This Black History Month, we’re championing the extraordinary Black entrepreneurs at the heart of our creative community: from workshops featuring Black trailblazers during Creatively Classes to content programming that spotlights intrepid Black creators, including Hadiya Williams.

Ceramic objects, surface design, visual art. Hadiya Williams might have begun her artistic career as a graphic designer, but she was always destined for a more hands-on practice. So it was no surprise when she founded her mixed-media art and design studio, Black Pepper Paperie Co. (BPPCo), in 2017. Her work is shaped by the history of Black culture and its rituals, resulting in a striking collection that can be described as “lineal” in both its nod to ancestral crafts and an aesthetic defined by lines. 

BPPCo focuses on creating eclectic surface pattern designs and one-of-a-kind handcrafted pieces that include wearable ceramic art, home decor, paper goods, and apparel. Williams has collaborated with Wall Pops and West Elm on wall-paper designs and prints, respectively. Her work has been featured in publications including Print Magazine, Domino, Curbed, and Travel + Leisure, among other outlets. Williams is also a member of the Black Artists and Designers Guild as well as the Art Brand Alliance. From sweatshirts and woven blankets to colorful, handmade tableware, Williams is continually inspired by the rich and complex history of Black communities, her work serving as a tribute to those who, for centuries, have always managed to turn the quotidian into art.

You can check out more of their work here.

What is the first creative project you remember? 

It’s so funny and kind of sad that I can’t recall any creative school projects from childhood, and there were plenty of creative activities going on. Maybe that’s what was good about it: there was always something happening at school, at home, etc. 

Describe your aesthetic in three words.

 Thoughtful, bold, memorable. 

What was the most fulfilling collaboration you’ve worked on?

I have had many memorable experiences and connections through my work as a graphic designer and as a visual artist. One that stands out is the work I did in 2018 for Makers in the Mansion at the Woodlawn Pope-Leighey House in Mt. Vernon, VA. I was invited to be part of an exhibition where five Black artists created installations in the rooms of Eleanor Parke Custis’ former plantation, daughter of George Washington. I learned so much on that project. I felt so connected to the people that were enslaved there. She enslaved over 100 people on that 2,000 acre lot. 

I worked with a friend, Risikat Okedeyi, who helped me develop the concept. We wanted to honor those formerly enslaved, the Black women and men that served in the house, those who were only documented by their first names. I was given the dining room, so we created a space that was meant to serve them, not the other way around—it became a living altar room, a sacred place. The table was set with ceramic pieces that I created, table linens, hand-painted bowls, etc. The placecards and menus were a timeline with dates and information of what was happening on that Plantation, juxtaposed with what was happening in the country regarding slavery. This room sparked so much emotion from visitors who experienced it. It brought tears and joy and some anger. It was one of the most memorable and transformative collaborations that I’ve done to date. 

What’s one creative project that taught you something fundamental about yourself?

I created decorative bells and dishes in 2018 for the Eaton Hotel in Washington, DC. It was a huge undertaking: 250 rooms, two objects (multiple pieces per object), 500 objects total. I had the honor of having my family and friends pitch in to help me get things done in a fairly short window. I learned that those who love you want to help and are excited to see you succeed. I learned that I don’t have to do this by myself and that all I have to do is ask. I also learned that having a plan usually helps. 

Do you think creativity is something you’re born with, or something you’re taught?

I think it’s both. I do believe we are all creative as people. Cultivation and exposure are key. There are some people who have a truly innate skill and talent and it can show up very early. I speak about intuition a great deal regarding my work. There is something spiritual that guides what I’m doing. I sometimes have trouble discussing my creative process or explaining my work because I don’t always know what I’m experiencing intellectually. Sometimes I look at my old work and I’m amazed and surprised because those moments can feel so ephemeral. Then, there are those who are great learners and are very calculated and ordered. I have seen exceptional work produced in those cases as well. If you think about people who work in trade or craft for a living, they are learning to create, and that skill evolves over time to become intuitive. 

What’s the last dream you had?

I’m pretty sure I had a dream last night that involved the cast and set of “The Gilded Age.” It’s been my latest distraction. “Encanto” had me enchanted for a while before that. Lots of dreaming about that one.

One hundred years from now, what do you hope people write about your work?

I want people to be aware of my work enough for it to be included. I want people to talk about the impact my work had on culture, other artists, and designers, and how I was able to successfully create a diasporic connection between my craft and my people.

What advice would you give fellow Black creatives/entrepreneurs just getting started?

Be your full self, always. Intuition is a valuable business tool. Move at your own pace and tap into who you are as a person, creator, artist, etc. The biggest lesson I’ve learned over these past five years is that I can create my own rules for how I want to do things. Continue to challenge yourself, but don’t be afraid to shift gears if what you are doing doesn’t align with who you are at your core.

Follow @HadiyaWilliams on Creatively.

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