Senanu Arkutu: I decided to follow a passion that I hadn’t realised was a skill
[bctt tweet=”Senanu Arkutu: The high quality is here in Africa but you have to do quality control ” username=”SheLeadsAfrica”] Senanu Arkutu is the founder and CEO of DAAR Living, an interior styling firm that is diversely African, layered and interwoven, antique and contemporary, with European and Arab influences. While pursuing a career in Reproductive Health and International Development, she realised she had a flair for interior design after decorating her own home. Spurred by the compliments she received, she gave up her day job and opened DAAR Living in 2013. Senanu is also the set designer for the hit series, An African City. Her flagship store opened November 19, 2016 in East Legon, Accra, Ghana. How does one switch from a career in international development to interior design, and what transferable skills have helped you in your new calling? Hahaha! It was time for a change after a 12-year career —that I loved, by the way. I decided to follow a passion that I had not realised was also a skill until I designed and decorated my own house, and the warm compliments started coming. Transferable skills from a career in sexual health and family planning, I find new ones every day! But the most important one to date is listening to client’s concerns and finding an appropriate solution that is sensitive to their specific needs and feelings. Conducting consultations helps. You’re Ghanaian but grew up in Southern and West Africa, which obviously have influenced DAAR Living. Where else do you draw inspiration from for your décors? …And East Africa where my personal style probably leans towards. I draw inspiration from my mum, my clients, other designers, art and culture, trends, life. What have been your highest and lowest points since starting DAAR Living three years ago? The highest and lowest points all come together in establishing our first store. I hired an established design and construction company to carry out the design changes I wanted done to the retail space. This was a team that the landlord was comfortable with as they had done some work for another retail space in the same building, which I had seen. The experience was a disaster. They were rude. Communication, follow-up and quality control were terrible and on top of that, a four-week job took them four months to complete! My rent money just went to waste (Accra landlords insist on two years rent upfront whether you are a start-up or not). The highest point was the night I laid out and merchandised my store for the first time and went outside to see what it looked like from the shop window —I had a moment! With a physical space all done up as I wanted it, and DAAR Living signboard up in lights, it suddenly seemed like DAAR Living finally actually existed. [bctt tweet=”Senanu Arkutu’s highest point was the night she laid out her store for the first time ” username=”SheLeadsAfrica”] In an interview, you voiced your desire to see African arts and crafts showcased in other ways besides a market setting or market style setting. Would you mind elaborating? I would love to see more of quality African art and crafts being showcased in all their glory in a contemporary retail, gallery-like space, and not always in a busy market where it is not easy to see the skill and beauty of the piece. You do not see this often in Ghana or the rest of the continent, except in South Africa and, now, of course, Alara in Lagos. The new DAAR Living store aims to be the contemporary retail space showcasing African functional art and craft in Accra. We want to be front and centre in this emerging story. [bctt tweet=”Senanu Arkutu: I’d love to see more quality African art & crafts in a contemporary space” username=”SheLeadsAfrica”] You’re the principle set designer for the hit African series, An African City. How did you get the deal for the show and end up collaborating with Christie Brown, who designed some of the beautiful clothes on the show? Nicole (creator of An African City) and I are good friends. We believe in each other’s work and see the value and strength in collaborating. I offered my house for use in season 1, and by Season 2 the AAC team had realised the added value of set design and how it plays a large part in story-telling. DAAR Living was better established by then, but there was no budget allowance for set design, so Nicole turned to me and Nana Spio-Garbrah of Blueprint Africa (Assistant set design). Of course, we were glad to help Nicole, and there was also the added potential exposure An African City could give. As for collaborating with Christie, when I began DAAR Living I wanted to launch a brand and begin building it and its community immediately. I knew that the products and services on offer may change slightly, several times, but the concept was clear and would remain the same. As a client and lover of Christie Brown, I could not get out of my head how pieces of mine reminded me of outfits of Aisha’s (founder of Christie Brown). So I called her with an idea for an exhibition that brought interiors and fashion together to launch my brand and she loved it! She encouraged me, offered her then new flagship store for the launch, and the rest is history. How does DAAR Living ensure on-time delivery and high quality across all its offerings, especially since décor and furniture pieces are sourced from across Africa? Good question. The high quality is here in Africa but like everywhere else you have to do due quality control. This is my job and it takes a lot of back and forth but we get there. For on-time delivery, firstly, I do not offer items for sale that are not already ‘on the shelf’ —online or in the physical store. Secondly, if a client is making a bespoke order and I think
Salha Kaitesi: Many of our traditions and stories have been lost
[bctt tweet=”Salha Kaitesi of @ElleAfrique shares her advice on starting a blogzine. It’s not so hard!” username=”SheLeadsAfrica”] Salha Kaitesi is a social entrepreneur currently managing two projects: Beauty of Rwanda, a not-for-profit organisation that economically empowers women and girls in Rwanda; and ElleAfrique, a blogzine dedicated to challenging the perceptions of African girls and women in the world today. The blogzine features writers and wide-ranging topics from across Africa, providing a space for African women to empower and celebrate one another and unite through their stories. How does ElleAfrique stand out in comparison to other lifestyle magazines that target African women? ElleAfrique stands out for several reasons but what truly makes it special is that it’s a platform dedicated to the everyday African woman. Most of our contributors are not “professional” bloggers/writers, they’re just everyday women with a story to tell and wisdom to share. ElleAfrique bloggers are university students, stay at home mums, professionals and everything in between. Our blogzine also covers a range of topics, from the negative effects of the war in Burundi to the latest fashion trends in Cameroon, and span the entire continent because we have gathered women from many different parts of Africa and given them a voice through our platform. The special ingredient to our success is our contributors. What’s the most difficult aspect of running an online website in an age where advertising money is hard to come by and entry barriers are low? Starting a blog has never been easier. What’s important is uniqueness because there are thousands of blogs out there. Attracting new readers with fresh content while maintaining our current readership has been vital to the success of ElleAfrique. It’s a constant balancing act. Constantly monitoring the performance of the blog has been key to keeping on top of things. I have an amazing management group of women that work with me. The blog would not be what it is today without them (and those who share their stories, of course). ElleAfrique is successful because of the entire group. [bctt tweet=”@ElleAfrique is a platform dedicated to telling the stories of the everyday African woman ” username=”SheLeadsAfrica”] Are there stories about African women begging to be told that no one is telling but should? I believe the stories of our mothers and grandmothers are absent in magazines and media in general. However, they are important because these matriarchs, through their life experiences, have shaped today’s African woman. Through modernization, civilisation and the mass exodus of many towards the “Western world”, many of our traditions and stories have been lost. Writing and reading about them will strengthen our connection to our past and bring greater perspective to our present. What’s your advice to anyone starting an online African magazine? Having a unique niche is great, but even if that niche is already being covered elsewhere you can always turn your model into something that is still appealing to future readers. Starting an online magazine isn’t as hard as you might think, but you must be prepared to work really hard. Your small idea can become a household name! When I started ElleAfrique, it was being managed by someone else because I knew nothing about blogging. But I took the time to learn about web design and building a blog. Knowledge of online marketing was also an advantage and an important area to be familiar with. [bctt tweet=”Salha Kaitesi – What’s important is uniqueness because there are thousands of blogs out there” username=”SheLeadsAfrica”] What does the future hold for ElleAfrique? The African woman is multifaceted, multitalented and multicultural and it is because of this that we want all of her represented. I think the best way to achieve this is to have at least one contributor from each country in Africa. We want to attract brands that cater to African women and to be a bridge for businesses to reach their target market. Ultimately, our mission is to change the narrative about the African woman, and who better to do this than the everyday African women, living on the continent or in the diaspora. If you’d like to share your story with She Leads Africa, let us know more about you and your story here.
Kendibone Sapepa: Barbara McKenzie started off with me making garments for myself
[bctt tweet=”@Kendibone_S I wanted my brand @_BMcKenzie__ to be a brand with purpose ” username=”SheLeadsAfrica”] Imagine starting out making clothes for yourself and then moving on to make a business out of it due to popular demand. That’s the story behind Barbara McKenzie, a clothing brand, styling service and consulting service based in Joburg. Barbar McKenzie is run by Kendibone Sapepa, a fashion enthusiast who wants to provide customers with classic fashion-forward clothing. You may have read some of her writing right here on SLA where Kendi schools us on different careers in fashion. Read on to find out how Kendibone Sapepa, a Marketing Management graduate is growing her brand and what she has to say about New Year resolutions for businesses. Tell us about your journey to starting Barbara McKenzie clothing. Barbara McKenzie started off with me making garments for myself. When people took an interest in what I was making, I decided to create a business out of it. You established Barbara McKenzie in 2013, how has your brand grown? Has it exceeded your exceptions? It has grown to become what I had wanted from its inception and much more! From just making clothes at home for fun, I’ve dressed admirable women and it continues to grow. [bctt tweet=”Kendibone Sapepa: Barbara McKenzie’s target market is women who emanate elegance & femininity” username=”SheLeadsAfrica”] You have a degree in Marketing Management, do you use what you’ve learned in university in running Barbara McKenzie? If so, how? Every single day. Brands need to be marketed, other wise, how would people know that Barbara McKenzie exists? Activities vary between advertising, collaborations, to anything you can think of, as well as the strategic side of it which the public sometimes does not see. 10% of your profits go towards helping a girl-child, can you tell us more about this initiative? It is a new initiative that I’ve just started. I often come across many stories about how girls cannot go to school and I’ve decided to do something about it. 10% of Barbara McKenzie profits will go to an organisation that helps young girls in need, or directly to these young girls. This of course does not exclude those who cannot afford school fees, and with FeesMustFall —we will help where we can. I wanted my brand to be a brand with purpose, so if people are buying clothes to look good, let them also feel good as well by knowing that when they buy from Barbara McKenzie, a young child is helped as well. Tell us about your consulting service, it sounds quite unique to bring clients on to be part of the design process. How did you come up with this idea? Have there been any particular difficulties implementing it? It is not really unique, as many designers offer this service to all clients. It was not really a matter of coming up with it, but rather clients who wanted a specific looking garments. Difficulties vary, from clients wanting garments that do not compliment my brand, to changing their designs half-way through production, but at the end of the day customers’ happiness matters most. What/who would you say captures the Barbara McKenzie style? The brand’s target market is women of all ages who are feminine and prefer classic style with a modern element in their clothing. Women who emanate effortless elegance and femininity. [bctt tweet=”Kendibone Sapepa went on a mini-mission to find out more fashion-related careers” username=”SheLeadsAfrica”] From your articles on SLA, you seem passionate about different careers in fashion, how did this come about? A couple of months ago, a young lady in grade 10 came to me to somewhat “job-shadow” me as her school does on an annual basis. When we spoke I learned that her parents, like most, wanted her to follow a career in science. They thought a career in science ensures a comfortable and secure life, but as one can see today, this is not how it goes. I’ve seen many a picture of people with degrees, standing at robots asking for jobs. So I went on a mini-mission to find out more about these fashion related careers to better inform these young people about what they entail. I mean with employment in RSA at its worst, why not follow what you like anyway, and also encourage entrepreneurship? What will be your New Year resolutions for Barbara McKenzie? I’m not sure if a entity can have New Year Resolutions, but I personally don’t. One need not wait till January of each year to start doing something, one just starts. Why wait for the next year to start doing something, when you can do it sooner? [bctt tweet=”@Kendibone_S – One need not wait till January of each year to start doing something” username=”SheLeadsAfrica”] I’ve started the help-a-girl-child initiative at the end of this year, I don’t think waiting until the beginning of 2017 would be any better, just so I can say that I have a “New Year Resolution”. Want to see women you know featured on SLA? Tell us what amazing things women are doing in your communities here.
Maria Ebenezer: I decline clients unwilling to comply with our standards
[bctt tweet=”Maria Ebenezer: I believe women should enjoy exclusivity in this particular profession” username=”SheLeadsAfrica”] Emerald Green Ushering Services is a Nigerian-based event hostess agency, providing professional staff for international corporate and luxury social events. Founder, Maria Ebenezer’s entrepreneurial drive was birthed from modelling and her experience in ushering, which gave her the basic knowledge to kick-start Emerald Green Ushering Services. Though Emerald Green Ushering Services’ clients include multinational and indigenous firms, catering for weddings, birthdays and annual general meetings are also par for the course for the firm. Why was it important for you to hire only female ushers as opposed to a mixed staff? Ushering is a profession I have always considered to be best suited to women considering the glamour and hospitality skills that are often required. I believe women should enjoy exclusivity in this particular profession. More so, I have found that it is easier working with female staff as they maintain a better professional conduct. Quality customer service is quite difficult to come by in Nigeria. How does Emerald Green Ushering Services avoid this pitfall? We pride ourselves in excellent service delivery. One of our basic requirements for recruitment is work experience; afterwards hostesses undergo basic training. We are constantly researching innovative ideas to ensure our services are on a par with global professional standards. Feedback forms are given to my clients at the end of each event to evaluate the quality of our service for improvement purposes. So far, feedback has been great. [bctt tweet=”Maria Ebenezer’s core focus for @EMushers is attracting multinational corporate organisations ” username=”SheLeadsAfrica”] How do you handle difficult clients? Initially, I accommodated excessive, unreasonable demands because we needed to build a portfolio. But now, I decline clients unwilling to comply with our professional standards. What’s the biggest challenge facing Emerald Green Ushering Services, and how has it been able to overcome or mitigate it? In our first year, we were enlisted by an indigenous multinational company to bid for their annual conference. Their vendor’s form stated ushering companies were required to have 5 years of experience with renowned firms. Clearly, we didn’t have that and though we lost the bid, I was grateful for the experience because it gave me a clearer picture of what was required to win my dream clientèle. It made me re-strategise. I put in a lot of work to improve staffing and our brand, and in a couple of months, I landed my first international client and then another. But like every other service provider, our biggest challenge has been acquiring new clients. Plus, my core focus is on attracting multinational corporate organisations, which require more work as they are highly competitive and often require rigorous processes. [bctt tweet=”@EMushers aims to be the first firm companies looking for ushers will call upon” username=”SheLeadsAfrica”] What does the future hold for Emerald Green Ushering Services? Currently, every business move we make is geared towards our 5-year goal of establishing Emerald Green Ushering Services as a model framework for event collaboration and partnership between West Africa and multinational companies globally. We aim to be the first firm companies looking for ushers will call upon for their corporate events in Nigeria. If you’d like to share your story with She Leads Africa, let us know more about you and your story here.
Michelle Ntalami: Entrepreneurs have a fire
[bctt tweet=”Cosmetic scientists told @MichelleNtalami that the African natural hair market isn’t quite ready” username=”SheLeadsAfrica”] Michelle Ntalami, a strategic brand and marketing expert, is the founder of Marini Naturals, Kenya’s first 100% organic, natural hair care line. With her wealth of branding and design knowledge, she has conceptualised and designed the Marini Naturals brand, from its name to its logo, colours, scents, packaging, label design, brand plan and marketing strategy. Here, Michelle discusses her fruitful journey to creating Marini Naturals. Marini is Swahili for ‘beautiful’ or ‘attractive’. What was your inspiration behind the name Marini Naturals? From the get-go, I wanted the name to mean “gorgeous” or “naturally beautiful,” just like women are intended to be! I also wanted something very African-sounding and easy on the tongue and mind. So I Googled how many other ways to say “beautiful” or “charming” in any African language. I didn’t mind the language, so long as it was African. And right there was the name “Marini” which is Swahili for the same. I instantly fell in love with it. Marini Naturals is Kenyan’s first 100% natural hair product company for natural hair. How did you find and convince the scientists and other experts who helped turn your dream into a reality? In fact, when I approached a few cosmetic scientists, most told me that the natural hair and skin market is not quite ready in Africa. They advised me to go for generic, synthetic products which “sell more and have higher margins.” But I had a set focus and vision in mind, and to me it was producing 100% natural products with no compromise on quality. However, a few formulators and one factory believed and shared in my vision, and the rest followed. We worked together to make Marini a reality. Soon after our first batch hit the markets and flew off the shelves, most of the ones who had convinced me otherwise expressed interest in working with us. How do you strike a balance between running your branding company, Brandvine Group, and Marini Naturals simultaneously? I have got a team of 10 employees who work on both Marini Naturals and Brandvine Group. Brandvine is mainly run by my partner Niyati Patel, with her team of 8 who manage it very efficiently. I do not want to spread myself too thin, therefore my focus now is more on Marini Naturals. Your team of 10 is within the same age range as you. Was this a deliberate decision on your part, and if so, what are the pros and cons of working with people within your age bracket? Yes, it was. I wanted a young, vibrant and energetic team. I knew there was going to be a lot of running around, fieldwork and logistical work. Therefore I needed employees with that same kind of energy and vibrancy to roll up their sleeves and get their hands dirty, so to speak. I led by example in the first few months. Today, they are the ones on the ground making things happen. [bctt tweet=”@MichelleNtalami wanted a young, vibrant and energetic team so hired people her age” username=”SheLeadsAfrica”] If you had the ear of your president, what would be your advice to him about financing start-ups? Great question. I would tell him to have a serious sit-down with banks to encourage them to believe in young entrepreneurs. Entrepreneurs have a fire and a passion like no one else does because they have their entire future ahead of them and the determination to make it is ten-fold. I’d tell him to them to help us realise our business ideas, rather than shut the doors on our face at the mention of supporting our start-ups. What’s the biggest hurdle currently facing Marini Naturals? We have all these plans to expand our product range but capital stifles us. Additionally, meeting the demand both from Kenya and off-shore markets is quite challenging. As much as we have systems in place to alert us on re-order levels, the fact that sales have picked up pretty well always makes it a balance of how fast we can manufacture before the next Curling Gel runs out. [bctt tweet=”@MichelleNtalami is building Marini Naturals to be one of Africa’s premier beauty products” username=”SheLeadsAfrica”] What does the future hold for Marini Naturals? The future looks bright! We just got featured on CNN, and after the show a lot of Africans reached out to us to find out how they can get our products. We have solid plans to slowly expand to the rest of Africa. Also, we’re considering exciting new products from Marini Naturals. We believe men, kids and even our dreadlocked brothers and sisters need to be taken care of too! There has been a lot of demand from these markets and we are working on something fantastic for them. We hope for this brand to slowly and steadily be one of Africa’s premier beauty products for natural hair and skin. If you’d like to share your story with She Leads Africa, let us know more about you and your story here.
Kgauhelo Dube: The European framing of public discourse is disturbing
[bctt tweet=”2015 Mbokodo Women in Arts nominee @kgauzagp shares why she moved to the arts sector” username=”SheLeadsAfrica”] Kgauhelo Dube incorporates her knowledge and experience in traditional advertising into the work she does within the arts, culture and heritage field. She combines these on an eclectic mix of projects, including her own brainchild, #longstorySHORT. #longstorySHORT was launched in March 2015 to promote African literature through interactive events. These events feature the work of African writers, discussions about important topics affecting literacy in Africa and the sale of books. Kgauhelo continues to be part of a wide array of projects from festival management, content production for TV to acting as a strategic consultant to various artists, cultural foundations and corporations. She was 2015 nominee for Mbokodo Women in Arts award in the category of “Promotion of Arts and Culture in the Media”. You worked as a brand strategist for a firm. Why did you make the move to literature? I didn’t move from brand strategy environment to literature. I’d say I moved to the arts, culture and heritage sector. I made the move because I believe there’s a big role that the arts, culture and heritage sector play in social change, especially in South Africa, a country with a huge identity crisis. The European framing of public discourse is disturbing. Popularising and normalising versus romanticising African ideas, identities, philosophy, languages are instrumental to unlocking the various economic, moral and societal crises we are currently facing. [bctt tweet=”The arts can play a huge role in social change, especially in South Africa @kgauzagp” username=”SheLeadsAfrica”] #longstorySHORT has been well received since its inception in March last year. What is the ‘short’ story behind the name, and how was the idea born? Popular culture has in one way or another succeeded amplifying (whether tastefully or not) very important issues, and so we felt that we could tap into those same strategies and platforms to normalise the culture of reading. #longstorySHORT hosts a podcast in Setswana. Do you see any financial benefits to publishing in African languages? Is there a growing market for such books for young Africans writers to tap into? It’s difficult to focus on creating a business model around a culture that has been demonised over centuries. So, whilst there’s an opportunity in getting more Africans to read in indigenous languages, the first port of call would be for us as Africans to love ourselves enough to understand the potential transformative value of the wisdom that’s locked up in our languages. Being African shouldn’t be about wearing “costumes” on our independence days and during Africa month. There’s no point in pouring a lot of resources in creating African content and selling it to people who mostly associate upward mobility and sophistication with European brands, languages, lifestyles and frame of reference. Once we’ve dealt with the mind-shift, yes, then there are great opportunities for publishers, writers and content creators to disseminate exciting books, films, learning software in our languages! Think about it, Setswana is not only spoken in Botswana. SA has a huge population of Setswana speakers as well. Remember, we didn’t create the borders so there’s linguistic spill over in countries that border each other. [bctt tweet=”#longstorySHORT has celebrities endorsing African literature as its marketing strategy.” username=”SheLeadsAfrica”] It’s understandable for writers to participate in the reading events organised by #longstorySHORT. But no one expects a celebrity to participate in them. Why was it important to get them involved? This is where we use the tactics employed by the marketing industry. It is a classic case of celebrity endorsement. Instead of endorsing a beverage, the participating celebrity is endorsing African literature. With 92% of local libraries closed in South Africa and the rise of ebooks, are print publishers in Africa staring at a bleak future? The going statistic is that 92% of predominantly black schools don’t have functional libraries. However, there’s been a surge in local libraries being built in these areas post-apartheid, which is why a lot of #longstorySHORT readings happen there. How does #longstorySHORT engage with those who, for whatever reason, can’t attend readings and don’t have access to the internet? #longstorySHORT is one of many literacy/ literature promotion campaigns. The scope for the change that needs to happen is not only going to be achieved by us. There’s an exciting growth in literary entrepreneurship with many great young thinkers tackling the illiteracy conundrum in many different ways. There are festivals, online book clubs, bloggers, road-shows, master-classes and a host of other exciting things happening at the same time. It’s a special time for African writers. [bctt tweet=”According @kgauzagp to there’s an exciting growth in literary entrepreneurship” username=”SheLeadsAfrica”] In addition to the work #longstorySHORT is doing, what else can be done to help Africans publishers thrive and encourage bookstores to stock more African literature? Since a nation’s literacy rate has a direct link to its GDP, more official interventions need to happen. There’s lots of policy around eradicating illiteracy, but there’s very little enforcement, monitoring and evaluation. Governments have to have a more urgent, creative and spirited approach to these problems. It’ll never be enough to highlight these challenges within the contexts of calendar days such as World Book Day and World Mother Tongue Day. Consistent intervention is key. What does the future hold for African literature, and more specifically for #longstorySHORT in the coming year? From a promotional perspective, we believe the brand #longstorySHORT has high equity. Now the challenge is maintaining the frequency of readings and reaching remote audiences all over the continent. That requires some brave brand managers and philanthropists pledging their marketing budgets and collaborating with us. If you’d like to share your story with She Leads Africa, let us know more about you and your story here.
Josephine Forson: At Tekura, quality means everything!
[bctt tweet=”Tekura started in 2000 with only two local artisans, crafting baskets under a mango tree” username=”SheLeadsAfrica”] Josephine Forson founded Tekura, an interior decor enterprise, in 2000 with only two local artisans, crafting baskets under a mango tree. By 2009, she was exploring other art forms made from locally sourced materials developed by artisans within the community. In partnership with Ghana’s Forest Research Institute and the Forestry Commission, Tekura sources reclaimed wood (off-cuts and dead wood) from forest plantations in Ghana for their furniture pieces. Tekura designs have been exhibited in USA and Europe, and have won the Africa Growth Institute of South Africa’s Trade Sector Award in 2008. Behind the scenes, Tekura is run by a mother, father and daughter team, and is inspired by the rich, diverse cultures of Ghana. Tekura is a family business run by a mother, father and daughter team. What do you think are the advantages and disadvantages of working closely with family? And when it comes to decision-making, whose call is it? Working closely together as a family has and continues to propel our loyalty and commitment to our brand and business. This makes pooling of resources much easier and everyone is empowered to bring along their own skills to grow the business. Like any family business that cherishes unity, we were concerned external investments would trigger a takeover. But with our well-structured succession plan, we will soon be on our way to going public. We’re grateful to God for Tekura’s success but what’s great is the opportunities and potentials for higher achievements. Our success mix is hard work, perseverance and love. The direction of policy is led by the board of Tekura. The Managing Director leads the daily consultative decision-making process. Your daughter, Audrey, is the manager of Tekura, what’s the biggest business disagreement you’ve had with her? And how are business skirmishes handled? Disagreements are essential for growth. It can be hard for us to agree on the definition of the various markets for our product lines. [bctt tweet=””Disagreements are essential for growth” – Josephine Forson, founder Tekura” username=”SheLeadsAfrica”] Something like this could be a major issue if you don’t make room for frequent team discussions and consulting with industry experts for fresher views and advice. Aside from Ashanti and Fanti cultural artistry, where else do you find inspiration for your unique pieces? Our inspiration goes beyond the cultures of Ghana. We pride ourselves in the rich cultures and heritage of Africa like the Fulani, Fang and Guoro. And since we’re in a land of beauty and natural wealth, we express all of these —who we are as African people through our furniture, handicrafts and other pieces. You mentioned in an interview how difficult it is for artists in Ghana to protect their furniture designs from forgery or reproduction, what’s your advice to aspiring furniture makers? Nobody likes copycats but we all in one way or the other have to deal with them. For us at Tekura that means staying ahead of others, focusing on innovative design and not compromising on quality. [bctt tweet=”Nobody likes copycats but we all in one way or the other have to deal with them” username=”SheLeadsAfrica”] Climate change is an issue on everyone’s lips. As a furniture company reliant on wood from reforested woodland, what role does Tekura play in sustaining the forests and in turn its business? Tekura is committed to keeping its environment safe and so we have a strict policy not to cut down trees in order to do our work. Our work involves recycling wood, and working with the Forestry Commission to collect and transform waste wood. A lot of African business struggle with quality control and consistency. How does Tekura ensure standard procedures are being followed at every stage of the design process and that every piece reaches customers in perfect condition? At Tekura, quality means everything! It’s not been easy but over the years we have engrained a kind of obligation in everyone to ensure the highest level of excellence and quality. This has been through supervision and other forms of checks and balances right from pre-production stage until the final product. What does the future hold for Tekura? The prospects for Tekura are great. Our partnerships with World Fair Trade Organization (WFTO) and the Centre for the Promotion of Imports (CBI) from developing countries has been successful as Tekura has penetrated global markets, particularly in the US and Europe. Also, Tekura’s space in the local market has grown and achieved great strides. There are so many opportunities out there with changing trends, markets and even competition, and that excites us. Tekura’s vision is to be the world’s go-to brand for hand-crafted furniture and décor. If you’d like to share your story with She Leads Africa, let us know more about you and your story here.
Linda Mabhena-Olagunju: Entrepreneurs must learn to take calculated risks
[bctt tweet=”If you really want to venture into business you have to risk looking stupid.” username=”SheLeadsAfrica”] At SLA, we are always super excited to interview young African women that are trailblazers, game changers, leaders and positive role models for other African women. Linda Mabhena-Olagunju has all of the above qualities and more. Linda holds two law degrees: an LL.B. from the University of Cape Town and an LL.M. from the University of Aberdeen. She is the Managing Director at DLO Energy Resources, a renewable energy investment and advisory company based in Johannesburg. She is also the founder of the Renewables and Energy Forum in South Africa. Linda has received a number of awards. She received the 2015 Forbes Women Africa Best Emerging Entrepreneur Award. She also recently received the 2016 Elle Boss entrepreneurial award and the 2016 All Africa Business Leadership Award (Young Business Leader of the Year – Southern Africa). Congratulations Linda! Linda shares with SLA contributor Abisola, her challenges in the renewable energy sector, her entrepreneurial journey and her advice for young African female entrepreneurs. Did your legal education and training prepare you for entrepreneurship? I have always said being a lawyer gives you an overview of how a transaction works so that you get to understand the business model of a particular sector industry. Legal practice, not just my law degrees, prepared me to an extent for business. However, lawyers also tend to be risk averse, as our job entails avoiding risk. My legal training made me more afraid to take risks but after a while in the entrepreneurial space I learnt to take calculated risk. For a lawyer, that means risks that have gone through two sets of thorough due diligence. What would you attribute your current success to? Maximized opportunities or sheer good luck? Hard work, coupled with God opening the doors that needed to be opened and placing me in places and situations I had never imagined. I also attribute it to a strong support system. I stress a lot and my parents have been great pillars of support during these periods. My father, especially, who believed in my vision when I had basically no support. My husband also has this innate sense of calm and wisdom. His counsel has been the difference between me quitting at times and staying in the race. [bctt tweet=”Linda Mahbena-Olagunju recently received the 2016 Elle Boss entrepreneurial award ” username=”SheLeadsAfrica”] What three things can help African women achieve their professional or entrepreneurial goals? Self – belief. God/Higher power belief. A real support structure, whether it be family or friends. What peculiar challenges do you face in the renewable energy sector, especially as you seek to expand to other African countries? A major challenge is regulatory clarity. Most countries in Africa need power but they do not create an enabling environment, at times, to encourage investment. Renewable energy projects are funded largely by banks and anyone that has ever borrowed money from a bank knows that lenders are averse to risk especially government risk and regulatory risk. [bctt tweet=”My husband’s counsel has been the difference between me quitting and staying in the race” username=”SheLeadsAfrica”] The other challenge which is particular to Southern Africa, is falling tariffs. We have seen tariffs fall rapidly due to competitive price bidding. This is great for consumers, but may be a challenge for new investors that have to raise funds to finance projects. If you could go back in time, what advice would you give your younger self? You may be going through tough times now, but God has an amazing life planned for you. What final piece of advice do you have for aspiring female entrepreneurs? Take the first step. It may seem like a stupid idea but if you really want to venture into business you have to risk looking stupid. Hey South African #MotherlandMoguls, the SheHive will be landing in Johannesburg from November 3-6. Find out more here.
Sandra Lopez: Value extends far beyond money
Group travel is in at the moment and X-Plaw Travel is one group-based travel company aimed at taking young South Africans outside their borders. Sandra Lopez is the Founder and Managing Director of the Pretoria-based company, A firm believer in the power of “Africa by Africans”, through X-Plaw Sandra focuses on African destinations first for tourism and travel. Although it took a while to discover her passion, when she found it Sandra would work 9 hours after her day job building X-Plaw. As Sandra grew up in an organisation for orphaned and abandoned children, she’s also passionate about giving back through her travel initiatives. Read on to find out how Sandra’s grooming a generation of travel-hungry South Africans. How do you think X-Plaw Travel will disrupt the African travel industry? By bringing great affordable quality valued tours and experiences to our customers. This is and has always been our mandate. I believe that value is something which extends far beyond the monetary. It includes but is not limited to the type of service you give to your customers, how much you engage with them, how much you allow them to feel part of what you are building and how much you allow them to connect with the people they meet on these journeys. Education is also a key factor for us, most of our travellers have not travelled outside of their home towns or outside of South Africa. For them to experience going out of the country for the first time with us, is an experience that even we get to appreciate with them. In most instances, they return from these tours richer in knowledge having learnt something totally new about a different country and its people. Why do you think young people should explore Africa more? I am a firm believer of “Africa by Africans”, we are the only ones who have the power to change how our continent is perceived by the outside world. We are the only ones who can tell our stories better. I feel that in many ways, Africa is being misrepresented by the global media. Half the time, this forces people to forget the beauty that surrounds us, sometimes even by ourselves. Travelling thus gives us an opportunity to understand ourselves better as a people, our roots, our cultures, our heritage. It also paints a picture which allows us to understand vividly that we are all connected as Africans and as a human race in some way or the other. Only when we are fully comfortable and confident with who we are, will it become much easier for us to invite other young people from other countries to experience this diversity with us. How have you combined giving back initiatives with your travel company? Giving back has always been at the fore of what we do as a company. It is actually something that is very personal to me. All our tours have give back initiatives tied to them. On a 5-6 day tour for example, one day is dedicated to enriching the lives of the less fortunate. In countries where we are not able to actively engage in these initiatives due to certain constraints, we pledge the funds to local projects in South Africa. We have also just launched the “One Traveller, One Child” initiative. Where for every traveller who tours with us, we will send a disadvantaged kid on a weekend camp educating them about nature, travelling and most importantly about themselves. Hopefully in a few years, we would be able to look back and realise that we have groomed a generation rich with an appetite for travelling. What did you have in place before you quit your engineering job to focus on X-Plaw? A lot of things actually. An idea, passion, a sketchy plan and a few Bible verses, but mostly I had will power & determination. Nothing beats the will to want to succeed and see something grow from an idea into something tangible. Every day after my 9-5 job, I would get home to read, research and work on X-Plaw for an additional 9 hours. This went on for a full year until I decided that I was ready to let go of one. In what ways has your childhood shaped your passion today? As a kid I was an all-rounder and an overachiever, which meant that with most academic subjects or activities I participated in, I excelled. This actually made it quite hard for me to discover what I truly was passionate about. I grew up in an organisation called the S.O.S Children’s in Ennerdale, south of Johannesburg. It’s an organisation for orphaned and abandoned children. As ironic as it sounds, we were raised to believe in ourselves and to always extend a helping hand to others less fortunate. We were extremely fortunate growing up at the village. After school we were kept busy with sports and extra mural activities. During school holiday we were fortunate enough to travel or go out camping. This, in many ways is how my love for travelling started. However, I only truly discovered my passion for it much later in life. In your opinion, what is needed to successfully travel in a group? An open and curious mind. Travelling with an open mind gives you perspective, you see the world through different eyes, you appreciate things more. In some instances, you get to understand how little others have. You also learn to be patient, as time almost no longer defines your schedules. You get to slow down and enjoy the moments. Stay curious, by doing so you learn to expect the unexpected. And most of all, you learn something new every day. Hey South African #MotherlandMoguls, the SheHive will be in Johannesburg from November 3-6. Find out more here.
Fundi Zwane: It’s critical for artists to be exposed to business
Who says you have to choose between being creative and working in the corporate world? Fundi Zwane believes you can have both. As a Motherland Mogul, Fundi manages to successfully combine two unusual passions; art and the corporate world. Through her Industrial Theatre, Phezulu-Phambili, Fundi translates boring policies into informative theatrical shows. When she’s not running her creative/artistic company, Fundi acts and has appeared on soapies such as Generations. Find out why people in the performing arts should be exposed to business and the one important skill all artists need below. Why do you think people in the performing arts should be exposed to business? I think it is critical for artists to be exposed to business as it helps them navigate spaces beyond the creative world. It is a great arsenal in their “toolbox” when negotiating things like contracts and issues of strategically placing themselves as brands. It also adds enormous value to their package as an artist. Another way it comes in handy is that sometimes, as artists, we go through what we call “dry seasons” when there is not a lot of acting work available. So having a background in business can really assist in coming up with ways to sustain yourself during this period as it encourages thinking out-of-the-box and beyond your comfort zone. How does your Industrial Theatre, Phezulu-Phambili Collective merge both passions seamlessly? Phezulu-Phambili merges the corporate and creative worlds by taking something like a policy or a piece of legislation and presenting it in manner that is “out-of-the-box”. Another component that becomes critical is understanding the audience that you present that piece of Industrial Theatre to. Usually, it is a non-theatre going audience and most times, it’s their first contact with the creative world. So it becomes incumbent on my company to make the experience unforgettable and memorable. Phezulu-Phambili takes what is usually mundane, black and white, full of jargon and brings it to life! That is how we marry the worlds of corporate and creative seamlessly. How have you successfully combined your passions for art and the corporate world? What I mark as success is when Phezulu-Phambili did contracts for BROLL (one of the biggest property realtors in SA) and recently Transnet (one of the biggest parastatals in SA). The way we were able to interpret and communicate their health and safety policies through theatre was, for me, magical. I deem a project a success based on the response we get during and after a performance -and obviously the request for more business. It is always a gratifying feeling and makes all the hours spent combing through a policy and interpreting it through the creative process of writing and rehearsals worth it. I also consider it a success when Phezulu-Phambili manages to go into the corporate space and get people to engage with a policy in a way that is fun and interactive because of the way we present it to them. What keeps you going as a young black South African woman? What keeps me going as a young South African woman in business is an insatiable desire to succeed and leave a legacy. Not only for my daughter but for other young women who have dared to go into business in a country where the economic scales are still so imbalanced. Transformation, especially in the corporate space, is non-existent. I want to be part of the pulse changing the narrative of African woman, a pulse celebrating our glory and showcasing us as the amazing, determined success we are. What also keeps me going is my 3-year-old daughter, Bella-Rose. I’ve always wanted to be a mother that models black excellence to my daughter. Being a single mother in business has NOT been easy. There are times when you feel overwhelmed and want to throwing in the towel for something “easier” seems like the the “better” option. But keeping focused on the goal of leaving a legacy for my daughter and all other women who look up to me keeps me going. My motto is, ” I don’t stop because it gets hard, I stop when the work is finished”. What is one seemingly insurmountable challenge you’ve faced and how did you overcome it? One challenge that is forever present is the issue of capital. Be it to start a big project or to expand as the demand for work grows. This can be a very stressful and sometimes, a seemingly insurmountable challenge. The art of business, I believe, is the relationships you nurture and foster over the years. So in times where money needs to show up for operational purposes and the business coffers are running dry, there are strategic business synergies I have formed with people who are willing to assist. Creating a culture of taking care of each other financially is important. This obviously comes with one having to practice absolute financial integrity. Once our coffers are replenished, we give back what was borrowed to in times of need. You spent 4 years on the soapie Generations, what advice would you give on maintaining business relationships for the long run? I believe maintaining business relationships is absolutely crucial as I’ve mentioned above. Acting on a soapie like Generations really did teach me that. I always advise on maintaining a good working relationship, especially with people you enjoy working with, people who inspire you to do more and people who believe in your vision for success. What business skills do you think an actress must definitely have? As an actress, you MUST have the business skill of negotiating. This, I believe, is really important and makes people take you seriously. Be it negotiating a contract, or negotiating with producers/ writers about a storyline for the character you are playing, it is an important skill. I once witnessed actress Nambitha do this on the set of Generations and I gained such a profound respect for her. Nambitha knew her character in and out and there was a line in the