Michelle Lourens is headed to Cannes. Source: Supplied.

What does it mean to you to be selected for the Cannes Open Chair programme at this stage in your career? When you look at the stats — only 24% of creative leaders globally are women — how does that shape how you see your role in the industry?

It's such an honour to have been chosen for something like this so early in my career, especially when there are so many talented, hardworking women in the industry. Going to Cannes is something I thought would only come much later in my career, if at all, so having this opportunity now, especially through this programme, is very humbling. I can only imagine how difficult the selection process must have been, so I'm incredibly grateful to Open Chair and my team at IMA for seeing something in me and opening that door, especially knowing how many others deserve to walk through it too. I also know that this isn’t just about me, If my presence can remind someone that they belong here too, that means everything.

That 24% isn't just a number, it's a reminder to me that being a woman in this space remains a rebellion. It’s a reminder that women, especially young women, still need to push so much harder and do so much more just to be heard. I don’t take this opportunity lightly, I see it as a responsibility to not just take up space, but to hold the door open wider behind me.

What do you hope other young creatives, especially women, take from your journey so far?

That you don’t need a perfect plan to be doing just fine. You don’t need to have it all figured out, you just need to start. Try things. Ask questions. Be curious (even if you feel annoying). Keep showing up, even when it’s uncomfortable. Especially then.

And don’t wait for permission. Pitch the idea. Take the shot. Be cringe. Be brave. Be Yourself. There’s no right way to exist in this industry, you don’t have to fit into a specific mould or be a specific type of person to do well. Make your own space.

The loudest voice isn’t always the smartest, sometimes it’s just the loudest. Back your voice, even if it’s a quiet one.

Your Loerie-winning piece, 97%, dealt with the emotional weight women carry in public spaces. Why was it important for you to tell that story?

Because it’s real. 97% was a way to turn that constant, quiet fear into something visible. I wanted people to really feel what it’s like to move through the world while constantly calculating your safety. It came from scrolling through my feed and seeing headline after headline about women whose lives were cut short by men, and feeling like that could be any of us.

This project wasn’t for me, but for the women whose names have ended up in hashtags and headlines. These stories matter, even when they’re uncomfortable. Especially when they’re uncomfortable. We can’t afford to get used to this or become desensitized.

What excites you most about being at Cannes? What are you hoping to learn or take back with you?

Honestly, I’m excited about everything. It’s Cannes. The scale, the energy, the people, it’s unlike anything I’ve experienced before. I’m going to try and absorb as much as I can(nes).

I’m excited to see how the best of the best think, to witness the work that’s setting the global standard, to listen in on the big conversations. But more than anything, I’m excited to come back. With new ideas, sharper instincts, better questions, and a bigger sense of what’s possible. Ultimately,

I’m excited to come back to my desk at IMA and inject all of the fresh ideas into my work. I’ll be sharing this experience with my wider IMA team and community, bringing others along with me, even digitally. I want the people who’ve shaped me to feel like they’re right there too.

You’ve been described as a ‘Swiss Army Knife’ in your team. How do you see your creative style or strengths?

I think that nickname comes from the fact that I can (and do) a bit of everything; art direction, design, multimedia, motion graphics, video editing, social media, print… literally anything the brief calls for. For me, creativity is about solving problems, and I like having as many tools as possible to do that.

It’s not just about being able to do a lot, it’s about how I approach ideas as well. I tend to notice the small things and look for patterns between culture, emotion, and behaviour. I’m always chasing the why behind things, and that helps me bring a bit more clarity into the work.

I’m not the loudest person in the room, but I’ve learned that there’s value in being adaptable, in switching gears when you need to and still keeping the story clear. For me, creativity is about staying open, curious, and able to move with whatever the brief needs. I’ve been lucky to be part of a team that trusts me to bring that versatility to the table, that belief makes all the difference.

What role have mentors or supportive environments played in your growth as a creative?

A huge one. My high school design teacher really saw something in me and pushed me to take it seriously, not just as a hobby, but as a career. He really made sure that I knew there is a future in creativity.

I’ve also been lucky to work in environments that were willing to bet on young people early. But I was never babied. On the very first day of my very first job, I was handed a real brief with an end-of-day deadline. From day one, I was expected to deliver, and that pressure taught me how to hold my own quickly. That kind of trust and responsibility helped me grow fast, and I’m grateful for the people and places that gave me that chance.

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More recently, I’ve had the privilege of being part of IMA, a female-driven agency where women make up the majority of the South African team. That matters. It’s not just inspiring, it’s empowering to see women like our managing director, Katherine, leading with strength, empathy, and decisiveness. It reinforces the idea that there’s more than one way to lead and more than one kind of voice that deserves to be heard.

My creative director, Jacques, has also played a big role. He’s an intentional leader who knows how to push people to do their best work without overwhelming them. He’s challenged me to dig deeper, trust my gut, and sharpen the way I think.

As a young woman in the industry, what still needs to change to make spaces more inclusive and empowering?

I think we need to see more agencies taking chances on young people, and truly understanding young people.

We also need to stop confusing silence with happiness. Just because no one’s complaining doesn’t mean the space is inclusive, it might mean they’re afraid to speak. We need better representation at the top, but also more empathy in the day-to-day. Psychological safety. Pay equity. We work in a high-pressure industry, and that pressure often gets internalised. So creating environments where people can speak up, set boundaries, and ask for help without fear is crucial.

Flexibility matters too. Not everyone works or thinks the same. Leadership needs to reflect the full spectrum of the industry, not just in gender, but in background, personality, and perspective. Quiet leadership, emotional intelligence, and collaboration deserve as much value as charisma and volume.

And it comes down to access. The people with the most potential aren’t always the ones with the loudest voices or the fanciest portfolios, they’re often the ones who just need someone to take a chance on them. I’d love to see more systems that make space for that.

What advice would you give to other young creatives in South Africa?

Don’t be afraid to be seen trying.

Effort is cool. Always take the shot. There’s something powerful about showing up, asking questions, and trying, even when you’re unsure. That’s how you grow.

And back yourself! Don’t reject your work, your ideas, or your potential before anyone else even gets the chance to see them. The industry is full of loud voices, but you don’t have to be loud to be heard. And you don’t have to wait until you’re 10 years in to do something great. You’re allowed to be brilliant now.