive M Sport - R2,890,000

M760e xDrive - R3,360,000

Wanted

It’s a familiar dilemma, and one Levi’s put at the centre of an intimate brunch in Sandton on October 9. Bringing together media and tastemakers over bubbles and canapés, the brand used the occasion to explore its different denim silhouettes, with particular attention given to its Curvy fits.

Through a styling showcase led by content creators Paula Bee and Thandiwe Gama, guests were introduced to jeans designed for different proportions, from more fitted silhouettes to relaxed styles. The broader point was that finding your perfect pair isn’t necessarily about following the latest denim trend or squeezing into a particular size. It’s about understanding how different cuts sit on your body and, perhaps more importantly, how you actually want your jeans to fit.

And while there’s no single pair that works for everyone, there are a few useful things to keep in mind before heading into the fitting room.

How to find your perfect pair of jeans

1. Start with your measurements, not your usual size

Before you automatically reach for the size you’ve been wearing for years, get out the measuring tape. Levi’s recommends measuring your waist at its narrowest point, your hips at their fullest and your thighs at their widest. These measurements are more useful than relying on a single number, particularly when comparing different denim cuts.

The brand’s size guide also includes inseam measurements, which brings us to another consideration: length.

2. Pay attention to the rise and length

A high-rise jean sits higher on the waist, while mid- and low-rise styles sit progressively lower. Where the waistband falls can make a substantial difference to the overall fit, particularly when paired with different tops.

Length matters just as much. An ankle-grazing straight leg, a cropped flare and a baggy jean pooling over your shoes create three very different looks. Levi’s measurement guide recommends measuring from the crotch down the inside leg to determine your inseam, then adjusting the length depending on the style you’re after.

3. If the waist gaps, try a curvy cut

If you’ve ever found jeans that fit perfectly over your hips and thighs but leave a noticeable gap at the back of the waistband, the problem might be the cut rather than the size.

Levi’s 501 Curve jeans, for example, are designed with a smaller waist-to-hip ratio and additional room through the seat and thighs. The idea is to accommodate fuller hips without having to size up and sacrifice the fit at the waist.

Another option is the brand’s Cinch collection, which features adjustable tabs at the back of the waistband, allowing you to bring in the waist without changing the relaxed fit through the hips and legs. It’s a particularly handy feature if you like your denim a little baggier but don’t want a waistband that stands away from your back.

4. Know what your denim is made of

Not all denim behaves the same way. Traditional rigid denim, generally made from 100% cotton, has a firmer feel, while stretch denim contains elastic fibres that allow the fabric to move more easily.

According to Levi’s product guide, stretch denim can be particularly useful in slimmer cuts, where flexibility makes a noticeable difference to comfort.

If you prefer a structured, vintage-inspired look, rigid denim might be more your style. If comfort and ease of movement are priorities, a little stretch could make all the difference.

5. Don’t buy jeans you can’t comfortably sit in

A pair might look fantastic when you’re standing in front of the fitting-room mirror, but that’s only half the test. Sit down, bend your knees and walk around.

Check whether the waistband digs in, whether the fabric pulls uncomfortably across your hips or thighs, and whether you’re constantly adjusting the jeans to keep them in place. A pair that looks good for 30 seconds isn’t necessarily one you’ll enjoy wearing all day.

6. Try the cut you think you can’t wear

Straight-leg, wide-leg, bootcut, slim and relaxed jeans all distribute volume differently. Levi’s fit guide explains the differences between these silhouettes, but there’s no substitute for trying them on.

And perhaps this is the most useful lesson from the brunch: don’t rule out a style simply because you’ve decided it isn’t for your body type. Sometimes the pair you’d never have picked off the rail turns out to be the one you wear most.

After all, the perfect jeans are the ones you actually want to put on again tomorrow.

Wanted

It’s an approach his great-nephew, Rodrigo Basilicati-Cardin, seems to have inherited. An engineer by training and an accomplished musician, Basilicati-Cardin began his creative career designing furniture and interiors before joining the Pierre Cardin Group in 2000. Along the way, he’s worked on projects involving space technology, developed an enormous transparent gondola and explored how clothing might one day help regulate body temperature.

Since taking over as artistic director after his uncle’s death in 2020, he’s been finding ways to carry the house’s distinctive design language forward while introducing some of his own ideas. Where Pierre Cardin favoured bold geometry, Basilicati-Cardin has increasingly been experimenting with curves, organic forms and the possibilities of new technologies.

We caught up with him during his recent visit to Johannesburg for the first South African edition of the Pierre Cardin Young Designers Award, held in partnership with South African Fashion Week. The visit also saw the house present its first runway show in the country under his artistic direction, featuring a selection of looks from recent collections.

In conversation with Rodrigo Basilicati-Cardin

You have quite an unconventional background for someone leading a fashion house. How have engineering, music and architecture influenced the way you approach design?

There’s an engineering approach to everything I do, and that’s part of the reason I’m working with space technology now. I’m interested in how we can develop fabrics and how thinking technically about clothing for space might help us change the way we approach fashion here on Earth.

Fashion shouldn’t only be aesthetic. It should also be practical, and I think we have a responsibility to find solutions to some of the problems facing the industry.

My engineering background allows me to approach projects from that perspective. But style and poetry are also very important to me, and I think that’s where music comes in.

The themes I explore in my creations are often connected to nature, the human body and the relationships between people. I like expressing those ideas through abstract forms, whether it’s a garment, a piece of furniture or something else entirely.

For me, the artistic and technical sides aren’t separate. They come together in everything I create. I think fashion could change a great deal if we started thinking in this way.

You mentioned that you only met your uncle when you were 24. How did that relationship develop?

I met him in 1994, near Venice, at an event. I was already designing interiors and furniture, and when I discovered what he was doing, I realised that we had some very similar interests. I thought perhaps I could show him my work. He was curious, and about a year later he came to Venice to meet me.

At the time, I was making furniture and lamps, and I think he liked my creative approach, particularly the abstract forms and the way I interpreted nature. He encouraged me to exhibit my designs, but under my own name, not Pierre Cardin. He wanted me to develop my own identity.

Later, he gave me responsibility for a natural water source in Tuscany, partly to see how I would manage the business side of things.

I remember making a large chess set with sculptural pieces [for him]. And then there was the gondola. I had the idea of creating a transparent, illuminated gondola for Venice. I made it, and six months later I presented him with the finished boat. I think that was important because he could see that I was capable of taking an idea and making it real.

After that, he began giving me more and more projects. I worked on furniture, accessories and eyewear, and eventually moved into the fashion atelier. That was quite a change. With furniture, you’re working with something solid, whereas clothing is always moving. You have to think differently.

What was the most important thing you learnt from working with Pierre Cardin?

I think proportion. I already had a sense of proportion naturally, but I didn’t always understand exactly why something worked. Pierre helped me understand that.

He would look at a design and change the size of a form or move it slightly, and suddenly everything would be balanced. When you look at his creations, there’s a very strong sense of equilibrium. Even when the forms are unusual, they’re pleasing to the eye. There’s a simplicity to them.

He also taught me that a design doesn’t need a lot of detail. One clear idea can be enough.

Pierre Cardin’s designs have always had a very recognisable identity. What do you think makes something unmistakably Cardin?

For me, it’s simplicity. Pierre Cardin was never about adding a lot of detail to a garment. You should be able to look at something from 10 or 20 metres away and recognise it.

It’s not necessarily about the colours, although colour is part of the design. It’s about having one very clear idea. That idea might come from nature or from something abstract, like joy, sadness or tension. What’s interesting is how you translate that idea into a garment.

I don’t want lots of different forms put together without a reason. There has to be something behind them.

Sometimes when we’re working on a collection, the theme isn’t a colour or a fabric. It might be the sun, for example, and all the different ways you could interpret it. That’s what I find fascinating about design: taking something conceptual and finding a way to express it through form.

What did you want to show South African audiences through the runway presentation?

I wanted to bring the most spectacular pieces, the ones that best represent Pierre Cardin.

I chose looks from the last three collections because there’s always a relationship between them. One collection develops from the previous one. Sometimes I take an idea from one collection and transform it into something new for the next. There’s a continuity, almost like a novel where each chapter follows the one before it.

I wanted the show to feel almost like going to the theatre. Not crazy, but spectacular. It was our first time presenting a runway show in South Africa, and I wanted to make an impression.

And while you were here, what struck you about South African design?

The first thing I noticed was the students’ strong attachment to their traditions and culture.

They take forms and patterns from their own cultures and translate them into something modern. But what I find particularly interesting is the freedom with which they do it. There’s a lot of asymmetry, and many of the designs have an almost architectural quality. They’re very sculptural, which I love because that’s also very Pierre Cardin. I haven’t seen quite the same approach in places like the US, Korea or even Paris.

There’s a freedom of expression here that I find very interesting. The students aren’t simply copying what already exists. They’re taking something from their own culture and developing it into something new.

And for us, it’s enriching too. When two very different cultures come together, you discover ideas you might never have thought of otherwise.

Finally, what advice would you give a young designer hoping to make their mark?

I want them to be free, and I don’t want them to copy. For me, copying what you’ve seen at another fashion show is the death of creativity. I want young designers to invent something, something we’ve never seen before.

I also think students sometimes feel they need to leave their country and go to Paris or New York to work in fashion. But why should they imitate what is happening elsewhere? They have their own culture, their own ideas and their own creativity. They should develop those things and create a style that’s recognisably their own.

If you begin with a real concept, something you genuinely want to express, you’re much less likely to copy. That’s what I hope young designers will understand.

Wanted

A judging panel chaired by classicist and broadcaster Mary Beard chose the shortlist from 163 submissions and a longlist of 13 novels. Her fellow judges are poet Raymond Antrobus, musician and writer Jarvis Cocker, journalist and critic Rebecca Liu and novelist Patricia Lockwood.

“These novels range from the hilarious to the discomfiting, from the frighteningly strange to the alarmingly domestic,” Beard said.

Elizabeth Strout returns with The Things We Never Say, having made the Booker shortlist for Oh William! in 2022. M John Harrison’s The End of Everything, Luke Kennard’s Black Bag and Rebecca Perry’s May We Feed the King complete the list. All three authors reach the final six for the first time. Perry’s book is the only debut novel in contention. Harrison, at 81, would become the oldest winner in the prize’s history should he win.

First awarded in 1969, the Booker is given each year to a book written in English and published in Britain or Ireland. The winner will be announced on November 9 in London. All six authors receive £2,500, with an additional £50,000 awarded to the winner.

Here’s a closer look at the six shortlisted novels.

The End of Everything by M John Harrison

Phillip Tennent makes a living scavenging objects washed up on the Kent coast. Years earlier, a crisis changed the world, though no-one can say exactly what happened. Government barely functions, strange creatures fill the sea, and even Europe’s whereabouts are uncertain.

Then he finds something on the beach that grows, changes form and begins to imitate human speech and behaviour. Thinking it might be valuable, he takes it inland to find a buyer. His journey brings him into contact with people who offer competing explanations for the catastrophe, sometimes resorting to violence.

Harrison combines a mystery with a darkly funny account of life after a catastrophe. Phillip never fully understands where the creature came from or what it is. People continue trading and arguing, trying to make a living even when they can no longer explain what has happened to their world. Phillip struggles to recognise intelligence in something so unlike himself.

The Disappearers by Marlon James

In Kingston in 1988, eight gay men come together to rehearse what is billed as Jamaica’s first openly gay play. They are strangers at first, with different reasons for taking part, but each knows the danger he faces. When a mob attacks a rehearsal and kills one of the men, the survivors must deal with the consequences. Some try to put the attack behind them; others want revenge.

Edmond “Eddy” Porteous, a college student who missed the rehearsal, struggles with survivor’s guilt. He joins fellow actor Jordan Brown to track down the attackers. Their search takes them into Kingston’s gay underground, where men have found ways to live under the threat of violence.

James tells the story through several voices, moving between the men’s lives before and after the assault. They disagree about how to respond, and their conversations can be funny even when the circumstances are brutal. Concealing their sexuality has offered some protection, but it has also left them vulnerable to exploitation.

Black Bag by Luke Kennard

A 37-year-old actor in London is short of work and money when a university professor offers him an unusual job. For a psychology experiment, he must zip himself into a large black leather bag and sit silently at the back of a lecture hall. Dr Blend wants to see how his students respond.

The unnamed actor accepts, but being “Black Bag” soon begins to take over his life. A professor of posthumanism becomes interested in him and asks whether someone could love a person hidden inside a bag. His flatmate Claudio, a successful gaming streamer, sees a chance to make money from the experiment.

Kennard draws on a real psychology experiment from the 1960s, though his interest lies in the man inside the bag. The actor’s attempts to earn a living expose the insecurity of working in the arts. Claudio, meanwhile, treats the experiment as another opportunity to make money online. Kennard finds comedy in the experiment and its consequences while taking the actor’s doubts about his work seriously.

May We Feed the King by Rebecca Perry

An unnamed curator arranges the rooms of historic buildings so visitors can imagine the people who once lived there. While working in a mediaeval palace, she becomes absorbed by the story of a largely forgotten king who never expected to rule.

The deaths of his two older brothers put him on the throne, though he has little appetite for power. Courtiers begin to question whether he is fit to govern, and rumours suggest someone else might take his place. Much of what we learn about him comes through other people’s observations and gossip.

Perry moves between the curator and the king’s court. The curator can convincingly recreate rooms and banquet tables, but the lives of those who used them are far harder to piece together. At court, those closest to the king watch his every move and have their own reasons for telling his story. The curator turns to his life to escape the troubles in her own. The surviving evidence leaves gaps, and those who recorded the king’s life had their own reasons for what they chose to tell.

The Things We Never Say by Elizabeth Strout

Artie Dam teaches history at a high school in coastal Massachusetts, where he is well liked by his students. He has been married to Evie for three decades and spends his weekends sailing on Massachusetts Bay. His life looks comfortable from the outside, but he feels increasingly alone and struggles to tell anyone how badly he is coping.

Evie, now working as a family therapist, often finds Artie irritating. Their son Rob has been withdrawn since a car accident a decade earlier killed his girlfriend. Artie, who has a secret of his own, then discovers something about his past that upends everything he’s believed about his life and those closest to him.

The story takes place as the 2024 US presidential election approaches, and Artie worries about the direction of his country as well as his life. Strout’s characters talk every day, yet leave their grief and regret unspoken, sometimes for decades.

The Things We Never Say by Elizabeth Strout

In the 1990s, 22-year-old John-Calum Macleod returns from art school in Edinburgh to the Isle of Harris in the Outer Hebrides. Short of money and unsure what to do next, Cal moves back into the family croft with his father, John, and his grandmother, Ella.

John earns his living farming sheep and weaving. He is also a respected member of the local Presbyterian church, whose teachings govern his life. He dislikes Cal’s long hair and worries that his son has turned away from his faith. Cal is gay and wonders whether he might meet someone on the island. At home, he faces the same disapproval he’d hoped to escape when he left for Edinburgh. Ella stands up for him, though she has spent years trying to keep the peace with John.

John, too, has a secret. He has hidden his love for his best friend and neighbour Innes for decades. Father and son have more in common than either can easily admit, but John’s shame makes it harder for him to accept Cal’s desire to live openly. Stuart shows what years of secrecy have cost John, while Cal tries to work out whether he can stay on Harris and live openly.

Business Day

A compact 38.5mm Royal Oak Concept Flying Tourbillon developed in collaboration with the Tokyo-based duo Yoon Ahn and Verbal (Ryu Young-gi), whose creative practice straddles the worlds of fashion, music and product design.

Creative director Yoon, a former jewellery designer for Dior Men, and music producer Verbal are co-founders of the luxury streetwear and jewellery brand Ambush, with longstanding roots in Japanese and global pop culture. Verbal is well-known in Japan as a member of the hip-hop collective M-Flo and supergroup Teriyaki Boyz. Together, they illustrate the Concept collection’s ongoing dialogue between traditional watchmaking and contemporary culture.

Recap

The first Royal Oak Concept watch was a limited-edition super hi-tech creation featuring an aggressive faceted Alacrite alloy case design released in 2002 to mark the Royal Oak’s 30th anniversary.

Inspired by concept cars, it was originally intended as a one-off but in 2008 became the spark for a playground of experimentation, innovation and collaboration with different creative fields. Among the watches that followed in the collection were the pioneering Royal Oak Carbon Concept tourbillon and chronograph, Royal Oak Concept RD#1 Acoustic Research Minute Repeater (2015), Royal Oak Concept Laptimer Michael Schumacher single-pusher chronograph (2015), and the Royal Oak Concept Black Panther Flying Tourbillon (2021) in partnership with Marvel.

Key features

While retaining the Royal Oak DNA, the Concept line radically reinvents Gerald Genta’s 1972 design into futuristic, angular and multi-layered architectural pieces, with only the familiar octagonal bezel and visible screws remaining as clues to its lineage.

As forward-thinking as the Concept might be, its aggressive design is reminiscent of the Brutalist-inspired watches of the 1960s and 1970s, such as the King Seiko, Zenith Defy and AP’s own asymmetrical reference 5159BA with its rectangular, facetted case, revived in 2024 as the [Re]Master 02.

The bold geometry of the lightweight titanium case is exaggerated by alternating sandblasted, satin-brushed and polished surfaces. The black ceramic screw-down crown is topped with a titanium chip. The aluminium top cage of the flying tourbillon is anodised red, which Verbal describes as evoking the Earth’s core: “The origin point, the source of energy and, ultimately, the beginning of how we measure time itself.”

A semi-open-worked dial features sparkling black aventurine outlined by mirror-polished silver bevels and offers a glimpse of the new hand-wound Calibre 2982. Its blackened 18-carat white gold hands are filled with luminescent material. A sapphire and titanium caseback presents a clear view of the ultra-contemporary movement. The watch is fitted with a black rubber interchangeable strap featuring a “micro-mosaic” pattern and quilted inner imprint.

POA, audemarspiguet.com

Wanted

Chanel’s Rouge Coco Hydra Gloss has just the thing to dress your pout this season. From frosted jade green and lemon sorbet to juicy corals, the collection consists of 18 shades that deliver a nonsticky, pearlescent, mirror-like shine.

With camellia ceramides and a Hydra Peptide Complex, these glosses provide not only shine but also lip-care benefits such as 24-hour lip hydration, antioxidant protection, and a plumping effect.

Customise your gloss with Rouge Coco Flash and Le Rouge Duo Ultra Tenue, which let you mix and match gloss intensities, finishes, and textures.

chanel.com

Mad for Monogram

When two fashion and beauty legends join forces, the result is nothing short of magical. Louis Vuitton’s artistic director Nicolas Ghesquière and cosmetics creative director Dame Pat McGrath have collaborated on a limited-edition La Beauté Louis Vuitton that celebrates duality.

Inspired by the maison’s two Monogram canvases and marking its 130th anniversary, Monogram Dune and Monogram Infrarouge bring to life two versions of the Louis Vuitton woman. This collection would feel right at home in Tchaikovsky’s Swan Lake with Monogram Infrarouge’s moody reds against deep blacks and Monogram Dune’s luminously soft beiges and warm nudes.

Whether you’re a black or a white swan — or both — you can choose from satin lipsticks, glittery lip-balm toppers, and eyeshadow quads.

louisvuitton.com

I want Choo

The heady smell of summer comes in the form of Jimmy Choo’s latest olfactory offering: I Want Choo With Love.

The fourth addition to the I Want Choo fragrance wardrobe, this floral-fruity ambery scent is a delightfully elegant, sweet floral with notes of raspberry, orange blossom, rose, hibiscus, pink musk, and vanilla, clad in a curvaceous, metallic dress-like flacon.

Come for the raspberry tartness in the opening and stay for the soft hibiscus and musky notes that give it a powdery, warm finish.

Sun smarts

Anyone who takes skincare seriously should have at least one Avène product in their arsenal. If you want to join the club, look no further than Avène’s Ultra Serums SPF50+.

Infused with thermal spring water from the Sainte-Odile Spring in Avène, France, these serum SPFs are antioxidant-rich with an ultra-lightweight, melting texture. With three variants that contain panthenol, hyaluronic acid and niacinamide, or vitamin Cg, we won’t blame you if you grab all three.

From the October issue of Wanted, 2026.