Follow the Blueprint
Tatyana Neal:
Follow the Blueprint
March 2 – April 23, 2024
Design Museum of Chicago
72 E Randolph, Atrium Gallery
Chicago, IL 60601
This exhibition sheds light on the Black architectural identity, highlighting the often-overlooked achievements of designers who have profoundly influenced the industry. Spanning millennia, the history of architecture reflects cultural, technological, and societal advancements. From prehistoric times, humans constructed simple shelters using natural materials, showcasing early ingenuity and providing protection. As civilizations thrived, monumental structures like temples and amphitheaters demonstrated architectural prowess and cultural achievements.
During the Middle Ages, Gothic cathedrals like Notre-Dame symbolized spiritual and artistic aspirations, while the Renaissance period celebrated Greco-Roman principles, emphasizing humanism and harmony in building design. The 19th century brought industrialization, enabling skyscrapers and transforming urban landscapes. The 20th century saw experimentation with movements like Modernism and Postmodernism, pushing boundaries and challenging norms.
In the 21st century, architecture responds to global challenges like climate change and urbanization, embracing sustainability and resilience. Wendell Campbell pioneered "Smart Homes" for urban housing, John Moutoussamy's Johnson Publishing Company Building reflects his vision, and Walter T. Bailey's legacy includes the National Pythian Temple in Chicago. Their work inspires the next generation of designers, embodying excellence, innovation, and resilience.
Preserving American Masters: Designers that paved the way for Pan-African aesthetics
By Tatyana Neal
Marvin Sin is an iconic American designer and a one-of-a-kind artisan that continues to evolve. Sin has followed three distinctive rules throughout his career as a designer and craftsman:Form, function, and aesthetic. These key elements sustained his committed product quality and clientele. Sin is very particular about the leather skin and hides that he uses to create his bags, wallets, and purses. His hides are sourced from a variety of importers in the United States and Ghana. The importers deal directly with tanneries from Europe, Nigeria and Kenya.
The artisan chooses the finest hides with a smooth appearance that compliments the visions of his designs. His creations are so well made that they will endure ten to twenty years of daily use. Sin weighs all elements of design, and emphasizes functionality. He deliberately considers the size, pockets, zippers, dividers, and handles, with an understanding that straps add weight. He prefers to produce small rather than large bags since they consume less leather in production. Smaller bags also tend to be ergonomically better for the customers' posture and long-term health. With each bag, Sin crafts an idea of longevity while leaving behind a legacy. He combines a discreet work of art that is drawn, carved, sculpted, and painted with a utilitarian function. The art is intended to reach a broad population that allows him to showcase his designs into their worlds. Each piece requires very different design processes.
The exterior design features vibrant stitching that depicts artistic male and female portraits. The composition is designed within a circle, square, or rectangle that is scaled to size to fit particular accessories. In sequence, the bag, wallet, and purse are designed and created separately and apart from the artwork. A low-relief three-dimensional image creates the sculpting of his designs. Marvin’s decision regarding which design will match a particular accessory is largely based on his intuitive eye.
Sin’s technique has continued to evolve throughout his career. The same style bags he creates today weigh considerably less than their iterations of ten to twenty years ago. Marvin Sin consistently considers how to innovate and improve his work in order to succeed. Sin stated that he always asks himself the following vital questions, “What colors to paint the design so that it will connect with the object that will host it? How will this object be used? Is it every day or only on special occasions? How does it open and close easily but securely? What is it designed to carry? Is there room for easy access to its contents? What dividers, pockets and internal spaces are appropriate? How is it handled, carried, or worn? Is the length and width of the straps/handles proportionate to the size and operational weight of the object? Are the buckles, snaps, zippers, handle loops, and locks functional and durable?
Sin knows that the quality and functionality of his designs have to be thought through. His vibrant stitch work is dyed with a long-lasting toxin-free chemical that keeps the pigment from fading. As he produces eccentric Pan-African designs that highlights a deep rooted aesthetic within American culture; that is a vital part of American design.Sin's recognition of a deep-rooted aesthetic within American culture indicates an understanding of the diverse influences that shape the nation's design identity. By incorporating Pan-African elements into his designs, he not only celebrates African heritage but also acknowledges its integral role in shaping the broader American cultural landscape.Sin's approach to design reflects a combination of craftsmanship, sustainability, cultural celebration, and a nuanced understanding of the interconnectedness of diverse design influences within American culture. His commitment to quality, functionality, and cultural richness positions his work as a significant contribution to the evolving tapestry of American design.
Throughout his career as a designer, Sin has dedicated his life to opening doors for American designers of Indigenous and African descent, allowing them to share his platform and resources to gain access to the profitable fashion industry. Marvin Sin has an astounding reputation as an influential American master of design and community advocate for the next generation of American designers. Sin’s Pan-African-inspired designs are created with the intention of making sure Black American culture is shown as an essential element in his decorative pieces. As a decorative artisan who has faced obstacles built from biases, Sin refused to give up his artistry and passion to create designs that include a very special part of his American history.
Marvin Sin, is truly an American master of design, has proven his ability, talent, and commitment since the late 1960s. While living in Harlem he noticed there were no notable craft communities other than organizations for jewelry makers. To gain support and make a name for himself he often sold his hand-crafted pieces at cultural festivals such as “ The African Street Festival in Brooklyn'' and in Harlem on “Harlem Day'' when the Harlem community celebrated milestones. Sin understood the importance of participating in market vending to build clientele. He eventually made the decision to pursue crafts organizations that allowed him to participate on a higher scale with a wider audience, such as the American Crafts Council. After working diligently to be accepted into the American Crafts Council, he then realized that his aesthetic was not valued or acknowledged. Sin stated that he felt alienated and disgusted that there were only three Black faces. After this experience with the American Crafts Council, he decided to focus on elevating his culturally inspired designs by making Black Americans his focal point. Instead of fighting to have a seat at a table that did not appreciate his craftsmanship. Sin decided to create his own table and pull in the other Black and Indigenous designers that had similar experiences. He has designed a path that will continue to pave the way for future designers that share his technique and vision. Sin's leadership in the Black artisan community relates to the community advocacy work he undertook as a member of the National Conference of Artist that was inspired by the AfriCOBRA movement. He gained valuable experience through his involvement with the National Conference of Artist and was encouraged by fellow members to connect with and provide the same opportunities to other Black designers.
Marvin Sin and the plethora of Black American designers and craftsmen are a vital part of American Craft history. An essential part of American design culture that deserves an embrace. Marvin Sin's legacy is not only defined by his exceptional designs but also by his unwavering commitment to fostering diversity, inclusion, and representation within the design industry. His story serves as an inspiration for aspiring designers and craftsmen, reminding them of the transformative power of art, creativity, and community advocacy.
1: Accra Ladies Wallet “Nubian Knots”
2: Classic Flap Clutch “Ram’s Horn Brass Adinkra,
Upper Left: “Gelede Mask” Framed art, Lower Left:” Lunar Sihouette” framed art.
Top Right: Classic Designer Clutch “NSAA Sister”.
Community advocacy that was fostered by Africobra, an organization that believes design and art teaches and embraces concepts that are a positive narrative. Feasible solutions to our collective problems, locally, nationally and globally. This perspective aligns with the belief that art has the power to inspire change, challenge societal norms, and contribute to the broader conversation about justice and equality. The members of AfriCOBRA used their art as a form of activism, aiming to contribute to the transformation of society by addressing issues relevant to the African American experience.
This movement was formed at the pinnacle of civil rights, Black power and the movement of celebrating inclusivity. Formed in 1968, providing a space for decorative artists, painters and designers of various cultural backgrounds. While continuing to make Black American Design Masters their focal point of convergence. Promoting Cultural Understanding, Africobra-inspired community art projects that celebrate local cultures, understanding and respect among different communities.
Artistic exchanges and international exhibitions that bridge cultural gaps, promoting global harmony. In Venice, “AFRICOBRA: Nation Time”, was exhibited at the Ca’Faccanon during May 11 till November 24th, 2019. Being the Organization's first major show in Europe. Bridging the gap of African American influence into the European Art scene. This exhibition presented a vital part of American culture. A part of American culture shares an authentic narrative of vulnerability and resilience.
The Africobra’s movement empowered marginalized artisans and designers, providing them with workshops and training programs that were organized to teach technical art techniques. Design skills in underprivileged neighborhoods, empowering individuals to express themselves creatively. Founding members collaborated with international organizations that support art education initiatives in developing countries, empowering marginalized youth with a creative interest in design.
Jae Jarrell, as a pioneering fashion designer and founding member of Africobra, played a crucial role in empowering Black American designers, leather craftsmen, and textile artisans. Her work and advocacy within Africobra contributed significantly to the promotion of Black American creativity and craftsmanship in the fashion industry.
Showcasing designs that celebrated Black American culture and heritage, Jarrell empowered other Black designers to embrace their roots and to incorporate their unique perspectives into their design process, promoting diverse representation within the fashion world. Jarrell's designs challenged the prevailing norms of the fashion industry, advocating for inclusivity and diversity. By implementing the beauty of Black culture in her designs, she promoted a more inclusive narrative within the fashion world, inspiring other designers to embrace their authentic narrative in their creative expressions.Jarrell's designs often drew inspiration from Pan-African symbolism and her love for storytelling through materials, incorporating elements that celebrated the richness of Black heritage.
The decorative art, design and crafts community has made tremendous strides in becoming more inclusive. Women designers have become highlighted with historical attributes that paved the way for further progress of inclusion. Decorative arts and craftmanship was once predominantly a field that was reserved for men of anglo saxon descent and European origin. Men within this medium of material culture were allowed to showcase their designs and craftsmanship. While women and people of color were instructed that their craftsmanship is deemed to be irrelevant.
Irrelevance is defined as to be not connected or related to something of importance. The intentional neglect towards a craftsmanship and design that signifies west african folklore, pan-African symbolism and indigenous spirituality. Is truly an egregious disservice to the traditions that contributed to the foundation of American design and culture.
It's important to acknowledge the progress that has been made in recent years with the decorative art, design, and crafts community becoming more inclusive. Celebrating the contributions of women designers and artisans from various cultural backgrounds is crucial in ensuring a diverse and representative representation within this field.
By recognizing and valuing the different cultural traditions and artistic expressions, the decorative arts and design community can continue to evolve and create a more welcoming collaborative space for everyone. Embracing a wide range of influences and perspectives not only honors the heritage of these traditions but also enriches the overall artistic landscape, fostering creativity and innovation.
The origin of trade centered in craftsmanship, particularly in the context of Indigenous and African heritage, dates back thousands of years. Indigenous peoples and African civilizations had rich traditions of craftsmanship, creating a wide array of products ranging from tools and pottery to textiles and jewelry. These skilled artisans played a vital role in their respective communities, producing goods that were not only utilitarian but often held cultural, religious, and social significance.
Indigenous communities across the world, from Native Americans in North America to Aboriginal Australians, have a long history of craftsmanship. They crafted items such as clothing, baskets, pottery, and tools from materials available in their natural environment. These crafts were not only essential for daily life but also held deep cultural and spiritual meanings. Trade among Indigenous communities often involved the exchange of these crafted goods, fostering connections between different tribes and regions.
African civilizations, renowned for their intricate artwork and craftsmanship, engaged in extensive trade both within the continent and with other parts of the world. African artisans produced exquisite textiles, sculptures, pottery, metalwork, and jewelry. Trade routes like the Trans-Saharan trade and the Swahili Coast trade facilitated the exchange of goods between African kingdoms and distant civilizations, leading to a diverse cultural exchange and the spread of African craftsmanship.
The exchange of these crafted goods not only met practical needs but also facilitated cultural exchange, fostering a sense of interconnectedness among diverse communities. Over time, as trade routes expanded and civilizations interacted, the influence of Indigenous and African craftsmanship spread to different parts of the world, shaping the development of various artistic traditions.
Today, the legacy of Indigenous and African craftsmanship is celebrated globally. Artisans and designers continue to draw inspiration from these rich traditions, incorporating elements of Indigenous and African heritage into contemporary designs. This recognition not only pays homage to the historical significance of these crafts but also promotes cultural importance that is needed in understanding the modern world.
The interest in Indigenous and African craftsmanship has led to efforts to preserve traditional techniques. Many artisans and organizations work to ensure that these skills are passed down through generations, keeping the heritage alive.Contemporary designers and artisans are increasingly appreciating the depth of design in Indigenous and African craftsmanship. By studying traditional techniques and styles, they pay homage to the skills of the past while infusing modern creativity into their work.When people understand the cultural significance behind a craft, it fosters empathy. Knowing the story behind a piece of art or a design can lead to a greater appreciation of the culture it represents.
Unfortunately, there is an imperceptive process to highlighting the obstacles faced by women; and people of color in gaining recognition in this creative domain. The exclusion of diverse perspectives represents a lost opportunity for enriching the tapestry of American design and the understanding of the American Design process.
A design process that has the influences of underrepresented and marginalized artisans from various subcultures. Empowering the emergence of alternative organizations that appreciate and celebrate their craftsmanship. while honoring their unique voices and lived experiences.The alternative organizations and designers such as: Sindiso Khumalo, Textile Society of America, Quilts of Gee Bend. Provide a platform for artisans, including weavers, leather makers, and many others, to preserve traditional skills, share their stories, and contribute meaningfully to the creative landscape.
Museums are pivotal in playing a vital role in ensuring the preservation of traditional crafts for future generations. By documenting, archiving, and curating exhibits that showcase traditional techniques and artistry, these institutions act as custodians of cultural heritage. This preservation effort goes beyond mere conservation; it involves actively transmitting knowledge and skills to younger generations, ensuring the continuity of these crafts. Artisans need a space to assert their unique identities, contribute to the broader cultural narrative, and challenge the narrative of exclusion that has persisted within the industry of design and craft.
Design culture existed before Europe and before museums were established as fine art institutions. Yet, most collections do not reflect the history outside of European culture. If African and Indigenous designs are shown they are not considered decorative design. And their designs' presence is in small proportion, when compared to the presentations of Italian and Swiss designers. This is a reflection of broader historical biases and cultural prejudices that have influenced the way art and design has been curated and displayed.
Even within the western hemisphere, American culture has deliberately neglected the jewels of traditional design that has infused American decorative arts, crafts in design. The contributions of immigrant and native communities to American decorative arts have been integral to the nation's cultural identity. From the folk art traditions brought by European settlers to the vibrant influences of African, Asian, and Latin American cultures, these diverse contributions have played a crucial role in shaping the visual language of American design. However, the spotlight has frequently been directed toward a more Eurocentric view, sidelining the distinctive and valuable elements of these traditions.
The Arts and Crafts movement in the late 19th and early 20th centuries, led by figures like Gustav Stickley and the Roycrofters, aimed to revive craftsmanship and celebrate the beauty of handmade objects. While this movement did contribute to a reevaluation of traditional craft in the United States, it often focused on a romanticized view of rural or European-inspired design, sidelining the equally rich and unique traditions rooted in American communities.
Leather making is one of the oldest crafts known to humankind, dating back thousands of years. The origins of leather making can be traced back to prehistoric times when early humans discovered that the skins of animals could be used for clothing, shelter, and various tools. Unfortunately, within American museums decorative art collections there is a lack of acknowledgement of leather making under the African and Indigenous diaspora. Leatherworking has been an integral part of African design culture for centuries. African artisans have a rich tradition of working with leather, creating a wide variety of products that serve both functional and decorative purposes. Different regions and ethnic groups within Africa have their unique techniques, designs, and styles when it comes to leatherworking. African artisans often decorate leather items with intricate patterns, symbols, and motifs that hold cultural and historical significance. These designs vary widely depending on the specific region and cultural heritage.
Similar to most decorative pieces, the use of intricate patterns, symbols, and motifs in African leatherwork not only enhances the object's appeal of the items but also preserves cultural heritage. Thus, fostering a sense of identity that communicates the rich narratives of African societies. Each design carries a unique story, making African leatherwork a vibrant and meaningful artistic tradition.The tradition of superb leather craftsmanship in Africa spans across various regions, including both North Africa and sub-Saharan Africa. This tradition is characterized by exceptional skill, intricate designs, and a deep understanding of the leather-making process. While North African leatherwork is well-documented and celebrated, sub-Saharan Africa also has a rich history of leather craftsmanship, which is often overlooked but equally significant.
Morocco is renowned for its high-quality leather products, particularly leather goods crafted in cities like Fez and Marrakech. The country is famous for its tanneries, where artisans use traditional methods to dye and treat leather. Moroccan leather workers are known for their expertise in techniques such as leather tooling, embossing, and stitching, creating items like bags, shoes, and decorative goods.
Nigeria has a long tradition of leather craftsmanship. The country was historically a significant hub for the production and export of leather, particularly during the colonial era. Nigerian artisans were skilled in the production of 'morocco' leather, which was highly sought after for bookbinding. The leather was sourced and cured in Nigeria and then exported, even though the term 'morocco' is often associated with North Africa.
Ethiopian leatherwork is known for its quality and durability. Traditional tanning methods using natural plant extracts, as well as modern techniques, are employed to create a wide range of products, including shoes, bags, and accessories. Ethiopian artisans often incorporate cultural motifs and symbols into their designs, making each piece unique.The tradition of leather craftsmanship in sub-Saharan Africa has deep historical roots. Before colonialism, African societies had well-established leatherworking techniques, producing functional and decorative items for local use and trade. These skills were passed down through generations, preserving the artistry and expertise of African leather artisans.
It's important to recognize and celebrate the diverse and exceptional leather craftsmanship across Africa, both in North African countries like Morocco and in various sub-Saharan African nations. These artisans contribute significantly to the cultural heritage and economic development of their respective regions, creating products that are valued both locally and internationally.
The use of Adinkra motifs in everyday accessories presents an interesting paradox rooted in the cultural and historical significance of these symbols. Adinkra motifs are traditional symbols from the Akan people of Ghana, West Africa. Historically, these symbols were exclusively used on funeral cloths (ntama yè), which were created to honor and mourn the deceased. The cloths, adorned with Adinkra symbols, were part of funeral rituals and were worn by family members and loved ones as a sign of respect for the departed soul.The Adinkra symbols are visually striking and carry profound meanings, each representing a particular concept, proverb, or piece of wisdom. Some common Adinkra symbols include "Sankofa" (meaning "go back and get it," symbolizing the importance of learning from the past), "Gye Nyame" (meaning "except for God," representing the supremacy of God), and "Nyame Nti" (meaning "by God's grace," signifying God's providence).Incorporating Adinkra motifs into everyday accessories can be seen as a way of preserving and promoting Ghanaian cultural heritage. By wearing or displaying these symbols, people can connect with their roots and express pride in their cultural identity.
Marvin Sin understands that design is an impactful tool that can be used to celebrate cultural authenticity. Incorparting Pan-African symbolism within his designs to showcase the entrusted roots of Black American culture. That has influnced American design throughout American design history. Sin’s understanding of leather and design quality has led him down the path of innovation. A path that celebrates all of the elements of African and Indigenous roots that is a vital part of making America one of the most influential location’s for design.
Marvin Sin's commitment to celebrating cultural authenticity through design is a powerful testament to the impact that art and craftsmanship can have on preserving and honoring heritage. By incorporating Pan-African symbolism into his designs, Sin not only creates aesthetically beautiful pieces but also tells a story rooted in the history and traditions of Black American culture.
Sin's use of Pan-African symbolism goes beyond aesthetics; it serves as a celebration of cultural identity. Each design becomes a canvas that communicates the rich and diverse heritage of Black Americans, contributing to a broader narrative of cultural appreciation. By infusing his designs with elements inspired by African and Indigenous roots, Sin actively participates in the preservation of cultural traditions. This serves as a reminder of the historical and ancestral connections that shape the identity of Black Americans.
Sin's innovative approach to design, incorporating cultural symbolism, has left an indelible mark on American design history. His work becomes a part of the evolving tapestry of influences that shape the nation's design landscape, highlighting the importance of diversity and inclusivity in the narrative of American creativity.Sin's understanding of leather and design quality showcases a dedication to excellence. Through innovation, he not only produces aesthetically pleasing pieces but also ensures that the craftsmanship and materials used are of the highest standards. This commitment adds to the enduring legacy of his work.Sin's work contributes to making America a globally influential location for design. By integrating diverse cultural elements into his designs, he underscores the idea that American design is a melting pot of influences, creating a unique and dynamic design culture.In summary, Marvin Sin's approach to design goes beyond creating functional and aesthetically pleasing items. It becomes a medium through which he expresses, celebrates, and preserves the cultural roots of Black Americans. His work stands as a testament to the idea that design can be a powerful tool for cultural representation and understanding, influencing not only individuals but also the broader trajectory of design history in America.
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2 Oral Interview with Designer Marvin Sin
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