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On Day 2 of Design Week Lagos, Africa’s Relationship with the World Came into Sharp Focus
At Design Week Lagos, incisive speakers swapped the question of how African design reaches the world for a harder one: what it needs at home.
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On 23 October 2026, Day 2 of Design Week Lagos, an exhibition hall of the National Theatre, the cap-shaped landmark in Iganmu built in anticipation of FESTAC ’77, was lined with cream plaster walls that curve like a riverbed. Within these walls was an eclectic array of exhibits spanning design, craft and art. Joinery existing in the interstice between art and design. Ornate tapestries that call to mind the gloriously maximal ethos of the Osogbo Art Movement. Innovative textile designs employing modern techniques while gesturing at age-old formal traditions. And objects that skewer the contemporary design obsession with functionality that often comes at the cost of imagination. One speaker that resembles a cross between a gramophone and the talking drum, with two wooden cones flaring from a white sphere, will have you wondering who decided that speakers should be designed as prosaic cylinders.

At the heart of the exhibition is a tribute to the pioneering Nigerian modernist, designer and architect Demas Nwoko. A circular enclosure lined with large prints depicting a selection of his architectural projects—realised and unfinished, along with paintings and furniture from his oeuvre—elicits the reverence you feel when visiting a shrine. Among the prints is his proposed National Gallery for Abuja, filed under "ongoing projects". Moving across the exhibition, you can feel the design language of Africa unfold from the past to the present, with glimpses of the future too. And yet, even this masterful exhibition was hamstrung by the logistical haphazardness that hovers over events on the continent like an intransigent fly. After days of delays, many of the works on view still lacked title cards, QR codes or a catalogue connecting them to their makers. I wondered whether this omission was a curatorial choice, however puzzling that might be. Conversations with the artists revealed it to be a logistical nightmare.


This might seem a minor point. In reality, the question behind it—what African design needs in order to function—formed the spine of the day’s discussions and keynotes. In Hall 1, where much of the critical conversation of the day unfolded, one question kept returning, as one moderator put it: “How does African design reach the world?” The best speakers dismantled it, posing a harder and more critical one: how can the design conversation in Africa move towards solving problems on the continent? During the session titled ‘International Headline Design Talk’, South African architectural scholar and curator Dr Mpho Matsipa argued that African design has been cast as a makoti (bride) awaiting a suitor’s lobola (bride price), “desperate to be chosen”. Who, she asked, is the suitor, “we’re so desperate to attract, when in fact we should be sorting out our own internal dynamics?”
In an impassioned monologue, Nigerian-American multidisciplinary artist, spatial designer and curator Myles Igwebuike pushed the point further: “What does it look like to take the energy that we want to exert outside, to bring it inside, to create the structures that we need? Why do we have to go there and beg and grovel?” Responding to a question about legibility to international markets, he said: “There’s something incredibly important about not being easily translated.” Nigerian visual artist Victor Ekpuk echoed this sentiment when he described Nsibidi, the sign system from southeastern Nigeria behind most of his works, as messages meant only for “initiates”.

Alongside the focus on the need for African design to tackle the continent’s myriad challenges, the lingering effects of colonialism received their share of the spotlight. During Anna Burckhardt Pérez, Neville Bryan Assistant Curator at the Art Institute of Chicago morning keynote, ‘The African City: Material, Movement and Market’, Matsipa observed that colonial railways were built to carry resources to the coast, not people. Later in the afternoon, she chafed against the notion that Africa needs to get to the global stage. The issue, she argued, “is how we’re represented”. Illustrating the gaps in African representation in the design canon, Anna Burckhardt Pérez, Neville Bryan Assistant Curator at the Art Institute of Chicago, compared a plywood Marcel Breuer lounger to a similar Tiv design, made in the same period. One is considered a marvel of modern design, the other an ethnographic relic.
The topic of collecting drew some of the sharpest remarks. Burckhardt Pérez admitted to acquiring work “with guilt”, often concluding that Chicago is the right home only “because no one else will take it”. For living designers, she argued, a museum sale is income as much as honour, “a monetary component that is really important”. Igwebuike, meanwhile, griped about his inability to see what his own community made in 1970 “because the [Nigerian] National Archives is a mess”.

The session ‘The Art of Collecting Contemporary Design’, moderated by Lola Ogunnaike, offered a sunnier picture of the African design landscape. Victor Ekpuk and Audrey Forson, managing director of TEKURA, observed that African design is increasingly being collected by Africans. “When I first joined [TEKURA], it was a purely export business,” Forson said. “We had no interest from the continent. But with time, I see that the narrative is changing. There’s a sense of pride among Africans about owning or having pieces made by Africans.”
The event itself made the day’s arguments tangible. Sessions ran hours late, the air conditioning and power occasionally gave out and the network was spotty. “This must work. This is really important,” designer Charles O. Job pleaded when a video he had prepared for his presentation wouldn’t play. “Do not expect the museums to do the work for you,” designer Jomo Tariku said of the elisions of Africa’s contributions to the design canon. The same advice applies to the state. African design does not need the world’s permission to exist. It needs the institutions that allow its makers to work, its histories to be preserved and its public to encounter it.
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