Contemporary Crafts & Design from West Africa to the world
Between Passion, Challenges, and Hopes.
In 2016, I signed a commercial lease to occupy a seventy-five-square-meter space on the Faubourg Saint-Honoré in Paris. My ambition was clear: to create a place where contemporary African creation could engage with the rest of the world. I wanted to offer a permanent showcase for African designers, artisans, and artists, while fostering direct exchanges with international collectors and connoisseurs.
Through this space, I sought to address a key issue: How can we sustainably position African talent on the global stage ? According to my projections, this space should cost less than regular participation in international fairs with the same positioning. But in this equation, I had underestimated a key factor: the cost of acquiring a collector. Indeed, building a relationship of trust takes time. At an international fair, it takes an average of three editions to establish this trust; at a brick-and-mortar gallery, it can take between twelve and twenty-four months, or even longer if you're not co-opted or equipped with an excellent network.
This observation taught me that to effectively develop a portfolio of African talent, you need to combine two approaches: a well-located physical gallery and a regular presence at international fairs. This strategy not only maximizes the visibility of creators but also meets the expectations of collectors who seek works that combine quality of execution and a precise message.
As a former gallerist and now a consultant for creatives, brands, and institutions, my career has always been guided by a deep conviction: Africa is full of extraordinary talent who deserve a prominent place on the international stage. It's not just a question of artistic recognition; It's also an opportunity to showcase the work of master craftsmen who, through their work, have built a unique cultural heritage. By supporting these talents, we contribute to boosting the creative economy in Africa while redefining the standards of contemporary design.
Through this adventure, which I cut short after three years due to the strain of independent financial resources, I discovered designers capable of imagining another dimension of Africa, artisans who transform exceptional materials into functional works of art, conveying stories and emotions. Collectors and connoisseurs from around the world who chose to acquire a piece from my selection were convinced by the quality of the craftsmanship, the accuracy of the creative purpose, and the creative process. And for me, each new presentation had to meet this challenge: that of the quality of execution and the accuracy of the purpose.
This path has never been easy. And all gallery owners, curators, and exhibition directors know this only too well: behind every exhibition, every collaboration, lie immense challenges—logistical, financial, institutional—that I have experienced myself and continue to address today in my advisory role.
Double Signature: Dialogue Between Design and Excellent Craftsmanship
Design in Africa reflects a constant dialogue between yesterday and today, between know-how, innovation, and contemporary perspectives. Designers like Jean Servais Somian and Nifemi Marcus-Bello perfectly embody this duality.
Jean Servais Somian, for example, transforms coconut wood into sculptural pieces that tell the story of a tropical material while incorporating a contemporary language: coconut wood. His works are currently on display at the Dagoma Harty gallery, located at 15 rue de Seine in Paris, until May 7. Seeing his creations in this Parisian space is a true celebration of his talent and the potential of African design to appeal to a global audience.
For his part, Nifemi Marcus-Bello explores functional design with a conceptual approach that draws on Nigeria's social and historical narratives. His Oríkì series, for example, illustrates how design can become a vehicle for collective memory while responding to contemporary needs.
These talents don't just create objects; they redefine the contours of global design while remaining deeply rooted in their cultural roots.
© Ọlájídé Ayẹni for nmbello studio
In this dimension of innovation in an African context, the work of Cheick Diallo deeply inspires me. This Malian designer is an iconic figure in the design world, known for his bold approach, transforming local materials often considered "poor"—such as fishing line or metal—into sophisticated art objects. His creations, such as his colorful nylon woven chairs, embody a modern aesthetic while remaining faithful to artisanal techniques found in West Africa.
In June 2024, Cheick Diallo led the RAADEC (Arts and Crafts Residencies in Design and Creation) program initiated within the Art & Exception Innovation Program in the historic town of Foumban, Cameroon. This innovative workshop brought together 25 artisans, 6 apprentices, and 6 students to explore how to combine ancestral know-how and contemporary design. The participants created a series of functional and artistic objects that reinvent local crafts to meet modern needs. This initiative demonstrates that design can be a powerful lever for revitalizing artisanal practices while inspiring a new generation of artisans.
The results of the RAADEC program were exhibited in Foumban before traveling to Paris for Paris Design Week, providing an exceptional showcase for discovering how innovation can transform African artisanal heritage.
© Raadec with Cheick Diallo
Over the years, I have been fortunate to contribute to placing African design on prestigious platforms. In 2021, we collaborated with Christophe Person, then Director of the Contemporary African Art Department , to inaugurate the first exhibition dedicated to contemporary African art at the Marcel-Dassault Hotel at Artcurial in Paris. This landmark event highlighted not only visual art but also African crafts.
By participating on the selection committee for Révélations, the Biennale of Crafts at the Grand Palais Éphémère from 2020 to 2022, the challenge was to give pride of place to the unprecedented selection of workshops from the continent. These included unique creations such as those from Maison Intègre, which reinterprets traditional West African aesthetics with a contemporary perspective from international designers; the workshops of Zizipho Poswa, regularly featured at Loewe, notably in the book Crafted World, a fascinating immersion into the cultural and artistic world of LOEWE under the direction of Jonathan Anderson; lacquered coconut wood works by Jean Servais Somian; and also from Maison Gacha, which showcases textile embellishment expertise. These moments confirmed that African design can compete with international standards while bringing a new and authentic perspective.
In 2024, the Doppia Firma program organized by the Michelangelo Foundation offered an opportunity to showcase a dual signature that facilitates the dialogue between design and excellent craftsmanship. Jean Servais Somian collaborated with Giordano Viganò to create a sculptural console combining wood with masterful gestures. This partnership perfectly illustrates how the continent's talents can also interact with European artisanal traditions to create pieces of universal beauty.
The Challenges Behind Success
But behind these successes lie considerable challenges that I myself have faced while representing African designers on the international stage. Participating in fairs—such as the PAD in Paris, the Salone del Mobile in Milan, or Révélations at the Grand Palais, for the most prestigious—requires significant financial resources: international shipping of works, insurance costs, exorbitant customs duties, the right to occupy exhibition spaces, which are often prohibitive, ranging from €600 to €1,500 per square meter excluding tax, then the costs of scenography and finally the staff to run and manage these spaces. Not to mention advertising costs, these costs can quickly become insurmountable for galleries or even for independent designers who self-finance these projects.
Added to this are logistical challenges: how do you ensure the works arrive intact? What do you do with unsold items after a fair? And above all, how do you compete with European galleries, which often benefit from subsidies or a well-established local ecosystem?
Finally, there is the crucial issue of representation. At a fair like the PAD, nearly 70% of the galleries are French and 90% European. The African continent lacks a solid ecosystem for a sustained presence with a diverse range of players at these highly elite fairs. A handful of courageous players, like Maison Intègre, made a remarkable debut this year and would only be able to repeat the feat over time if they have the means to invest for a certain period without major cash flow pressures.
Committing to the future
Despite these obstacles, I remain convinced that every exhibition is a victory. When Maison Intègre exhibits at PAD or OMI Collective presents its new series at the Salone del Mobile in Milan, or when Lani Adeoye of Studio Lani invites herself with a selection called CRAFT WEST AFRICA, all of Africa gains visibility and credibility on the local and global stage.
Today, my role is to support these brands and institutions so they can navigate this complex environment. This involves not only strategic support but also the creation of an ecosystem where public institutions, private stakeholders, and the African diaspora collaborate to support these initiatives.
This April, as we celebrate the African presence at prestigious events—Maison Intègre at PAD Paris, OMI Collective, Studio Lani, Maison Intègre in Milan, or Jean Servais Somian at Dagoma Harty—it is capital to recognize not only their talent but also their resilience in the face of the challenges they face in order to exist in a highly codified world.
I dream of a future where African design will no longer be seen as an exception but as a given on major local and international stages. A future where our designers will have access to the necessary infrastructure on the continent to produce locally before expanding globally, because yes, we must start at the beginning of the chain: training talent and providing them with the infrastructure to create, collaborate, innovate, and preserve and promote know-how and heritage.
The road is still long, but thanks to the combined efforts of the designers, galleries, and institutions involved in this adventure, we are moving forward every day toward a more inclusive and promising future. Design in Africa is not just a trend: it's a cultural revolution underway—and I am honored to be a witness and participant in it.
Solutions for Better Representation of African Design
The absence of Africa in major design fairs, such as PAD Paris, stems from financial, logistical, and structural barriers. However, this situation can be reversed through concrete actions:
Targeted subsidies: Fair organizers could establish financial support programs specifically for African galleries. These subsidies would help cover high costs related to booths, transportation, and logistics.
Institutional partnerships: Collaborating with African and international cultural agencies could ease access for African galleries by reducing costs and simplifying administrative processes.
Educating collectors: Raising awareness among international buyers about the richness and contemporaneity of African design is crucial to overcoming biased perceptions and highlighting its innovation.
African talents are abundant; they deserve to be supported and given the opportunity to shine on the global stage.
