Why One Design Studio Is Offering a New Vantage Point on Black Protest Art

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

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

This article highlights a curated selection of Black-owned businesses focusing on home decor, emphasizing the importance of supporting these brands to uplift the Black community and promote diversity in the design world. The featured companies offer a wide array of products, from luxurious bedding and handblown glassware to unique vintage pieces and contemporary furniture. Linoto, founded in 2007, specializes in high-quality linen products, including bedding, bath towels, and window treatments. Estelle Colored Glass, inspired by founder Stephanie Summerson Hall's grandmother, provides exquisite handblown colored glassware. Global Attic, based in Chicago, sources luxe home decor from Haiti, Africa, and Asia. Livvy & Neva, established by interior designer Keita Turner, offers one-of-a-kind pillows crafted from vintage textiles. Ceramic Meltdown showcases the work of ceramist Kyle Lee, known for bright colors on traditional forms. Clare, founded by interior designer Nicole Gibbons, disrupts the paint industry with a curated color palette and a direct-to-consumer model. Jungalow, created by designer Justina Blakeny, is recognized for its vibrant textures, colors, and bold prints. Malene Barnett, an activist and multidisciplinary artist, produces paintings, sculptures, and rugs influenced by her African heritage and is the founder of the Black Artists + Designers Guild. AphroChic, led by Bryan Mason and Jeanine Hayes, celebrates Black home culture through a lifestyle brand including a magazine, podcast, and decor products. Sheila Bridges, an A-List designer, incorporates her iconic Harlem Toile print into various items like wallpaper, clothing, and Moroccan slippers. Takussanu Senegal supports Senegalese women artisans by offering beautiful handmade baskets, ensuring fair wages and employment. Expedition Subsahara, founded by a former photographer, sells unique accessories to fund a STEAM school for girls in Senegal, dedicating twenty percent of proceeds to education. Eva Sonaike, a London-based company, features bold accessories with a West African aesthetic. Eclectic Home in New Orleans offers a diverse range of items from quirky ceramic pieces to streamlined case goods. Dressing Rooms Interiors Studio in Charlotte specializes in one-of-a-kind vintage decor. Peace & Riot, a Brooklyn boutique, presents housewares and bath accessories reflecting Caribbean and African heritages. Nicole Crowder Upholstery, a Washington, D.C.-based studio, creates bespoke furniture and transforms classic pieces with eclectic fabrics. Modish Decor Pillows, an online and pop-up retailer, sells luxurious throw pillows and tabletops. Mitchell Black, a Chicago-based brand, provides custom wall art, wallpaper, textiles, and rugs. K-apostrophe, led by mixed-media artist K’era Morgan, offers globally influenced prints, blankets, pillows, and tapestries. Bolé Road Textiles, from Ethiopian-born designer Hana Getachew, features soft goods with rich colors and graphic patterns inspired by her cultural background. Goodee World, a socially conscious platform by Byron and Dexter Peart, sells home decor made by minority artisans. Rochelle Porter, an Atlanta-based brand, produces bright, sustainable home accessories and textiles. xNasozi, founded by Nasozi Kakembo, blends international experiences and social justice in her Brooklyn store. Johanna Howard creates supersoft alpaca textiles inspired by her Swedish upbringing. Domain by Laura Hodges Studio, based in Washington, D.C., and led by interior designer Laura Hodges, offers home accessories reflecting her Norwegian, British, and Jamaican heritage. Baughaus Design combines modern and traditional materials to create handmade ceramics, lighting, furniture, and soft goods. Marie Burgos Design, inspired by Paris, features a collection of luxe lighting, furniture, and decorative accessories. Blk Mkt Vintage in Brooklyn curates vintage curiosities rooted in Black history. Jomo Furniture, by Virginia-based designer Jomo Tariku, infuses African art and culture into striking furniture designs. Born Indigo offers luxurious, sustainably made coconut wax candles with unique fragrances. Lastly, 54 Kibo, named after Africa's tallest summit, is a design brand specializing in tabletop to furniture items sourced throughout the diaspora, aiming to address the underrepresentation of African artisans. #BlackOwnedBusinesses #HomeDecor #InteriorDesign #SupportBlackOwned #Designers #ArtisanalProducts #EthnicInspiredDecor #SustainableBrands

Antwaun Sargent, a New York-based critic and curator, has curated his first exhibition as a director at Gagosian, titled ‘Social Works’. This exhibition, which opened on June 24 at Gagosian’s West 24th Street gallery, explores the concept of creating and dissecting space for the betterment of individuals and their communities, particularly focusing on Black social practice. Sargent's curatorial approach is deeply rooted in over a decade of engagement with Black American artists and is characterized by his critical perspective and realistic understanding of the art world. The show features a diverse group of artists, ranging from established figures to emerging talents, and utilizes various media and site-specific installations. The exhibition highlights the intergenerational efforts of Black Americans in developing coping strategies to navigate societal barriers, drawing inspiration from oral traditions, spiritual practices, and lived experiences. Sargent's work in ‘Social Works’ reflects his ongoing commitment to addressing Black agency, moral responsibility in representation, and the significance of formal artistic merit. His influence extends beyond formal publications, encompassing informal discussions and debates with artists and curators, where he consistently challenges existing norms and advocates for self-advancement within the Black art community. The exhibition aims to foster introspection and change by presenting multifaceted perspectives on the Black American experience. Key artists featured in ‘Social Works’ include David Adjaye, Theaster Gates, Linda Goode Bryant, Rick Lowe, and Titus Kaphar. Lauren Halsey, an architect and artist, contributes site-specific sculptures, such as her 'black history wall of respect' (II) and 'box' sculptures. Halsey's work is informed by her family's history in South Central Los Angeles and incorporates found, reworked, and fabricated materials to imagine Afrofuturist possibilities, often referencing the 'FUBUarchitecture' concept. Her pieces, whether monochromatic or vibrant, engage multiple senses and underscore the urgency of civic change from the perspective of a Black woman. David Adjaye, known for his architectural achievements like the National Museum of African American History and Culture, presents his first large-scale sculpture in the US for this exhibition. This monumental work, made from compacted earth, prompts a re-evaluation of material value and aligns with his plans for the Edo Museum of West African Art in Benin City, Nigeria, which will house the Benin Bronzes. Carrie Mae Weems contributes photographs from her ongoing series 'Roaming' and 'Museums', which depict her standing within or in front of public spaces, critically examining their inclusivity. Her presence, often in an elegant black dress, symbolizes her immovable role in supporting cultural structures. Linda Goode Bryant, a veteran in New York’s art and activism scene and founder of the first Black-run gallery, Just Above Midtown, presents an interactive living sculpture titled 'Are we really that different.' Created in collaboration with architect Liz Diller, this piece is inspired by Bryant's urban farming venture, Project Eats, and will provide free food to gallery visitors, marking a unique initiative for Gagosian. Rick Lowe, founder of Project Row Houses, showcases pieces from his 'Black Wall Street' series, which investigates the economic challenges faced by African Americans. His work draws from the history of prosperous Black communities like Greenwood in Tulsa, Oklahoma, emphasizing the importance of independent Black community building and economic empowerment. The exhibition also includes works by emerging artists such as Alexandria Smith and Christie Neptune, reflecting Sargent's commitment to showcasing artists across different career stages and fostering diverse dialogues within the art world. #AntwaunSargent #SocialWorks #GagosianExhibition #BlackArt #ContemporaryArt #CuratorialPractice #AfricanAmericanArtists #ArtAndActivism #CulturalInclusivity

The article explores the aesthetic and symbolic uses of black in contemporary architecture, showcasing various projects that employ the color to convey different meanings such as prominence, invisibility, and spirituality. It draws inspiration from Phaidon’s Black: Architecture in Monochrome, presenting a curated selection of architectural works that exemplify the versatile application of black in modern design. One featured project is the Black Rock house by Mus Architects in Bielsko-Biała, Poland. This family home is designed to mimic natural rock formations, with its exterior cut at multiple angles and sitting on a declining slope. The ground floor connects entrance spaces, including a double garage, to living, kitchen, and dining rooms via a vestibule, while the upstairs private areas offer views to the south and access to a loggia. The building's exterior walls and multi-slanted roof are uniformly finished in fiber-cement Cembrit Quadra tiles, with larch wood panels used for inward-reaching niches to direct sunlight and views indoors. The entrance is recessed, accessed through an arcade opposite the driveway. Another example is the Groundwater Pumping Station by Architekten in Hard, Austria. This cubic structure, with a 450 sq m floor plan, houses technical utilities for water preparation for Bregenz and nearby towns. Its three dark blue enamel-coated metal doors subtly blend with the concrete exterior from a distance but shimmer like water up close. The station's washed-out black concrete exterior contrasts sharply with the nearby late-16th century moated castle, Mittelweiherburg. A public space with a fresh water fountain and concrete seating now connects the two sites. The Stacked Cabin by Johnsen Schmaling Architects in Muscoda, USA, is a woodland retreat designed to recede into its natural surroundings. It uses a material palette of exposed concrete, black cedar, anodized metal, and plaster. The ground floor accommodates facilities like a workshop and storage, while living, dining, kitchen, and bedrooms occupy the upper levels. An elevated study on the third level overlooks the treetops, and yellow curtains can be used for privacy or to separate the kitchen. This project was also featured in Phaidon's Black: Architecture in Monochrome. Casa Bruma by Fernanda Canales in Mexico features a unique design strategy involving a series of small, separate pavilions, laid out physically with wood bits on the ground during planning. The use of low-tech, readily available materials creates a timeless, natural feel. Each building serves a distinct function, such as a garage, utility room, children's sleeping block, and kitchen, with the kitchen connected to the grand dining room by a glass walkway. The design prioritizes privacy, with the kitchen being the only pavilion facing the internal patio, allowing guests to stay independently. Casa Hualle by Ampeuroyutronic in Pucón, Chile, is set amidst open vistas, a lake, and the Villarrica volcano. Its monolithic form and dark-stained softwood skin reference local architecture, traditionally clad in black volcanic rock. Inside, the 230 sq m two-storey space features pale, almost white-stained wood, contrasting the exterior, and smooth, exposed concrete floors. A central double-height volume hosts the kitchen, dining, and living areas on the ground level, flanked by guest bedrooms. The master bedroom and bathroom are upstairs, accessed by a staircase that also functions as a library and studio, with a gallery overlooking the main living spaces. The Kalmar Museum of Art by Tham & Videgård Arkitekter in Kalmar, Sweden, is a rectangular building clad in black-stained plywood panels of varying sizes, installed like large shingles to reference traditional Swedish vernacular architecture. Its four floors of exhibition space lead to a top-floor gallery, all designed as "platforms for art." Open, angular staircases and a dramatic skylight illuminate the cast concrete-lined interiors. This museum was also highlighted in Phaidon's Black: Architecture in Monochrome. D House in Shibuya-ku, Tokyo, Japan, designed by Ron Arad with local firm Issho, is a new-build spanning 180 sq m over three levels. Its narrow profile is enhanced by an expressive façade of patinated steel ribbons, fabricated locally, which add dynamism and create a play of light and shadow on the concrete frame. The steel ribbons contribute to a strong sense of movement in the house. Creek House by Faulkner Architects in Truckee, USA, is a family retreat designed for an AIDS researcher. Immersed in nature, it promotes restorative calm, with raw materials exposed and the home cantilevering over boulders. Patios and a pebble-lined pool encourage outdoor living. The interior features layered, modular spaces connecting large private areas with smaller communal ones, prioritizing privacy. Circulation allows movement from darker, quieter spaces to lighter, exposed areas with floor-to-ceiling glazing, offering views of evergreen trees and rocky landscapes. Materials include steel, rift-sawn oak, bluestone, and white gypsum. Hasseris House by Lars Gitz Architects in Aalborg, Denmark, deviates from the architect's usual style, featuring a low, elegant brick composition with large glass expanses and crafted openings that frame the client's cars. The interior is a blend of minimalism and hygge, with smooth Dinesen Oak flooring adding warmth. The client, a design and travel enthusiast, decorated the interiors, drawing inspiration from hotels and restaurants. Kengo Kuma's Folk Art Museum in Hangzhou, China, is situated in a landscape of rolling hills and lakes, part of the China Academy of Arts. The buildings, no more than two storeys high, integrate with the rural setting, using a cascading roof system to mitigate site irregularities, creating a "village" appearance. Kuma utilized local materials like cedar and reclaimed roof tiles, with a stainless steel wire mesh facade holding the tiles and filtering light and views. Meg House by Olson Kundig in Seattle, USA, incorporates glass, an industrial feel, and a large retractable window. On a steeply sloped site, it offers 180-degree views of the residential landscape and city. The design is respectful of its surroundings, set back from the street with a leafy front garden. Inside, exposed industrial details include unfinished steel beams and plywood casework. The 6,050 sq ft home has three levels: private areas below, open-plan living on the main level, and the master suite on top, balancing transparency, refuge, modernity, and warmth. Todd Saunders' Family Home in Tveiterås Garden City, Bergen, Norway, is a 'symphony in Norwegian wood,' composed of three wood-clad elements. A vertical stack for stairs is bisected by a horizontal beam housing the kitchen, with a utility area supporting one end. The raised level serves as a carport, and a covered walkway leads to the front door. The ground floor includes a porch, utility area, and playroom, while the main space features a 35m-long living area, Dinesen floorboards, and a 9m kitchen counter. Rooms are modest, with a master suite, two daughters' bedrooms, and a living room, complemented by terraces for morning or evening use. Black Desert House by Oller & Pejic in Yucca Valley, USA, was designed as a "shadow" from urban stress and desert sun. Deep insulation cavities and sprayed foam insulation combat heat despite the black concrete exterior. Rooms are linearly arranged on a single level, with the kitchen and dining rooms central to radiating bedrooms. The living room, built into a sloping site, offers landscape views. A central courtyard provides protection from sun and climate, and at night, the house blends into the darkness. This project is also featured in Phaidon's Black: Architecture in Monochrome. Kiritoshi House by Sugawaradaisuke in Chiba prefecture, Japan, features a simple black box exterior that blends with its surroundings. An asymmetric tunnel opens into a light-filled open-plan space with a wood-paneled floor and mirrored ceilings, designed for a family of four. Mirror Houses by Peter Pichler Architecture in Bolzano, Italy, are two luxury holiday rental units on an apple farm. Each unit contains a kitchen/living room, a bath, and a bedroom with skylights. A basement provides temporary storage. A glass facade on the east transitions into the black aluminum shell. The reverse of each house is mirrored glass, reflecting the pastoral landscape. The mirrored glass has a UV coating to protect birdlife. Farshid Moussavi’s Museum of Contemporary Art Cleveland, USA, took six years to build. The 34,000 sq ft space spans four stories, culminating in a top-floor gallery. Set on a hexagonal base, it has six faceted sides: five clad in black stainless steel and one tall glass triangle, echoing the triangular site and leading to a public plaza. Hotel Bühelwirt in Ahrntal, Italy, received a 5,300 sq m extension by Pedevilla. The new six-story structure, located at the north of the plot, includes 20 new rooms, a wellness facility, and a restaurant, preserving the original hotel’s relationship with sunlight and the natural landscape. #Architecture #BlackArchitecture #ContemporaryDesign #ArchitecturalStyles #ResidentialArchitecture #PublicBuildings #SustainableDesign #MaterialInnovation

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

The article explores the exhibition 'In the Black Fantastic' at London's Hayward Gallery, curated by Wallpaper* contributing editor Ekow Eshun. The exhibition, which is part of a larger series of events at the Southbank Centre, is accompanied by a book of the same title. The show serves as an eclectic examination of Black past, present, and speculative futures, aiming to challenge Western accounts of history and offer alternative narratives. Eshun's curatorial approach emphasizes the concept of the 'Fantastic' as a means of excavating and uncovering reality, rather than escaping it. This perspective allows for the deconstruction of centuries of socially assigned personhood and the creation of new meaning from what remains. Many of the featured artworks emerge from this understanding, positioning Black life as a realm of possibilities rather than solely an interrogation of historical conditions tied to previous definitions of Blackness. The exhibition aims to present new propositions and possibilities of Black self-hood, space occupation, and imagination. The exhibition features a diverse range of artistic mediums, including film, painting, sculpture, and installation. Notably, a selection of films created specifically for art spaces is included. Eshun highlights that these films, unburdened by commercial demands, are able to expand the possibilities and 'spectacular strangeness' of Black existence by venturing into other realms. Artists are afforded a greater license to explore personal interests, drawing from conventional histories, folklore, myth, spiritual traditions, pageantry, and the legacies of Afrofuturism to forge what Eshun terms 'The Black Fantastic.' Among the artists showcased are Tabita Rezaire, whose work 'Ultra Wet – Recapitulation' (2017) is presented, and Hew Locke, whose installations are prominently featured. Other contributing artists include Nick Cave, known for his 'Soundsuit' responding to racial violence; Kara Walker, with her stop-motion animation film on the same theme; Chris Ofili; Sedrick Chisom; Ellen Gallagher; Rashaad Newsome; Cauleen Smith; and Lina Iris Viktor. The exhibition critically addresses the placidity of Western historical accounts concerning Blackness, arguing that the global system often leaves non-Western narratives unexplored. It encourages viewers to engage in internal investigations of how 'Western megalomania,' manifested through global homogenization, has obscured ancient discoveries, counter-histories, and future visions from cultures of the 'global south.' The article suggests that by conforming to Western narratives, individuals may become complicit in what is described as an 'attrition of the archive.' The exhibition ultimately calls for an openness to these alternative perspectives, which can challenge and enrich our understanding of history and identity. #BlackCulture #ArtExhibition #HaywardGallery #EkowEshun #BlackFantastic #Afrofuturism #ContemporaryArt #CulturalCritique #LondonExhibition

This article profiles Chicago-based visual artist Amanda Williams, highlighting her distinctive approach to exploring race, social space, and urban landscapes through the medium of color. Williams, recognized as a future creative leader by architect Frida Escobedo, leverages her architectural training from Cornell University to critically examine how racial dynamics influence the perceived value of spaces. Her work, showcased in prestigious venues like the Venice Architecture Biennale, MoMA, and the Museum of Contemporary Art in Chicago, challenges viewers to reconsider their understanding of built environments. One of Williams' most significant projects, *Color(ed) Theory*, delves into the redefinition of color through the lens of Black culture. This series features eight houses in Chicago’s Englewood neighborhood, all slated for demolition. By painting these neglected structures in specific hues and then photographing them, Williams draws attention to the systemic underinvestment in African American communities. A key aspect of this project is the unique color palette she developed, with each color named after culturally resonant items, places, or spaces within the Black community. Examples include "Pink Oil Moisturizer," referencing a hair product for Black hair, and "Harold’s Chicken Shack," an homage to a popular African American-founded fast-food chain in Chicago. Other colors like "Ultrasheen," "Newport 100s," "Crown Royal Bag," "Flamin’ Hot Cheetos," "Currency Exchange," and "Safe Passage" all carry specific cultural meanings, which Williams notes are immediately understood by members of the African diaspora. This linguistic and cultural nuance highlights the different interpretations and understandings that arise between disparate communities, effectively using color to bridge or highlight these gaps. *Color(ed) Theory* gained significant recognition, being exhibited at MoMA and featured in *The New York Times* as one of the "25 Most Significant Works of Postwar Architecture." Another notable exhibition, *Embodied Sensations*, a solo show at MoMA in spring 2021, explored themes of bodily autonomy and movement within space. Williams conceptualized this exhibition during the global pandemic, drawing parallels between the disorientation and restrictions experienced by the general population during Covid-19 and the everyday physical and social constraints faced by marginalized groups, particularly Black women. The exhibition included a performance piece where visitors engaged with prompts related to movement, further emphasizing the lived experience of navigating restricted spaces. Williams explains that this shared sense of vulnerability during the pandemic allowed her to remind audiences that such limitations are a constant reality for many. Looking ahead, Williams is scheduled to participate in a group exhibition titled *Social Works II* at Gagosian London and will present a standalone booth at Art Basel Miami with Rhona Hoffman Gallery. Her year-long project, *What Black Is This You Say*, which began as an Instagram series during the pandemic, has evolved into watercolors, oil paintings, and public art installations displayed at the Storefront for Art and Architecture in Manhattan. Williams views her work as an opportunity to ask challenging questions about racial inequality and the persistent struggle for existence faced by Black individuals globally. She contends that art, design, and architecture have historically contributed to these spatial injustices, making it imperative to address them through creative practice. Williams expresses optimism about the current moment, believing it to be a crucial period for Black artists and designers to not only be recognized but to thrive. She emphasizes the concept of prosperity, which for her encompasses joy, liberation, and self-determination. This idea is explicitly explored in projects such as *We’re Not Down There, We’re Over Here*, featured in MoMA’s *Reconstructions* exhibition. Through her diverse artistic output—including paintings, installations, and exhibitions—Williams consistently raises critical questions about urban environments, racial undertones, and political issues, asserting that "There is no day when colour isn’t present," underscoring the pervasive nature of these themes in daily life. #AmandaWilliams #ArtAndArchitecture #ColorTheory #SocialJustice #UrbanArt #BlackCulture #ContemporaryArt #RacialEquality

The perception of gallery walls as a dated decor trend has been challenged by designer Sara Simon's approach in a Greenwich Village townhouse. Previously dismissed for being cluttered or belonging to an older design era, Simon's work demonstrates that with thoughtful execution, gallery walls can achieve a timeless aesthetic. Simon's design, featured in a $23 million New York City townhouse, utilizes a gallery wall composed entirely of black-and-white photography, primarily depicting musicians and cultural icons. This choice of a consistent monochrome palette is crucial in unifying the diverse images, making the wall appear cohesive despite its varied content. The images, such as The Beatles meeting Muhammad Ali or Frank Sinatra mid-shave, possess a vintage quality without being anchored to a specific decade, allowing them to blend seamlessly. Scale is another critical element in Simon's design. Recognizing the height of the walls in the parlor room, she incorporated a mix of large and smaller frames to fill the entire space, avoiding a rigid, grid-like appearance. This approach creates an animated feel that harmonizes with the room's vintage furniture and the home's historical character. Simon intentionally avoided perfectly aligned frames, opting for a more organic and dynamic arrangement to enhance this effect. To further unify the eclectic collection, Simon chose consistent wood frames throughout the gallery wall. While she emphasizes that matching frames are not a strict rule, this choice contributed to the overall harmony of this particular installation. She believes that the true success of a gallery wall lies in its ability to reflect the personality and interests of the homeowner, describing it as an expression of the individual's life and perspective. Simon highlights that her design principles are not rigid doctrines but rather adaptable strategies. She acknowledges that in her own home, she employs a gallery wall that mixes photographs, paintings, and various colors. This flexibility underscores the idea that customization and personal relevance are key to making a gallery wall timeless and meaningful. The setting of Greenwich Village, known for its artistic and eccentric residents, further supports the notion that a personalized, art-filled environment feels perfectly at home. In addition to the main gallery wall concept, the article provides several product suggestions for readers looking to create their own gallery walls. These include a pre-curated set of varied frames for an eclectic look, a bold colored print to make a statement, a consistent geometric frame for a cohesive feel, and a vintage-inspired photographic print. The article also touches upon incorporating tiny art and utilizing matted frames to give casual snapshots a sense of authority. It concludes by suggesting the inclusion of vintage tapestries as an emerging trend in art and decor, potentially integrating them into a gallery wall for added texture and interest. #GalleryWalls #InteriorDesign #HomeDecor #DesignTrends #ArtCollection #BlackAndWhitePhotography #PersonalStyle #TimelessDesign

Contemporary interior design is witnessing a profound transformation, moving beyond mere aesthetics to create deeply personal, experiential, and expressive living spaces. This shift is marked by a resurgence of sculptures as primary design elements, transcending their traditional roles in museums and gardens to become integral components of architectural design within homes. Sculptures are now seen as instrumental in shaping the atmosphere and guiding movement within a residence, reflecting a growing appreciation for contemplative beauty in everyday life. Internationally recognized Indian sculptor Murtikar Naresh Kumar Kumawat, renowned for his Samudra Manthan mural in the new Parliament, emphasizes that sculptures are establishing themselves as a permanent fixture in interior design. Historically, Indian sculptures primarily depicted divine figures, animals, and intricate stone carvings. While these traditional forms continue to inspire contemporary aesthetics, modern Indian artists are broadening the scope to include abstract and kinetic art, utilizing diverse materials such as industrial steel, polished resin, and ceramic alloys. This evolution encourages residents and designers to approach the entire space as a canvas, where a singular, impactful sculpture can redefine the room's character. For instance, a large, abstract metal sculpture placed in a minimalist foyer can become a dynamic focal point, its raw energy invigorating an otherwise quiet space and complementing the overall architectural design. Sculptures possess a unique ability to engage viewers and redefine three-dimensional space in ways that two-dimensional paintings cannot. They invite interaction from multiple perspectives, influencing the flow and perception of a room. Designers are leveraging this characteristic, using sculptures to subtly direct movement and attention. A series of wall-mounted pieces, a rhythmically arranged collection, or a delicately suspended installation can guide the eye through a space. Furthermore, a strategically positioned large vertical sculpture in an open-plan living area can function as an elegant, non-physical divider, separating conversational zones from dining areas without the need for solid walls. This architectural utility is highly valued by individuals seeking distinctive living environments. There is a discernible trend among homeowners to view their residences as extensions of their identity, artistic preferences, and personal philosophies. This perspective has led to an increased demand for sculptures that function as small-scale architectural installations, indicative of a sophisticated artistic sensibility. In modern design, the selection of a sculpture often precedes furniture choices, with the artwork dictating the room's color palette, material textures, and lighting scheme. Subsequent furnishings are then carefully chosen to complement and support the sculpture, ensuring it remains the artistic nucleus of the space. In contemporary homes, sculptures are often placed to foster a seamless connection between indoor and outdoor environments. A robust stone or bronze figure, for example, can effectively anchor an interior, bridging the gap between sleek modern designs and the dynamic elements of a garden, thereby imparting a sense of timelessness and intentional connection with nature. Kumawat notes that this burgeoning artistic trend has significantly benefited the Indian contemporary art market. Homeowners are actively commissioning both emerging and established Indian sculptors for site-specific works, thereby fostering a stable and robust ecosystem for creative talent. This practice not only ensures an aesthetic fit tailored to individual homes but also cultivates a deep personal connection to local craftsmanship and artistic vision. The use of innovative and unconventional materials further enriches this trend. Sculptures crafted from reclaimed wood, repurposed textiles, or recycled industrial waste not only offer visual interest but also reflect a growing environmental consciousness and a commitment to responsible consumption among Indian consumers. Therefore, sculptures are no longer mere accents but central characters that structure and elevate modern Indian homes, transforming ordinary living areas into sophisticated, complex, and highly personalized works of art that capture a cultural moment characterized by optimism and discerning taste. #SculptureDesignTrend #HomeInteriors #ArchitecturalSculpture #IndianArt #MurtikarNareshKumarKumawat #ContemporaryArtMarket #SustainableArt #PersonalizedHomeDecor #ExperientialDesign

This article highlights 17 Black-owned home decor brands, emphasizing their unique contributions to the design industry and their commitment to community and heritage. The brands featured offer a diverse range of products, from wall hangings and glassware to furniture and textiles, catering to various aesthetic preferences and price points. Goodee, co-founded by Byron Peart, is presented as a marketplace curating ethically made, artisanal pieces, many from Black creators. Peart notes that the brand aims to provide a platform for skilled yet underrepresented ethical makers globally, addressing existing barriers to entry in design fields. Clare, a direct-to-consumer paint company founded by Nicole Gibbons, simplifies paint shopping with mess-free peel-and-stick swatches and site features designed for creative color selection, appealing to customers who appreciate bold colors. Jungalow, which began as a design blog by Justina Blakeney, has evolved into a lifestyle brand and store offering boho designs and unique artisan pieces. Its product range includes art prints, throw pillows, vases, living room furniture, and tableware, reflecting an eclectic and feel-good aesthetic. Lichen, a Queens-based retailer, provides a curated selection of in-house designs, vintage items, and emerging brands, all chosen to elevate interior spaces. Harlem Candle Company, founded by Teri Johnson, is a luxury home fragrance company inspired by the Harlem Renaissance. Its aromatic soy candles celebrate African American icons and are designed to transport users through time and place. Raini Home, an extension of the Brooklyn concept store Sincerely, Tommy, focuses on statement furniture and decorative accents with a minimalist, sculptural feel, each piece handcrafted in the Brooklyn Navy Yard. Design Dua, founded by Coretta Owusu, produces dried elephant grass bassinettes and dog beds designed in Ghana and handwoven by West African weavers, supporting local craftsmanship. Curves by Sean Brown offers a distinctive and playful line of home goods, including rugs shaped like Black CDs, inflatable chairs, and bedding with unique slogans. Palette Pots, created by Latrice Thompson, offers vibrant planters in a range of colors inspired by Wes Anderson films. Estelle Colored Glass, founded by Stephanie Summerson Hall, features hand-blown pastel stemware and cake stands, with designs influenced by Hall's grandmother and available through major retailers like Anthropologie and West Elm. Linoto, established by Jason Evege, specializes in luxurious linen sheets produced in Westchester County, New York, with the aim of making high-quality linen bedding more accessible in the U.S. Yowie, a Philadelphia-based boutique by Shannon Maldonado, curates unique housewares, kitchen goods, and trinkets from independent artists, emphasizing immaculate vibes. Bolé Road Textiles, founded by interior designer Hana Getachew, offers unique textiles and fabrics, such as towels, pillow covers, and throws, designed in Brooklyn and handwoven in Ethiopia. Soukie Modern, co-founded by Kenya Knight and Taib Lotfi, combines Palm Springs and Marrakech aesthetics, offering vintage rugs and wall art, ensuring unique pieces for the home. Candice Luter creates macramé wall hangings using natural cotton rope, providing abstract designs that add texture to walls, with options for custom pieces. Finally, 54kibo focuses on contemporary African design, sourcing ceramics, decorative pillows, and table linens from designers leading Africa’s creative economy, offering unique items that help homeowners avoid a generic look. BLK MKT Vintage, curated by Jannah Handy and Kiyanna Stewart, offers secondhand items rich in Black history and culture, including historical merchandise and vintage publications. #BlackOwnedBrands #HomeDecor #InteriorDesign #ArtisanalProducts #EthicalSourcing #CulturalHeritage #SustainableDesign #CommunitySupport

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

The article highlights a growing trend among interior designers and clients to move away from plain, flat-painted walls towards more textured finishes. Sondra Ganz of Studio Ganz notes that many clients are requesting walls with more visual interest, finding traditional painted walls to be boring. Textured walls offer a more transportive and bespoke feel, though they typically involve a longer-term commitment and may influence decor choices more significantly than a simple paint color. Several creative and daring designers shared their approaches to incorporating texture into wall designs. Becky Shea, an interior designer, advocates for bringing the outdoors in by using reeded wood paneling. In one bedroom, she installed reeded walnut paneling that extends behind the bed and onto the ceiling, creating a warm, enveloping effect. This method adds depth and visual interest without relying on traditional wallcoverings, resulting in an elevated and timeless space. Rachael Gowdridge introduced a unique method for uniform tiled walls, moving beyond typical high-gloss drama. She designed bespoke tiles inspired by a 19th-century yew tree sprig, using a repeat pattern to add whimsy. The bright white base of the tiles keeps the room feeling fresh, and extending the tiling to a monolithic basin shelf simplifies finishes and adds playfulness, especially effective in small spaces. Grasscloth is presented as a middle ground between paint and wallpaper, offering the solidity of paint with the dimension of wallpaper. Gowdridge utilized a rich green grasscloth to create a lived-in, layered feel in a room. She explained that grasscloth's natural variations in tone and weave instantly make walls more sophisticated, adding a tactile quality that softens the space and provides warmth without overwhelming the eye. Fabric folding screens, or room dividers, are suggested as a cost-effective way to add texture and define spaces. Marty Dykas used a fabric-covered custom screen to separate a dressing area from a bedroom and serve as a headboard, enhancing the visual appeal of a highly visible flat. The silky-smooth fabric of the screen contributes significant texture. Andy Barlow, head of interior design at Thesis Architecture, embraced original wood paneling in a family home built in 1914. This preserved architectural element served as a key design feature, influencing the decision to keep the kitchen light and bright to balance the darker, cozy wood tones on the main floor, ensuring the original character of the house was maintained. Exposed painted brick is another textural element discussed. Anshu Bangia, co-founder of Bangia Agostinho Architecture DPC, uncovered existing brick walls in a historic Brooklyn kitchen during renovation. Repaired and incorporated into the new design, the painted brick added texture and depth, acting as a light, airy backdrop in the open kitchen and along the stair hall, connecting all levels vertically. Patterned wallpaper remains a classic choice for adding personality and depth to walls. Miranda Cullen, a Colorado-based designer, frequently uses wallpaper in her projects. She noted that patterned wallpaper can highlight architectural features, add personality, or enhance a color palette. For example, in a breakfast nook, a subtle blue patterned wallpaper softened sharp architectural lines and created a cheerful backdrop, proving wallpaper's ability to add refined character without being overwhelming. #InteriorDesign #WallDecor #TexturedWalls #HomeRenovation #DesignTrends #Wallpaper #WoodPaneling #TileDesign #Grasscloth

African design is increasingly gaining global recognition for its unique magnetism and rich heritage, shifting from a previously overlooked status on the international stage. This burgeoning movement is championed by a new generation of designers who are skillfully blending traditional African craftsmanship with contemporary aesthetics, bringing a fresh perspective to furniture, textiles, and art. Among these prominent figures is Chrissa Amuah, founder of Amwa Designs, a London-based studio that creates textiles, furniture, and art inspired by Ghanaian sensibilities. Her 'Asanka' table, for instance, incorporates a jesmonite interpretation of a traditional West African grinding bowl under a glass top, with its wooden base drawing from the Ghanaian Adinkra symbol Adinkrahene, representing authority and leadership. Amuah's designs often feature vibrant color combinations and off-center silhouettes, embodying a balance of strength and vulnerability. Another notable presence is Altin Studio, founded by Mehdi Kebaier and Yasmine Sfar in Tunisia. This studio celebrates local design by utilizing native materials like sea rush, clay, and palm wood. They reinterpret age-old techniques through a contemporary lens, evident in pieces like the 'Ganymede' cabinet, which contrasts woven sea-rush panels with earth-red metal, referencing satellite patterns. Their 'Petite Ourse' seat, hand-carved from palm wood, also draws inspiration from celestial themes, alluding to the 'Little Bear' constellation. From Lagos, Nigerian designer Nifemi Marcus-Bello leads Nmbello Studio with an ethos rooted in empathy and respect for people and places. His work, developed over the past decade, has garnered several awards, including the Hublot Design Prize and the Curator’s Choice: Design for Good Award. His 'Oríkì' series, particularly 'Act 1: Friction Ridge', explores materiality and form through bronze sculptural benches, named after the Yoruba practice of praise poetry, and launched with an immersive installation featuring a soundscape of his mother reciting his personalized oríkì. In Johannesburg, Thabisa Mjo, the creative force behind Mash.T Studio, produces furniture, lighting, and homeware that celebrate South Africa's diverse cultural tapestry. Collaborating with artisan communities, she incorporates materials such as colored beadwork and repurposed telecommunication wire, traditionally used by Zulu watchmen, into pieces like her 'Bright Light' pendant and '4Kona Light'. Her recent lighting collections honor Xhosa customs and circular architectural forms found in rural areas, employing vibrant palettes that signify abundance and festivity, thereby promoting local crafts globally. Rich Mnisi, a Johannesburg-born designer, initially made his mark in fashion before venturing into collectible furniture. His work bridges the gap between function and art, drawing inspiration from the women in his life, queerness, and heritage. Pieces like the 'Nwa-Mulamula' chaise, displayed at Southern Guild’s ‘Mother Tongues’ exhibition, reflect the reclining body of his great-grandmother, showcasing a striking fluidity and organic elegance. His new work, ‘Vutlhari (Wisdom)’, a light crafted from bronze and resin, also features sweeping silhouettes. Zimbabwean artist Xanthe Somers draws on her homeland's customs for her hand-built ceramic sculptures, often functional as lighting and vases. Her 'In Bad Taste' collection challenges the political aspects of design, critiquing Western overconsumption and the impact of eco-racist practices on the global South. Her work, displayed in prestigious venues like London’s V&A; Museum, features vivacious colors, exaggerated silhouettes, and thought-provoking narratives. Don Tanani, a contemporary Egyptian brand, aims to redefine Egyptian design and showcase local talent. Collaborating with designers like Lina Alorabi, whose work has been exhibited internationally, the brand focuses on reclaiming Egyptian identity through sophisticated pieces. Alorabi’s 'Moruna' collection features a conversation chair, a curvaceous sun lounger, and coffee tables with tile patterns, reflecting the dynamism of Cairo and collaboration with craft experts. Finally, South African ceramicist Chuma Maweni began his journey crafting vessels using a pit-firing technique intrinsic to the Nguni people, developing a distinctive aesthetic of dark, porous surfaces and hand-formed sculptural outlines. After opening his Cape Town studio in 2016, his work, including the 'Imbizo' dining table and stools, has been exhibited globally and acquired by institutions like the Metropolitan Museum of Art, continually celebrating traditional craft through a fresh, contemporary lens. #AfricanDesign #Craftsmanship #ContemporaryDesign #FurnitureDesign #TextileDesign #CeramicArt #CulturalHeritage #EmergingDesigners #GlobalDesign

With spring approaching, the tradition of spring cleaning and redecorating provides an opportunity to refresh living spaces. This period also serves as an opportune time to support underrepresented groups, particularly during Black History Month in February. The article highlights 15 Black-owned home décor brands, offering a diverse range of products from art and rugs to candles and furniture, all available for online shopping. One prominent brand, Jungalow, founded by Justina Blakeney, began as a design blog and has evolved into a lifestyle brand known for its playful designs and colorful accents. Jungalow offers art prints, unique wallpapers, and ceramic planter pots, with many items also available at Target. For Alma Home, launched by Traci Ford in memory of her aunt, features a variety of home accents, including candles, furniture, and bedding, catering to both boho and modern design tastes. Highlights include a bamboo and rattan pendant and a stylish modern bar cart. 54kibo, founded by Nana Quagraine, brings contemporary African design to a global audience. Quagraine, originally from Ghana and raised in South Africa, curates a vibrant collection of furniture, lamps, rugs, and art, such as mesmerizing double panel artwork from artist Lisa Hunt. The Fond Home is an online boutique that emphasizes home products reflecting personal journeys. It offers thoughtful minimalist accents like abstract prints, neutral pillows, and elegant vases, including a wood and marble décor piece. Don't Sleep Interiors focuses on combining décor with culture from the African Diaspora. Its Etsy shop features items like pillows with logos of post-Civil War Black-owned newspapers and museum-quality African mask poster prints, designed to spark meaningful conversations. Vela Negra, a Black-owned candle company by Aisha Cort, creates ethically made luxury candles using black wax, inspired by Cort’s Afro-Cuban and Guyanese heritage. The black wax is intended to absorb negative energy, and the candles are hand-poured with 100% vegan coconut wax and ethically sourced materials. Home by BE, an online marketplace curated by interior designer Brittaney Elise Minton, offers sophisticated furniture and home décor items. Minton, who has worked with celebrities, provides access to chic, contemporary pieces blended with traditional details, such as a square oak coffee table and a sandalwood candle. Rayo and Honey, founded by Roachele Negron, is known for its inspiring pennant flags featuring pop-culture references, powerful quotes, and positive affirmations. These handmade canvas pennants, along with tote bags and pins, have gained significant popularity. Made By Rheal, an Etsy shop based in Oakland, California, specializes in handmade functional art pieces. The shop offers minimalist plant pots, marbled glass coasters, and unique concrete hand holders for trinkets, as well as handwoven art throw blankets that double as wall tapestries. Linoto, a Black-owned linen brand by Jason Evege, provides high-quality 100% linen goods, including sheets, curtains, napkins, and towels, with fabrics woven in Italy and items made in the U.S. Tackussanu Senegal, co-founded by Jasz Dio and Cheikh Biaye, showcases the traditional art of Senegalese basket weaving. The brand works directly with artisan women in rural Senegal, ensuring fair wages and using sustainable, eco-friendly materials like locally grown grass and recycled plastic. Nifteenest, another Etsy shop, offers African-inspired prints and colorful décor, including lampshades, wall art, table runners, and pillows. Reflektion Design, created by Anitra Terrell, brings authentic African art and décor, such as rich woven baskets and handmade art pieces, sourced from artisans in Ghana, Kenya, and Uganda. Goodee, founded by Byron and Dexter Peart, is a curated marketplace for home items with a focus on conscious commerce, ethical supply chains, and environmental impact. It offers intricate woven baskets from Ghanaian artisans and handmade throw pillows from India. Finally, AptDeco, co-founded by Reham Fagiri and Kalam Dennis, is a Black-owned online community for buying and selling pre-owned furniture and home goods. It simplifies the process with safe payments and professional delivery services, currently available in select cities. #BlackOwnedBusinesses #HomeDecor #BlackHistoryMonth #InteriorDesign #SustainableLiving #HandmadeGoods #ArtisanalCrafts #CulturalHeritage #OnlineShopping