In Ghana’s evolving skills and industrial landscape, few figures have shaped the modern conversation around craftsmanship, technical education and employability as profoundly as Constance Swaniker – sculptor, entrepreneur, and founder of both Accents & Art and the Design & Technology Institute (DTI).
From turning scrap metal into celebrated art pieces, to training the next generation of precision welders, designers and fabricators, Swaniker has built a legacy rooted in excellence and discipline. Her institute is now one of West Africa’s leading production school models, blending Pearson-accredited BTEC courses with hands-on learning, soft skills and industry immersion. Along the way, her work has earned international recognition – including a recent audience with His Majesty King Charles III, where she championed sustainable innovation and Ghanaian creative potential.
We spoke with her about the future of technical skills, the cultural perception of TVET, and what it truly takes to prepare young Africans for meaningful work.
1. Background and Early Inspiration
You’ve spoken openly about the formative experiences that shaped your journey into the creative and technical industries. Could you share a bit about where you grew up, your family, and the influences that shaped your artistic eye?
I actually grew up across several African countries. I left Ghana at the age of five, and so my formative years were spent in The Gambia and later Botswana, where my family lived for nearly forty years. My mother was a permanent resident, and my sister even became a Motswana citizen, so in many ways I consider Botswana my home as well.
Creativity, however, was always inherent. I’ve been making things with my hands for as long as I can remember. But pursuing a creative path wasn’t exactly encouraged for young Africans from middle-income families, especially within a colonial education system that undervalued technical and artistic fields. So although I studied art at university, I didn’t imagine it would lead me here – I simply followed my passion.
Your career began not in a boardroom, but in a workshop. What first drew you to metalwork and industrial art, and at what point did you realise this passion could evolve into what you have built today?
After university, there weren’t many established creative industries to walk into, so I ended up working in a carpentry workshop doing design work. That experience changed everything. It exposed me to the discipline of working with materials and the huge gap between academia and industry.
That gap is really what sparked everything. I could see the demand for skilled artisans, the lack of structured training, and the opportunities that existed if we approached craft with excellence and intention. This methodology is what eventually led to Accents & Art, and many years later, the Design & Technology Institute. None of it was planned in the early days; it was simply a case of following the work, seeing the gaps, and responding to them.
2. Building the Design & Technology Institute
DTI has been described as a new kind of institution in West Africa – a production school that merges creativity, technology and employability. For those unfamiliar, what exactly is DTI’s model, and what problem were you trying to solve when founding it?
When I founded DTI, the mission was very clear: to close the gap between what schools were producing and what industry actually needed. For years, I had experienced this myself as an entrepreneur. I struggled to find skilled, competent artisans who could work to a high standard, and I was far from alone – many businesses were importing foreign talent simply because local graduates weren’t job-ready. DTI was built to change that.
Our model encompasses competency-based training and production-level exposure. We combine a strong technical foundation with the soft skills employers consistently tell us they need – communication, discipline, confidence, and teamwork. Before launching the institute, I visited design and technical schools all over the world, and I realised that Africa deserved a centre of excellence that could rival global standards.
Interestingly, when we began, we didn’t anticipate how fast technology would disrupt traditional career paths. Suddenly the question wasn’t just about artisans – it was about thousands of graduates from universities across Africa who were not going to find jobs in the shrinking formal sector. TVET and skilled trades became even more urgent, and so DTI’s work now sits within a much bigger ecosystem shift on the continent.
Many young people still see TVET as a “last option”. From your experience in training hundreds of learners, what misconceptions about technical education frustrate you the most, and how does DTI actively challenge them?
The biggest issue is perception. People hear “hands-on” and immediately think “blue-collar,” or “dirty”. But the world has changed – and salaries have changed too. A qualified welder can earn up to $700 an hour on certain projects. Skilled workers today are earning far more than many degree holders.
At DTI, we have worked very deliberately on repositioning TVET:
- We partner with oil and gas companies; as well as mining firms.
- One-third of our learners are engineering students who come to upskill or reskill.
- Our programmes – including design, animation, web design and photography – show that TVET is not limited to the traditional trades; it’s also digital and creative.
It’s all about storytelling, branding, and showing young people that skilled work is not a fallback – it is a pathway to prosperity.
Admissions for the next cohort are now open. What should a prospective student know before applying, and what qualities do you look for in young people who want to join DTI?
We are looking for exceptional young people who are truly hungry. Hunger matters because it brings resilience and grit – qualities that are often missing in today’s generation, where entitlement sometimes outweighs effort.
Beyond meeting the entry requirements, I want to understand who you are:
- What drives you?
- What are your personal goals?
- Are you willing to be disciplined?
- Can you uphold the values of precision, quality and excellence?
At DTI, discipline is non-negotiable. We expect our learners to carry the brand with pride. When a graduate walks into a workplace, I want employers to say, “That must be someone from DTI.”
That combination of hunger, discipline and a commitment to excellence is what we look for.
3. Innovation, Craft and Local Manufacturing
Your recent engagement with His Majesty King Charles III highlighted Ghana’s creative economy on an international stage. What did that moment mean for you personally – and what message about African craft and industry were you hoping to convey?
For me, it was an opportunity to showcase African excellence – not the diluted version, but the best of what we are capable of. I wanted to make it clear that Africa is not aspiring to be “good enough”; we are aiming to meet and exceed global benchmarks.
As the world evolves, it is said that one in four young people entering the global labour market will be African. The West will increasingly rely on our skills. But to compete confidently on that stage, we need to redefine how we see ourselves. Too often, Africans lack confidence, and that comes from how many of us were raised – seen but not heard, and taught not to question.
My message was simple: We must show the world what African excellence truly looks like – exceptional, and rooted in our own identity.
Across both Accents & Art and DTI, you consistently champion “learning by doing”. Could you share a practical example of how hands-on work can transform confidence and competence in a young person?
Our learners are exposed to international organisations, corporate executives, architects, and large clients from day one. When a young person realises, “I am creating for people at this level,” their confidence shifts instantly.
We’ve also been intentional about positioning and partnerships:
- We work only with brands whose standards align with ours.
- We show learners what excellence looks like in real time, not in theory.
- We make quality the default expectation, not the exception.
That exposure is transformative. It pushes learners to rise to the moment. When you’re trusted to deliver real projects for real clients, you can’t hide. You grow.
4. Partnerships, Growth and National Impact
Ghana continues to push for industry-led training and competency-based education as its core model. From your point of view, what progress has impressed you – and where do you see the most urgent issues?
Ghana is moving in the right direction. After 68 years of independence, it is only in recent years that the country has begun investing seriously in TVET. That tells you how early we still are in the journey.
What encourages me is the government’s clear commitment to reform – curriculum alignment, policy shifts, and competency-based learning. DTI has been fortunate to work closely with policymakers, helping them shape these reforms and rethink what quality truly looks like.
But the urgent task now is quality and standardisation. Ghana has more than 450 TVET schools scattered across the country. The question is: Are they all operating at the standard demanded by industry? That’s where the real work lies – ensuring consistency, investing in centres of excellence, and resisting the temptation to dilute quality in the name of scale.
Of all the success stories that have emerged from DTI, is there one that never fails to make you smile?
What matters most to us is very simple: the learners – seeing them transition into real jobs and earn the respect of industry.
When an employer calls to say, “Your students are different; they understand discipline and quality,” that is the impact that matters. DTI’s purpose is to train young people who can hold themselves in the workplace, and every time they do that, it affirms that the model works.
5. The Future of Technical Skills in Africa
Many young Africans dream of building enterprises in education, craft or manufacturing. What honest advice would you give those seeking to create something meaningful – beyond simply chasing funding or trends?
Building something real is not for the faint-hearted. You have to be authentic, stay true to your calling, and accept that meaningful work takes time. I’ve been doing this for over 30 years, and the only things that have carried me are consistency, passion, and discipline. There are no shortcuts. You must be prepared for hard work, and you must treat every hurdle as an opportunity to learn – not a reason to quit.
You operate in a fast-paced world, and many young founders struggle with the stress. How do you personally cope and stay grounded?
Today’s world is full of noise. I manage by blocking it out and staying focused – tunnel vision. You cannot do everything at once. Young people often want to try ten things, but real progress comes from doing one thing well and doing it consistently.
When I disconnect, I disconnect completely. I spend time in nature; all our campuses and workspaces are filled with plants. Nature gives me balance. It keeps me centred. I also stay grounded in my routines – I’m very organised – and that helps me manage pressure.
Did your connection to nature come early in life, or later?
My mother loved plants, so I grew up surrounded by them. Over time, I’ve come to appreciate how much nature offers us – especially as a creative person. It gives clarity and perspective, and that has stayed with me throughout my life.
6. Off the Record – Quick Fire
One myth about TVET or technical careers that you wish people would finally retire?
Perception. People still look down on technical work, but that mindset has no place in the modern economy. TVET is skilled and essential.
One thing people would be surprised to learn about you?
I’m extremely organised – almost obsessively so. Everything in my space has an order. I don’t function well in chaos.
If you could describe Africa’s future in one word?
Bright.
Interview conducted by Warren Janisch
