Rich in pattern and texture, the Whalebone Throw adds bold accent to your interior styling – making it as much of a decorative piece as a functional one.

A versatile, companion for all seasons. 

Woven with 100% cotton, the Whalebone Throw is more than just a blanket—it’s an all-season essential. Soft to the touch, lightweight yet cosy, this throw offers the perfect balance of comfort and practicality. Whether you’re layering it on cooler nights or adding extra warmth in the winter, its breathable design makes it the ideal companion year-round.

Striking in pattern and rich in texture, it effortlessly doubles as a statement piece, adding bold accents to your living space. Easy to care for, The Whalebone Throw will maintain its softness and colour brilliance over time, offering luxurious comfort for everyday use.

A Fresh Take on A Classic

Every design has a story, and the Whalebone Throw is no exception. “The Bakuba Throw has been a staple in our collection for years,” explains designer Ray Cele. It has that soft, breathable handle of pure cotton, with a really beautiful zig-zag design. With the Whalebone, we wanted to take that classic feel and give it a contemporary twist.”

Inspired by the idea of creating something bold yet refined, our design team set out to craft a throw that felt both timeless and fresh. “We played with textures and patterns to bring a more modern aesthetic into the fold, without losing the familiar softness and quality that people love about our throws.”

It’s All in the Details

It’s the small details that make the Whalebone Throw truly stand out. The multi-directional weave, featuring an intricate combination of twill and plain weave patterns, creates a striking visual effect. “The design almost has a 3D appearance,” Cele explains. “The recurring diamond motif is enhanced by raised ribs, adding dimension and texture. What you get is this very visual, undulating pattern. When you look at it up close you can really see all the little intricate details.”

First Tests to Finished Cloth

“After the first prototypes came out, it was clear that something was missing – it needed a finished touch. So we started experimenting with borders, adjusting the draft—essentially how the pattern is set up on the loom.”

What followed was a series of tests, tweaking the weave structure to strike the perfect balance between design, softness, and durability. “It took time to get it just right, but the final product is something quite special.”

Now available in Copper, Palm, Taupe, and Papaya. Shop online or in our stores across Cape Town, Joburg, Stellenbosch and Plettenberg Bay.

More from our blog:

In Studio with Amy Ayanda | Nothing Lasts Forever and why it Shouldn’t | The Making of the Savannah Blanket

In December 2024, 631 swimmers took to the waters in Cape Town and the Garden Route for the 4th annual Mungo Swim Club. With 8 clubs in Glencairn, Camps Bay, Hout Bay, Greyton, Plettenberg Bay, Buffelsbaai, Nature’s Valley and Knysna, we collectively raised over R170,000, which was donated to I AM WATER Foundation, Nature’s Valley Trust and Cultural Connections, supporting ocean conservation and community upliftment.

To all who took part, well done on taking up the challenge. You were, like us, perhaps driven by the collective feeling that an early morning dip does wonders for the soul, and by the spirit of impacting meaningful change in your respective communities. Or perhaps by the keen sense that you never regret a swim…

We hope you feel revived. And that your custom Mungo towels remind you fondly of your swims. Here’s to Swim Club 2025.

Here’s What You Had to Say About It…

More from our blog:

Beyond the Waves | The Winter Solstice Swim | The Evolution of the Willow Beach Towel

After venturing into the mill to see our looms in action, where they witness first threads being woven into finished fabric, the students then visit our flagship store next door. Here they have a chance to touch and feel the finished cloth on the shelves, while our retail manager, Jonica, chats to them about fibres, weaves, colours and more – plus the ins and outs of running the shop floor and everything it entails… 

The design-your-own-kikoi workshop.

Guided by our designer, Lenore, the students learn the basic principles of design and colour theory. They explore concepts like ‘form versus function,’ experiment with sources of inspiration, and dive into the world of colour, before tackling the highlight of the day: designing their own kikoi.

After combing through magazines for colour, mood and pattern inspiration, the students select their desired yarn colours and make wrappings – winding threads into looped bundles to be attached to their finished designs. Each student is given graph paper, and designing begins. Colourways are created through combinations of warp (vertical) and weft (horizontal) stripes, and filled in with coloured pens to match the chosen yarns.

Time to Vote

After all the designs are complete, Lenore renders each one into a digital simulation. The designs are then shared with our friends, followers, and the wider community to determine a standout design.

With a winner chosen, production begins. The finished kikoi is woven to life on our looms at the Mungo Mill, and the cloth cut and prepped for sale – online and in our stores.

After combing through magazines for colour, mood and pattern inspiration, the students select their desired yarn colours and make wrappings – winding threads into looped bundles to be attached to their finished designs. Each student is given graph paper, and designing begins. Colourways are created through combinations of warp (vertical) and weft (horizontal) stripes, and filled in with coloured pens to match the chosen yarns.

And The Winner Is…

‘Galaxy’ was designed by Jeslynn Windvogel, and wraps up our 2024 Kids of Kurland Kikoi Project.

All proceeds from ‘Galaxy’ go directly back to the Crags Primary School, supporting the hiring of a much-needed additional teacher.

A Truly Feel-good Purchase.

The Kids of Kurland Kikoi is an annual project run by our Corporate Social Responsibility initiative, MOVE. Since 2018, we’ve dedicated 1% of our profits to initiatives that uplift the Plettenberg Bay community, where our mill and flagship store are located. 

The 2024 Kids of Kurland Project is now in its sixth year. And next year, we’ll do it again.

Previous Kids of Kurland Winners

Christmas gift ideas got you stumped?
Don’t get your tinsel in a tangle.

 

We’ve got you covered with the ultimate Christmas gift guide –
gifts for him, for her, for Mum, for Dad, or even that quirky uncle nobody quite likes…
Explore the best Christmas gifts for everyone on your list below.

More from our blog:

Furoshiki | The Art of Cloth Wrapping

The Story Behind the Grill Apron

 One summer holiday, a long time ago, a lively household was embroiled in a classic family debate. The source of contention? The indiscriminate use of a kitchen cloth.
Some were of the opinion that a single cloth could handle everything – from holding greasy tongs and wiping off oily fingers, to mopping up spills or scattered coffee grounds.
However, others held a differing view.

So there was only one way to settle it. A new cloth would emerge, designed to meet every need.
A cloth that could rival all others in its utility – navigating the chaos of the kitchen or the barbecue with its versatility (and good looks).

Enter, the Grill Apron.

The Grill Apron is designed to meet all your kitchen or fireside culinary needs. A cloth that will allow you to grill with gusto or cook with abandon.
It’s the kind of companion that every passionate pit master needs. Or for anyone who wants to dress to impress in the kitchen.

No need for that dismally dirty, shoulder-slung dishcloth
when you’ve got a Grill Apron at your side.

Who needs the Grill Apron?

The versatility of the Grill Apron makes it the perfect gift for almost anyone who knows their way around a barbecue, a kitchen, or a backyard.

A multi-use addition that’s sure to top the ‘best gift ever received’ list for any deserving dad, barbecue-obsessed boyfriend or female who can handle the flames..

If you, or your significant other, is into any of following, this is the ultimate cloth for:

• • Barbecuing
  • Cooking
  • Baking
  • Home DIY
  • Gardening
  • Crafting
  • Looking cool
  • Saving the day
  • BBQ Thor/Campfire Cowboy cosplay

Barbecue with it, clean surfaces with it, protect your hands from the flames with it, hold hot plates with it, wipe your hands on it, keep food warm with it, cook up a storm with it.

You get the drill/grill…

Let’s face it – cooking is a messy business.

If you’ve covered every counter surface, used every pot and pan at your disposal, lost a stukkie of the wors to the dog, or spilled red wine all over your new shoes, you’re probably doing something right and everyone is having fun. 

But we all know that heavy is the title of ‘Barbecue Master’. So you might as well look good while doing it.

The Grill Apron Colourways

More from our blog:

 Provincial Onion and Camembert Tart | In the Kitchen with Karen Dudley

It’s no secret that at Mungo we love dogs. In fact, we love your dog – enough to help you by making their doggy dreams come true with the best dog blanket out there. Because as far as good-looking, durable dog blankets go, this one is pretty darn perfect. Perfect enough to help you pamper your pet.

Whether your pup prefers a cozy corner of the home, or is always snuggled up on your lap, the Mungo Fido Dog Blanket is the perfect mix of comfort and durability for dogs of all shapes and sizes.

The Fido Dog Blanket is woven with high-quality, 100% cotton – meaning it’s soft and gentle on your canine companion, yet tough enough to handle the daily wear and tear of paws, claws, and plenty of pet naps. This durable dog blanket is designed to last – with a hard-wearing weave that makes it difficult to destroy.

Whether you have a cheeky Chihuahua or a handsome Great Dane, we’ve got you covered: The Fido comes in two sizes, so you can choose the small dog blanket for petite pups or the large dog blanket for bigger breeds who need more room to sprawl. It’s also perfect for throwing over your dog’s favourite spot on the couch or adding a homely touch to their dog bed.

Beyond just looks and comfort, this blanket is easy to care for. It’s lightweight and machine washable, making clean-up after muddy walks or messy meals a breeze. Plus, with its playful palette and bold design, it’s as good looking as it is functional.

Treat your dog to the very best with the Mungo Fido Dog Blanket—because your best friend no doubt deserves nothing less. A durable cotton dog blanket that’s both pet-friendly and owner-approved….

Amy Ayanda is a Cape Town based multi-disciplinary artist and musician. We recently collaborated with her to produce an original artwork for our Joburg store at 44 Stanley. The piece is inspired by our richly coloured Wild Fire Double Cloth, a reversible, 100% cotton throw. We sat down with Amy to talk about process, palette, her journey into motherhood, and the importance of slowing down.

“I’m having a love affair with blue.”

Amy is standing in front of an easel in her Mowbray studio. Behind her is a large floral scape. There’s the distinctive yellow. Warm browns. Swirls of rich blue. It’s a piece that seemingly captures the point at which she finds herself now, artistically.

“There are styles that I have become known for – like the landscapes and the florals. But last year I went through a phase of covering everything in blue. I think it was a sense of needing time to pause.”

Amy’s relationship with colour reflects her evolving process and, lately, the necessity of slowing down. It’s about breaking free from static visions of yourself. The breathing room that comes with change. And the freedom to reiterate and to reimagine.

“My final show at art school was quite conceptual. I’d done large landscapes, oil paintings, and layered work with mixed media and dried flowers. I was producing art that people loved, but couldn’t afford. When I stepped out of that, I didn’t really know what kind of art I made, and I had to figure that out. There wasn’t that application of the marketing side of things, and I felt a bit confused about who I was producing my work for and why.”

But something shifted quite soon thereafter. Around 2017, when Amy’s first child, Frances, was a year old, a kind of fearlessness took root. A vanguard, stick-it-to-the-man spirit that would bring life to the emerging Amy Ayanda brand.

“At the time, I was waitressing for 7 or 8 hours a day, and still breastfeeding. Pumping in the bathrooms and walking away from my shift with R300 a night. And then I just decided, I’m going to spend that time in the studio and, as a joke, sell my paintings for R300 each. I started making small-scale pieces, painting on paper. I would paint every single night. When my partner, Dean, came home from work, he would take over with Frances, and I’d make as much as possible. I’d photograph it, and sell it on Instagram. I made so much money that first month that I decided to quit waitressing. That changed my life.

It was such a cool period. Frances and I had so much one on one time. We’d walk in the forest, and have beautiful, connecting time. And then at night I’d go into my studio at the bottom of the house and just work – sometimes until 11pm – but it was exciting.”

From there – through an intense period of self-practice and late night studio sessions – Amy began to develop her characteristic style. Refining the Fine Art education she’d received at Michaelis to cultivate a more intuitive artistic voice.

“I think the trick was actually not being so precious about it. I stopped holding on to what I thought something should look like, and went for whatever was coming out of me at the time. I went through the motions of thinking, ‘What does the consumer want?’ But each day I went back into the studio, and worked on making it more and more my own. Over time I developed this style of repetitive mark making, and found I enjoyed working with certain colours.”

This continued for a few years, as Amy established a successful business with a body of work that took inspiration from local landscapes, fynbos and flora, and colour. But after the burnout she experienced post-COVID, and the birth of her twins, she recognised the need to slow down, and to take a more considered approach to her work.

“Back then I had this drive in me that was quite intense. It enabled me to build my brand, but it also wasn’t sustainable. I was still doing things at the pace before I’d even become pregnant with the twins. So recently it’s been about making changes to value myself, and my work. I needed fresh colour. Even looking at my brushstrokes – they were very tight, and controlled. But over this year of slowing down, everything is just looser and freer.

I still paint flowers, landscapes, and images of people holding one another. But they’re a little bit more abstract – not necessarily the mother-child connection, because I think that connection isn’t restricted to having birthed someone. And my views on the ideal way that mothers should mother, or breastfeed, are out the window. My first birth with Frances was very natural and all went according to plan. But my twin birth was 7 weeks early, and I couldn’t breastfeed. That almost spiritual way that you believe mothering or birthing takes place isn’t the same for everyone. That also helped me become a better mom. And so birth then became a big part of the images I made.”

Slowing down has allowed her to be more intentional about her craft. Although the frenzied online sale culture of COVID made her work widely accessible, she’s creating room for more one-on-one connections and collaborations. And finding joy in smaller moments.

“I really love walking. I’ll go to Newlands or Rondebosch, or the Pipe Track if I’m feeling brave. Painting also brings me back into a state of meditation – it’s like a diary entry. I’m soaking it all in. I’m grateful that I can just be with the kids and be a bit more quiet and observe more, because I think there’s a lot to gain in observing.”

In many ways, Amy’s journey as an artist has come full circle. She now lives and works in her childhood home in Mowbray – a place that provided a safe container for her early creative expression. A place that continues to fuel her connection to memory, and to motherhood.

“My studio is my old lounge, where my dad used to sit and listen to his radio. There’s a fireplace here, and it was always a very warm space. When there were thunderstorms, my sister and I used to move our mattresses in, and open the curtains. The fire would be going, and we’d watch the thunder and lightning through the window. That memory is quite a special one, and sometimes when I’m in my studio, or when Frances walks in, I think of that.

We moved back in in 2021, when my twins were 9 months old. I was the youngest of 3, and now I have 3 children. And my child goes to the same school that I went to, across the road. So it feels like quite a 360 for me. A beautiful in-sync, flowy line of time that’s come back together. Sometimes it’s scary, because being a parent is scary, but I have this sense of knowing, because home is a safe place.”

Seeing Amy now, a grown artist, and mother of 3, begs the question: what was she like as a child?

“For as long as I can remember, I’ve always been painting and drawing, and making up stories in my mind. I always wanted to redecorate my bedroom. I would focus on it, and it would become my whole life for a weekend. I’d even save up money to buy paint tubs and redo the walls. My room was a different colour so many times. So I always had that energy to change things up, and go for it. My parents were incredibly supportive. They didn’t think any idea was too big. When there was passion around it, we were always supported.”

This connection to home and to memory is something that Amy brings to her work. Her piece for Mungo incorporates the colours of the Wild Fire Double Cloth, and marries her earlier styles with where she finds herself now: the vivid pinks with the cooler blue tones, and the familiar fast-paced mark making with softer strokes.

“I really love this landscape. And I think both art and cloth speak to each other – to calm, sensory home environments. With weaving and with art, there’s story behind it, and process. And the fact that it’s local – there’s nothing cooler than that. We’ve got so many amazing talents here. Why look anywhere else?”

Reflecting on Amy’s course, there is a lot to be proud of. There are hallmarks of courage, and persistence. To produce a significant body of work, pursue paths in both art and music, build a brand, and raise three children… It is no wonder that she is frequently asked, ‘how do you do it?’

“I’ve learned to be quite fearless. A lot of this has taken a lot of grit. Selling art is incredibly difficult. Marketing it is incredibly difficult. But I’ve been quite fearless in the way I’ve jumped into things. I like the idea of building community, and making people feel like they can do something – that they can take a chance, because it’s definitely possible. You don’t need a ton of money. You just need to be brave.”

Find Amy Ayanda’s artwork for Mungo in our Joburg retail store at 44 Stanley, Milpark.

Featured products

As an independent weaving mill, not swayed by seasonal trends or outside demands, we have licence to play. To create one-of-a-kind products that align our design to innovate, with a commitment to quality craftsmanship.

At the Mungo Mill, we have 18 looms. A mix of antique shuttle-operated looms, and more mid-century rapier machines. Each of which have unique characteristics and charms. Under one roof, we’re able to oversee the full production line – from design, right through to warping, weaving, CMT, finishing, dispatch and retail. This gives us control over the full process. And endless room for experimentation. And it inevitably allows for flexibility to play with new designs, weave constructions and colour combinations – creating samples that are passed from hand to hand, and taken home to test, until we are satisfied that the finished product is ‘just right’.

Our designs come together through a combination of generations of passed-down skill, and creative flair. Our Master Weaver and founder, Stuart Holding, has over 50 years of experience working with textiles – beginning with an apprenticeship in the Yorkshire silk mills at age 15 that cultivated a lifelong passion for cloth.

One of our earliest double cloth samples dates back to 2010, when Stuart wove a 100% cotton double cloth kikoi on our Ruti shuttle looms. According to our designer, Lenore, the ‘Plett Kikoi’ had been floating around for many years. “It was quite a simple double cloth – it didn’t have stripes in the front or back – but the weight was interesting, and that fed the inspiration.”

For our Double Cloth throw, the first tests were done on our antique Lancashire looms – playing with the construction to determine the best weight and weave construction.

“The warp construction for the double cloth is very time-consuming, so using the Lancashire is a much quicker set-up – making it easier for us to get an idea of the design. Once we were happy, we transferred it over to the dobby looms (our Dornier machines) to get the full width of the throw.

But product development inevitably involves iterations. And the Double Cloth was no exception.

“The first cloth off the loom was stiff, and didn’t have much volume. We’d first tried a plain weave – but once we switched over to a 2/2 twill, which has more floats, the cloth took on a lovely lofty feel. The 2/2 added a kind of dimension to the design, and this is what gives the throw an almost wool-like texture and warmth.”

“The lags were also an interesting part of the story. In the sampling process, we used lags for the pick plan. Much like the pattern card, the lags transfer the design scheme onto the loom. For the Double Cloth, the lag chain was over 4 metres long – the longest we’d ever created!”

“The finished product came together beautifully. The magic of this throw is that you have double the amount of threads, so it has a really nice weight to it. And then of course it’s reversible – two distinct fabrics stitched together, giving you different designs on either side. So you can flip the blanket over, depending on the season – or your mood!

And the palette? Our designer of course must speak to that.

“We experimented with natural, earthy tones. The Karoo colourway is full of rusts, browns, oranges and grey. It speaks to that arid, yet strikingly beautiful landscape so distinct to this region. And then the Camdeboo – named after a nature reserve in the Eastern Cape where you’ll find the Valley of Desolation. There’s something about those mountains, which cast blue shadows in the early mornings and late afternoons – that’s what we captured in the Camdeboo.”

Karoo

Camdeboo

Read next: From Flax to Fibre | The Story of our Linen

Brilliantly coloured and generously sized, the Folly Beach Towel has been a favourite in our range since it’s launch in 2019. Since then we’ve been pleased to see it gracing beaches and homes around the globe.

Now introducing the Folly Beach Towel in Hermit Crab. Pulling a punch with purples, greens and orange hues.

So how did it all come about? We had a chat with our designer, Lenore.

Let’s start with your design process – where does it all begin?

My starting point for a new product is the weave construction. This is what gives a textile it’s functionality – absorbency, durability etc. Once I have a construction in mind, I will draw it on graph paper. Then we’ll do a bit of internal testing – with members of the Mungo team taking home the product to try out it’s feel and function. When it comes to colour selection, I’ll need to think about making the weave work well with the colours – that’s what will really give it’s visual appeal. So I’ll start with simulations on our CAD program, which help me play around with our yarn colours. Then I’ll present the initial designs to the team, and we’ll narrow it down to a selection for sampling. I like to stand by the loom when the colour samples are weaving, because it gives me new inspiration – changing and playing with colour combinations I hadn’t thought of. When all the samples are done, we’ll select our favourites – this might be internally or sometimes we’ll put it to our customers/followers to get feedback on their favourites!

How did you develop that graphic, block design so iconic of the Folly?

In weaving, a check fabric is created by having an equal number of warp and weft threads in the design. The idea is to create a repeating pattern that leaves you with a symmetrical cloth. But I wanted to design a multicolour fabric without using a check. So the warp stripes are in fact different from the weft. The weft colours are also stronger in tone, which gives it that bold, graphic feel.

And the fishscale?

When I design new products I try and be mindful of ways to keep what we call a ‘common warp’ – where we try to keep new designs on the same set up and machines. It refines the process, so that we can weave more products on one machine. I had a look at the graphic scaling on the Tawulo Towel – which has a bold zig-zagging pattern. I used this as a starting point, but built on it to create something more striking and graphic.

Rumour has it there’s something to the ‘Folly’ name…

The first-ever warp for the Vrou Vrou Blanket was done incorrectly. The number of warp threads were far too little, and there was 400m already warped. I had to think quickly – how were we going to use this faulty warp? At that time we’d didn’t have a multi-colour towel on the range. So this was an opportunity to create something new. You can say the Folly is the offspring of the Vrou.

Thoughts on the final result?

The Folly is designed to be playful – it will always have an array of bright colours. For the Hermit I went for more earthy tones, but added in some emerald green to give it that pop! I love the finished look. The Hermit keeps its playful tones but adds something a bit more cooled down and contemporary.

So that’s it. A must-have for summer. Or a mood-booster in winter. Something for the beach or something to brighten your bathroom. Whatever floats your folly boat.