Kim Mupangilaï (1989) is a Belgian-Congolese, New York-based Interior Architect, Designer, and Professor at Parsons School of Design. Her work explores the
intersections of identity, culture, and history, crafting narratives that challenge conventions and inspire cross-cultural dialogue. By merging her dual heritage with contemporary design practices, Kim creates designs that resonate globally, bridging untold stories and cultural preservation through innovative approaches. After earning a Bachelor’s in Graphic Design and a Master’s in Interior Architecture from the LUCA School of Arts in Belgium, Kim relocated to New York in 2018 to establish her practice. Her designs reflect resilience, ancestry, and the complexities of identity, pushing the boundaries of collectible design through materiality and storytelling. Kim’s innovative approach has earned her global recognition, including a nomination and selection as an Honoree for the AD100 List Middle East & Africa 2024. Her Bina Chair, recognized by Hypebeast as one of the 100 Most Collectible Designs of the 21st Century, was also featured in the landmark design triennial OBJECTS: USA 2024 hosted by R & Company. Her designs have been featured in major exhibitions, including at Cooper Hewitt Museum and the Brooklyn Museum’s new café installation in 2024. In 2025, she will debut new pieces at the FOG Design+Art Fair in San Francisco, continuing her exploration of storytelling through design. Her ongoing research into Art Nouveau and Congolese colonial history underscores her commitment to layered narratives and cross-cultural dialogue. Featured in books and prominent publications like Architectural Digest, Vogue, Hypebeast, and Surface Magazine, her work has also appeared on the covers of Milk Decoration Magazine and Sabato Magazine.
Artistic practice
Kim Mupangilaï’s artistic practice represents the intersection of her Belgian and Congolese roots. Through her work, she explores the fusion of these two cultural influences, seeking to delve into the complex layers of heritage, adaptation, and cultural identity. In particular, her exploration into the relationship between
Congolese art and Belgian Art Nouveau has become a central focus. This body of work is not merely personal; it is a cross-cultural dialogue that blends functional design with profound aesthetic depth. For her upcoming project, Kim envisions a studio designed to spark creativity and foster collaborations that push the boundaries of inclusive design. This space will support research initiatives and create opportunities for impactful partnerships with museums, educational institutions, and voices from underrepresented communities. With the support of the Boghossian Foundation, Kim aims to continue her inquiry into how Congolese influences shaped European design, ultimately creating a deeper understanding of cultural appropriation versus appreciation.
Focus on the works selected for the jury
The exhibition Hue Am I/Hue I Am (2023) is a testament to her ability to blend both heritage and innovation. The works selected for this jury explore her Belgian-
Congolese duality, each piece reflecting the layers of her identity. One of the key pieces, the Bina Chair (2023), made from teak, raffia, and volcanic stone,
challenges perceptions of balance and stability, embodying the fusion of her cultural heritage. The Mwasi Armoire (2023), another significant work, draws
inspiration from African shields and traditional Congolese craftsmanship, blending modern design with ancient symbolism. Kim’s use of natural materials such as volcanic stone, teak, and rattan creates functional art that is both aesthetically rich and purpose-driven. The exhibition’s broader context touches upon themes of identity, the complexity of cultural adaptation, and the fine line between cultural appropriation and appreciation, making it a powerful statement in contemporary design.
See all the laureates of the International Prize
Images: Luis Corzo
