But, blindfolded, I wouldn’t usually be able to discern a spumante from a sekt, nor be able to distinguish these sorts of unpretentious quaffing styles from the serious stuff of Stellenbosch or Franschhoek, let alone Champagne.

I decide to keep stum and go with the flow, so to speak, figuring that the relaunch of Perrier-Jouët in South Africa is a taste-test, educational opportunity. Besides, the event isn’t only about champagne; it is also intended to showcase the new outdoor space at the One&Only hotel’s Vista Bar and Lounge. Opened in time for Cape Town’s glorious summer and sunset-glow evenings, it’s a prime position alongside a stretch of interconnected waterways in the V&A Waterfront, with Table Mountain in close proximity.

Today, however, the vista is limited because the city’s towering icon is shrouded in cloud. The dull weather has also muted the water’s colours to the opaque, gunmetal-grey of Amsterdam’s canals rather than the Atlantic’s usual lightly sparkling seafoam green. Still, what’s not to relish in this halcyon setting, basking in the mellow light while watching the water taxis chug past and the dragon-boaters in training?

Birds eavesdrop during the introductory speeches, flitting across Pernod-Ricard’s prestige brands director for Africa, Alex Farnell, as he formally kicks off Perrier-Jouët’s reignition on the continent. They are lowly sparrows — a sign, perhaps, that even the common man or woman desires, and deserves, a taste of luxury.

Where there’s champagne, there might be caviar. Sure enough, servers stroll among the guests, blinis and cream cheese accompaniments at hand. I prefer the canapés, created by well-known Cape Town chef Karen Dudley. The curry-and-apricot glazed chicken bites are moreish, but the prawn toasts are a knockout — fluffy but crunchy brioche and umami-sweet seafood, packaged in a pretty coating of black and white sesame seeds which add a wonderful nuttiness. I could eat these for breakfast, lunch and dinner — and they’re the perfect snack to marry with the champagne.

And so I’m primed to imbibe. It’s certainly good to know that Perrier-Jouët epitomises authenticity: the grapes are grown and the wine cellared in Épernay, the heart of Champagne, northeastern France. The marque has serious heritage, its 1811 origins making it one of the elite Grandes Maisons champagne producers.

I like the calmness of the bubbles, which dissipate relatively quickly, allowing flavour-profile nuances to be discovered — and there are nuances. Perrier-Jouët’s Grand Brut is tersely dry at first, then softens into deciduous fruit after a few seconds, while the Blanc de Blanc is more floral, with a hint of chardonnay’s characteristic lemon zest. The champagne maisons adopt a traditional variant hierarchy, and the third offering, the Belle Epoque 2018, sits in the prestige, vintage tier. It’s definitely a more complex cuvée — also floral and fruity, but with biscuits and cream undertones, and longer in the finish.

As a nod to the brand’s long association with art, calligrapher Lauren de Haas is on hand to craft bespoke packaging designs for guests wanting to acquire a souvenir of the event. Unsurprisingly, a merry queue starts to form after the bubbles have done their happy work.

Naturally, to properly honour the prestige and history of champagne, sabrage is obligatory. This is expertly performed by the Champagne ambassador to South Africa, Shaun Anderson. The flash of sword, fountain of foam and soaring cork elicits spontaneous cheers. Another dignitary doesn’t get it quite right; there’s a trick to this, I know from experience — the blade needs to be drawn up the seam of the bottle’s neck. Her second attempt is successful, earning even louder jubilation, like the heralding of the season of easy living.

Indeed, this summer, I’ll be sure to revisit the Vista Bar and Lounge, and, suitably introduced to the real thing, quite possibly I shall order a glass of Perrier-Jouët. Make that a bottle.

Wanted

Unveiled on October 26 at Strauss & Co in Woodstock, Cape Town, the latest edition celebrates South Africa’s finest restaurants, along with the chefs, sommeliers and hospitality professionals who make dining out such a pleasure.

This year’s theme, The Art of the Plate, was about more than beautifully presented food. Instead, it looked to the things that turn a good meal into a memorable one: thoughtful service, a clever wine pairing and a feeling truly looked after.

“The jhp Gourmet Guide is much more than a collection of ratings. It celebrates the art of the plate, both the creativity expressed through cuisine and the art of making guests feel genuinely welcome,” says founder and curator Jenny Handley.

So, who’s at the top of the table?

Taking the highest honours this year are FYN, La Colombe and Salsify at the Roundhouse, the three restaurants awarded the guide’s coveted gold Plates.

Reserved for establishments that have achieved globally iconic status, it’s the highest distinction on offer. And with all three restaurants based in Cape Town, the Mother City definitely has something to celebrate.

Just below them are the six restaurants awarded three Plates, recognising “world-class destination dining that’s worth travelling for”. The honours went to Chefs Warehouse Beau Constantia, Hōseki, La Petite Colombe, MERTIA, PIER and The LivingRoom.

Then came the two-Plate restaurants, recognised for “exceptional dining that demands a detour”. There are 20 of them this year, including Belly of the Beast, DUSK, Foxcroft, Wolfgat, Rust en Vrede and The Waterside. The Pot Luck Club also earns a place in both Cape Town and Johannesburg.

Rounding out the selection are 21 one-Plate restaurants, recognised for excellent cuisine. Among them are Delaire Graff Restaurant, FABER, Galjoen, Seebamboes, The Happy Uncles, Tokara and VUUR.

Of course, getting onto the list isn’t simply a matter of impressing a reviewer over one particularly good lunch.

Since its introduction in 2016, the guide’s rating system has placed considerable emphasis on consistency. Restaurants don’t pay to be considered and assessments are conducted anonymously throughout the year by experienced reviewers, supported by diner surveys and peer feedback.

There’s also no skipping straight to the top. New entries can earn one or two Plates, but not three or gold. So, while one spectacular meal might leave a lasting impression, it’s the ability to deliver that experience again and again that really counts.

There’s more to a great restaurant than a great chef

Anyone who’s enjoyed a memorable meal knows that the food is only part of the equation. A well-chosen glass of wine, a brilliant dessert or a waiter who seems to know exactly when you need something can make all the difference.

That’s where the guide’s annual Haute Performance Awards come in, recognising the people and places contributing to South Africa’s hospitality scene in ways that don’t always receive top billing.

This year’s Haute Programme of Beverages award went to the FYN Group, while the Belly Group received the Haute Pour Philosophy of Wine award. Elsewhere, Boscia at Tswalu was named Haute Property, Bertus Basson received Haute Premium and Johannes Richter was recognised with Haute Provenance. And because no excellent meal should end on a disappointing dessert, pastry chef Aneekah Bremer of Foxcroft took home the Haute Performance Pastry Chef award, presented in partnership with Wild Peacock Products and SOSA Ingredients.

Sustainability also had its moment. Presented in partnership with WWF-SASSI (Southern African Sustainable Seafood Initiative), the Green Philosophy Plates celebrated responsible seafood sourcing, with Adél Hughes of Seebamboes recognised in the chef category and FABER taking the restaurant award.

Some love for the second-in-command

One of the more interesting additions to this year’s awards categories was Haute Pursuit, a new accolade dedicated to the chefs working just behind the big names.

“Supporting chefs are integral to the success of any restaurant, yet their contribution can go unrecognised. They are the next generation of culinary leaders and we want to celebrate their potential,” says Handley.

The award recognises an outstanding second-in-command chef, nominated by their restaurant, with the winner earning a place on the JHP Gourmet Guide’s Gourmet Tour of Japan in April 2027. As for who’ll be packing their bags for Japan? We’ll have to wait and see.

And speaking of culinary accolades, two of this year’s gold-Plate restaurants, FYN and Salsify at the Roundhouse, have also made the extended World’s 50 Best Restaurants list. Our very own food editor, Steve Steinfeld, will be heading to Lima, Peru, for the main awards on 4 November.

But while the accolades are lovely, the real pleasure lies in experiencing these places for ourselves. So, whether you’ve been eyeing a particular tasting menu, planning a special occasion or simply fancy treating yourself to a really good dinner, consider this your sign to make that booking.

The 2027 jhp Gourmet Guide is available to read online.

Wanted

When Remy Savage, Paul Lougrat and Maria Kontorravdis took over a former kebab shop on Kingsland Road in East London, they knew they wanted to build a cocktail bar around an art movement. Art Nouveau came first. But the long, narrow, dark space, with its hard edges and little natural light, resisted everything they imagined for it.

As they talked about what it could become, one word kept recurring: functional.

That led them to the Bauhaus.

It would have been easy to stop at the visuals. A Bar with Shapes for a Name, or Shapes, has the geometry, typography and the flashes of those familiar primary colours. But Shapes isn’t simply decorated like Bauhaus; it attempts to operate like Bauhaus. And that makes it interesting far beyond the cocktails, because much of the design here isn’t something you look at; it is something you experience.

I spent an evening there with Will Bockman, a member of the Shapes team, and Poppy Llewellynn, and what struck me was how little of that thinking you actually need to know to enjoy the place. The menu is tiny. We had two cocktails each and four snacks, and it felt entirely enough. I remember oysters and anchovy in the mix, alongside charcuterie and cheese, small plates with the salty, rich intensity you want beside a cocktail rather than an apologetic bar menu.

One drink has stayed with me. The Habanero is a vodka-based, Martini-style cocktail served exceptionally cold, at about -10°C. Yellow habanero is distilled to capture its flavour without the expected chilli heat, then balanced with tiny amounts of sugar and salt. It arrives looking almost disarmingly simple, but the simplicity is deceptive.

Much of the work at Shapes has happened long before you order. Cocktails are largely batched and bottled rather than constructed in front of you. The team has blind-tasted batched drinks against versions made to order and found that some actually improve after sitting together in the bottle for a few days. “It’s like lasagne,” Will says. “It tastes better the next day.”

And there is another part of the operation that you never see. Further down Kingsland Road, Warehaus is the group’s workshop, ice factory and production hub, where the cocktails are produced and the ice served at Shapes is made. It is part of the machinery behind the apparent simplicity of the bar: much of the complicated work has already happened before a drink reaches you.

Temperature receives similar attention. Cocktails are held at the temperatures at which they are intended to be served. During our evening, when one of us got up to go to the loo, the drink went back into the fridge until we returned.

It sounds obsessive. Sitting at the bar, it doesn’t feel obsessive at all. Your drink simply tastes right.

Removing much of the shaking, measuring and stirring also removes the wait and shifts the performance elsewhere. The bartender has more time for you. The room flows. The soundtrack changes as the evening moves towards late night. Nothing feels static, even though the drink arrives already complete.

Look more closely and the same thinking is everywhere. Garnishes are arranged in precise rows in simple Yakumi pans. Clean cloths are carried in pockets, fresh coasters under belts, water positioned where it is needed. Staff think about how they pass one another behind the bar and how to remove unnecessary movement.

They are students as much as bartenders and Shapes gives its team “homework”: perhaps the structure of an Old Fashioned and an aroma such as fennel. They work out how to extract and use it, then blind taste the results together, discussing balance, extraction and what each ingredient is actually doing.

This idea of the bar as a school extends beyond the staff. For one merchandise project, Shapes invited local art students into the bar to learn about its Bauhaus philosophy and develop their own responses. Ten proposals were exhibited at the bar and three winning designs were selected for production. Even the merchandise became an exercise in learning, experimentation and making rather than simply putting a logo on a T-shirt.

This is where the Bauhaus reference becomes more than styling. Learning and experimentation are built into the way the bar operates. The team is still testing things, changing things, working out what can be done better. It isn’t presented as a finished doctrine. Which raises the obvious question: why go to all this trouble for a cocktail?

Because the guest shouldn’t have to.

The complexity belongs backstage. The pleasure belongs out front.

Even the apparent emptiness behind the bar is deliberate. Rather than the conventional wall of illuminated bottles, a tightly selected collection is stored above in cupboards. Taps were originally planned for the void behind the bar, but the team liked the space without them and left it alone. The absence makes the narrow room feel calmer and wider.

For all this, Shapes never feels like a lesson in modernism. That would kill it.

It is a bar. A very good one. The drinks are brilliant, the food punches well above its tiny menu, the soundtrack shifts with the night and the people are warm. The Bauhaus provides the framework, but nobody requires you to understand it.

After all the experimentation, precision and thought, Will’s ambition is wonderfully uncomplicated. “We just want it to be somewhere that people want to come back to.”

clubbauhaus.com/abarwithshapesforaname

Wanted

The Merc man says that they take a car randomly off the assembly line and lock up a cat inside it overnight. If the next morning the cat has succumbed from oxygen deprivation, the car is good to go. The Jag man says they have the same test but the car passes as long as the cat’s still there in the morning.

At its most elementary level this story juxtaposes the popular caricatures of British and German engineering. What it doesn’t convey is that Jag loyalists buy their marque of choice despite the possibility that the car they love might be mechanically less perfect.

Perhaps they would like it to be engineered like a Swiss watch, but that’s not what draws them to the brand. For them there’s an emotional engagement that transcends the technical.

This same dichotomy exists in the world of wine. There are some producers whose wines are hyper-expressive, exuberant, not always perfect, perhaps even a little rustic. Those who buy their latest releases with almost religious fervour don’t seem to mind the lack of polish. You could even argue that they prefer them unschooled, slow to settle down in the bottle, unpredictable when opened and decanted, in short, a little temperamental, a little rebellious.

Jean Smit’s Damascene wines are not like this. His focus is technical perfection, purity, the best possible expression of place unmediated by winemaking intervention.

This does not mean that he seeks to remove the winemaker from the winemaking. On the contrary, you cannot make wines where the scaffolding is invisible unless every aspect of the process has been mapped and managed to the infinitesimal. Nothing is left to chance.

Damascene burst onto the Cape wine scene with the 2019 vintage. David and Genevieve Curl, who had owned Chateau Gaby in Canon-Fronsac Bordeaux, acquired a small apple farm in Elgin, which they called Moya Meaker in honour of Genevieve’s late mother. Smit, formerly senior winemaker at Boekenhoutskloof, connected with David Curl, and together they mapped out a vision for the Damascene brand.

Smit’s focus is single-site expressions of the Cape’s most successful varieties. Curl has created an extraordinary winery so Smit can craft the most precise rendition of cultivar relative to its origin.

There are now 12 such wines in the range, a few of which are blends of more than one parcel. Three come from the Curls’ Moya Meaker farm, a pinot, a chardonnay and a riesling. The remaining wines are sourced from vineyards spread across vast expanses of the Cape – from the Cederberg and the Ceres Plateau, through the Swartland, Stellenbosch and Franschhoek.

The latest releases (mainly 2025 except for the cabernets) are exactly what you would expect from Smit in one of the best vintages in recent memory in the Cape. All show great purity, none make any concessions to early drinkability. They are like tightly wound springs straining against the constraints of time.

The Moyo Meaker wines are perhaps the most accessible, the pinot, perhaps, ahead of the chardonnay. It has burgundian aromatics, a whiff of dark cherry compote, succulence rather than opulence. The chardonnay is chablis-like, limey and tight, with the youth of the vines still evident.

Of the other wines, the curiously named “Electric Mud” — grenache noir from a Piekenierskloof vineyard planted in 1966 — is the standout new release: jellied redcurrants with hints of fresh prune plums.

Other wines well worth buying — and keeping — include the Swartland and Stellenbosch Syrahs, the Stellenbosch and Swartland chenins, the 2024 Stellenbosch cabernet and the Elgin (Moyo Meaker) riesling, linear, a little austere, but not elusive.

There are no mediocre wines from Damascene. They are all superbly crafted — though perhaps a little restrained in their youth. But this is hardly a defect. They’re not made for wine drinkers in a hurry or for consumers willing to trade perfection for flamboyance.

Business Day

So, when an invitation to Butcher Boys and Boschendal’s Bella Night rolled around, I was in desperate need of a girl’s night. Better yet, the invitation had arrived only a few months after my closest friend from university had moved back to Johannesburg from Mauritius.

We arrived at Butcher Boys Kyalami to the soundtrack of Raye’s “Click Clack Symphony”, if only in my head. Aptly launching during Women’s Month, this was the first in a new dinner series between Boschendal wines and the Butcher Boys steakhouse. Titled Under The Tuscan Sun, we were promised an evening of Italian-inspired fine dining, complete with five courses, paired wines and an intriguing “luxury gift”.

Ostensibly, we were there for the food and the Boschendal wine, but the prospect of sitting across from one another for an entire evening, rather than exchanging the usual “We need to catch up!” voice notes, felt like an indulgence of its own.

That sense of intimacy extended to the upper floor of Butcher Boys Kyalami, which had been transformed into a sensory haven of moody lighting and artfully arranged stacks of lemon and orange. These would later prove more than just decoration, but we’ll get to that in a moment.

The circulating antipasti had already caught our attention: fresh oysters, meaty prosciutto-wrapped prawns, truffle arancini and a mouth-watering olive tapenade bruschetta, all paired with a glass of crisp Boschendal Brut. Well, not just one glass. The attentive waiters ensured that no guest’s well ran dry.

So, it was with a freshly topped-up glass that we toasted our friendship. A popular social theory suggests that if a friendship lasts longer than seven years, it will likely continue, so we clinked to 700 more years (just to make sure we cover our bases).

We have remained friends throughout some of the most crucial years of our young lives, watching each other grow through terrible decisions, graduations, heartbreak, moving out and in my case, learning how to drive at a staggeringly slow pace. Luckily, she is blessed with patience, and a long, slow dinner seemed a good way to celebrate us surviving both life and my driving.

The evening officially began with a guided tasting led by DGB wine connoisseur Petra Snyman, complete with an assortment of Riedel glassware. We worked our way through the Boschendal Brut, Elgin Chardonnay, Elgin Pinot Noir and lastly, the Nicolas, comparing how each changed between glasses. Look, smell, sip, transfer, smell and sip again. If, like me, the intricacies of tasting notes and particular flavours tend to elude you, rest assured that a good portion of our group was simply happy to have a good glass of wine.

That is until the blindfolds came out.

You’d be surprised by how different something can taste when one sense is taken away and the others are forced to pay attention. Armed with strips of black ribbon, we took turns tasting each wine alone before introducing salt, lemon or coffee beans and taking another sip. Watching one another’s expressions after each addition proved both extremely entertaining and surprisingly informative as we debated whether the lemon had dampened the chardonnay’s sweetness or if Nicolas’ dark chocolate notes had become more apparent. The wine hadn’t changed. My attention had.

Sitting there blindfolded, concentrating absurdly hard on a mouthful of wine, I found myself thinking about a podcast I’d listened to recently featuring Dr Ian Bogost, a professor at Washington University in St Louis and author of the new book The Small Stuff: The Sensory Enchantment of Everyday Life.

The idea for the book grew partly from an article Bogost wrote about the disappearance of manual-transmission cars. As more of everyday life becomes automated, optimised and frictionless, he argues, we risk losing some of the small physical encounters that connect us to the world around us. His answer isn’t to make life deliberately difficult but to pay more attention to the sensory pleasures already embedded in it: the things we touch, taste, smell, hear and physically experience.

As I sipped on Boschendal’s Elgin Pinot Noir, marvelling at flavours I might otherwise have missed, his argument crystallised. I drink wine regularly, but how often do I slow down enough to fully taste it?

By that point, we had dipped into several glasses of wine and were eagerly awaiting the next sensory development when dinner arrived. A creamy heirloom tomato and red pepper soup disappeared almost immediately, followed by a choice of grilled calamari or oyster mushrooms, served on a ragu of white beans and roasted peppers. But it was the main course that had us sitting up a little straighter.

As a steakhouse, steak is Butcher Boys’ speciality, and they did not disappoint. The beef fillet was buttery and exceptionally soft; paired with crisp rosemary-salted fries and creamed spinach, its richness is undercut by another sip of Nicolas.

It occurred to me somewhere between courses that perhaps friendship has undergone its own form of optimisation. We know what is happening in each other’s lives because we exchange voice notes from cars, desks and supermarket queues. But knowing what’s happening isn’t quite the same thing as sitting opposite someone long enough for the conversation to wander somewhere neither of you intended.

By then, our conversation with my friend had expanded to encompass the other two women at our table: a lab technician and an agricultural specialist with a working farm. As I tucked into tiramisu and my friend sipped her Dom Pedro, conversation wandered between jobs, relationships, heartbreak and her journey to and from Mauritius. It was the more civilised equivalent of drunk girls making friends in the club bathroom and precisely the kind of unexpected connection and openness that I love about female friendship.

By the time our plates were cleared and our glasses emptied, four hours of good conversation and fabulous food had passed without a single text, ping or email demanding our attention. Luxury is often expressed through abundance: more courses, rarer ingredients, older wine. But perhaps the most luxurious part of it all was simply having the time and giving ourselves permission to properly experience what was already in front of us.

Later, back home, my partner had made his way through almost half of the Boschendal champagne truffles we’d been sent home with before I had much chance to practise my newfound commitment to mindful tasting. Some pleasures, apparently, still benefit from speed.

I’m not entirely convinced we found Tuscany in Kyalami, but for four hours we tasted, talked, laughed and paid attention to little else. In a world designed to make everything quicker and easier, there was something wonderfully indulgent about having nowhere else we needed to be.

Bella Night, a collaboration between Butcher Boys and Boschendal, continues with a series of themed dinners until December 2026. Tickets are R950 per person and include a welcome drink, five-course paired menu, guided wine and sensory tasting, and take-home gift.

Reservations can be made via Dineplan or by contacting JP on 076 197 1640 or at jp@butcherboysgrill.co.za.

Wanted

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

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

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.