In the Frame with Lakwena Maciver Sandra

WORDS: Bakul Patki

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The architect-turned-CEO of Manolo Blahnik shares how she’s helped to redefine her family’s luxury shoe empire—and why her uncle’s perpetual passion for learning has been key to its success.

“I’ve always been particular about my brows—even on shoots with incredible make-up artists, I’d insist on doing my own.”

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I originally studied engineering and worked in that industry for three years, so I launched my business later on in life. At 26, I left my job in France and came to London to study jewellery design. That was almost 10 years ago. I basically used my studies to start working on my business plan. Every time I had a school project, I would design pieces that would be part of my future collection. But I didn’t have a lot of experience in business; I had no idea what a small business was, how to hire, or how to be a manager. I had no connections whatsoever in London – nor in fashion or design.

“Of course, I’m very grateful for the successes we have achieved, and yes, we can celebrate these milestones. But I’m always cautious – I never believe I have ‘arrived’. To me, one day you’re in and the next you could be out. You can’t rest on your laurels.”

“I say ‘work in progress’ a lot or ‘this too shall pass’. Also: ‘don’t forget to have fun’.”

What is your mantra?

“In the beginning, the biggest challenge was doing everything with a small team, but I truly believe it’s important to be hands-on to understand what your business really needs”

“When we got our first negative TikTok review, I panicked. I thought we’d ruined everything. But it turned into one of my biggest lessons.”

“A very old Hermès trench, which I got when I worked at the [brand’s] sample sale in the ’90s, plus a McQueen embroidered cape.”

What is your most treasured fashion item?

My earliest art experiences don’t fit into traditional Western definitions. I was attracted to art as something living and part of your everyday life, not something that just sits in a gallery. Memories that stand out are seeing hand-painted street signs in East Africa; beautiful kangas (printed cloths) that my dad used to buy for me and my sisters; patterns in carpets my parents had at home; church tapestries and stained-glass windows. Also, watching the kids’ show Sesame Street. My journey into artmaking started when I was 19. I was staying with friends in Brazil and found myself painting a mural while I was there. When I returned to London, I decided I wanted to study something that would help me make a living out of art. I chose graphic design at art school, but I was always more interested in painting and words. The course was very conceptual – it really opened my mind to what was possible, and I ended up making large-scale paintings. After graduating, design work mainly paid the bills, but I took every opportunity I could to paint. Eventually people began commissioning me to paint walls and over time my practice evolved. I went from making work on streets to having exhibitions in galleries and cultural institutions, as well as public art projects, and now collaborations with brands.

One of my greatest challenges was figuring out how to navigate the art world – especially early in my career. I think a lot of people who work in art, or the creative industries, have parents or family who do too, and to some degree they’ve been immersed in that world since childhood. I’ve always felt like an outsider – the whole experience has been new to me.

“We celebrate wins—big and small—every day through a WhatsApp group with our leadership team. Everyone shares one big and one small win daily. It reminds us that progress, no matter how small, is still progress. “It’s natural to take inspiration from others, but it’s tough when we see replicas of our products on the market. There are too many loopholes that let brands get away with it. I used to stay quiet about it, but now I see it as a compliment—it means we’re leading, not following, and that Refy is aspirational. “I’m still learning to set boundaries with my phone. So much of my work and life happens there, but I can easily spend hours scrolling without being productive. I’m trying to create a new routine—once I finish work, I leave my phone on my desk for the evening . “I’m a chronic overthinker, and the best advice I’ve ever received came from my brother: whenever you have a problem, look in the mirror and ask, ‘Can I do anything about this?’ If yes, do it immediately. If not, let it go—it’s out of your control.

“I started posting on Instagram at a very good time. It was very early on. I would just put outfits together, and my mum would take pictures of me in the kitchen. At the beginning, I was just sharing to friends and family, but over time my following grew. It was a lot easier back then. As my following grew, so too did the opportunities, and I started working with brands, which is how I met Jenna [Meek, Jess’s co-founder]. “I’ve always been particular about my brows—to the point where, even on shoots with incredible make-up artists, I’d insist on doing my own. I was actually on one yesterday and said, ‘I’ll do my own brows.’ Back then, I’d use two gels and three brushes just to get them how I liked — I thought that was normal. Jenna saw what I was doing and asked why I was using so many different products. “I talked her through each step, and her entrepreneurial brain immediately lit up. She said, ‘I think there’s something here.’ We met for lunch and sketched out designs for a dream product — one that featured three brushes to create my everyday sculpted look and hold it in place all day. “Months later, Jenna called and said, ‘I’ve spoken to a lab — they think they can make it. Would you want to start a business together?’ Naively, I said yes, with no experience in make-up or business. I wish I still had some of that fearless energy, because as the brand grows, the stakes get higher, and I’ve become more cautious. I love where we are today, but nothing beats the magic of the beginning.

“Back then, I’d use two gels and three brushes just to get them how I liked — I thought that was normal.”

“I had no idea the process would take two years. Our prototype was a world-first, so there was a lot of back and forth. We eventually launched in November 2020 — a strange time, right in the middle of lockdowns. But with everyone on their phones, it actually worked in our favour. I launched Brow Sculpt on my channel with a simple video of me applying it and saying, ‘We have this brow product — hope you love it.’ That clip went semi-viral because of the instant wow factor. “The lab required a large initial order since it was a new product. We forecasted that the stock would last nine months — it sold out in six weeks. We were out of stock for three months, which wasn’t ideal, but it showed there was a gap for a brand that simplified beauty with innovative, time-saving products that did the hard work for you. “I’m not a make-up artist — I’m just a girl who loves make-up and wants to create beautiful looks in under 20 minutes. From then on, we kept asking, ‘What else needs simplifying in our routine?’ That question still drives everything we do.

“We forecasted that the stock would last nine months — it sold out in six weeks.”

“When we got our first negative TikTok review two years in, I panicked. I thought we’d ruined everything and relied too much on social media. But it turned into one of my biggest lessons — we needed to be clearer about who each product is for. Instead of saying, ‘Everyone will love it,’ we started saying, ‘Don’t buy this if you’re not after that specific look.’ “Our community is our biggest strength. It’s at the core of everything we do. We started out wanting to simplify beauty, but now it’s evolved — I’m often the second person to know what’s launching next because it all comes from our community. They influence everything, from product development to shades. We regularly email our database asking questions like, ‘What do you want to see next?’ or ‘Should the next mascara be blue or brown?’ “We’re so fortunate to have such a close relationship with them. Our products are made for them — nobody else. Some of our biggest viral moments have come from everyday customers, not influencers. One girl in America filmed herself applying Lash Sculpt from Sephora in her bedroom — that video now has over 100 million views. It sold out across Sephora US. You can’t buy that kind of exposure — it’s pure community power. “To stay ahead, we have to keep innovating — not just with products but with every aspect of the business: in-house processes, customer experience, and events. Three years ago, we hosted a community pop-up at a Pilates studio in London. We weren’t selling anything — just meeting people. There were classes upstairs, coffees and matchas downstairs, and a space to connect. People queued for six hours just to be part of it. It’s one of my proudest moments and reminded me why community matters so much.

Manolo Blahnik’s brilliance is that it is unconstrained. Every season, the collection will take you by surprise. Yes, we have our classic styles that have captured people’s imaginations on a very large scale, like the ‘Hangisi’ buckled pump or the ‘Maysale’, which is your perfect 360 shoe in my opinion. But I think what differentiates us is that there is such a wide selection, and everything stems from deep cultural references and historical understanding that my uncle has spent his entire life learning, studying and consuming. Each collection is a visual feast. Even if you’re only going in to buy the simple ‘BB’ pump, you will always have something to look at, that will inspire you to think and make you curious to try it on. We don’t follow fashion, we just do our own thing. We’re not beholden to an Excel spreadsheet telling us what has to be made. Manolo is never told to do this, that or the other, or to follow certain trends or movements. It’s wholly unboundaried; an infinite world of surprise. No collection is ever going to be obvious, so that element of magic and surprise is consistent, and that has meant we’ve maintained our community. When someone connects with us, they will continue being connected. It’s not something that fades over time because there’s always something to excite. Speaking of surprises… We recently launched a Marie Antoinette capsule collection. It’s to celebrate the incredible exhibition that’s currently on at the Victoria & Albert museum [in London], which we immediately threw ourselves at to sponsor. It was one of those magical, very rare moments where all the stars align and we knew that Manolo just had to be part of it. Marie Antoinette is one of the icons of his life; someone he’s always been drawn to, so to get as close to her as he did through this process was so important to us. This little capsule collection he’s designed is very much with her in mind, but as if she was alive today. I currently own about 150 pairs of Manolo Blahnik shoes, but of course I’d like them all! My most treasured are a pair of gold leather sandals from 1976 that I asked to keep when I spent three months in Bath photographing all of the shoes for our archives. I never wear them – they’re more of a collector’s piece, something really special that I own from the archives. Another treasured possession is my collection of ‘Maysales’: I have about 12 colours and I love laying them all out in a spectrum. Looking at them all together makes me smile – it’s like being in a candy store. Some of my shoes are not in such pristine condition, of course, but that’s only because they’ve had a lot of fun and been on many outings. They’ve danced, they’ve walked, they’ve run, they’ve battled the weather, but I look at them and they bring back all those wonderful memories, so I’ll never get rid of them.

“When we got our first negative TikTok review two years in, I panicked. I thought we’d ruined everything and relied too much on social media. But it turned into one of my biggest lessons—we needed to be clearer about who each product is for. Instead of saying, ‘Everyone will love it,’ we started saying, ‘Don’t buy this if you’re not after that specific look.’ “Our community is our biggest strength. It’s at the core of everything we do. We started out wanting to simplify beauty, but now it’s evolved—I’m often the second person to know what’s launching next because it all comes from our community. They influence everything, from product development to shades. We regularly email our database asking questions like, ‘What do you want to see next?’ or ‘Should the next mascara be blue or brown?’ “We’re so fortunate to have such a close relationship with them. They’re who our products are made for. Some of our biggest viral moments have come from everyday customers, not influencers. One girl in America filmed herself applying Lash Sculpt from Sephora in her bedroom—that video now has over 100 million views. It sold out across Sephora US. You can’t buy that kind of exposure—it’s pure community power.

As part of our new series - In The Frame - showcasing inspiring women shaping the arts, London artist Lakwena Maciver reveals what keeps her inspired, how motherhood has impacted her career, and why she's excited about her new collaboration with Dior.

‘I’m fascinated by how people use words and symbols to communicate hope, faith, or struggle... and by how we decorate our bodies, our homes, our communities.

Manolo Blahnik’s brilliance is that it is unconstrained. Every season, the collection will take you by surprise. Yes, we have our classic styles that have captured people’s imaginations on a very large scale, like the ‘Hangisi’ buckled pump or the ‘Maysale’, which is your perfect 360 shoe in my opinion. But I think what differentiates us is that there is such a wide selection, and everything stems from deep cultural references and historical understanding that my uncle has spent his entire life learning, studying and consuming. Each collection is a visual feast. Even if you’re only going in to buy the simple ‘BB’ pump, you will always have something to look at, that will inspire you to think and make you curious to try it on. We don’t follow fashion, we just do our own thing. We’re not beholden to an Excel spreadsheet telling us what has to be made. Manolo is never told to do this, that or the other, or to follow certain trends or movements. It’s wholly unboundaried; an infinite world of surprise. No collection is ever going to be obvious, so that element of magic and surprise is consistent, and that has meant we’ve maintained our community. When someone connects with us, they will continue being connected. It’s not something that fades over time because there’s always something to excite. Speaking of surprises… We recently launched a Marie Antoinette capsule collection. It’s to celebrate the incredible exhibition that’s currently on at the Victoria & Albert museum [in London], which we immediately threw ourselves at to sponsor. It was one of those magical, very rare moments where all the stars align and we knew that Manolo just had to be part of it. Marie Antoinette is one of the icons of his life; [someone] he’s always been drawn to, so to get as close to her as he did through this process was so important to us. This little capsule collection he’s designed is very much with her in mind, but as if she was alive today. I currently own about 150 pairs of Manolo Blahnik shoes, but of course I’d like them all! My most treasured are a pair of gold leather sandals from 1976 that I asked to keep when I spent three months in Bath photographing all of the shoes for our archives. I never wear them – they’re more of a collector’s piece, something really special that I own from the archives. Another treasured possession is my collection of ‘Maysales’: I have about 12 colours and I love laying them all out in a spectrum. Looking at them all together makes me smile – it’s like being in a candy store. Some of my shoes are not in such pristine condition, of course, but that’s only because they’ve had a lot of fun and been on many outings. They’ve danced, they’ve walked, they’ve run, they’ve battled the weather, but I look at them and they bring back all those wonderful memories, so I’ll never get rid of them.

“Like a building, I understood the business’ foundations. Next, came the challenge of how high we could build it; how many more layers we could add.”

that have since become the artist’s signature, were drawing attention. She began to be commissioned to paint street walls, then invited to exhibit by galleries, cultural institutions, and more. To date, Maciver’s work has been seen brightening up public spaces in cities from Miami to Vienna, and across institutions as varied as a youth detention centre in Arkansas to Yorkshire Sculpture Park and – coming soon - London’s Southbank Centre. Alongside these projects, she’s worked with a series of increasingly high-profile brands – her most recent collaboration being the creation of a selection of limited-edition handbags created with Dior, as part of the 10th edition of the Dior Lady Art project. Here, she opens up about her practice, motivations and hopes for the future.

I’m cautious about the way technology claims to build connections but instead makes us less connected. My response to that is wanting to connect with people in the real world more. I’ve begun doing this through workshops and events in my studio that are building a community and encouraging an in-person dialogue with my work, rather than just having it be seen through a screen. I hope this continues to grow. Recently, I’ve also been working on extending the studio practice into a curated range of products that build on my visual language and ideas. Over the coming weeks, we’ll be launching several new pieces that continue this dialogue between art and everyday life. To me, that’s another way of connecting with people beyond a screen. I’m especially excited about my collaboration with Dior. We’ve just released three limited-edition bags, and it’s been great fun to work on such a luxury object. It makes for a really strong contrast to the box paintings and I think it’s highlighted the way my work can sit within – and reference – very different worlds. I really hope that continues. I’m also really excited about a new commission for the Southbank Centre – a monumental artwork, which I’ll be making in collaboration with my sister Abimaro, who is a singer and musician. Music has always played a massive part in my life and work; it will be at the centre of this project.

One of my greatest challenges was figuring out how to navigate the art world - especially early in my career. I think a lot of people who work

One of my favourite musical collectives is The Multi-Story Orchestra who Abimaro, my sister, regularly collaborates with. They’re based in Peckham and often perform in the multistorey car park at [arts organisation] Bold Tendencies; they’re deeply rooted in community and working with local young people. They make beautiful music together – I’m always inspired by their performances. An artist I’m excited about right now is Halina Edwards. The rawness of her work is beautiful. I really admire what she’s doing with her practice, and I look forward to seeing what she does next. And I’m a big fan of Alvaro Barrington, who seems to be everywhere right now. I love the materiality of his work, and how it engages with wider culture. It’s also just very beautiful. A must-see show right now is Joy Gregory’s Catching Flies With Honey at Whitechapel Gallery. It’s the first major survey of one the UK’s most innovative photographers and is absolutely brilliant. I’m excited to see the new Beatriz Milhazes exhibition, Além do Horizonte at White Cube Mason’s Yard in Mayfair. Her paintings are so vibrant. Finally, I can’t wait to check out Nike and Palace’s new space Manor Place in South London. They’ve turned a Victorian bathhouse into a beautifully-designed skate park and football cage – and both are accessible for free. They’re also planning to house creative residencies in the building, which is something we definitely need more of.

It’s been hard holding on to my practice since becoming a mother. I think this is where I’ve most seen the impact of being a woman in the arts. My husband is the most amazing father to our children. He’s so involved and engaged, and puts an incredible amount of energy into them, so I would never undermine the part fathers play. But I think there’s something all-consuming about motherhood: the breastfeeding, the sacrificing of your body – it’s completely life-altering. I’ve had three kids, who I really want to give lots of time to, so with each I have worked part-time until they turned three. (My youngest is two.) It’s totally worth it, and I’m so grateful I’m able to do it like this, but it means I’ve had to learn to make peace with less capacity for work. I have to constantly remind myself to accept when my capacity is limited and just to follow my own path.

The best advice I can give is to be sincere, and to tell your own story in your own way. That’s what I’ve always tried to do, and I think it speaks to people. Also, try not to compare yourself to others – in all aspects of life. As a creative, where your output is so public, this can be really difficult. But we all have different blessings and different challenges, and nothing fruitful comes from comparison. Another thing that doesn’t always come naturally to me, but is important, is trying to be part of a community. So many artists’ success has come through their creative networks. I’m most proud of having developed a practice that sits in many different spaces. I show paintings in galleries, I create immersive installations, I work on massive public commissions, and I collaborate with major brands. I think that’s quite unusual and I’m very grateful it’s worked out that way. I’m not a super-planner, so it’s all been quite organic, but I’m definitely someone with a vision – and this was always my vision for my work.

Words and music are my biggest inspirations. Whether it’s lyrics, scripture, chants, protest placards or street signage, I’m fascinated by how people use words and symbols to communicate hope, faith, or struggle. I’m also inspired by adornment — how we decorate our bodies, our homes, our communities. There’s something very powerful about turning everyday things into something extraordinary. I like the idea of trying to build up rather than tear things apart. I’ve been working on a new body of work called How We Build a Home, which explores migration, belonging and the materials that carry our stories. I collect discarded boxes from the market beneath my studio, paint on them, and embellish them with locally-sourced beads. The whole project is very immediate, just using what is easily available, and I’m really enjoying working that way. I tend not to think too much about how people feel about my work and just try to put good things out there. Having said that, people do seem to really love this series – it seems to comfort them – and that’s been lovely. I think it’s resonated because I’m repurposing packaging for food products that remind them of home.

Lakwena Maciver, We Came From Far and Wide, 2025. Photography by Nicolas Brasseur. Courtesy of the artist and Mariane Ibrahim

SAVE THE DATE

Joy Gregory at Whitechapel

Lakwena Maciver’s current must-sees on London’s cultural scene

Beatriz Milhazes white cube

Nike Palace Manor Place

Courtesy Nike / Palace.

FROM LEFT TO RIGHT: Here we come, here we rise, Brent Cross, Lakwena Maciver portrait Brit Awards courtesy of Universal Music UK, Still I Rise, 2017, Fort Smith Juvenile Detention Centre, Arkansas.

Lakwena Maciver, How We Build A Home is at Vigo Gallery until 14 December. The Dior Lady Art project launches its 10th anniversary edition on 13 November, with Maciver’s bags available in select Dior boutiques. Maciver’s bandana’s and afro combs are available from 29 November via the artist’s official channels, including lakwena.com.

‘

I’m cautious about the way technology claims to build connections but instead makes us less connected. My response is wanting to connect with people in the real world more’

‘

The best advice I can give is to be sincere, and to tell your own story in your own way. That’s what I’ve always tried to do, and I think it speaks to people’

IMAGES: Danika Magdalena

‘

I’m fascinated by how people use words and symbols to communicate hope, faith, or struggle... and by how we decorate our bodies, our homes, our communities. There’s something very powerful about turning everyday things into something extraordinary’

‘

The best advice I can give is to be sincere, and to tell your own story in your own way. That’s what I’ve always tried to do, and I think it speaks to people’

‘

The best advice I can give is to be sincere, and to tell your own story in your own way. That’s what I’ve always tried to do, and I think it speaks to people’

‘There’s something very powerful about turning everyday things into something extraordinary’

akwena Maciver showed an aptitude for art from a young age. Starting her career as a graphic designer, she always felt the pull of painting, filling her spare time making art. Her passion paid off. It wasn’t long before the eye-catching technicolour murals with their punchy slogans,

akwena Maciver showed an aptitude for art from a young age. Starting her career as a graphic designer, she always felt the pull of painting - filling any spare time making art. Her passion paid off. It wasn’t long before the eye-catching technicolour murals with their punchy slogans, that have since become the artist’s signature, were drawing attention. She began to be commissioned to paint street walls, then invited to exhibit by galleries, cultural institutions, and more. To date, Maciver’s work has been seen brightening up public spaces in cities from Miami to Vienna, and across institutions as varied as a youth detention centre in Arkansas to Yorkshire Sculpture Park and – coming soon - London’s Southbank Centre. Alongside these projects, she’s worked with a series of increasingly high-profile brands – her most recent collaboration being the creation of a selection of limited-edition handbags created with Dior, as part of the 10th edition of the Dior Lady Art project. Here, she opens up about her practice, motivations and hopes for the future.