Design Indaba

Design Indaba Our design stories & videos feature world-class design in unexpected places, uncover the power of des Our core values are education, inspiration and activation.
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Design Indaba inspires and empowers people to create a better future through design and creativity. We are an online publication (designindaba.com) with an annual Festival and social impact do tank. Design Indaba has become a respected institution on the global creative landscape, based on the foundation of our annual Festival that has attracted and showcased the world’s brightest talent since 199

5. We have broadened our through-the-year offering with our online design publication that features the best of the world's creativity and attracts over half a million visitors each year. Through these channels we champion noteworthy design, facilitate and produce creative projects, support creative businesses and run educational initiatives. DESIGNINDABA.COM

Designindaba.com is our online design publication that embodies how creativity and the design sectors are actively driving a better world. It has taken the place of the award-winning print version, Design Indaba Magazine, which was published from 2001 to 2011. Our focus is African and global creativity, through the lens of the work and ideas of leading thinkers and doers, opinion formers, trendsetters and industry experts. In conjunction with Design Indaba’s foray into Africa at the 2014 Expo with the Africa is Now exhibition, designindaba.com has taken on the endeavour to become the leading voice on African design, creativity and innovation. Through designindaba.com we endeavour to inspire and empower our global audience to use creativity to build a better world. Our content surveys every facet of design. Designindaba.com offers world design news and features on up-to-the-minute trends and innovation, image galleries featuring the best of the creative industries, exclusive filmed interviews and design series, videos of Design Indaba conference talks, and a design directory representing global creative thought leaders. We have an activist orientation and not just a journalistic focus. We use our platform as a driver of change and to harness design and innovation to serve people. We feature design for the 99% – with particular emphasis on creativity from Africa – and design that’s linked to improving the quality of life. As a brand we champion the notion that creativity and design have the power to fuel an economic revolution not only in South Africa, but globally. For 20 years, we have scoured the globe partnering with designers that personify this notion and are the leading innovators in their respective fields. Sharing the knowledge we have gained and connections we have made has become our full-time pursuit. DESIGN INDABA FESTIVAL

Established in 1995 with its globally acclaimed Design Indaba Conference, the Design Indaba brand has evolved into a multidisciplinary platform that champions all of the creative sectors. The annual Design Indaba Festival in Cape Town now also includes the highly popular Design Indaba Expo, FilmFest, Music Circuit, multiple Simulcast versions of the Conference in cities around South Africa, and other special events. Go to our Festival page for the latest programme or download our Festival App for updates. DESIGN INDABA DO TANK

As a preeminent creative platform we set our own precedent. We are constantly tackling new self-initiative projects that lead the way in utilising and showcasing the power of creativity, collaboration and canny commercialism. Beyond just reportage, we embody storymaking in action. As part of the Design Indaba Do Tank platform, we play host to a variety of bespoke community initiatives, training workshops, design projects and publications, many of which are funded by the not-for-profit organisation, Design Indaba Trust.

13/03/2026

Today we launch the rolling out of the 25th edition of the Design Indaba Conference talks, with Ghananian chef Selasie Atadika.

Atadika delivered a powerful talk expressing culinary arts and food as a form of design, cultural preservation and political agency. Inspired by her past experience in international affairs which led to her work at UNICEF, she propositioned that what societies eat shapes health systems, economies and environmental outcomes making cuisine a critical but often overlooked infrastructure.

Atadika draws attention to Africa’s heavy reliance on imported staples, a dependency that undermines local agriculture and food sovereignty. The chef advocates for a renewed investment in indigenous crops and traditional knowledge, noting that many African food practices which include plant-based ingredients zero-waste cooking, fermentation and the use of climate-resilient grains predate contemporary global wellness trends.

Central to Chef Atadika’s message is concern over the rapid loss of culinary heritage due to urbanisation, industrial agriculture and generational disconnect. The erosion, she argued, threatens biodiversity, nutrition and Africa’s cultural identities. However, rather than advocating nostalgia, Atadika proposes a new paradigm “New African Cuisine”, a concept that evolves while remaining rooted in indigenous knowledge. In a multisensory element of her talk, she embodied this concept by taking audience members through a tasting journey of African ingredients.

Atadika’s talk expresses how food can be used as a connection between people to their land, history and one community, as well as a pathway toward a sustainable African future rooted in dignity, resilience, and self-determination across the continent.

Visit the link in our bio to watch 's full talk at the Conference

23/02/2026

We met up with visual artist and Design Indaba Emerging Creative alumna, Neo Mahlangu as she exhibited her work at 100 % Design in Johannesburg.

Neo Mahlangu’s work is simple in its ex*****on, yet it there is so much more to it than that which is seen at first glance.

We caught up with the artist at 100% Design in Johannesburg where she was exhibiting not only her drawings, but her highly profiled project with South African Mint.

Mahlangu was approached by South Africa Mint, the company that mints all rand coins, earlier this year to design brand new coins.

It forms part of a collection of newly released R2 and R5 coins which showcase different aspects of South Africa's constitutional democracy, as part of the country's 25th anniversary of democracy.

Other artists involved are Lady Skollie and Pretoria-born Maaike Bakke.

Mahlangu was asked to think about things that are specially important in this country. This led to the artist designing two new Two-rand coins which featured themes surrounding education and children’s rights.

The children's right coin is one that challenged her, reveals Mahlangu, but in the end, she went for expression of feelings as a key focus. “I just chose an age range and chose expressions that captured joy and laughter,” she says.

The second coin focused on the right to education. In this, she looked at her own experiences as a scholar, and chose graduation caps to symbolise that. “This thing is full circle. Whether you are in Grade R or doing your PhD you are always in that cap,” she explains.

You will see in Mahlangu’s work that the design of the coin was nothing new to her as she always focuses on using facial expressions to tell a story, and to showcase human interaction.

“I obsess about human connections and about how people interact with each other,” she explains.

We first met Mahlangu is 2018 where she was part of the Design Indaba Emerging Creatives programme .

Mahlangu revealed that she’s most appreciative for the workshop opportunity that came with being a part of the programme. This was hosted by industry professionals and former Emerging Creatives who have made a name for themselves.

“It taught me how to become a creative entrepreneur. What I learnt from this was that I’m more than my work. I can be a great designer, artist and illustrator, but if I only concentrate on that, then it will be a handicap to my business,” she explains.

09/02/2026

We caught up with graphic designer Thulisizwe Mamba to discuss what he has been up to since being part of the 2015 Design Indaba Emerging Creatives programme.

Johannesburg-based graphic designer Thulisizwe Mamba says that being self-employed has given him confidence as a designer.

Since starting his business, The Board Associates, the designer says he's had to learn about balancing his creative work with other aspects that come with running your own business.

“Most of the time I’m reaching out to new clients, updating my work, doing invoices and reaching out to new suppliers,” he explains.

Mamba has come a long way since he started doing passion projects in high school for a local band he was a part of. The graphic designer first came onto our radar in 2015 when he was chosen as a Design Indaba Emerging Creative.

That year he went onto to exhibit his work at the conference alongside fashion designers like Rich Mnisi and Lukhanyo Mdingi.

“It was an amazing experience. I got to meet people I look up to, potential clients and just the skill of how much is out there that you don’t know. If it wasn't for Design Indaba I would not be running my stuff or doing what I’m doing now,” he says.

The Emerging Creatives programme was created in association with the Department of Arts and Culture as a stepping stone for up-and-coming creatives in fashion, architecture, photography and many other sectors.

05/02/2026

“Designing shows that there’s so many possibilities because there is no one truth. There is power in not knowing.” Lucas De Man

The actor, playwright and theatre director Lucas De Man graced the Design Indaba stage not only as an MC, but to also deliver a rousing talk on creativity.

He took the audience on a humour-filled journey of his various projects and installations around the world.

Professionally trained as a theatre-maker, De Man was very clear in his description of himself: “When people ask me what I am, I always say I am a creator… It means I professionally create…that means I create and somebody pays me for it…sometimes…hopefully”.

His company New Heroes focuses on art projects and urban actions that aim to foster social cohesion.

Speaking about the way he and his team works, he says: “we always have the same work method. We follow our gut. Our gut tells us we have to do something, or we need to do something, or a client comes to us and asks us to do something. If there’s a gut connection, we say yes or otherwise no..”

Lucas De Man echoes all the questions people have thrown at him as to why he does what he does. With emotion in his voice, he says quite simply that it is because “I am a creator…it is in me.”

He shared that being a creator is not easy. Among the things that stand in the way of the creator are self-doubt, lack of funds and ruthless critics.

He says that no artist, or person is better than the other because no one knows the answer to why we are here, the purpose of life, all of it.

He echoes the teachings of the late physicist Stephen Hawking that there is no one truth alongside Descartes’ philosophy that: “I think, therefore I am,” which Lucas De Man says is incorrect.

He reckons that what should replace it is “I don’t know therefore I am.”

In essence no one knows what they’re doing and therefore anything is possible.

“Designing shows that there’s so many possibilities because there is no one truth. There is power in not knowing.”

Watch his talk here
https://www.designindaba.com/articles/conference-talks/lucas-de-man-being-creator-and-following-your-gut

29/01/2026

As an inventor, Manu Prakash loves building devices that empower frugal science – low-cost, widely accessible and useful for field work.

When Prakash took to the conference stage, he shared a preview of a low-cost invention that can turn the tide in the struggle against malaria! How do we teach children about science? “Just show them,” he said. “Their natural curiosity and joy will do the rest.”

His Foldscope, a lightweight optical microscope that costs less than a dollar to produce, is assembled from an origami-based folding design from a single sheet of paper with integrated lenses and electronics.

Manu Prakash is no regular scientist. The physical biologist, who holds a BTech in computer science and engineering from the Indian Institute of Technology Kanpur, as well as a PhD in applied physics from the Massachusetts Institute of Technology, is probably best known for his extraordinary inventions, which make ‘doing science’ easier for people all over the globe.

Applying his expertise in soft-matter physics to illuminate easy-to-observe and hard-to-explain phenomena in biological and physical contexts, the Indian-born polymath is focused on coming up with solutions to problems that bedevil global health, science education and ecological surveillance.

He is keen to democratise the experience of science for all and is particularly driven to assist resource-poor communities. He is also passionate about the diverse life forms on our planet and how they function.

Prakash’s projects range from explorations of how shorebirds drink, to how a few drops of food colouring can demonstrate highly complex behavior such as chemotaxis, akin to active living matter. His early training and research focused on ideas of physical computation, with a goal of building new computational engines capable of manipulating not just bits of information but also physical matter.

Another recent project is a low-cost, sticker-like microfluidic chip that can collect thousands of nanoliter-volume droplets of saliva from mosquito bites that can be screened for pathogens.

Prakash's talk will be released soon.

27/01/2026

Vukheta Mukhari is part of a research team that has created the world’s first bio-bricks made of human urine.

“Nature’s been building structures for far longer than humans,” he told the audience, during his talk, adding that we should harness even waste products, as nature truly knows no waste.

A born innovator, Vukheta Mukhari was always going to be at the forefront of human knowledge.

The Masters candidate in civil engineering at the University of Cape Town (UCT) is passionate about greening the economy, and the ground-breaking project he is currently involved with seeks to develop more eco-friendly building materials, such as bricks.

What makes these ‘bio-bricks’ unique is that they are created from human urine. This is a world first – the US also manufactures bio-bricks from urine, but they use synthetic forms of urine to do so.

The innovative ‘bio-bricks’ - developed by a team comprising Mukhari and fellow student Suzanne Lambert, working under researcher Dr Dyllon Randall - are produced through a natural process known as microbial carbonate precipitation.

Each brick takes just six to eight days to form. With a grant from the Water Research Council, the team is testing various bio-brick shapes and tensile strengths to see how they might be used for construction.

Vukheta Mukhari was part of the Global Graduates class of 2020. Design Indaba curates the selection of global graduates together with the heads of more than 40 design institutes and colleges (and beyond) around the world. Global Gradautes are selected on the basis of their working being a change-maker, demonstrating social or environmental impact, engagement with global challenges, project feasibility, and/or an exceptionally high level of innovation.

26/01/2026

Catalina Lotero is tackling the global energy crisis with a simple, off-the-grid, plant-based solution.

Lotero leads design as the creative director at BCG BrightHouse, where her innovative work showcases design's power to address complex societal issues.

During her talk at the Conference in Cape Town, the Colombian-born American designer, explained the triboelectric effect – contact electrification – which occurs when the leaves of trees rub together.

Through her speculative project, Raiki, she is exploring how this form of static electricity can be harnessed to create energy that everyone can use to power their homes, particularly in poorer parts of the world. “Most energy solutions don’t meet poorer communities’ needs – fossil fuels, solar panels, wind turbines,” she says. “People need something easy to understand, use and fix.”

Lotero studied industrial design in Bogotá, Colombia, and is currently doing her Masters in design at Keio University in Tokyo, came up with the sustainable solution to solve a pressing problem.

One in eight people worldwide does not have access to electricity, with 84% of them living in rural areas. Lotero’s ‘Raiki’ – essentially an autonomous generator – is sure to be a game-changing project.

How it works is simple (and complex). When leaves make contact with one another and with the trunk of a tree, they give off friction-generated energy.

This can be captured and harvested at the plant’s stem, and potentially be converted into electricity. Synthetic biology (where biology and computer engineering meet) transforms trees into efficient energy sources.

One tree could generate around 103kH per hour (via a battery) and this should supply enough power for up to seven houses.

Lotero, who was chosen as one of Colombia’s 40 under 40 entrepreneurs in 2018 – thanks to the design firm she co-founded eight years ago, Whatever Works – has previously completed design work for clients as varied as Netflix, the Discovery Channel, Nike, Suzuki, Oxfam and Jack Daniel’s.

12/09/2025

Antya Waegemann was one of the young global graduates selected to present at the 25th edition of the Conference in Cape Town.

Design Indaba curates the selection of global graduates together with the heads of more than 40 design institutes and colleges around the world. The selection is guided by the United Nations’ Sustainable Development Goals. Each change-maker must demonstrate social or environmental impact, engagement with global challenges, project feasibility, and an exceptionally high level of innovation.

In 2019, Antya graduated from the MFA Products of Design programme at the School of Visual Arts in New York, where she worked on a year-long thesis exploration entitled ‘When No-one Believes You: Redesigning R**e Kits and Responses to Sexual Assault’.

As part of this exploration, she has become a sexual assault advocate at the New York Presbyterian Hospital in New York City and has designed six different products, services and apps that aim to solve the problem of how the US and other countries respond to sexual assault and sexual assault survivors.

Her ingenious products and services include Hark, a speculative over-the-counter post-r**e health kit and r**e kit service, and RN Advocate (RNA), a r**e kit for emergency-room nurses, for which she won the 2019 Graduate Design Award from ICFF x Interior Design magazine during NYCxDESIGN Week.

Her SAFE is a ‘911’ app for sexual assault; Code, is a DNA-detecting medical device; and Redesign the Kit, is a public exhibition of the r**e kit; while Allay is a r**e kit-tracking app.

10/09/2025

British-born graphic artist Patrick Thomas has his finger on the pulse of socio-political movements. His handy Protest Stencil Toolkit helps the ‘woke’ generation create protest graphics for modern-day activism, and he’s ever ready to comment on hot-button topics.

Collaboration has always been an important part of Patrick’s practice, even if he’s conceiving projects alone.

Speaking Conference Patrick Thomas described the importance of making people collaborate. Together with his partner Jonathan Auch, they walked the Design Indaba audience through their newly developed Open Collab 2.0 platform, an interactive tool for creatives to endlessly collaborate.

Prior to their Design Indaba talk, they had done a two week trialing of the new Open Collab tool. Throughout a two-week tour of South Africa’s design schools in Johannesburg, Durban and Cape Town. Which they then presented and launched at Design Indaba as part of their talk.

He framed an acerbic response to the 2013 horse-meat scandal in the UK, in which six carcasses tainted with an anti-inflammatory drug were passed off as beef and may have been eaten by the Queen – his billboard poster depicted a horse with the word “Moo” above it, in large typeface.

And in an era of fake news and the decay of truth, his installation Breaking News saw him producing a real-time graphic response to live news, using processing and coding software. This encouraged members of the public to engage with how news is received, processed and understood. This ongoing project has since been realised in Manchester, London, Seoul, Novi Saad and Rome.

Thomas believes art has a social function and artists should bear witness to the key events of the age.

He’s passionate about the role of public art – his found poster collages see him depicting the letterforms that populate posters in Berlin, the city in which he now lives.

Watch out for Thomas's talk to be released soon.

09/09/2025

As the youngest artist to exhibit in the first-ever Ghanaian pavilion at the Venice Biennale, Ibrahim Mahama is renowned worldwide – both for the scale of his work as well as the way in which it tackles complex and complicated aspects of his country’s past.

Best known for his monumental installations, which see architectural structures dr**ed in vast patchworks of old jute sacks, comparable to the work of the great Christo, he is not simply concerned with spectacle. These pieces represent the very fabric of Ghanaian life.

Once the leading producer and exporter of cocoa, Ghana’s legacy of commerce is tied to these seemingly innocuous objects. Once they’ve served their purpose in housing cocoa, they go on to live extended lives of usefulness as a means of transporting coal. Mahama acquires and reappropriates these materials – integral in the commercial functioning of his country – and examines the methods and processes they play a part in by reimagining their makeup and stitching them back together in new forms. Typically installed in art spaces and public markets, this draping draws attention to the global transportation of goods across borders. His belief in the role of art in not only making symbolic objects but also shifting existing perspectives lends his installations great conceptual strength.

“I used jute sacks because the history of crisis and failure is absorbed into the material. Their history speaks of how global transactions and capitalist structures work. Their humbleness contrasts with the monumentality of the buildings they cover,” he explains.

Mahama’s affinity for the everyday and discarded object extends further than just the jute sacks he’s become known for. A recent exhibition in Manchester saw the artist bring over dozens of plastic train seats and abandoned wooden lockers for his recent show ‘Parliament of Ghosts’.

Watch out for Mahama's talk at Design Indaba Conference to be released soon.

04/09/2025

Natsai Audrey Chieza, is pioneering new models for design and technology that are driven by ecological thinking.

We sat down with the biodesigner for this interview, when she came to speak at the Design Indaba Conference.

Textile dying in the fashion industry is one of the biggest causes of pollution. This is something that Zimbabwean-born bio-designer and researcher Chieza is tackling head on through her work at London-based multidisciplinary design agency, Faber Futures.

She contends that we can take molecular level design and create systems that enable us to apply this research in the real world. “Design is becoming more than human,” she asserts.

“Microbes are becoming material, so we need more tools to better understand these co-dependencies outside of science.” We have cultured only 2% of microbes to date, so there is a lot that is still to be discovered, she says.

In the meantime, we are harnessing the properties of microbes to solve problems within a variety of industries, from fashion to construction.

Her studio won an INDEX award for one of its key research projects, Project Coelicolor.

In this project Chieza looked to integrate the inner workings of a pigment-producing bacteria called streptomyces coelicolor with design processes, to try and find a more sustainable way of dying textiles.

The bacteria lives in soil where it helps to decompose organic matter. It also produces an antibiotic called actinorhodin, which ranges in colour from blue, pink and purple, depending on the acidity of its environment.

This method for dyeing textiles is not only chemical-free but it also uses up to 500 times less water than commonly used dying processes.

Besides her leadership at Faber Futures, Chieza is on the founding and curatorial team of Ginkgo Bioworks’ Ginkgo Creative Residency in Boston. The residency offers creatives three months in Boston to work on projects that intersect with different creative disciplines and biology.

Visit the link in our bio to watch more design talks and interviews.

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