Meet Asmah Mansur-Williams, a multidisciplinary creative, design storyteller, and the visionary behind The Blackpepper Studio, a brand and experience studio reimagining how African brands show up in the world.
With a background that spans photography, illustration, styling, and design, Asmah’s work goes beyond designing logos: she builds worlds. Her approach to branding is immersive, intentional, and unapologetically bold.
Raised on the sharp edge of UK’s design culture, she returned to Nigeria with a clear vision: to fill the creative gaps she saw by building a studio that could speak globally but root locally.
Today, her work has been featured in British Vogue, PAUSE, and in campaigns with brands like VSCO and ALARA Lagos.
Through The Modest Department, she’s also championing visibility for modest fashion and Black Muslim creatives — creating space where tradition meets innovation.
Read the full conversation below.
You’ve worked across multiple creative fields—photography, styling, illustration, and design. How has this diverse background shaped your approach to The Blackpepper Studio?
My multidisciplinary background has given me an interesting understanding of visual storytelling. Photography trained my eye for composition and lighting, styling taught me about textures, details and color harmony, and illustration helped me develop a strong sense of form and style. When I approach brand design at The Blackpepper Studio, I don’t just think about a logo, I consider how all branding elements come together to create a cohesive, immersive experience. This diverse skill set allows me to bring a storytelling perspective to projects and push the boundaries of what contemporary brand design could look like.
What inspired you to start The Blackpepper Studio, and what gap did you see in the industry that you wanted to fill?
I spent most of my late teens and early 20s in the UK which were also my formative design years so my first encounter to contemporary design was on such a huge scale. I was immersed in a thriving design culture where contemporary, conceptual, and well-executed design was the norm. When I returned to Nigeria, I saw a stark contrast. There was a wealth of creativity but a lack of structured, contemporary design studios that truly understood branding in a global sense. I knew there was an opportunity to build a studio that could bridge this gap, one that could elevate African brands and the contemporary design landscape on the continent.
You’ve collaborated with leading brands across industries. What do you think makes a brand’s visual identity truly stand out in today’s fast-paced digital world?
A strong sense of expression , adaptability, and an original narrative. In an oversaturated digital space, brands that cut through the noise are the ones that have a clear, memorable identity and a well-defined story. The most compelling brands are those that dare to be different, are authentic, and culturally relevant.
What has been the most unexpected challenge in building and growing The Blackpepper Studio, and how did you navigate it?
One of the biggest challenges has been shifting mindsets around the value of design. Many businesses in Nigeria and Africa are still warming up to the idea that design is not just decorative but strategic, it’s an investment in brand longevity. Educating clients on this has been a continuous process, but we’re tackling it through our case studies, storytelling, and a strong portfolio to demonstrate the tangible impact of good brand design.
Many creatives struggle with balancing artistic vision with the business side of things. How do you manage running a business while staying creatively fulfilled?
It’s definitely a balancing act, but having a business partner who brings a strong business mindset has made all the difference. At TBP, this dynamic allows us to play to our strengths and achieve some balance so that the studio is structured, strategic, and sustainable. Balancing is still a work in progress but having that partnership means I can share the operations with the creative instead of doing it all.
The creative industry has often been male-dominated, especially in roles like art direction and design. What changes have you seen, and what more needs to be done to support women in these fields?
There’s definitely been progress as more women are stepping into design, and there’s a growing recognition of the need for diverse perspectives. However, there’s still work to be done in terms of visibility, access, and support. More mentorship programs, funding opportunities, and industry recognition for women creatives will go a long way. Also, challenging outdated biases—whether in hiring practices or leadership opportunities is crucial for real change.
As an African woman in the creative industry, have you faced any unique challenges, and how have you navigated them?
Absolutely. Where are there very few design studios with black women, there can be a sense of doubt in the viability of the field for a black female designer. Representation is everything! It create room to dream and exceed. Without that, there is often an expectation to prove the legitimacy of a what an African woman in brand design can do. I’ve navigated these challenges by staying true to my vision and being intentional about positioning The Blackpepper Studio as a global design studio. Visibility is key—showing up, putting our work in the right spaces, and challenging perceptions through the quality of our output.
How do you want your work—both through TBP and your personal projects—to impact the creative landscape for the next generation?
This is an interesting one because this is what I’ve also been asking myself lately. I’ve been intrigued by the power of representation and what showing up means in such a diverse world. As a black, Muslim and female designer and creative, I want to contribute to the growing crop of women who are creating opportunities for themselves where these traditionally did not exist whether its through design at The Blackpepper Studio or through fashion at The Modest Department. I want to see more black, Muslim and female designers recognized on global platforms, shaping narratives, and leading conversations. If my work helps open doors, shift perceptions and create representation, then that’s an impact I’d be proud of.
Your work has been featured in British Vogue and PAUSE, and you’ve worked with brands like VSCO and ALARA Lagos. Who or what continues to inspire your creative process?
My inspiration comes from so many places. With design, I am such a sponge, a discerning one though. I get very intentional about where I look for inspiration as I’m actively working on building a specific contemporary design mindset. I look everywhere from architecture, to films, fashion to culinary experiences. I’m also always looking at inspiration from other creatives in varied discipline, who are pushing boundaries, whether in design, fashion, or photography. Ultimately, I’m inspired by the idea that design can be a vehicle for storytelling, identity, and self expression.
You’ve called naps “the next best thing.” If you could design your perfect creative day, what would it look like—naps included?
An ideal creative day will always include a trip to a museum or gallery – I particularly favour the contemporary collection at the National portrait gallery or for more contemporary design, the Tate. I usually find pleasure in visiting design stores from Rose Uniacke for interior design to Dover Street Market for fashion or IDEA books for general design inspiration. I would end my day soaking up on all the street style and self expression at Shoreditch or at a design bookstore, usually the one at the Tate or Assouline. You can tell I have a thing for print and tactile design.
