COMMUNITY
From the States to the UK, meet the women – and their organisations – who are championing equity and representation in the design industry
The organisations making real change in the struggle for creative representation
Black Artists + Designers Guild Malene Barnett, USA What was it that made you think, ‘This is it, this is the time’ when it came to establishing the Black Artists + Designers Guild?
There were a series of events that led to establishing Badg. The idea had been brewing in my mind for some time and the concept became clearer during a sabbatical from my rug business. since I was no longer hustling to gain new clients, launching collections or attending industry events, I was able to analyse the industry from a different perspective. It was the absence of Black creatives at What’s new What’s next, a major industry event held in new York, that drove me to call out the industry’s inequities in an Instagram post. soon after, the Black artists + designers guild was born.
‘Black creatives can start by committing ourselves to begin the journey of reclaiming our legacy’ Malene Barnett
Personally, because as a Black artist there is a deeply rooted sense of the personal here, what was your journey to activism?
My journey to activism started in my senior year of high school after reading the autobiography of Malcolm X. ever since then, I’ve been learning and spreading the word about the legacy of Black people.
What steps have, are, and will BADG be taking to advance the community of Black artists, designers, and creatives?
Badg has three initiatives: our mission, creative incubator and education fund. Through our initiatives we provide visibility, creative collaborations, and education opportunities for our members and for the Black community. our inaugural project, through the creative incubator, is obsidian, a virtual concept house. We are reimagining the future of dwellings for Black families through a virtual immersion experience. This is a collaborative project amongst Badg members and positions us as creative thinkers, while creating space to support the multiplicity of Black families.
You speak of taking ownership of Black narratives, particularly at the intersection of culture, design and commerce. How can Black creatives instate authority after such a long history of appropriation?
Black creatives can start by committing ourselves to begin the journey of reclaiming our legacy. start by researching the practices of our ancestors, visit places where Black culture is prominent. This knowledge can be applied to our creative practices and it will encourage us to rethink how we create everything, from objects to spaces.
Since you founded BADG, is there a dialogue in your mind, informed by your conversations and experiences, that has changed the way you work when crafting pieces in your private capacity as an artist?
The dialogue remains the same. I create art, objects and experiences for the liberation of Black people. My work continues to act as a bridge to inspire community and open doors to more in-depth conversations around Black culture.
You are an agent for change, but who are the agents that have informed and changed you as a Black artist and activist?
I continue to channel the paths of renowned artists such as Lois Mailou Jones, elizabeth catlett, Barkley L. hendricks, and others who came before me. Their dedication to both craft and purpose, while keeping cultural traditions alive and creating legacies, encourages me to continue to enhance my artistic heritage with meaning.
While in the US and other countries there are organisations, like BADG, actively working towards representation and equity, how do you think Black creatives from parts of the world where this is not the case should be addressing these issues in a way that can create real and permanent change?
It is time for white ‘gatekeepers’ to address the systemic problems they have created, and for other communities to be proactive and not wait for another Black person to be murdered before joining the battle for racial equality. This struggle shouldn’t depend on the labour or knowledge of Black creatives or people. give Black creatives and people space – we’ve been fighting injustices far too long and our creativity, mental health and physical wellbeing need to be protected. real and permanent change will occur when every person is fighting for equality for all, systemic problems are erased and new foundations are set. This fight is a lifelong commitment and it’s going to take many years of equity building to arrive at permanent change.
From where you are standing, is there hope for change?
Yes, there is hope, but will permanent change occur in my lifetime? I doubt it.
The devastations from racism and white supremacy are embedded in everything we do, and many are numb to the dysfunction. Firstly, people have to acknowledge it, be conscious of it, then take action to go against it every day. We’re still in the planting phase toward change, it’s not the first time we’ve been here, but I’m hopeful that these seeds will grow to benefit future generations.
Black Artists + Designers Guild
badguild.info
United in Design Sophie Ashby (of Studio Ashby) & Alex Dauley (of Dauley Design), UK Lack of representation and diversity in the interior design, and really, the broader design industry is not a new problem. What was the catalyst that for you both crystallised the need to take action now?
Sophie: on 4th June 2020, I issued a statement on the studio ashby Instagram in response to the murder of george Floyd and the global anti-racism movement. I acknowledged some uncomfortable home truths about the elitist and exclusionary nature of the design world and the studio’s own shortcomings in running a diverse company. united in design is a product of the outpouring of energy and the drive for change I received in response to this post, having spoken to so many people and listened to their stories of struggle, sidelining and missed opportunities.
Alex: My passion for united in design was ultimately fuelled by first-hand experience of this reality – which is why having trained and tutored at KLC school of design I began outreach to leading industry figures to specifically promote the benefits of addressing the inequality.
It is unquestionably clear that institutionalised racism is prevalent in, it seems, all industries. Where do you think the issues of race in the design industry stem from?
Sophie: It’s a profession most often afforded by privilege – opportunities to live in beautiful houses, to travel, to visit hotels, private education, access to funding for highly expensive design courses, a foot in the door, all important introductions. It is an uncomfortable but real truth as an industry with the badge of elitism stamped all over it.
‘We just can’t find any Black creatives’ is perhaps one of the more common excuses used by employers to save face when pressed for answers on lack of diversity. How do you respond to this?
Alex: search harder! Please don’t resign to defeat or complacency. We’d like to invite anyone working in this sector struggling to find black creatives to actively participate in united in design – whether you’re an interior designer, maker, supplier, magazine, stylist, photographer, interior architect or anything in between. Please visit unitedindesign.com to register your interest.
As a charitable organisation, we’re asking all members to contribute a nominal annual subscription fee, which will then be used to resource the programme and support young people through many outreach initiatives and events.
How do you see United in Design implementing the changes and systems needed to address the issues of representation and diversity in interior design?
Alex: It addresses the issues with tangible results. In order to take the pledge and become a member of the united in design movement, businesses (or individuals) must commit to three actions from the seven-point actional pledge, which aims to encourage partners to unlock doors and inspire others within the industry to share their wealth of expertise and time with those who need it most. our end goal is to become an ongoing sponsored initiative that is able to nurture, coach and develop high potential candidates from Black, minority ethnic and low socioeconomic groups – eventually funding scholarships, apprenticeships and bursaries for programme participants via annual subscription fees and events.
Sophie: We’re very much at the start of our journey with this and so far, it has been a case of laying the foundations for action. over the next year we hope to get our apprenticeship concept off the ground and start helping students leaving university or design school get a foot in the door.
Alex: By pooling groups of four design studios, makers and suppliers together we are able to provide a 12-month apprenticeship placement, with the apprentice spending three months in each organisation. The apprentice would be paid a junior designer salary, split across the four studios – giving each the scope to gather a broader set of skills, knowledge and contacts in order to progress through the industry.
How do you, through United in Design and organisations that are similar, see change being long-lasting, not so much reactionary but a permanent industry paradigm shift?
Sophie: I think, and hope, that this year has instilled a new kind of energy and vigour for change in many of us - that will continue to propel us forward toward a more permanent shift.
As of October, United in Design will officially registered as a non-profit. What will your next steps be?
Alex: We are excited to announce that our first pool of companies has been put together to offer four united in design apprenticeship placement. Four very lucky applicants will spend three months in companies such as Laura Hammett Interiors, Fromental, Turner Pocock and Brady Williams studio amongst many other leading firms.
We’re so excited to be able to offer guidance, time and expertise to the next generation. We have also just launched applications for mentoring to help candidates at all levels on their journey.
United in Design
unitedindesign.com
‘I acknowledged some uncomfortable home truths about the elitist and exclusionary nature of the design world’ Sophie Ashby