Lesley Ann Noel, PhD: Reflections on Design, Identity, and InnovationIntroduction: A Conversation Rooted in Design and Positionality

In this engaging conversation, Milan Drake sits down with Dr. Lesley Ann Noel, to explore the nuances of design, identity, and the power of personal narrative in shaping creative practice. As an educator, designer, and thinker, Dr. Noel shares insights into her journey from Trinidad to the global stage of design thinking. This discussion dives into her personal and professional experiences, offering a candid look at what it means to bring a critical and social justice lens to design.

This conversation is about the human stories and cultural contexts that make design meaningful. It’s about vulnerability, history, and vision. Every question builds a bridge, offering a glimpse into what Dr. Noel does and why and how she approaches her work.

Power in Our Name

Milan Drake: What is your full name, and does it carry any special meaning? Were you named after anyone?

Lesley Ann Noel:
"My full name is Lesley Ann Melanie Noel. As far as I know, I wasn’t named after anyone specific. I’ve always found it interesting, though, because my parents were so Black-conscious and quietly activist, and yet they gave me what I call a ‘colonizer name.’ I’ve often wondered why they chose these names for me, especially given the time I was born. I was born in 1972, two years after my sister, who was born in the midst of the Black Power Revolution in Trinidad when our country was in a state of emergency. You might think my parents would have chosen an African name given their values, but they didn’t. It’s something I’ve always pondered."

Milan Drake: Are you the only one in your family with a name like that?

Lesley Ann Noel:
"No, actually. Even though I grew up at a time when there was a lot of Black consciousness around me, I think this context made me reflect more on the significance of names and how they represent identity. It’s an interesting contrast."

Bringing Back Sweet Memories

Milan Drake: What is the first school you remember attending?

Lesley Ann Noel:
"I went to Happy Vale Montessori School for preschool, which was in the neighborhood I grew up in. I have vivid memories of walking home from school with the babysitter or caregiver who watched us in the afternoons. Montessori education is something I still think about because it encourages creativity and independence, which are values I’ve carried into my work."

Milan Drake: Do you have a standout school memory—something that has stayed with you?

Lesley Ann Noel:
"Some of the memories that stand out are actually solitary moments. I remember running on the playfield at preschool and realizing that running made me feel cool. It was this strange little discovery that sweat cools you down. Another moment I recall is during elementary school at a Catholic school. One day, I desperately needed to go to the bathroom during prayer time, but I didn’t feel I could interrupt. Let’s just say it didn’t end well, and that’s a memory that stuck with me—a weird but formative experience."

Reflecting on these early memories, it’s clear how much Lesley’s environment shaped her understanding of independence and creativity. Even in small moments, there’s a thread of discovery and self-awareness that weaves through her story. These reflections ground her design philosophy in lived experience, making her approach deeply personal and resonant.

An Educator’s Design Journey

Milan Drake: What degrees do you have, starting from high school and moving through your academic journey?

Lesley Ann Noel:
In Trinidad, our system is based on the British model. We do O-Levels—now called CXC—and A-Levels, which prepare you for university. At O and A Levels, I focused on languages, literature, history, and art. I’ve always traced my design journey back to that period, around age 14 or 15, when I chose art and design as a focus."

"I began a BA in graphic design in Salvador, Bahia, Brazil, but transferred to industrial design in a quieter city called Curitiba, also in Brazil, but further south. I earned my undergraduate degree and a postgraduate diploma in industrial and furniture design. Along the way, I also pursued cultural studies, though I didn’t complete that program. Later, I earned a post-grad diploma in Arts and Cultural Enterprise Management, another PG diploma in University Teaching and Learning, an MBA, and eventually a PhD—mainly because it was necessary for tenure at the university where I was teaching. My journey has been anything but linear, but every step has shaped the designer I am today."

Milan Drake: When did you first fall in love with design?

Lesley Ann Noel:
"That love started early. At age 12, I designed a carnival costume as part of a school assignment. Growing up in Trinidad, carnival is a big part of our culture, and I loved the process of creating something for it. In secondary school, I had amazing art teachers who nurtured my interest. I remember designing logos, creating abstract patterns from papaya leaves, and even making a pop-up book for a school project. Design was always something I threw myself into wholeheartedly."

Lesley’s academic journey reveals a deep commitment to growth and adaptability. From graphic design to industrial design, and from cultural studies to an MBA, each chapter in her education adds another layer to her practice. It’s a reminder that the path to mastery is rarely straight but always meaningful.

Evolving Through Design Practice

Milan Drake: After 30 years in design, what keeps you going?

Lesley Ann Noel:
"I think it’s because I’ve managed to stay relevant by evolving with the challenges presented to me. Even when I’m not working on traditional design projects, I’m still designing—whether it’s a curriculum, a class, or a business strategy. The essence of design is problem-posing and problem-solving, and that’s what keeps me engaged. I’m always excited by the opportunity to bring a designer’s mindset to new spaces and challenges."

Milan Drake: How has your work changed in the current global moment?

Lesley Ann Noel:
"I approach design with a critical lens and a focus on social justice. This pandemic has brought us to a place where we have to redesign systems, laws, and services that have never truly worked for everyone. It’s a design challenge to imagine a better future—not just for individuals but for communities and societies as a whole. I want to use this moment to ask: How can we create a future that serves us all?"

Design for Justice and Optimism

Milan Drake: What is the biggest challenge in bringing a critical and social justice lens to design?

Lesley Ann Noel:
"One major challenge is that people don’t always see designers as contributors to larger societal discussions. For example, when my home country of Trinidad created a task force for post-COVID planning, it included business leaders but no creative professionals. Designers weren’t at the table. Another challenge is that many designers, myself included, are constantly hustling to survive, which limits the time and mental space we have to engage in meaningful work. Most designers are inherently optimistic,  and optimism can also be a double-edged sword in design—while it moves discussions forward, it can sometimes prevent us from being sufficiently critical."

Milan Drake: What’s next for you as a designer?

Lesley Ann Noel:
"For me, the goal is to continue using design as a tool for change. Whether I’m teaching or working with communities, I want to keep asking how we can make systems more equitable and inclusive. Design has the power to address systemic problems, and that’s the work I want to keep doing."

Lesley’s reflections highlight the tension between hope and realism in design. She acknowledges the limitations but believes that design can be a force for good. This perspective is rooted in optimism but tempered by experience.

Conclusion

This conversation with Dr. Lesley Ann Noel reminds us that design is not just about creating products—it’s about reimagining systems, challenging inequities, and incorporating personal and cultural narratives into the creative process. Lesley’s journey reflects the power of design to bridge disciplines, empower communities, and improve the world.

Her story encourages us to ask: 

How does our personal history shape our professional practice?

How can we use design to create a functional and just future? 

These questions drive Dr. Lesley-Ann, and they should drive us forward as well.

Stay tuned for future conversations that explore the intersection of design, identity, and social change.