As Africa’s creative economy continues to gain global attention, the Founder and Chief Executive Officer of the Ananse Centre for Design, Samuel Mensah, is at the heart of driving a new wave of innovation through an integrated fashion and design hub that empowers local talent, bridges skill gaps, and connects African creators to global markets, with his newly launched ‘Ananse Centre for Design’. From Lagos, the continent’s fashion capital, Mensah speaks with Sunday Ehigiator and Omolabake Fasogbon, on how he is building what he envisions as the future of sustainable fashion entrepreneurship, a space where creativity, technology, and opportunity converge to retain Africa’s position as a competitive force in the global design industry. With an eye for trends and a passion for nurturing raw talent, he believes Nigeria and Africa are not just consumers of global fashion but key influencers shaping it

Who is Samuel Mensah?

I’m the Founder and CEO of Ananse Africa. We are a platform for African creatives and the company behind the Ananse Centre for Design in Lagos, the first of its kind in Africa. We call it an integrated or comprehensive fashion hub, which means that everything a fashion creative needs to move their business forward and go to market is accessible within the facility. There are different studios for various types of products, from leather to clothing to photography. We also provide different forms of training that creatives can access, including business training, product development, and quality assurance training.

 What inspired the Ananse Centre, and how does this speak to your broader goal for Africa?

What inspired the Ananse Centre are the creatives we work with. As a platform for African creatives, we interact with talents from across the continent. Repeatedly, we received requests from fashion creatives for additional support. We understood their challenges: lack of resources, poor product quality, and limited access to the right equipment. When creatives don’t have access to proper equipment, it affects the quality of their products. Poor quality then restricts their access to certain markets because their products don’t meet the standards that attract customers. Even within local markets, there’s a segment of consumers that will not buy their products due to quality issues. We saw a real need in Nigeria, which happens to be our largest market. We currently operate in several markets:   Nigeria, Ghana, Kenya, Senegal, Ivory Coast, and South Africa.

You just launched in Nigeria. Why Nigeria, and Why Lagos?

This is the first centre we’ve launched on the African continent, and we chose Nigeria because of the significance of its creative economy to both Africa and the world. Trends often start in Nigeria, spread across Africa, and then influence the rest of the world. Lagos, in particular, is the fashion capital of Nigeria, and arguably of the entire continent. There’s a critical mass of young creatives here who need the kinds of services that we provide at the centre.

How do you describe the gap this centre is coming to fill in Africa’s fashion and design ecosystem?

This centre fills several gaps. The first is the gap in skills and training. In collaboration with the federal government, the centre is registered and certified by the National Board for Technical Education (NBTE), meaning it is certified to provide technical education in fashion. Beyond training, we also provide access to equipment and digital tools. The centre has state-of-the-art equipment in ten different studios, from leather, shoes, and bags to clothing, photography, and content creation. Everything is available under one roof.

The centre promises to bridge the gap between talent and opportunity. How do you intend to achieve this, especially for budding and emerging designers?

There are a lot of creatives with natural talent, but talent alone doesn’t always translate to income. You can be talented yet limited by certain factors that prevent your business from growing. That’s where this centre comes in to help unblock those challenges. First, we focus on skills. Creatives and fashion designers can come here for training, and they can also bring their staff. One of the most common complaints among designers is the difficulty of finding reliable, skilled workers, and we’re helping to solve that. Second, we provide access to modern equipment. For example, if a designer wants to do embroidery, we have digital, state-of-the-art machines. A job that might take one person two days can now be done in minutes, at a small cost.

 Do you have the capacity to accommodate every Lagos-based designer?

Probably not. But we have to start somewhere. The Minister was here recently; we have an MOU with the Federal Ministry of Arts, Culture, Tourism and Creative Economy. Together, we’re addressing this issue. This centre serves as a blueprint, the first of its kind. To reach all designers in Lagos, or Nigeria at large, we’ll need more collaborations. Our partners include the MasterCard Foundation and the Federal Ministry. Together, we’re looking at scaling this initiative. It’s important that we’ve started, and it’s right here in Lagos.

How will the centre ensure inclusivity, especially for women, displaced persons, and underrepresented groups?

Inclusivity was built into the design of this centre. For example, the building is wheelchair accessible, with a lift to reach every floor. All doors are double-volume, wide enough to accommodate wheelchairs. We’re also working on creating disability-friendly toilets. Because we had to retrofit the building, some accessibility features are being added gradually. In future centres, which we’ll design from scratch, inclusivity will be built in from the ground up. When it comes to women, most of the people who work here are women, and about 70 per cent of our users are women. The centre is designed to be mother-friendly, with spaces for childcare and breastfeeding. There’s even a child monitor to assist mothers while they work or learn.

What specific training programmes or mentorship initiatives can young designers look forward to here?

We have five core modules. Our goal is not just to create skilled creatives, but also successful business people in the creative industry. Most of the modules are business-oriented, covering marketing, accounting, law, and intellectual property. We also train them in pricing, margins, and cost calculation, areas that many creatives struggle with. We provide toolkits and templates to help them manage their businesses effectively. Then we have product development and quality assurance training, focusing on machinery, production processes, and quality standards. Essentially, we teach both business and technical skills because both are critical to commercial success.

 Have you made provisions for uneducated or informal apprentices?

Yes. While our current curriculum is in English, we intend to introduce courses in Pidgin English soon. You don’t need to speak perfect English to learn how to sew, make shoes, or create bags. Communication and manual skills are enough. In the future, we plan to translate our curriculum and assessments into Pidgin English so everyone can participate and still earn NBTE-certified certificates. Even complex topics like accounting or law can be taught in Pidgin English to ensure full comprehension.

Technology is transforming fashion globally. How is Ananse integrating digital tools like CAD, e-commerce, and AI into its training and production?

Ananse started as an e-commerce platform, so digital innovation is in our DNA. All our training modules are digitally available. We partner with leading tech companies to stay at the cutting edge. For example, we have a partnership with Clo3D, a global design and production software company. We’re a certified centre for computer-aided design (CAD) training. These digital tools empower creatives to earn income globally, even from home. Designers trained here can create tech packs and designs for clients anywhere in the world, earning in dollars or euros while based in Lagos.

The centre is a one-stop hub. How does this structure help train African designers to become global competitors?

The one-stop model is deliberate. Success in fashion requires multiple elements: design, production, marketing, photography, and storytelling. For example, a creative may produce a beautiful dress or bag, but if they take a poor-quality photo, customers will assume the product itself is poor. That’s why we teach the importance of presentation alongside product creation. The way you present a product is as important as the product itself. By housing photography, design, production, and marketing studios under one roof, we make it easier for designers to manage every stage of their business in one place.

How important is technology in all this?

Technology is vital, as is innovation. We want African creatives to embrace technology, not fear it. However, as we advance technologically, we must also celebrate and preserve artisanal skills. The goal is not to replace craftsmanship with machines but to merge both, using technology to enhance and promote handmade excellence.

 The centre is backed by Mastercard Foundation and the Ministry of Arts, Culture and Creative Economy. Why do you see such public-private partnerships as crucial?

Some of the challenges we’re solving are too large for one entity. When creatives lack resources, they can’t afford proper tools or staff, leading to poor-quality output and limited income, a vicious cycle of poverty. Breaking that cycle requires external intervention, training, access to equipment, mentorship, and markets. That’s why partnerships are crucial. They turn that vicious cycle into a virtuous one, where better training leads to better products, which attract more customers, increase income, and create jobs.

On a lighter note, if every tailor in Lagos suddenly walked in here tomorrow, what would happen?

We might need a second building! Honestly, if every tailor in Lagos came in at once, we’d have a queue around the block. But that’s a good problem to have; it would mean the creative sector is alive and engaged. That’s also why we’re building partnerships and planning to open more centres across Nigeria. This one is just the first. The goal is to replicate the model in other major cities and states so that access to training and resources isn’t limited to Lagos alone.

How are you promoting sustainability and responsible production through the centre?

Sustainability is central to our model. We support both small-scale contract manufacturing and artisanal craftsmanship. Many designers can’t afford to produce in large volumes, so we’ve introduced small-batch production, anywhere from 10 to 100 units.

This allows designers to grow gradually without overextending themselves. It’s a sustainable business model. We also teach eco-friendly production methods, especially regarding the use of dyes and materials. Sustainability isn’t just about the environment; it’s about building businesses that can last.

How do you plan to measure the impact and success of the centre?

We measure both reach and impact. Our target is to train and support at least 5,000 creatives initially and to track their business growth over time. We’ve put in place a monitoring and evaluation system, including a call centre, to follow up with our alumni. We’ll monitor progress in areas like income growth, job creation, exports, and access to international markets. Success for us isn’t just the number of people trained; it’s the number of people whose lives and businesses have actually improved as a result.

What’s your five-year vision for this initiative?

In five years, I want to see at least ten Ananse Centres across Nigeria and thousands of thriving fashion entrepreneurs whose businesses have grown beyond survival into sustainability and scale. We want African creatives to be earning in foreign currencies, exporting globally, and competing at the highest levels. Ultimately, we’re working toward an ecosystem where African fashion doesn’t just inspire the world creatively but also leads commercially, where the continent becomes a recognised global production hub.

Do you see competition in this space, and how do you view it?

Yes, there will be competition, and that’s a good thing. Competition keeps everyone on their toes. Nigeria alone has over 200 million people; no single company can meet the demand of such a huge market.

If other organisations start doing what we’re doing, that means we’re making an impact. It means we’ve set a standard worth following. I welcome competition. I want Ananse to remain a pioneer and pace-setter, but competition will help the entire industry grow faster.

How would you assess Africa’s readiness to lead in the global creative economy?

Africa has always led creatively; our colours, patterns, and ideas have influenced global fashion for decades. The challenge hasn’t been creativity; it’s been execution and scale. We haven’t always had the infrastructure, training, or systems to turn creativity into a global enterprise. That’s changing now. With better facilities, mentorship, digital tools, and international partnerships, Africa can convert its creative genius into economic power.

What kind of partnerships exist between Ananse and Nigeria’s local creative icons, such as Nike Art Gallery, and also the country’s textile industry?

Mama Nike is an absolute legend, a fountain of knowledge and one of the greatest custodians of Nigeria’s artistic heritage. We collaborate with her and other master artisans to ensure that traditional skills and techniques are preserved and passed down. We also work with leather goods associations, tailors’ unions, and major markets like Balogun to integrate the local value chain into the digital economy. The idea is to build a system that connects the traditional and the modern, the market woman and the e-commerce designer, in one creative ecosystem.

Who are some of your favourite African designers, and what draws you to their work?

For menswear, I deeply admire Mai Atafo; his precision, attention to detail, and consistency are unmatched. I also love Ethnik by Tunde Owolabi, for the way he blends traditional weaving techniques with modern design. And of course, designers like Maki Oh, Abu, and Mat Kele, all incredibly original and authentic in their approach. These are the kinds of talents that show the world what African creativity truly looks like when done at the highest level.

Who would you consider your mentors or biggest influences?

From a fashion perspective, I’ve always looked up to Oswald Boateng. He’s world-class, disciplined, and deeply rooted in his African identity; a perfect example of how global and local can coexist. From a business standpoint, I admire Abubakar Suleiman of Sterling Bank and Chris Ubosi of Megaelectrics. Both are incredible strategic thinkers and marketers. But I also learn every day from the creatives we train. Many of them teach me more than they realise; their resilience, innovation, and hunger constantly inspire me.

You originally trained in finance and technology. How did that path lead you to fashion?

I studied economics and began my career in investment banking, venture capital, and technology, including time in Silicon Valley. But I’ve always believed in the power of Africa’s creativity. After several years in finance and tech, I decided to take that experience and apply it to building something that could unlock Africa’s creative potential. Fashion became my chosen vehicle because it sits at the intersection of culture, identity, and commerce. It’s where creativity meets global opportunity. For me, it’s not just about clothes; it’s about proving that African creativity can be globally competitive and commercially sustainable.

Final thoughts, what message would you give to young African creatives today?

Believe in your talent, but back it with structure, discipline, and strategy. Creativity without structure can only go so far. To succeed globally, we need to combine passion with professionalism, and that’s what we’re building at Ananse.

Africa has everything it needs to lead: creativity, youth, and culture. The next step is infrastructure and mindset. If we get those right, there’s no limit to what we can achieve.