Designers to Keep an Eye On: Nusra Nijimbere

In a design world rich with diverse voices, Nusra Nijimbere brings a fresh perspective, combining cultural heritage with a thoughtful, research-driven approach to textiles. Graduating from the Royal College of Art (RCA) just two months ago, Nusra has swiftly transitioned from academia to the creative industry, while remaining deeply committed to preserving cultural narratives—particularly those connected to the African diaspora and her roots in Burundi.

Textiles form the core of Nusra’s creative practice, a medium through which she explores the materiality of objects and their cultural significance. Her passion for materiality is shaped not only by formal education but also by her personal history and the visual language of home. Her MA final project, an in-depth, research-heavy body of work, continues to evolve and influence the projects she is currently developing.

Having already worked at notable fashion houses such as Burberry, where she honed her skills in print design, Nusra is no stranger to the industry. However, she acknowledges the challenges of balancing creative expression with the realities of freelancing and navigating the business side of design. From learning to price her work to understanding how to present herself professionally, much of this knowledge has been gained through informal conversations with established creatives.

Currently preparing for a major showcase in February, Nusra is ready to unveil her most comprehensive collection yet—a continuation of her exploration into diaspora, cultural preservation, and material storytelling, offering a fresh and textured voice in contemporary design.

1. How would you describe your design aesthetic?

“My design aesthetic is very much material-focused. I’ve always been passionate about learning and research, which heavily influences my work. For me, textiles are more than just a medium; they serve as visual signifiers of home, culture, and history. Growing up in a family with roots in Burundi, I was surrounded by textures and patterns that reminded me of my heritage. This connection to materiality and culture is central to how I express myself through design.”

2. What challenges have you faced in your design journey, and how did you overcome them?

“Access to resources and contacts has been one of the biggest challenges. Whether it’s trying to collaborate with institutions or finding the right people to work with, there’s often a sense of not knowing where to start. For instance, when I gained access to the Pitt Rivers Museum, it was only possible because I had a connection with a researcher there. Navigating these networks is tricky, especially early in your career, but being part of a community helps. People within your network might know someone who can offer guidance or opportunities, and that’s been incredibly valuable for me.”

3. What inspired you to incorporate the diaspora into your design?

“The inspiration came from my personal experience. Growing up, it was hard to find much information about Burundi’s culture and artifacts. I felt this strong need to preserve my heritage, particularly because I was born in the UK while my family was born in Burundi. Despite not growing up there, it still feels like home to me. By incorporating the diaspora into my work, I’m able to honour where I come from and bridge the gap between my cultural heritage and my experiences here.”

4. How does your approach differ from others in the industry?

“My approach is unique in that it leans heavily on research. I enjoy working directly with institutions and experts who have deep knowledge of the subjects I explore. Tackling these broad themes can be overwhelming, so I collaborate with people who specialise in the areas I’m investigating. My work is very research-based and material-driven, so while I may not produce as much in terms of volume, each piece is highly condensed with meaning and context.”

 

5. Who or what influences your work the most?

“My family is a huge influence. The way they carry themselves and take pride in their appearance has always inspired me, and I’ve tried to channel that energy into my work. In terms of creative influences, I love the work of photographers like Diana Lawson. Although I don’t work in photography, I admire how she captures texture in her images, making you feel as though you’re in the room. I also admire artists like Liz Johnson Artur and Małgorzata Markiewicz for their innovative use of materials and narrative.”

In an industry that often prioritises surface-level trends, Nusra Nijimbere stands out for her thoughtful approach to storytelling through design. With roots in both the UK and Burundi, and a practice grounded in research and materiality, she is carving a niche that feels both deeply personal and universally resonant.