Meet Myles Ikenna Igwebuike our divergent personality of the month for November.

Myles is a Nigerian-American designer, researcher, and social innovator, living and working between Enugu, Nigeria and London. He merges dynamism with craft, employing aesthetic disruption and adaptation across various mediums. His TED Talk, “Divergent Thinking as a Survival Strategy,” showcases his innovative approach. Myles draws inspiration from his southeastern Nigerian roots and positions himself as a cultural bridge and custodian of heritage. He’s committed to community power and inclusive design, aiming to forge a universal language that transcends medium constraints. He is currently the special assistant to the Governor of Anambra state on transportation, A World Economic Forum Global Shaper and sits as a design expert on Design Council, the U.K’s national strategic advisor on design. Graduate from the prestigious Royal college of arts London. Myles is recognized for his critical thinking and research-driven practice. He was named one of Architectural Digest’s AD100 Rising Stars to Watch for 2024 and has been selected as the curator for the Nigerian Pavilion at the 2025 London Design Biennale.

For Myles, design is a sacred act of storytelling, a testament to the boundless potential of African creativity, and a beacon of hope for a future where culture, community, and innovation converge.

INTERVIEW QUESTIONS

1. Could you share some insights about your personal journey and your practice?

My journey has been shaped by a blend of cultures and experiences. I was born in the U.S. moved back to Enugu Nigeria as a teenager, and spent time in London, all of which broadened my perspective. Yet, my southeastern Nigerian roots anchor me deeply. Coming from a royal lineage has given me a unique lens to engage with Igbo culture. I’ve come to see beauty in the resilience and perseverance of my people, and in the richness of tradition, especially the ceremonial nuances that surround royalty and community life.

In my work, I’m committed to exploring the complexities of southeastern Nigeria, finding ways to interpret them through design objects, design thinking, and community-building initiatives. I often say that I “use anthropology as a vehicle to explore modernity,” and that idea is central to my practice.

2. Igbo culture is deeply imbedded into your designs. Could you share a few specific narratives or stories that have particularly influenced your work?

I wouldn’t say I have specific stories, but I am deeply fascinated by certain elements of Igbo cosmology and heritage, such as chi, alamuo, and ala ani. The concept of the Mbari House and the remarkable Igbo Ukwu artifacts embody a mastery of indigenous craftsmanship that has fueled creativity across the southeastern region. I’m also captivated by performative traditions like the Ijele and Adanma masquerades, which convey layers of meaning through movement, symbolism, and ritual.

These elements hold a significant place not just in the language of the southeastern people but in the social DNA itself. They form an essential, unspoken language that shapes community identity and ideology.

3. As a designer and cultural innovator, what impact do you want to have on Nigeria’s design industry, and how do you hope your work will influence global perceptions of African art?

My aim is to cultivate a fresh, compelling design language for Nigeria and the broader African continent one that reflects our realities yet defies conventional boundaries. I believe it’s essential to explore what design, art, and creativity could look like without the limitations of traditional mediums. I’m drawn to questions like: How do we create beyond familiar forms? What does new knowledge look like when it emerges from our own perspectives?

As a futurist, I’m deeply committed to empowering individuals to construct their own realities, defining rules and knowledge systems that resonate with them. Imagination, to me, is the only limit to achieving a vision. There’s no fixed path, no standard model, if you can envision it, you can realize it. I aim to embody this philosophy in my own life, blending expertise across fine arts, design, business development, public policy, diplomacy, community building, social impact, innovation, and technology.

I believe in the beauty of the multi-hyphenate and the power of multiplicity; the idea that we can, and should, operate across diverse fields to bring new perspectives into the world. If you can conceive it, you can create it; if you can dream it, you can bring it to life.

4. As the curator for the Nigerian Pavilion at the London Design Biennale, what are your thoughts regarding the entire process, and what is your vision for representing Nigeria’s artistic identity on an international platform?

Identity is a complex and central issue for Nigeria, as it is for much of Africa. My primary aim is to reshape the cultural narrative, positioning Nigeria in a way that celebrates and reframes our heritage. With the Nigerian Pavilion, I seek to reimagine traditional and cultural narratives, presenting a vision of Nigeria as a dynamic, unified community rather than one divided along ethnic lines. This vision explores what a Nigerian utopia might look like, one that embraces hybrid identities and cultural blends.

In particular, I’m interested in what southeastern Nigerian culture, especially Igbo heritage, offers to a shared national identity. What aspects of southeastern culture could resonate across diverse communities, allowing them to connect without diminishing their own uniqueness? It’s about imagining Nigeria through a southeastern lens and considering what our social and cultural capital would look like if rooted in the southeast. We’re exploring questions like: What if Nigeria’s social capital were centered in the southeast? What values and visions could such a shift inspire?

These reflections help us examine identity itself and inspire us to imagine new possibilities for connection and unity within diversity.

5. Congratulations on your appointment as Special Adviser on Transportation to the Governor of Anambra. Tell us, do you envision integrating your design thinking and innovative approach into the development of the state’s transportation sector?

Governor Soludo exemplifies visionary leadership. His approach to governance is inspiring, particularly in how he creates space for new thinkers and innovators to contribute to the state’s progress. I’m honored to support his vision by applying design as a tool to assist in his plans in developing more efficient, user-centered transportation solutions that enhance connectivity and accessibility across Anambra. It’s a privilege to work alongside a leader who values innovation and is committed to shaping a forward-thinking global Anambra.

6. Finally, what advice would you offer to young Nigerian artists and designers aspiring to tell their own stories through their craft, particularly those looking to celebrate their heritage in new, meaningful ways?

First, I think it’s crucial to embrace a sense of psychological ownership over your work. To tell your story authentically, you have to genuinely believe in its value. It’s about validating your own practice and vision rather than relying on external approval. There’s a kind of power in betting on yourself and in building a practice that is self-sustaining and self-validating.
If there’s one thing my journey across finance, business development, luxury, creative arts, social impact, and public policy has taught me, it’s the importance of believing deeply in yourself and having a clear strategy. Planning is essential, as is seeking mentorship and being assertive and purposeful. In fields like public policy and creative arts, a thoughtful plan and a commitment to self-reliance and self-validation are vital.
Above all, respect the process of honing your craft. The journey itself is transformative, and it’s in that process that true growth happens. For me, those years of refining my skills and developing my vision were invaluable. Embrace the process, because it’s where the real magic unfolds, and it’s what allows you to emerge with a body of work that is both authentic and powerful.