Ghanaian creative director Shim Ziorkley’s playbook for artistic excellence
Shim Darren Ziorkley, born in Accra, Ghana, is a creative art director, stylist, set designer and interior designer with a passion for art and fashion.
His studies in fine and conceptual art influence his distinctive and detailed approach to his work. Currently, he serves as the creative director for the AfroFuture festival. Shim has collaborated with notable brands and individuals both locally and internationally.
In his professional journey, Ziorkley has been involved in diverse projects that highlight his versatility. He contributed as the art director for BIIO's HYBRID collection, a Ghanaian womenswear brand known for blending sportswear with elegance. Additionally, Ziorkley played a pivotal role in the creative art direction and styling for a GQ South Africa feature on actress Joselyn Dumas.
Ziorkley's work is characterised by a harmonious balance across multiple disciplines, including styling, set design, and interior design.
GQ: Your passion for art and fashion started at a young age, drawing on walls and floors. How have these early experiences shaped your creative approach?
It has made me fearless and allowed me to be creatively free. It has also given me a perspective where I see life as my empty canvas, and I can express and explore all of its possibilities.
GQ: Your work spans multiple disciplines, from styling to set design to interior design. How do you find balance between them?
There’s some level of pressure that comes with being able to carry all these different facets, for me it’s proper planning and learning to say no when you must and having the right people to help you execute.
I’ve had a strong support system, from my parents, my team and very good friends, who have helped me in different ways. Usually the styling does influence the type of set design and the art direction when it comes to fashion editorials ,same as some installations where creative direction and art direction go hand in hand.
There’s been several projects where I’m doing different roles. I’m such a detailed person and I’d like to probably do it myself because there’s a way I want it to look, but I’ve learned to decentralise, because you really can’t do it all by yourself all the time. Usually I come up with the concepts, which sometimes comes easy. Other times I get such horrible creative blocks.
For the research on these ideas and concepts, I sketch them out then find the right materials for production of sets and costumes, engage the different parties that would help bring the vision to life and then we come together to execute. Sounds simple but it really is a lot of work and dedication.
GQ: You’re the creative director of AfroFuture. How do you blend traditional African aesthetics with design trends to create a unique visual experience for such a major event?
Being the creative director of AfroFuture has been an interesting journey, it’s one of the major events where I’m allowed to express my creativity without any boundaries, from ideation of generic African themes, stories, songs and reimagining and designing these elements into life-sized art installation, fashion and decor.
GQ: What’s been one of your most challenging yet rewarding projects, and how did you overcome the obstacles you faced?
Being an artist comes with so many challenges whether it’s a personal or client-based project. One that stands out for me was making the Yaa Asantewaa-themed national costumefor Akpene Diata Hoggar in the 2018 Miss Universe pageant. Having to finish the costume with limited time and artisan’s delays gave me anxiety but, in the end, she made it and according to Daily Mail the costume I designed was the “most eye-catching”.
I kept being positive, prayed a lot and worked extra hard because, really, no one cares about excuses. You must deliver.
GQ: How do you decide which elements of African culture to incorporate into your projects, and what message do you aim to communicate through your designs?
First, for me, the skin. The African skin is enough representation or element. Using different shades and sizes of African models speaks volumes of the love and respect I have for people and where I come from. My environment also contributes to the elements I use in my creative designs, to showcase freedom in creativity, attention to detail and to empower and inspire other creatives, be it young or old.
GQ: You’ve worked with both local and international brands like Guinness and New Balance. What challenges do you face when translating African aesthetics for a global audience, and how do you overcome them?
I don’t think it’s a challenge but usually they have an idea of how African aesthetic should look, but I see it and I ideate it in a more conceptual ‘not in your face’ type of way, which has more meaning and depth to these concepts and ideas involving deep research. So, giving them a different creative and surreal perspective on how African aesthetics can be communicated.
GQ: As a creative who has worked with various high-profile brands and artists, what advice would you give to young African creatives who are just starting out and looking to make their mark on the industry?
Involving God on your journey is one thing. Compete only with yourself and not with anyone else, work twice as hard and find a good tribe that supports, inspires and loves you genuinely and doesn’t play about your money. In the end, it’ll all work out.