Meet the rising stars of African design championing heritage and craft

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

The Black Artists + Designers Guild (BADG), in collaboration with architects Leyden Lewis and Nina Cooke John, and featuring interiors by 25 BADG creatives, has conceptualized the Obsidian Virtual Concept House. This interactive dwelling, set in California's Oakland Hills in 2025, serves as a manifestation of an Afro-centric futurist vision, aiming to embrace possibility and freedom for a Black family through thoughtful design. The project is a central component of the month-long OBSIDIAN EXPERIENCE, an initiative by BADG to elevate the home as a space for Black imaginations and futures to thrive. Malene Barnett, artist, activist, and founder of BADG, emphasizes that 'home' is both a physical space and a feeling of relaxation, non-judgment, and being surrounded by loved ones. This philosophy underpins the entire Obsidian project, which seeks to create layered spaces that perpetually evoke these feelings. The virtual concept house allows visitors to explore various rooms, learn about the designers' inspirations, and even virtually shop for products and fixtures specified within the designs. This interactive element makes the experience engaging and practical for those seeking inspiration. Architects Leyden Lewis and Nina Cooke John led the visualization of the house, grounding their work in the belief that Black futures can be equitable, sustainable, and liberating. They describe the Obsidian Concept House as a supportive environment for the mental, physical, and spiritual well-being of the Black family, fostering expressions of joy and creativity. The architectural design integrates sustainable building practices, including geothermal heating, solar energy, rainwater harvesting, and passive-house systems, highlighting a commitment to environmental responsibility alongside cultural relevance. The interiors of the house are diverse, each informed by the unique family histories and design approaches of the participating BADG members. These spaces are dedicated to spirituality, health, food, art, and nature. Examples include Cheryl Umbles's 'An Abundance of Welcome' entryway, Cheryl R. Riley's softly lit, turquoise meditation room, Everick Brown's transformative recreation room for connection, and Linda Allen's 'I am Good Enough: A Haven for the Black Overachiever,' which functions as an artist studio and garden. Malene Barnett's 'Sankofa-Legacy Wall,' featuring ceramic tiles inscribed with ancestral names, acts as the home's centerpiece, symbolizing Black ingenuity, strength, and perseverance, and serving as a tool for Black liberation and healing. The OBSIDIAN EXPERIENCE is launched during what BADG refers to as 'The American Awakening,' a period identified as an opportunity for a 'reawakening of the Black imagination.' The project aims to demonstrate how domestic spaces can reflect the diverse identities of inhabitants, address environmental injustice, inspire new ways of living, and ultimately pave the way for a more authentic freedom. The initiative is a collaborative effort, supported by media partners such as ELLE Décor, House Beautiful, Town & Country, and VERANDA, with Hearst Magazine's Luxury & Design Collection as the media sponsor. #VirtualHome #BlackDesigners #AfroFuturism #SustainableArchitecture #InteriorDesign #CulturalHeritage #CommunityBuilding #BlackArtistsAndDesignersGuild #DesignInnovation

The Africa Centre, a London-based charity established in the early 1960s to champion African culture and its diaspora, has unveiled its new headquarters in Southwark. This facility serves as a physical hub for cultural exchange and idea sharing through events and conferences. The design, spearheaded by Freehaus Design in collaboration with interior designer Tola Ojuolape and brand designer Mam’gobozi Design Factory, involved the refurbishment of a 1960s office block. The approach avoids broad generalizations about African design, instead focusing on shared traditions across Africa and its diaspora. The six-story building encompasses a range of facilities, including the pan-African restaurant Tatale, a bar lounge, and an art gallery. The interior design creates a welcoming atmosphere, featuring charcoal-hued facades that transition into 'warm worlds' characterized by sandy clay plaster walls, red-hued terrazzo flooring, and abundant lush plants. Metallic beaded curtains and repeating wall arches define dining areas and cozy seating nooks. Functional elements like banquette seating are backed by stacked cement air bricks, while the spaces are adorned with woven containers, pendant lighting, cork stools, and carved timber furniture. Jonathan Hagos, co-director of Freehaus, emphasizes the design's focus on expressed thresholds, tactile surfaces, quality of light, and practices of reuse and appropriation. Specific design choices reflect a deep appreciation for African cultural heritage. Hand-applied wall finishes deliberately showcase the 'maker’s mark,' and an indigo staircase wall pays homage to the traditional dye-making practices in Nigeria and Burkina Faso. The presence of wall arches subtly references Islamic architecture prevalent in northern Africa. Notably, all the design pieces and furnishings are sourced from designers and makers within Africa and its diaspora, reinforcing the centre's mission. Hagos describes the design as an 'embassy of optimism,' aiming to shift narratives towards a buoyant and boisterous mood, a vision that emerged from extensive research and diverse perspectives. A significant historical element is the 1987 mural by Mozambican artist Malangatana Ngwenya, which was carefully transported and restored from the Africa Centre's former location in Covent Garden. The original Covent Garden premises, opened in 1964 by Kenneth Kaunda, the first president of Zambia, served as a 'home away from home' for Africans in London and aimed to present an alternative narrative of the continent. Over its history, the centre has hosted prominent figures such as Desmond Tutu, Thabo Mbeki, Maya Angelou, and Wole Soyinka, before its closure in 2013. The new headquarters continues this legacy at 66 Great Suffolk Street, London SE1 0BL. #AfricaCentre #LondonArchitecture #InteriorDesign #AfricanCulture #Southwark #FreehausDesign #TolaOjuolape #MamGoboziDesignFactory #CulturalExchange

The article highlights the collaboration between Ghanaian spatial design studio Limbo Accra and London-based multidisciplinary design practice Alaska Alaska, focusing on their shared philosophies regarding design communities and empowering the next generation of Black design innovators. Limbo Accra, founded by Dominique Petit-Frère, has established a robust network through global partnerships with prominent urban space-makers and architectural enthusiasts. This collaboration is part of a series exploring critical issues in contemporary design, such as design intention, intergenerationality, creativity, and change within Africa and its diaspora. Tawanda Chiweshe, the studio director of Alaska Alaska, is a key figure in this discussion. Described as a ‘creative navigator’ and designer, Chiweshe leads Alaska Alaska, a practice originally founded by Virgil Abloh. The studio's core mission is to foster young talent in the design industry, providing career-advancing opportunities and thereby empowering a new wave of Black design innovators. Chiweshe and Petit-Frère's connection was solidified during the development of Freedom Skate Park, Ghana’s inaugural recreational skate park. Their shared vision extends beyond this project, encompassing beliefs in the potency of design communities, the significance of serendipitous connections, and the practical application of these elements to develop tangible design solutions. Chiweshe addresses the exclusivity often present in the design world, acknowledging that the process, which is inherently instinctive, frequently marginalizes certain individuals. He emphasizes Alaska Alaska’s commitment to dismantling these barriers by empowering its team members to articulate their thoughts and encouraging those within their influence to do the same. This approach is crucial for fostering inclusivity and diverse perspectives within the design sphere. His personal experiences, from schooling in Hertfordshire to art school in London, reveal that his cultural background has often been considered an outlier. However, this background has also served as a steadfast 'anchor,' providing a unique lens through which new experiences are contextualized and understood. Chiweshe came to realize that design perspectives rooted in his heritage hold significant value and deserve the same recognition and esteem typically afforded to established figures like Le Corbusier. This realization underscores the broader theme of challenging conventional design hierarchies and embracing diverse cultural contributions. He argues that addressing complex issues within design requires 'intersectional solutions,' recognizing the interwoven nature of various social and cultural factors. Alaska Alaska’s work exemplifies this principle through its integration of both practical and theoretical approaches, which aim to uncover new design paradigms and make these changes tangible. The studio's efforts are pivotal in laying new design pathways for future generations, advocating for a re-evaluation of established design perspectives and values. Alaska Alaska serves as a crucial site where these transformative changes are actively taking place. Chiweshe also discusses his creative process, citing the concept of a ‘cutting room floor’ as a significant inspiration for a media piece. He views the elements typically discarded in the creative process as more important than the final product, seeking to present work in a state that is not yet finalized or conventionally showcased. This methodology involves displaying multiple pieces concurrently, allowing them to forge their own relationships and narratives. #SpatialDesign #BlackDesigners #DesignInnovation #CulturalHeritage #DesignCommunity #GhanaianDesign #LondonDesign #VirgilAbloh #IntersectionalDesign

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

Giles Nartey, a British-Ghanian architect and designer, integrates his academic pursuits with his design practice, focusing on translating African rituals into contemporary design objects. His work, showcased as part of Wallpaper*'s Future Icons series, aims to celebrate Black identity and traditions, moving between art, film, and architecture. Nartey was born in South London but spent his early life in Accra, Ghana, where the informal architecture and everyday practices of places like Labadi profoundly influenced his design philosophy. He cites observations like handwashing rituals before meals and the use of the Asanka (a traditional grinding bowl) as continuous inspirations for his London-based practice. Nartey's academic background includes studies at Politecnico di Milano and the Bartlett School of Architecture. He currently lectures at University College London and co-runs a diploma unit at the Architectural Association. This combination of teaching, research, and practice allows him to push boundaries in his work, using academia as a testing ground for his design concepts. His doctoral research into African ontologies directly informs pieces like 'Interplay,' a communal bench first exhibited at POoR’s Powershift exhibition at the London Design Festival in 2023. 'Interplay' is a striking piece of furniture that rethinks seating as a shared surface, featuring engraved and overlapped narratives. It draws inspiration from traditional West African Senufo carved bed-benches, which are typically made from a single piece of timber. The bench also incorporates the Ghanaian game 'Oware,' encouraging performative interaction. Nartey explains that historically, African objects have often been miscategorized as inanimate artifacts, despite many being integral to spiritual or domestic rituals and practices, both in their creation and use. He believes his work helps correct this misperception by highlighting the embedded meaning and function within these objects. One of Nartey's significant career moments was exhibiting 'Interplay' at the Victoria and Albert Museum for the Friday Late: Radical Imaginaries. This was particularly meaningful for him as the V&A held personal significance, having been a place his mother took him and his sisters during their childhood. The exhibition allowed him to present a piece deeply connected to his heritage and shared family memories within a prestigious institution. Following 'Interplay,' Nartey created 'Serwaa,' a sleek six-legged aluminum stool. This piece is a contemporary interpretation of the West African Lobi chair, a sculptural object that resonates with spirituality in regions spanning present-day Burkina Faso, Cote D'Ivoire, and Ghana. Nartey's future endeavors include architectural interventions in Accra, where he plans to reimagine food kiosks, market spaces, and street-level produce selling methods. His overarching goal is to present African design not as a historical relic but as a dynamic, contemporary language deeply rooted in the practices that fostered its creation. By grounding his designs in traditional West African culture and utilizing academia as a foundation, Giles Nartey is contributing to a broader understanding and appreciation of African design within the global design canon. #GilesNartey #AfricanDesign #ContemporaryDesign #CulturalHeritage #DesignResearch #ArchitecturalInterventions #FutureIcons #GhanaianCulture #VictoriaAndAlbertMuseum

Jomo Tariku, an Ethiopian American designer, has dedicated two decades to introducing African designs into the mainstream furniture market. His work merges sleek, modern aesthetics with deep historical and cultural African influences. Tariku draws inspiration from diverse African cultures, including Dogon masks from Mali, Ashanti stools, Maasai jewelry, and Kente cloth from Ghana. Architectural elements also play a significant role in his design philosophy, with influences ranging from the ancient buildings of Timbuktu to Islamic patterns and interiors found in Morocco. Tariku emphasizes that Africa, with its rich and varied cultures and long history, provides an inexhaustible source of inspiration for his designs. He believes in moving beyond conventional stereotypes through extensive reading and research to uncover these unique resources. In many African contexts, furniture traditionally serves a dual purpose, acting as both a functional item and a decorative art piece, a concept that profoundly influences Tariku's continuous creation of new contemporary African furniture. His latest design, 'The Birth Chair II,' is a contemporary interpretation of traditional African birthing chairs, which have been used for childbirth in parts of Sub-Saharan Africa since ancient Egyptian times, as depicted on temple walls in Luxor. Tariku's modern rendition features a single bent piece of wood, clean lines for the seat, and a sliding backrest adorned with artistic carvings. A key innovative aspect of this chair is its modular backrest, which can be detached and hung on a wall as a decorative element, offering flexibility in room styling and personal expression. 'The Birth Chair II' embodies trendsetting concepts that Tariku intends to use as a platform to bring contemporary African designs into homes globally. This piece, along with others from his collection, was showcased at Dubai Design Week – Downtown Design in Dubai, UAE. Tariku's background includes being born in Kenya to Ethiopian parents, growing up in Ethiopia, and earning an industrial design degree from the University of Kansas in the U.S. His portfolio includes several acclaimed contemporary African furniture lines, such as 'The Axum Series,' a living room set inspired by the architectural styles of the Axum stelae in Ethiopia, and 'The Berchuma,' a series of stools that exemplify unique contemporary African design as functional art. These creations highlight his commitment to showcasing the beauty and functionality of African design to a global audience. #AfricanDesign #JomoTariku #FurnitureDesign #DubaiDesignWeek #ContemporaryAfricanFurniture #FunctionalArt #HomeDecor #CulturalHeritage #ProductDesign

Jomo Tariku, a Virginia-based designer and furniture maker, shares insights into his creative process, which draws heavily from his Ethiopian upbringing and African heritage. Born in Kenya and having traveled extensively across Africa during his youth due to his mother's work at Ethiopian Airlines, Tariku was exposed to a diverse collection of objects and furniture from an early age, collected by his diplomat father. His early experiences included working in a car shop in Addis Ababa between the ages of 14 and 16, where he constantly sketched and drew his surroundings while performing various tasks. This period, along with his later academic pursuit of an industrial design degree at the University of Kansas, laid the foundation for his distinctive approach to furniture design. Tariku's work is characterized by its exploration of objects and culture, often reinterpreting everyday African items and totemic figures into sleek, minimalist furniture. His designs incorporate bold colors like black ash and orange, paying homage to African craft and furniture-making traditions. Notable pieces, such as the Nyala chair, the Qwanta totem chair, the Meedo chair, and the Mukecha stool, have gained significant attention. His comb-shaped Mido chair (2021) was acquired by The Metropolitan Museum of Art, and other works are part of the collections at the Los Angeles County Museum of Art, Mint Museum, Denver Art Museum, and Baltimore Museum of Art. His work has also transcended the art and design world, with production designer Hannah Beachler featuring some of his pieces in "Black Panther: Wakanda Forever." Tariku recounts his journey into design, initially considering computer science before discovering his aptitude for art and design during his college years. His mentor at the University of Kansas encouraged his passion, which eventually led him to pursue furniture design for his industrial design thesis. He emphasizes that inspiration should not be limited to existing seating designs but can come from a wide array of African contexts, including hairstyles, the afro pick, landscapes, and headrests, allowing for truly unique and innovative designs. He discusses the transhistorical quality of his designs, which blend ancient influences with modern interpretations, creating pieces that defy chronology and symbolize collective and personal histories. He acknowledges the scarcity of historical data for many African objects, which were often made for utility without formal manufacturing structures. As a Western-educated industrial designer, Tariku interprets this past through his skills, ensuring that his pieces are titled to reference their inspirations, such as the Nyala chair's connection to antelopes or the Boraatii stool's link to Oromia headrests. The designer also considers the interactive relationship with users, exemplified by the Qwanta chair, which features an interchangeable backrest. This design was inspired by traditional African birch chairs and aims to involve users in creating their own totems, transforming the chair into a collaborative art piece. He explains his philosophy that his furniture serves both an artistic and functional purpose, akin to how common objects in Ethiopia were used for utility and then displayed as decorative elements. He views his pieces as sculptural, conceptual, and functional statements. Tariku elaborates on the sculptural aspect of his work, highlighting the balance between artistic form and ergonomic functionality. He strives for elegance, clean lines, and organic shapes that provide visual satisfaction and comfort. His creative process involves rigorous prototyping to ensure both aesthetic appeal and practicality. Regarding abstraction, he focuses on extracting the simplest geometric shapes from his inspirations, testing their endurance and researching thoroughly. He aims to make his designs recognizable to those familiar with the cultural references while also appealing to a broader audience. He discusses his material palette, which is currently limited to ash, American ash, and birch plywood, primarily due to cost and environmental considerations. He consciously avoids exotic African woods, prioritizing sustainable forestry practices in the U.S. He expresses interest in expanding into materials like plastics, metals, and carbon fiber when appropriate. Finally, Tariku speaks about his involvement with the Black Artists and Designers Guild (BADG), co-founded by Malene Barnett, which aims to promote and increase the visibility of Black designers from the diaspora and Africa. He believes that his work, and that of other Black designers, is crucial for challenging Western-centric design canons and pushing against misconceptions about African design, ultimately contributing to a more inclusive representation of global creative traditions. #JomoTariku #FurnitureDesign #AfricanDesign #Afrofuturism #IndustrialDesign #InteriorDesign #CulturalHeritage #BlackArtistsAndDesignersGuild #SculpturalFurniture

Ibiyane, a design studio founded in 2020 by Tania Doumbe Fines and Élodie Dérond, originated during the lockdown period. Doumbe Fines, with a background in interior design, had a long-held ambition to design a chair. This led to the creation of an African birthing chair, which subsequently resulted in an invitation to create a seat for an exhibition. During this process, Dérond joined, and their collaborative synergy sparked the official formation of Ibiyane. The studio’s initial operations were based in Montreal and later relocated to Martinique, near Dérond’s childhood home. Ibiyane's core philosophy revolves around exploring the narratives embedded within objects and fostering deeper dialogues between creators and collectors. The name 'Ibiyane' is derived from the Batonga language, meaning 'to know one another,' reflecting the founders' belief in design as a medium for conversation and the exchange of ideas about the world, beauty, and design principles. This ethos is exemplified in their Elombe series, which garnered significant acclaim at Milan Design Week 2023. The term 'Elombe' translates to 'conversation,' and each piece in the numbered series is conceived as a distinct conversation, emphasizing an ongoing practice of dialogue and evolving understanding. Living and working in Martinique has profoundly influenced Ibiyane's design methodology. The studio has begun to incorporate local resources such as Caribbean pine and other native timbers, expanding beyond their initial stack-laminated techniques. Their design language is characterized by organic forms and curves, prioritizing simplicity while maintaining functionality. The designers actively engage with their natural surroundings, often drawing inspiration directly from elements found on the beach, allowing the inherent qualities of materials, particularly wood, to guide their sculpting process. Despite their rapid rise and critical recognition, including an early exhibition at Carpenters Workshop Gallery’s 'The New Guard: Stories from the New World,' Doumbe Fines and Dérond maintain a grounded perspective. Dérond, who is not formally trained in design, attributes this to her 'outsider' status, which she believes fosters a childlike and intuitive approach to creation. Doumbe Fines views their early successes as an expansion of possibilities, reinforcing their commitment to integrating an African essence into modern design. They aim to imbue their work with the philosophy and intentionality observed in traditional African art, sculpture, and design. Ibiyane’s ambitious and long-term vision positions them as a significant force in the design landscape. Their work is scheduled to be featured in an upcoming exhibition titled 'Enthroned' at the Jessica Silverman Gallery, running from January 11 to March 2, 2024, showcasing pieces from ten female-led design practices. The studio's work is also highlighted in the January 2024 issue of Wallpaper* magazine. #IbiyaneDesign #CaribbeanDesign #FurnitureMaking #MilanDesignWeek2023 #MartiniqueCraftsmanship #SustainableDesign #AfricanInspiredDesign #SculpturalFurniture #EmergingDesigners

Bernhardt Design has unveiled its 'Duality' collection, a collaboration with British-Ghanaian designer Chrissa Amuah, featuring a series of upholstery textiles. This collection includes six distinct patterns and 56 colorways, all deeply inspired by Amuah's Ghanaian heritage. Her design vision is rooted in the rich symbolism, textures, colors, and traditional patterns observed during her trips to Ghana, where these symbols are intricately woven into everyday life, from jewelry to architecture. Amuah's objective was to create a contemporary and aesthetically pleasing design blueprint that also carries profound, empowering messages, whether consciously or subconsciously communicated. The 'Duality' collection comprises six main designs. One prominent pattern is 'Aya,' which draws inspiration from the West African Adinkra symbol for fern. Amuah explains that the fern symbolizes endurance and resourcefulness, conveying a message of hope. She created this pattern using a super-fine chenille yarn that floats above the abstracted fern symbols, achieving an overlay effect. 'Aya' is designed to be paired with 'Still,' a monochromatic textured fabric available in 18 rich colors, allowing for versatile combinations. Another innovative design is 'Ink,' which Amuah developed by drizzling ink onto walnut veneer, allowing it to bleed into the wood grain. This process resulted in unique, abstract patterns with limited designer control, emphasizing the organic spread of the ink to form distinctive lines. These abstract patterns were then replicated on thick, textured chenille and produced in four different hues. 'Ink' is envisioned to complement 'Snug,' a textured bouclé fabric, offering a harmonious blend of patterns and textures. The collection further incorporates Ghanaian inspiration with the 'Sella' textile, named after the Latin word for 'stool.' This design pays homage to Ghana’s traditional asesegua seat, which has a long history and various forms, from common wooden stools to elaborate royal versions. Amuah hand-sketched the fabric's design, abstractly interpreting the familiar shapes of the asesegua. The final material in the collection is 'Touch,' a finely textured fabric crafted from two complementary yarns in contrasting shades, which creates a fine pattern with notable vibrancy and depth. Beyond patterns, Amuah also meticulously explored the symbolic meanings of colors in the collection's palette. She emphasizes that colors function as visual indicators that work in conjunction with patterns to form a complete narrative. The interpretation of color meanings can vary based on context, such as the intended message, occasion, status, or even age. Jerry Helling, president of Bernhardt Design, praises Amuah's artistry, highlighting her ability to transform deeply personal ideas into accessible and sophisticated design forms, abstracting her inspirations into modern and beautiful fabrics. The 'Duality' collection stands as a testament to the seamless integration of rich cultural heritage with contemporary design principles. #UpholsteryTextiles #GhanaianHeritage #BernhardtDesign #ChrissaAmuah #TextileDesign #InteriorDesign #CulturalInspiration #AdinkraSymbols #AfricanDesign

This article highlights the contributions of nine influential Black designers and architects, celebrating their work and perspectives on diversity within the design industry during Black History Month. The featured professionals showcase a range of expertise, from interior design and product design to architecture and textiles, often drawing inspiration from their diverse cultural backgrounds. Kesha Franklin, CEO and Lead Designer of Halden Interiors, brings a fashion-forward approach to residential and hospitality spaces, emphasizing thoughtful color and fabric choices. She points out a disparity between the diverse nature of design itself and the lack of diverse representation among practitioners, advocating for a broader inclusion of faces that create beauty in design. Jeanine Hays and Bryan Mason, the husband-and-wife team behind AphroChic, have built a multifaceted design firm focused on celebrating African-American culture, creativity, and global design. They initiated AphroChic in response to the underrepresentation of African-American voices in the design industry, striving to create spaces and products that narrate unique cultural stories. Stephen Burks, founder of Stephen Burks Man Made, integrates traditional African craftsmanship with contemporary aesthetics in his industrial design work, spanning furniture, lighting, and home accessories. His studio prioritizes hand production as an innovation strategy and actively promotes inclusivity and cultural perspectives in a luxury market often focused on exclusivity. Veronica Solomon, owner and lead designer of Casa Vilora Interiors, infuses her Jamaican heritage into eclectic, bold, and timeless spaces, characterized by a masterful use of color, pattern, and texture. She views a home as a narrative of its inhabitants and actively mentors junior designers to foster future generations of Black talent. Samantha Josaphat, founder of Studio 397 Architecture, established her firm as the 397th Black female architect to achieve licensure in the U.S. She is committed to increasing minority representation in architecture, actively leading the National Organization of Minority Architects’ New York chapter and teaching at an architectural school. Ishka Designs, founded by Anishka Clarke and Niya Bascom, is a Brooklyn-based interior design firm that specializes in hospitality and residential projects, emphasizing an "efficiently beautiful" concept that combines minimalistic design with natural materials, informed by their Caribbean roots. Hana Getachew, founder and creative director of Bolé Road Textiles, blends ancient Ethiopian weaving traditions with modern design aesthetics, producing a range of home textiles while also supporting education for girls in Ethiopia. Eneia White, owner of Eneia White Interiors, leverages her diverse experience across major U.S. cities to create personalized and comforting residential spaces, aiming to translate clients' personalities into their homes. Lastly, Dani Arps, founder of Dani Arps LLC, is a prominent interior designer in the NYC tech scene, known for her eclectic and industrial commercial interiors. She observes a growing recognition for Black and brown designers, attributing this positive shift partly to social media and supportive networks. #BlackDesigners #Architecture #InteriorDesign #BlackHistoryMonth #DiversityInDesign #CulturalHeritage #DesignPhilosophy #TextileDesign #HomeDecor

The Africa Centre in London's Southwark neighborhood has undergone a 16-month renovation, led by interior designer Tola Ojuolape in collaboration with Freehaus architecture firm, Price & Myers structural engineers, art curator Alexia Walker, and Mam’gobozi Design Factory. The revitalized space aims to create and promote authentic African cultural experiences, moving away from a dilapidated 1960s building to encompass a restaurant, café, exhibition space, and business center. Ojuolape's vision for the space emphasizes tactility, drawing inspiration from her travels across Nigeria, Rwanda, Senegal, and Morocco to infuse the center with the essence of the continent. A key design element is the main-level bar, featuring a copper top and terracotta relief tiles at its base. This design choice reflects a broader theme of embracing handmade materials and traditional crafts, such as metalwork, beading, and woven materials, that are prevalent across Africa. Ojuolape stressed the importance of creating interactive, tactile moments within the space, suggesting that direct physical engagement with materials offers a richer experience than purely visual elements like tiled walls. The interior features walls and ceilings covered in naturally pigmented clay plaster. Ojuolape meticulously selected two primary hues: a salmon pink, evocative of the Namibian desert and the sands of Senegal and Nigeria, and a precise shade of indigo, honoring West African textiles. The designer dedicated significant effort to ensure the indigo tone accurately represented its cultural significance. The stairwell, treated with a dark color, provides a lounge-like ambiance and serves as a backdrop for a restored mural from the original Africa Centre in Covent Garden, reinforcing the idea of the center as a "home away from home." Graphic elements are integrated using basic construction materials. Half-wall partitions made from sunbreakers, or breeze blocks, incorporate zigzag patterns inspired by Ghanaian kente cloth and Ndebele designs. These industrial bricks act as dividers between dining benches in the ground-floor restaurant, with the benches freestanding from the bricks and their upholstered backs attached via wood frames. For privacy and division, Ojuolape employed industrial drapery. A large divider separates the entry from a restaurant and seating area, which hosts smaller meetings and talks. Opting against fabric due to its proximity to the kitchen and potential to absorb food odors, she chose a curtain of metal chains. This chain divider is affixed to a track, allowing it to be easily manipulated for various spatial needs. Lighting also plays a crucial role, with extra-large pendant lights in the stairwell tapering to guide guests to the second floor. These beadwork lights allude to the continent's handmade materials. Staggered cord lengths for other lighting fixtures create a rhythmic flow, defining cozy nooks for work, networking, or relaxation, further enhancing the welcoming and culturally rich atmosphere of the Africa Centre. #AfricaCentre #LondonDesign #CulturalCenter #InteriorDesign #TactileMaterials #AfricanArt #RenovationProject #DesignInspiration #RoomDividers

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

This article explores how three Westchester homeowners master the art of chic collecting, blending formidable treasures and flawless taste to create truly livable homes rather than museum-like spaces. Each homeowner or couple showcases a unique approach to integrating extensive and diverse art collections into their personal residences. Karen Schlansky's Chappaqua home, which also functions as a gallery for her business, Rose Court Asian Antiques, exemplifies how Asian art can be seamlessly integrated into various decors. Her 1987-built "country barn" style home, characterized by wide-planked pine floors and exposed-beam ceilings, eclectic furnishings, and diverse collections. Schlansky's collection includes Tang Dynasty pottery sculptures, a third-century pottery lokapala, and Ming Dynasty musicians, which she skillfully mixes with contemporary furniture and art from other cultures like African masks and Southwestern paper collages. Her journey into antique dealing began with a passion for Chinese history and culture during her travels, leading her to establish Rose Court Asian Antiques in 1997. Initially, her gallery was in the lower level of her home, but she later moved it to the first floor to better demonstrate how the pieces would look in a living space. While most of her pieces are for sale, a cherished Qing Dynasty lacquered leather box, representing her family's leather business, remains a permanent fixture, symbolizing her past, present, and future. Dr. Lewis Shapiro and Linda Swanson, after downsizing from a rustic Briarcliff Manor home to a two-bedroom condominium in Trump Tower at City Center, faced the challenge of displaying their extensive global art collection. Their collection, which began in 1985 after Swanson acquired African art from Sotheby's, includes 20th-century wooden masks from Western Africa, thousand-year-old Casas Grandes pottery from Mexico, and antique Chinese snuff bottles. They enlisted Scarsdale interior designer Linda Blair of Blair Interiors Group, Ltd., who, as a collector herself, understood their desire to integrate art into their living space rather than merely displaying it. Blair designed the apartment with a neutral color palette of cream, beige, and caramel to highlight the art and used traditional yet comfortable furniture. Custom cabinetry in the living room showcases a range of their prized pieces, such as a painted gold Ashanti staff finial, a Kuba cub, and a Dan chimpanzee mask. A concrete pillar was transformed into a display for intricately carved Yoruba twins, and an illuminated niche in the entry foyer highlights ancient Roman artifacts, flanked by 16th-century French church columns. The entrance also features framed illuminated miniatures from Les Très Riches Heures du Duc de Berry, holding both artistic and sentimental value for Swanson. Blair's goal was to unify and organize their diverse collection, creating a livable space that avoided feeling like a museum. Marc and Denyse Ginzberg, homeowners in Rye, have transitioned from collecting African art to focusing on Ethiopian crosses. Their sleek, modern home, designed by Charles Forberg in 1993, offers spectacular water views and features custom-made shelves, antique armoires, and chests to display their collections. Initially, their collection included world-class African art such as ceremonial combs, hairpins, hats, sword handles, spoons, clubs, and whistles. After collecting for over 35 years and amassing an impressive collection of authentic African masks and sculptures, the Ginzbergs decided to sell their figurative works due to rising prices. They then shifted their focus to non-figural, abstract objects of use, known as "forms," which were featured in Marc's book, African Forms. After auctioning off a significant portion of this collection at Sotheby's Paris, breaking records for non-figurative African art, the Ginzbergs have now turned their attention to intricately designed Ethiopian crosses from the 12th to 19th centuries, composed of bronze, iron, wood, and silver. This new passion reflects their continuous engagement with collecting and their ability to identify emerging areas of interest in the art world, often ahead of museums and other collectors. #ArtCollection #HomeDesign #InteriorDesign #AsianAntiques #AfricanArt #EthiopianCrosses #ArtCollecting #DecorativeArts #HomeDecor

The Lesire Collection, designed by Botswana-based furniture designer Peter Mabeo, founder of Mabeo Studio, translates the intricate lace crochet techniques of 1900s South African women into a line of hardwood furniture. The collection's name, "Lesire," meaning "wedding veil" in Tswana, refers to a textile characterized by its distinctive scalloped-edge detail, which serves as the primary inspiration for the furniture's aesthetic. This design philosophy not only honors traditional craftsmanship but also provides a global platform for local artisans, as the collection is now available through Design Within Reach. The core material for the Lesire Collection is panga panga wood, a durable hardwood native to Southeast Africa known for its resistance to insects and fungi. This choice of material firmly anchors the collection in its geographical context, a fundamental principle for Mabeo. The designer emphasizes the importance of drawing inspiration from one's immediate environment, believing that globally applicable design directions are more authentically achieved by engaging with familiar surroundings. This approach allows for a blend of innate understanding and acquired knowledge, fostering a sense of freedom in artistic expression. The panga panga wood used in the collection is ethically sourced from LevasFlor, a Mozambican company committed to sustainable harvesting practices and community involvement. LevasFlor's FSC certification ensures a balance between international sustainability standards and local inclusivity, aligning perfectly with Mabeo's vision for responsible and community-centric design. Each piece within the Lesire Collection is meticulously hand-carved by Mabeo's skilled artisans, who meticulously transfer the scalloped-edge motif onto various furniture items, including mirrors, tabletops, credenzas, and storage benches. The angular legs of the tables, credenzas, and benches complement the scalloped pattern, creating a dynamic visual interplay between structural elements and decorative details. The inherent richness and textured grain of the panga panga wood contribute to the natural elegance of each item, while the hand-carved elements highlight the exceptional craftsmanship of the local artisans. This fusion of heritage, artistry, and raw material beauty results in a collection that is both culturally resonant and aesthetically sophisticated. #FurnitureDesign #HardwoodFurniture #MabeoStudio #PeterMabeo #AfricanDesign #SustainableMaterials #HandCarved #CulturalInspiration #InteriorDesign

The article highlights nine Black-owned home brands and stores, aiming to provide year-round support and visibility for businesses that often face limited exposure compared to major retailers. While Black History Month brings some attention, the article emphasizes the need for continuous promotion of these brands. Each featured brand offers a unique range of home decor and furnishings, showcasing diverse styles and ethical practices. Sustainable Home Goods, founded by LaToya Tucciarone, offers a variety of ethically sourced and sustainable products including home decor, glassware, cleaning products, and textiles. The brand collaborates with artisans from marginalized communities globally, focusing on providing job opportunities and economic stability. Notable products include the Pillowpia Tabletop Belly Basket, Creative Women Cactus Silk Pillows, and The Great Lakes Goods Anthurium Forever Flower. 54kibo, established by Nana Quagraine, is inspired by contemporary African design. Originating from Ghana and South Africa, Quagraine curated a collection of home decor, lighting, and linens from African designers. The brand's name, derived from Africa's highest summit and the number of African countries, symbolizes excellence in design. Key offerings include the 54kibo Teal Hand-Tufted Wool Rug, the Amur Matte Black Table Lamp, and the Yellow Cord Woven Mirror Artwork. Jungalow, a women-owned company, focuses on creating vibrant and healthy home environments. Beyond offering colorful wallpapers and quilts, the brand is committed to social responsibility, planting trees in Africa and donating to organizations like Black Lives Matter. They feature exclusive art prints from international artists and handmade textiles from India, such as the Justina Blakeney X Loloi Waves Lumbar Pillow, Jungalow Arched Cane Shelf Set, and the Justina Blakeney Kaya Shorty Ceramic Planter. Sheila Bridges Home, led by interior designer Sheila Bridges, reimagines traditional French toile with designs that reflect African American experiences. Her collection spans textiles, glassware, and wallpaper, bringing a blend of history and classic design. Featured products include the SBD Classic Stripe Wallpaper, SBD Harlem Toile Wall Decals, and SBD Harlem Toile Fabric. Linoto, founded by Jason Evege, specializes in 100% linen bedding, bath, and kitchen products. Evege's personal quest for affordable linen sheets led him to create a business that now boasts over 10,000 orders. Linoto's items, crafted in a New York workshop, include reusable Linen Paper Towels, comfortable Linen Pillowcases and Shams, and the luxurious Linen Spa Towel. Albany Park, co-founded by Darryl and Jessica Sharpton, simplifies the furniture buying process by offering three core sofa designs tailored to various needs. Their Ẹkáàbọ̀ collection, inspired by Darryl Sharpton's West African roots, features bold and colorful African prints. Examples are the Albany Park Ẹkáàbọ̀ Park Armchair, the versatile Park Armchair, and the functional Kova L-Shape Sectional + Console couch. Estelle Colored Glass, a luxury brand by Stephanie Hall, draws inspiration from her grandmother Estelle's glass collection and childhood summers in South Carolina. The brand offers hand-blown colored glass drinkware and cake stands, such as the Estelle Cake Stand Lavender, Estelle Colored Champagne Coupe Stemware, and Estelle Colored Rocks Glass Set. Clare, founded by interior designer Nicole Gibbons, addresses the challenge of selecting paint colors with a curated palette and a "Color Genius Quiz." Their water-based paints are VOC-free and Greenguard Gold Certified. Notable products include Clare Neutral Paints, Clare Primer, and the Clare No-Fail Neutral Swatch Kit, which allows customers to test colors at home. Finally, Pretty Honest Candles, started by Andrea Bertrand, focuses on creating candles with fragrances that effectively fill an entire home. After two years of development, Bertrand perfected her formula, offering 8- and 14-ounce handcrafted soy candles with long burn times, along with wax melts, room sprays, and reed diffusers. Featured items are Pretty Honest Room & Linen Sprays, the Old Flame Soy Candle, and the Honeysuckle Jasmine Soy Candle. #BlackOwnedBusinesses #HomeDecor #InteriorDesign #SustainableLiving #AfricanDesign #Textiles #Furniture #HandmadeGoods #HomeFurnishings

In Lagos, Nigeria, PatrickWaheed Design Consulting (PWDC), co-led by Adeyemo Shokunbi, is spearheading a movement to integrate local materials into contemporary architectural practices, aiming to establish a distinctive Nigerian architectural language. Their focus has been on laterite, a readily available local resource, which they have developed into a modern finishing technique. PWDC's investigations extend beyond surface aesthetics, exploring laterite's potential as a natural dye and its thermal properties to enhance building performance. The firm's work with laterite in projects like the Mad House and Abijo Mosque in Lagos has been instrumental in showcasing the material's versatility and aesthetic appeal. Adeyemo Shokunbi emphasizes the importance of exploring traditional knowledge and materials to create architecture that is not only sustainable but also culturally resonant. The use of laterite aligns with principles of environmental sustainability by reducing the carbon footprint associated with transporting imported materials and supporting local economies. The aesthetic quality of laterite, with its earthy tones and varied textures, offers a unique visual identity that connects buildings to their geographical context. Beyond laterite, PWDC is actively researching other indigenous materials, aiming to revive and adapt them for modern construction. This approach involves a deep understanding of the material's properties, traditional application methods, and innovative techniques for contemporary use. The firm's commitment to material research and development is crucial in an era where globalized architectural styles often overshadow local traditions and resources. By reintroducing local materials, PWDC seeks to foster a sense of place and identity in Nigerian architecture, challenging the reliance on imported materials and their associated environmental and economic costs. The adoption of local materials also presents economic advantages, as it can reduce construction costs and create local employment opportunities. This model of architectural practice promotes a circular economy, where resources are sourced locally, processed, and utilized, minimizing waste and maximizing community benefit. PWDC’s efforts serve as a case study for how architectural design can be a powerful tool for cultural preservation, environmental stewardship, and economic development, offering valuable lessons for architects and designers globally who are seeking sustainable and contextually appropriate solutions. #LocalMaterials #Nigeria #Finishes #WestAfrica #ArchitecturalLanguage #Textures #ContemporaryArchitecture #Laterite #Tyrolean #PatrickWaheedDesignConsulting #AdeyemoShokunbi #BuildingMaterials #TraditionalMaterials