According to a 2020 report in Archinect , only 0.4% of licensed architects in the United States are Black women. And a recent survey from Zippia revealed that within a $17.5 billion industry, there are only 2.3% of interior designers in the U.S. who identify as Black or African American. Although the statistics speak for themselves, the number of Black-led design firms and minority-owned studios is noticeably increasing by the day, and more resources are becoming available. During the pandemic, many members of the Black community experienced a heightened level of visibility. Even though short-term progress is certainly being made, the design and architecture industry still has so much room for improvement in the long run.

As important as it is to honor the trailblazers of the past—like the late Norma Merrick Sklarek —for making this a possibility, we should also give credit to those who are shifting the culture in the present. We spoke to 10 designers and architects who are currently breaking barriers. Not only have these women infiltrated a world that has historically excluded them, but they are also taking up space and sharing it for future generations of BIPOC to follow.

A portrait of Estelle Bailey-Babenzien, the creative director and experiential, visual, and interiors designer behind Dream Awake.

Estelle Bailey-Babenzien

Between leading her interior architecture and experiential design studio, Dream Awake , and running the clothing brand Noah with her husband, Estelle Bailey-Babenzien is a woman with a vision—whether the assignment is brand development, the sensory experience, or custom furniture and lighting. As a person of half Ghanaian descent, she is deeply inspired by the colors and patterns of African design and the diversity across the continent. “I naturally reference much of this in my design curation and will continue to do so,” she explains. “I like to break the rules and follow my instincts. We all have our own sauce—that is what makes something unique and original.”

For as long as she can remember, Bailey-Babenzien has always been interested in design. As she recalls, “I didn’t see people who looked like me in the world of interior design or in magazines.” Despite the lack of representation, she wound up exploring a career path in creative direction. After studying fashion at Central Saint Martin’s, Bailey-Babenzien pivoted to music and eventually back to visual merchandising and retail design. It was during this transition that Bailey-Babenzien realized that her passion and talent for interior design was something to be taken seriously and she hasn’t looked back since. At the moment, she’s most excited to design more spaces in retail, hospitality, and residential that will “bring forth designs and creativity from around the world,” she says. Stay tuned for Bailey-Babenzien’s upcoming residential project for Tood founder Shari Siadat , along with a new retail store for The Social Club , and many other special collaborations and custom designs.

Architectural Digest : From your point of view, what should the future of design look like?

Estelle Bailey-Babenzien: I want the future of design to look like a true representation of our world. Taking the beautiful age-old techniques and craftsmanship from bygone eras, rich cultures, and ethnicities to new heights. The design community should be much more inclusive, enriched, and diverse. The more the old guards of design make space for cultural minorities, the more innovation we will see. Some of the rules of what’s good and what’s not will shift. I think we will see new eras and movements in design as more global perspectives are included, shared, and experienced.

What piece of advice would you give to BIPOC who are interested in design but don’t know how or where to start?

Take one step at a time. Take the first step by either finding an educational course or an internship in an area of design that interests you. Don’t be afraid to take the small jobs and learn. Be eager, do each task to the best of your ability, and stay focused on your inner voice of what you really love and are naturally good at. Then make intentional efforts in the direction of your dreams.

As your confidence and experience grows, it’s important to speak up and put yourself forward for opportunities. People don’t always see BIPOC in high-ranking or influential roles, so you have to help them to see you—and do it in a humble yet assertive manner.

Black Artists + Designers Guild founder Malene Barnett inside her studio.

Malene Barnett

When Malene Barnett established the Black Artists + Designers Guild (BADG) in 2018, the artist and activist wanted to create a space for Black creatives “seeking community, collaboration, and creative support.” She still remembers the moment that changed the course of her career: While attending SUNY Purchase, she learned about Lois Mailou Jones and was so inspired by her life that she decided to pursue textile design at the Fashion Institute of Technology instead. After graduating in the late ’90s, Barnett managed to turn a freelance gig of designing African print fabrics into a full-time job. She notes that these patterns “changed the trajectory of contemporary African print fabric.” As she further explains, “My interest in design focused on using my artistic background and heritage to create products for many people to experience in their homes.”

From there, Barnett was hired as a designer for a rug manufacturer, which quickly became her niche. “I spent many hours studying the market and learned who’s who and networked like crazy,” she remembers. “Research is an essential element to understanding the design industry.” Once Barnett became the principal of her own carpet design business in 2009, she was able to fully center a creative practice around the modern Black experience. Now, she’s considered an “authority on the cultural traditions and practices of art in the African diaspora,” as her website states. Barnett is currently part of the group show The Universe Within at Mindy Solomon Gallery in Miami. Her MFA thesis show for the Tyler School of Art and Architecture takes place in March 23–26, 2022. “Regardless of where you are in your design career, remember that every experience is an opportunity to grow,” she says. “Stay true to your point of view.”

Architectural Digest : From your point of view, what should the future of design look like?

Malene Barnett: I see an equitable and inclusive design experience, and [believe] makers will lead this future. There are so many necessary changes to get there, but we can begin with changing the language around how we talk about design. For example, terms such as “good design” or placing more value on “interior designers” versus a “maker”—all of this creates hierarchies. Who decides what’s good anyway? Instead, we can rethink terms and disciplines and discuss design as a tool to problem-solve and understand that all creators are needed to execute an idea.

What obstacles have you overcome while navigating your career path in this field?

The obstacles were and still are plenty. First, being a Black female rug designer selling Black cultural designs to predominately white male-led firms was challenging. I always felt that I had to convince people to accept my creativity and delivery capabilities. When I started my business, another obstacle was that I didn’t have a fancy showroom—I still don’t have one, and I’m not interested in opening one. Now, I am working on my terms, and I’m not interested in compromising my creativity for a project. I welcome those interested in my imagination, use of materials, and design aesthetic.

The production designer Hannah Beachler strikes a pose outdoors.

Hannah Beachler

As the daughter of an architect and interior decorator, design was a huge part of Hannah Beachler ’s everyday life. With those mediums instilled in her from an early age, Beachler had the freedom to explore creative expression and discover her most natural place. As she further elaborates, “I was in the door early on. The challenge was moving through the building, if you will.” The road to becoming an Academy Award –winning production designer was a grind, but what initially drew Beachler to film was “the fantasy, the realism, the faraway worlds that I was always so entranced with, [and] the image on the screen and what it said to me.” The turning point in Beachler’s career was after she signed on with her first agent and met the film director Ryan Coogler, who she then worked with on Fruitvale Station.

From there, she brought the sets of Moonlight , Creed , and Black Panther to life. Beachler also showed her prowess in Beyoncé’s LEMONADE and JAY-Z and Beyoncé’s OTR II Interludes . Although her résumé is certainly impressive, what makes Beachler such a standout production designer is her attention to detail. Her ability to take a script and transform the words from a page into a lived experience is similar to watching a painter create a masterpiece on a blank canvas. Behind the scenes, Beachler is focused on molding the next generation of designers, explorers, and inventors. As for her next big adventure? Expect to be seeing Beachler’s imprint on Broadway very soon.

Architectural Digest : What obstacles have you overcome while navigating your career path in this field?

Hannah Beachler: The biggest obstacle was proving that I was capable of handling any size department and holding the vision for the film, simultaneously—making sure that both sides (management and creative) were at 100% at all times, all while trying to make a name for myself outside of New Orleans. Also, being a Black woman in a space where there were no Black people and very few women was a huge challenge. When the stakes are high, the stress is immeasurable, and you just push through the naysayers and concentrate on the people who are creatively likeminded and supportive, who allow you to be yourself with no caveats and to be as creative as your imagination will allow.

What piece of advice would you give to BIPOC who are interested in design but don’t know how or where to start?

Research, research, research. If there’s something you want to do in design, no matter what it is, use your drive and resourcefulness to get there. Put yourself out there, write an email or letter to someone you admire in the field. I did this with the Coen Brothers’ set decorator legend Nancy Haigh, and she called me. It was the best moment ever, and it just gave me more drive to keep moving forward. Talk to people, go to events, dream big, take risks, be yourself. Don’t put a time limit on your dreams: I didn’t get Fruitvale Station until I was 42 years old, and I didn’t win an Oscar until I was 49 years old.

A headshot of Yellow House Architects founder Elizabeth Graziolo.

Elizabeth Graziolo

Growing up, Elizabeth Graziolo was unsure about what career to pursue. It was only after she was accepted into Cooper Union’s architecture program that the direction of her path became clear—Graziolo fell in love with it during the first semester. “Architecture fed my curious nature,” she says. “I learned how to see the world differently, how architecture is all around us, and how it has an extraordinary impact on our lives, health, and economies. The more I learned about the field, the more I was engaged, and I haven’t looked back.” Graziolo was fortunate to land a junior architect position at Cicognani Kalla Architect after graduating where she was mentored by the firm’s principal architect, Ann Kalla, and her “understanding of designing for the real world was shaped,” Graziolo explains.

The Haitian–born architect would then move on to the AD100 firm Peter Pennoyer Architects where she eventually became a partner in 2007. She names Peter Pennoyer and Gregory Gilmartin as important mentors who educated her about the origins of design elements from different cities and regions worldwide. It was here that Graziolo learned about classical architecture and traditional design principles such as symmetry and proportion. 20 years later, she finally felt ready to venture out on her own and create something new. In 2020, Graziolo launched her practice, Yellow House Architects . She hopes to push the industry toward a “new contemporary design using traditional principles to achieve well-proportioned spaces” and to “incorporate more sustainability into our work without compromising design.” Graziolo is currently working on The Benson on the Upper East Side in New York City, a model unit in One Wall Street, and part of an estate renovation in Palm Beach, Florida, amongst other projects.

Architectural Digest : What obstacles have you overcome while navigating your career path in this field?

Elizabeth Graziolo: There have been a few challenges in my career, especially when it came to balancing motherhood and working full-time. Holding an infant while reviewing drawings is one such learned skill! A reoccurring challenge is dealing with people afraid of the unfamiliar: A minority female architect in particular. When I walked into a room, you could see faces often taken aback when they realized I was the one running the project. Once they get to know me, everything usually works out fine, but I still see that initial hesitancy occasionally, even after all these years. The biggest obstacle I’ve overcome, by far, was pushing myself out of my comfort zone and making the decision to leave the routine and stability of a great firm after many years to venture out on my own.

What piece of advice would you give to BIPOC who are interested in architecture but don’t know how or where to start?

Firstly, we welcome you! Secondly, I will tell you the same as anyone starting in any field. Educate yourself. Do your research. Reach out to people and local organizations who can help. Most importantly: Work hard and let your efforts speak for themselves. Do not diminish yourself by “categorizing yourself” in your mind. Carry yourself proudly, and let this pride project confidence.

A headshot of First500 founder Tiara Hughes.

Tiara Hughes

As early as elementary school, Tiara Hughes was drawing designs for buildings. The experience of seeing her first blueprint as a third grader is forever imprinted into her brain—she can still vividly remember the smell of the ink and the feel of the paper. “Understanding how to read a blueprint was unheard of at my age,” she explains. “The following year someone connected the dots for me when they said, ‘Tiara, you want to be an architect.’ With a continued curiosity and passion to influence the built environment around me, I held onto that dream.”

After completing her master’s degree in architecture from Drury University in 2015, Hughes wanted to be surrounded by a diverse group of professionals, so she headed to Chicago. Having access to Black women in the industry was also an important factor to her, but she quickly realized that there weren’t any resources or networks available. This experience, amongst many others, ultimately inspired her to create the community she was looking for in 2018 in the form of the global platform First500 . Hughes considers this endeavor as her formal “step in the door to challenging our industry and moving towards a more equitable future.”

As the founder and executive director of First500, Hughes raises awareness about Black women architects throughout history and their contributions to the built environment. “These women serve as inspiration and motivation for the Black women getting licensed and completing their architecture education today,” she says. “I’m proud of meeting the milestone of 500 licensed Black women architects, but this is only the beginning. We have a lot of work to do to cultivate the next 500 Black women architects living in the U.S. and the world.”

Architectural Digest : From your point of view, what should the future of design look like?

Tiara Hughes: The design world should reflect the world we live in and all of the unique voices that occupy it. Design firms and the industry at large have discussed “equality of opportunity” as a remedy to systemic racism in America. Equality is not the solution; many Black employees have experienced decades of economic and emotional trauma stemming from redlining, policing, environmental exploitation, pay inequity, and more. They bring these burdens with them into the workplace, which ensures “equality” by providing employees with the same resources for success without acknowledging those previous burdens. Our country’s collective mindset has to shift from equality to equity. Equity means meeting people where they are and addressing their needs accordingly.

I would like to see more focus on empowering the future pipelines of Black voices. This is critical to the survival and growth of our industry. Our voices are needed in spaces where decisions are made, policies are considered, and positions of leadership and power exist. We offer a different lens and point of view that’s often missing from these spaces.

What piece of advice would you give to BIPOC who are interested in architecture but don’t know how or where to start?

When considering what advice to pass along, I often think of what I would tell my younger self when I was homeless in college, fighting to survive and to get my architectural education, when my professors and advisors continuously told me this field and industry may not be right for me. In addition to seeking out resources like First500 that exist specifically for you, I would tell my younger self, and to young people of color everywhere: If this industry feels lonely, you are not alone. If your ideas are not heard, keep speaking. If one door closes, three will open. Keep going and never give up. If there is no well to drink from, dig until you create one!

Mariam Kamara, the architect behind the Niger–based firm Atelier Masōmī.

Mariam Kamara

During her most formative years, Mariam Kamara developed a love for drawing. The AD100 architect recalls being strongly fascinated by the buildings she saw in the city of Agadez, Niger, “a place with centuries-old architecture that people still live in today.” Even then, she appreciated the simplicity of natural surroundings and how the built environment blended with it. This observation stuck with Kamara and eventually became the motivating factor in her decision to leave a career as a software developer to go back to school to study architecture. “Over the years, I also became keenly aware of the power of architecture in influencing how we feel about ourselves, our environment, or even what we perceive to be our place in the world,” she adds.

In 2014, she established Atelier Masōmī in Niamey, the capital of Niger. Guided by sustainability, Kamara’s firm’s primary focus is progressive community-minded projects with ecological solutions. “One can sometimes feel invisible and isolated when producing architecture from a base like ours, in Niamey, as opposed to being somewhere in the West,” she notes. (In 2020, Kamara became a protégée of the Ghanian British architect Sir David Adjaye through a fellowship with Rolex .) Her mission is to provide people with a better quality of life through the spaces that she designs. “I believe that architecture can be a tool for social, environmental, political, and economic change,” Kamara emphasizes. “I always try to ensure that our projects can contribute to all, or most, of the above in a positive way.” Her first office building is nearly complete and construction is almost underway for another project, the Niamey Cultural Center.

Architectural Digest : From your point of view, what should the future of architecture and design look like?

Mariam Kamara: I think architecture has contributed so much to the world but has also been at the forefront of atrocities as a tool for segregation, control, or for its role in our current climate crisis. The future could definitely involve us taking stock of the damage we contribute to and collectively working towards an architecture that does not come at the expense of the entire planet.

What piece of advice would you give to BIPOC who are interested in architecture but don’t know how or where to start?

We desperately need you. Your perspective matters.

Yowie founder Shannon Maldonado, a creative designer and interior consultant from Philadelphia.

Shannon Maldonado

Shannon Maldonado attributes her interest in design to her mother, a fantastic seamstress and “all-around crafty woman” who made the most elaborate Halloween costumes and Easter and Christmas outfits while she was growing up in Philadelphia. “It started with me hand-sewing colorful felt pouches in middle school and graduated to buying and sewing vintage patterns and manipulating vintage clothing. I’ve always loved unexpected colors and textures,” Maldonado recalls.

After working as a designer at American Eagle Outfitters for nearly nine years, she decided it was time to bet on herself. Maldonado quit her full-time job, relocated from New York City to her hometown, and committed to turning her dream of starting a business into reality. In 2016, Yowie entered the market with an abstract vision. Since then, Maldonado has opened a brick-and-mortar store that is both beloved within the community and admired by tourists who flock to it as a design destination . She has also been making her mark in the world of interiors with design projects for The Deacon, Dye House, and Ethel’s Club. Her next big project is expanding Yowie into a hotel that is expected to open sometime this year.

Architectural Digest : From your point of view, what should the future of design look like?

Shannon Maldonado: The future of design should be rooted in evening the playing field from all perspectives. I want it to be less about sprinkling in a few of us and really partnering in big ways on long-term projects. I want to see huge furniture and lifestyle brands plucking naturally talented designers from obscurity and giving them a shot. As I work on growing Yowie, I want to find more artists and designers who are looking to launch or at the early stages of their practice. I’m digging deeper to make sure we’re meeting people where they’re at.

What piece of advice would you give to BIPOC who are interested in design but don’t know how or where to start?

First and foremost, know that no one can do what you do the way you do it. Imposter syndrome is real and so hard to face down, but with every cold email, project, and false start you will get closer to where you want to be. Really good things sometimes take time and creating small digestible goals will help prevent you from feeling defeated any time you hit a roadblock.

A portrait of the architect Pascale Sablan, a senior associate at Adjaye Associates.

Pascale Sablan

As a teenager, Pascale Sablan had a natural talent for drawing straight lines without a ruler—a skill she was informed would come in handy as an architect. Even though Sablan was being commissioned to paint murals back then, architecture made more sense to her as the profession to leverage all of her creative talents in a way that could change the world. She views the starting point of her architectural career as her third year at Pratt Institute, when she worked on the African Burial Ground National Monument during her internship at Aarris Architects.

“I was given this incredible opportunity through my church where the pastor, Father Michael Gribbon, met one of the partners of the firm and encouraged them to give me a chance to intern for them,” Sablan says. “That experience and working on this monument had a permanent impact on me as an architect and my career. The powerful responsibility to service the public centered on projects that serve the community became a part of my ethos.”

Sablan balances her time being a senior associate at Adjaye Associates , the historian and northeast regional VP of the National Organization of Minority Architects , and the founder and executive director of Beyond the Build Environment , which “uniquely addresses the inequitable disparities in architecture by providing a holistic platform aimed to support numerous stages of the architecture pipeline,” according to its website. In 2020, she started building the Great Diverse Designers Library as a resource to advocate for more equity, diversity, and inclusivity in the industry. What started as a digital extension of her Say It Loud series is now an “ever-evolving repository of great talent with the aim of providing long-overdue recognition for marginalized groups.” According to AIA , Sablan is the 315th Black woman architect to attain licensure in the United States.

Architectural Digest : From your point of view, what should the future of architecture and design look like?

Pascale Sablan: The future of architecture and design eradicates racism, sexism, and other forms of oppression from our built environment. In underserved communities, poorly appointed architecture perpetuates inequity. These inequities more often adversely affect communities of color. As an architect, I deeply value collaborative processes of creating environments that reflect and sustain diversity and the dignity of human life. Strong and healthy communities, rich in diversity, make strong nations. As architects, we have the power to represent more than ourselves and representation is quintessential to achieving equitable diversity.

What obstacles have you overcome while navigating your career path in this field?

One of the biggest challenges was becoming a mother in the industry. By this point in my career, I had become very familiar with the challenges of being a person of color; however, transitioning to motherhood revealed a brand new catalog of obstacles. That is why I value and appreciate being a part of the Adjaye Associates team, because parenthood is supported and accommodated in the office, and they reinforce that value through the office policies.

The interior designer Neffi Walker at her residence in Newark, New Jersey.

Neffi Walker

When Neffi Walker gave birth to her daughter, Nile, and moved to the suburbs of New Jersey, the experience would be a blessing in ways that she could never have imagined. “I was struggling with postpartum and needed an outlet to get my creative juices flowing, so I leaned into the construction and interior design of our midcentury-modern gem,” she explains. “After the full renovation was complete, I realized how therapeutic and soothing it was for me to recreate an environment and started to look at my hobby as a profession.”

Now with a decade of experience under her belt, the interior designer has become a household name within the Black community. Walker is all about embracing her Afro-Latina heritage, so she pours that rich culture into every aspect of her curations. Last year, she opened the flagship store for The Black Home in Newark, New Jersey—a location that allows her to preserve a piece of one of the few remaining Black cities in the region. For those who didn’t have the honor of growing up in a Harlem brownstone next door to Dapper Dan like Walker, her welcoming shop is the next best thing. She currently has another store opening in the works slated for the late spring.

Architectural Digest : From your point of view, what should the future of design look like?

Neffi Walker: I believe designers of color should be more of a normality in the industry. To help push that narrative forward, I mentor high school students and have them accompany me in the store and on projects so they can see firsthand what a day in the life of this business entails.

What piece of advice would you give to BIPOC who are interested in design but don’t know how or where to start?

I always suggest starting at home with small projects or offering your friends free design [services] to get active. Take photos and videos of all your projects and create a social media page. To date, all of my clients slid into my DMs and every project has been [secured through] word-of-mouth referrals. I started without schooling at first but knew I had an eye for design. So just start, that’s my advice.

The architect Sara Zewde sits on a bookshelf stacked with design and architecture literature.

Sara Zewde

A native of the Gulf Coast, Sara Zewde ’s view of architecture completely shifted after Hurricane Katrina happened in 2005. Following the traditional path of going to design school (she studied urban planning at MIT and landscape architecture at Harvard), completing internships, and then securing a job after graduation, Zewde eventually ventured out to establish her own practice, which does a hybrid of landscape architecture, urban design, and public art.

Last year, Studio Zewde won the Architectural League of New York’s award for 2021 Emerging Voice . Made up of a multidisciplinary team, the Harlem–based firm utilizes “design methodology that syncs site interpretation and narrative with a dedication to the craft of construction.” Zewde’s work bridges the gap between built environments and the communities that coexist within them. As stated on her firm’s website, “Studio Zewde is devoted to creating enduring places where people belong.”

Architectural Digest : What obstacles have you overcome while navigating your career path in this field?

Sara Zewde: It’s been a bumpy road, but remaining clear-minded about my commitment to elevating culture, ecology, and craft in my design practice helped me to navigate obstacles along the way.

What piece of advice would you give to BIPOC who are interested in architecture but don’t know how or where to start?

Read. Read what feels relevant to your interests in design, whether or not it directly relates to architecture.