Imagine a continent bursting with untapped creative genius, poised to unleash a $20 billion annual powerhouse by 2030, sparking 20 million jobs and transforming lives—if only the right moves are made now. Africa's creative economy isn't just emerging; it's on the verge of a revolution, promising economic boom and social upliftment like never before. But here's where it gets intriguing: will outdated systems and unequal access hold it back? Join us as we dive into the heart of this potential, exploring how nurturing talent could redefine Africa's future.
In light of this exciting horizon, Ananse Africa organized a prestigious online webinar to delve into strategies for harnessing this boom. The event, which took place on October 23, 2025, gathered top minds from the industry, education, business, and government to rethink how skills are built and sustained for Africa's budding creators. They focused on adapting training to the unique hurdles young innovators face on the continent.
During the opening address, Sam Mensah, the visionary behind Ananse Africa, shared the organization's origins as a digital hub linking African fashion designers with buyers both locally and worldwide. As the platform grew, however, it uncovered deeper roadblocks that hindered success. 'Once creators gained market entry and orders flowed,' Mensah recounted, 'we spotted the weaknesses preventing real progress.' These obstacles included subpar product standards, ineffective digital promotion, supply chain issues, and difficulties in handling finances.
He went on to explain that even straightforward tasks like wrapping goods, arranging overseas deliveries, and processing orders were major hurdles for small-scale designers. 'Many lacked insight into global shipping mechanics,' Mensah noted. 'It became clear we needed a comprehensive framework offering skill-building, business guidance, tools, and expert advice to bridge these gaps.'
This realization prompted the establishment of the Ananse Center for Design in Lagos, Nigeria, in collaboration with the Mastercard Foundation. Ananse Africa now operates in six nations—Nigeria, Ghana, Kenya, Senegal, Côte d’Ivoire, and South Africa—and is broadening its footprint. The project has also championed gender equality and job creation for the young. 'Women make up 70% of the creators on our site and in our workshops,' Mensah pointed out, highlighting how this initiative empowers underrepresented voices.
Another player evaluating Africa's creative landscape is Botho Emerging Markets Group, a firm specializing in investment and advisory services for developing regions in Africa, Asia, and the Middle East. According to their expert Mwanzia Muinde, the sector is vibrant yet brimming with unrealized promise.
'It features a vast pool of youthful talent, with over 70% under 35 and more than 70% female,' Muinde stated. Valued at nearly $31 billion today, it could soar to $50 billion by 2030. Still, 'over 70% of these artists struggle to sell abroad,' he added. 'They're mostly catering to local crowds, neighbors, or nearby communities.'
'And this is the part most people miss: 75% have basic or no knowledge of online selling, and just 15% use e-commerce sites,' Muinde disclosed. This predicament arises from disjointed frameworks and missing unified national plans. 'Out of Africa's 55 nations, only 12 boast a dedicated creative strategy,' he explained. 'Most artists receive no official backing and are sidelined from policy discussions.'
Training opportunities are scarce, mostly clustered in big cities like Lagos and Johannesburg, sidelining rural or smaller-town creators. The burdens hit women hardest. 'Only 39% of women can get online, versus 50% of men,' Muinde noted, pointing to pricey data costs—sometimes swallowing 5% of monthly earnings—which restrict access to virtual learning and trading tools. He warned that without swift boosts in digital know-how, market entry, and online commerce, 'we might forfeit $200 billion in export earnings by 2030.'
Lauren England, a senior lecturer in creative economics at King's College London, confirmed that her team's studies echo these issues. 'Aspiring designers, especially in fashion, need practical know-how for managing real-world operations—like budgeting, cash flow, and navigating taxes,' she said.
Rita Ngenzi, head of the Africa Creative Alliance, emphasized that the core problem is a lack of organized support for these abilities. 'Skill training truly matters only when tied to practical, market-relevant systems,' she argued. The Alliance prioritizes connectors like hubs and accelerators, which act as communal spaces for production and fresh ideas.
Bayo Omoboriowo of Tikera Africa underlined the value of teamwork and international ties, arguing that Africa's creative and cultural fields often exclude many. He blamed this on 'short-term gain obsessions,' where stakeholders chase quick profits instead of inclusive, sustainable development. But here's where it gets controversial: is this 'quick win syndrome' just poor planning, or a symptom of deeper systemic biases that favor urban elites over rural artisans?
Through their Madhouse accelerator at the University of Lagos and the 'Weaving Futures' initiative, Tikera links young inventors with countryside craftspeople, particularly women who 'possess innate abilities' and can share wisdom across language barriers. 'We're aiming to localize skill cultivation,' Omoboriowo said, ensuring knowledge stays rooted in local contexts.
Dr. Hakeem Onasanya from the Tony Elumelu Foundation echoed the sentiment that 'the creative sector is crucial for Africa's wealth,' with vast power 'to uplift youth and generate employment.' He detailed the foundation's efforts: training, guiding, and financing over 21,000 entrepreneurs across all 54 African countries, distributing more than $100 million and fostering 1.5 million jobs while pulling 2 million out of hardship.
Dr. Isa E. Omagu, chief strategy officer at Nigeria's Bank of Industry, observed that fields like fashion, design, film, gaming, and digital media now outpace traditional factories in employing the young and boosting economic output. Yet, he warned of barriers like inadequate skills networks, shaky digital setups, scattered funding, and blocked global access. To break through, he urged 'turning informal, self-made artistry into structured, expandable, export-capable businesses' via innovation, education, and policy harmony.
What do you think? Is Africa's creative economy doomed by its fragmented systems, or can visionary investments turn it into a global leader overnight? And who bears the real blame for leaving so many behind—governments, investors, or cultural norms? Share your views in the comments; let's spark a debate on reimagining Africa's creative future!
