Today, two seemingly disparate worlds collide: the vibrant universe of British-Nigerian artist and designer Yinka Ilori MBE, and Dunelm, the UK's largest homeware retailer. As of today (8 July 2026), the pair are launching a summery new collection, available online and in selected stores.

Anyone familiar with Ilori's work will know that his visual language is joyous, often built around vibrant shades and geometric patterns (as seen in his recent London exhibition, ‘Joy Through Resistance’, and his Milan Design Week collaboration with Veuve Clicquot). That sensibility runs throughout the 40 pieces in the Dunelm collection, which spans furniture, bedding, lighting, rugs and soft furnishings, with prices ranging from an accessible £9 cotton jacquard hand towel to a £799 king-size boucle ottoman bed.

Ilori felt a personal connection to Dunelm's origins as a market stall in Leicester, having grown up around his parents' local supermarket in north London. ‘What struck me about Dunelm's beginnings was their love for community,’ he explains. ‘Growing up in a working-class environment, community was everything for my family. There were similarities with this and Dunelm's beginnings as a market stall – how they sought community.’

That focus runs through the collection. Many pieces draw on the diverse communities that shaped Leicester's textile industry across the 20th century, with floral patterns referencing national flowers from countries including India and Pakistan, in a nod to the city's Asian, African and Caribbean cultures. This commitment to authenticity extends to the campaign photography, which features real Dunelm employees.

Shop the collection

A handful of pieces have emerged as favourites among the design team and Ilori himself. The ‘Sweet Flows’ swivel chair (£299) is a colourful, pattern-rich armchair that he says ‘instantly makes you want to smile’. ‘Home interiors can be quite serious, so I chose a colourful palette and vibrant pattern that is immediately engaging. It sparks joy and stands on its own as a piece of art. It's also really comfortable!’

The ‘Bell LED’ lamp (£65), meanwhile, feels ‘very playful and nostalgic’, Ilori continues. ‘It's a classic and timeless piece that would feel at home in the 70s or 80s. There are also elements that feel quite art deco.’

The ‘Net Floral’ duvet cover set (from £16) reimagines the classic British net curtain with floral motifs, while the ‘Gerbera’ cushion (£26) combines crewel wool embroidery with a geometric floral pattern. The ‘Kaleidoscope’ floral round rug (from £135) is a handmade, 100 per cent wool piece with a textured, bobbled finish, and the ‘Half-Log’ sideboard (£599) brings a sculptural silhouette to life with a warm oak finish and chrome legs.

Both Ilori and Dunelm frame the collaboration around the shared belief that good design shouldn't be reserved for a select few. ‘I think it's important we design objects that are rich in storytelling, that speak to people in different ways and that celebrate unique ideas,' says Ilori. 'I hope this collection brings joy into people's everyday lives.’

Yinka Ilori's collection for Dunelm is available to shop from today.

For years, Yinka Ilori has been described as an artist of joy. The phrase follows him almost everywhere. It appears in reviews, interviews and introductions, attached to the vivid colours and communal spirit that have come to define his public commissions and design projects around the world.

Yet standing inside ‘Joy Through Resistance: He Who Laughs Last, Laughs Best’, his first solo gallery exhibition in London, it becomes clear that Ilori is asking a different question altogether. Not what joy looks like but where it comes from.

The answer unfolds through flowers, lace and sound, beginning with stories of migration, faith and family. Above all, it emerges through the exhibition’s title, borrowed from a proverb that carries particular significance within the context of the show. ‘He Who Laughs Last, Laughs Best’ is less a declaration of happiness than a statement of endurance. The final laugh belongs to the person who survives, the person who remains hopeful. And the person who continues to create, celebrate and gather despite adversity.

For Ilori, joy is not escapism; it is a place of pride.

Presented at Cristea Roberts Gallery, the exhibition brings together new and recent works across painting, print and sculpture, with an immersive sound installation. It is also Ilori’s most personal presentation to date, shaped by grief, memory and the cultural codes of the West African diaspora. The artist has described the show as ‘a homecoming’, one that brings together ‘music, faith, my heritage, resistance, joy’ in a gallery setting after years of working across public space and international commissions.

For Ilori, the timing is important. ‘Most of my work over the last ten years has been centred around joy, folklore, affirmation and creating works that celebrate communities within public space,’ he says. Developed during a period of personal reflection shaped by conversations with family, therapy and a deeper engagement with memory, the exhibition examines the emotional and cultural foundations from which joy emerges. Rather than presenting joy as an uncomplicated state of being, Ilori approaches it as something inherited, practised and continually renewed.

Much of that understanding can be traced back to the Nigerian churches of Ilori’s childhood. Growing up in London, he watched his parents navigate the uncertainty many immigrant families face as they build a life in a new country. Yet his takeaway was not anxiety, but what happened afterwards. Every Sunday, the church transformed into something larger than a place of worship; it became a site of release and community.

‘I remember my parents telling me stories about when they were living in London as illegal immigrants,’ he says. ‘They were going to different lawyers to get their indefinite stay, and then going to church every Sunday, praying. I also saw them dancing for an hour at church, shaking off all the anxiety, the confusion, the fear of being deported back to Nigeria.’

For many within the African diaspora, the church operates as far more than a religious institution. It is a place where culture, language, music and memory are carried across generations through prayer, rhythms, and collective participation. For a young Ilori, these gatherings offered an early lesson in the relationship between joy and survival. ‘When I saw them at church on a Sunday, I saw so much joy in them, and nothing mattered to them. That was where I saw first-hand resistance through joy.’

In Ilori’s work, joy is not simply depicted as the absence of difficulty that exists alongside uncertainty. Instead, it illustrates how someone can still shine amid challenges. The exhibition suggests that communities do not arrive at joy because hardship disappears; they arrive there because celebration itself becomes a way of carrying hardship together. Joy manifests through sound, the choice of material and medium, and ritual – a commitment to continue gathering, celebrating, and imagining futures despite uncertainty.

Floral motifs recur throughout the exhibition, particularly the shape of Nigerian yellow trumpet flower and the British daffodil. The two blooms offer a precise metaphor for Ilori’s dual identity, one rooted in Nigeria and one in London. ‘These two flowers are from different parts of the world, they’re the same colour, and for me they mean the same thing,’ Ilori says. ‘Yellow is a symbol of hope, resilience and rebirth.’

Layered behind these flowers are ornamental lace patterns, which become one of the exhibition’s most trusted materials. In West African diasporic traditions, lace is worn in church and ceremonial contexts as a marker of dignity, pride and style. For Ilori, it is also domestic memory; lace filled his childhood home, bought and sold by his mother, appearing across garments, tables, walls and curtains. ‘My mum loved lace, and lace made her feel her happiest,’ he says. ‘Nigerians love to spend money on lace. That was them resisting and showing joy through their hard-earned cash, wearing lace and looking their best.’ As a surface, lace’s delicacy speaks of vulnerability, while its endurance reflects the resilience of communities shaped by displacement and perseverance.

The same ideas flow into the exhibition’s sculptural works. A custom-made shekere decorated with beads, handmade congas and a drum kit wrapped in lace invite visitors into a space that recalls worship and gathering. Through instruments and play, sound functions as a form of cultural memory.

The exhibition’s two sound commissions extend these ideas further. Composer Peter Adjaye’s contribution unfolds through brass and horn arrangements that move between warning and celebration. Composer and producer James William Blades draws on field recordings, Yoruba lullabies, church hymns, and Nigerian horn samples, with songs drifting in and out of focus, tracing fragments of memory overlapping with fragments of history. Sound and compositions transform the gallery into a space of listening as much as looking.

‘With sound you can take people on a journey,’ Ilori says. ‘I could take you to Nigeria, to Ghana, to Morocco, wherever.’ For him, music, faith and creativity are ways of maintaining tenderness, humour and purpose. ‘I think people want more soul out of life. With the pressures of life, war, crime, policing, whatever the problems are, you need something else to give you release, hope and clarity.’

The exhibition also complicates the idea of Ilori as the ‘architect of joy’. Here, joy is neither fleeting nor accidental, but something inherited, sustained and passed between generations. ‘This show is another testament,’ Ilori says. ‘It felt like the right time to show the importance of joy from a different perspective, in different mediums, in a gallery space.’

At Cristea Roberts Gallery, joy is given roots in sound, lace, memory, faith and history. It becomes less a burst of colour with affirmations and more a form of cultural inheritance, one that laughs last because it has learned to endure.

‘Yinka Ilori: Joy Through Resistance, He Who Laughs Last, Laughs Best’ is at Cristea Roberts Gallery, London, from 5 June to 11 July 2026

Most champagne houses wear their identity in shades of ivory and gold – the visual grammar of luxury. Veuve Clicquot is the conspicuous exception. Its now-iconic yellow branding dates to the 19th century, when the house introduced a vivid label to distinguish its drier champagne.

For Milan Design Week 2026, Veuve Clicquot has taken that sunny legacy and translated it into a limited-edition collection of drinks accessories, among them a champagne bucket and cooler. Entitled ‘Chasing the Sun’, the collection was developed in collaboration with British-Nigerian designer Yinka Ilori MBE. When you're building a collection around colour and vibrancy, the self-styled ‘architect of joy’ was perhaps an obvious choice.

Ilori's interpretation is light, bright and uplifting. Drawing on his Nigerian heritage, he has fashioned a visual world of joyous motifs across the accessories: hands cradling the sun, reimagined celestial forms and symbols rooted in nature and human connection. The standout pieces – the 'Sun Totems' and 'Sun Holder' – are inspired by the calabash fruit, which has traditionally served across West Africa as a portable drinking vessel.

The collection also includes a reimagined version of the Clicquot Arrow gift box – shaped as a road sign displaying the distance between a chosen destination and the maison's cellars in Reims – alongside smaller accessories such as a bottle stopper and grape-material charms. Upcycled materials and 3D knitting technology are used throughout.

Yinka Ilori on his joyful collection of drinking accessories

Wallpaper*: How did you balance your signature aesthetic with Veuve Clicquot’s visual heritage?

Yinka Ilori: It was about finding the right framework. I saw myself as the frame, reframing their heritage through my own lens.

There was already a natural invitation through the brand’s signature colour. That colour, depending on the light, perspective and what surrounds it, offers a range of tones – sometimes more orange, sometimes more yellow. Just like the sun, it has natural variations.

Since colour is what gives my work depth and perspective, this became the common thread – the natural equaliser between my visual language and their heritage identity.

W*: How do you translate emotions of happiness and optimism into tangible objects?

When it comes to joy and optimism, I’m really interested in how we get there and where we pick people up, because everyone is chasing that feeling.

For me, optimism comes from the idea that happiness is something we create ourselves. It exists within each of us. So the process begins with looking inward, listening closely and then translating that into physical form. The shapes and objects come out of that process of reflection, giving form to something that is usually invisible.

W*: What was your design process for this collection?

YI: The process was very much about immersion: both in my own context and in Veuve Clicquot’s world. Visiting the vineyard, I was interested in the role that the sun plays – on a practical level, it helps the grapes grow, but more importantly, on a conceptual level, you can feel its presence in the warmth and care that goes into the making.

That connected strongly to my own heritage. In Nigeria, the calabash is a natural form that is used in many ways. The sun helps it grow, but it reaches its full potential when people gather around it and use it.

The shapes in the collection are inspired by the calabash, which was very present in my upbringing. The hand motifs represent community and craftsmanship, the circle represents the power of the sun, and the sun itself is reflected in Veuve Clicquot’s signature colour. The colours are also inspired by natural elements – the different hues the sun creates depending on the time of day, the materials it touches and the environment.

W*: How did you approach selecting materials and processes?

YI: My journey as an artist and designer started with upcycling. What interests me is the idea that objects already carry a history, a life that has been lived. It’s about recognising that and reframing them. That’s why upcycled materials felt natural for this project. They already hold stories, and when brought together, they create new ones.

3D knitting is a newer element for me, but I’ve always had a strong interest in textiles, especially because of their importance in Nigerian culture, whether it’s aso-oke, tie-dye or Dutch wax prints. What I find interesting about 3D knitting is that it gives textiles a sculptural quality. It allows them to take up space rather than remain flat. In that sense, it becomes another medium for storytelling.

W*: What can visitors expect from the installation at Milan Design Week, where these pieces will be debuted?

YI: I wanted to create a space where people can feel warmth, calm and inspiration. It reflects the same sentiment as the products themselves. Milan Design Week is very energetic and exciting, but also quite intense. I wanted to offer a moment where people can slow down, come together in warmth and peace.

W*: What do you hope people feel when they use or experience these pieces?

YI: I hope to take people on a journey, show them my own journey, but also Veuve Clicquot’s. Ultimately, I want people to look within themselves and find their own ‘sun’, both individually and within their community.

‘Chasing the Sun’ makes its debut at Milan Design Week, running 21-26 April 2026, at Mediateca Santa Teresa, Via della Moscova 28, Milan.

Play and joy have always been founding principles of artist and designer Yinka Ilori's practice. Today, the British-Nigerian creative announced the launch of the Yinka Ilori Foundation, a not-for-profit initiative to bring play, optimism and empowerment to communities worldwide.

The Yinka Ilori Foundation

'Growing up, play gave me freedom to dream,' says Ilori as he introduces the foundation's mission. 'It allowed me to turn swings into spaceships and everyday places into worlds of possibility. That sense of imagination and joy is something my mother instilled in me, and it's at the heart of why I launched the Yinka Ilori Foundation.

The foundation's mission statement mentions co-creation, inclusivity, and sustainability as its founding principles, with an aim to create permanent community spaces across the globe.

For its inaugural project, Ilori is creating a playscape in Nigeria (his family's ancestral home) co-built by the local community. The space will be based on modular play structures and will be the stage for a series of workshops and community events that will include training in caretaking to make the project sustainable in the long-term and empower its users.

This play structures will be co-built with the community, and the project will be supported by a full year of free cultural and skills-based programming. Workshops in music, craft, storytelling, entrepreneurship, and fabrication will be offered alongside training in maintenance and caretaking, ensuring each site remains sustainable and locally stewarded.

Ilori has always been vocal about the role community spaces play in the development of young people's networks and how imagination can help shape their future; his foundation is going to merge his beliefs with the distinctive sense of optimism and joy that has pervaded his work from the very beginning.

'We often forget about the mundane spaces which play an important role in bringing the community and people from different cultures and backgrounds together, as well as providing an opportunity for kids to meet, play and share ideas,' he told Wallpaper* in 2022, as he debuted a launderette-inspired playspace in collaboration with Lego.

Joining Ilori in his mission is a board of trustees that includes fashion designer Wale Adeyemi, EKP Connections founder Ellen Port, Gagosian associate director, curator Péjú Oshin and sound artist Peter Adjaye. Broadcaster, entrepreneur and author June Sappong will serve as an ambassador.

'I want to create spaces that aren’t just for communities, but with them,' concludes Ilori. 'Spaces that empower, connect, and inspire. We're starting in Nigeria, but this is just the beginning.'

Artist, producer, and composer Wyclef Jean just released his latest single, 'Back from Abu Dhabi', featuring a cover artwork by British-Nigerian artist and designer Yinka Ilori.

Jean's return to music is marked by contributions by the likes of French Montana and Rick Ross, also featuring a record scratch and M.C. intro by Dave Chappelle.

Wyclef Jean and Yinka Ilori: 'Back from Abu Dhabi'

The cover artwork is Ilori at his best: colourful and optimistic, its bold hues and iconic motifs blending to create a visual story to reflect the new single. the collaboration was engineered by 12on12, the drop-culture brand that unites music icons and contemporary artists to create collectible works and enhance the creatives' shared stories.

The visual style of Ilori was developed over several years of merging contemporary creative influences with traditional motifs from Nigeria, and has defined his graphics for posters and murals across London, as well as product collections, takeovers of spaces that include Bloomingdale's in New York and The Bulgari Hotel in London, and experiential public pavilions.

'This collab blends music and visual storytelling and the journey from the past to the future,' wrote Jean on his social channels introducing the new single.

A note accompanying the launch reads: 'The artwork celebrates the radiance of thriving individuals while acknowledging the scrutiny and challenges that accompany success, capturing resilience and the pursuit of big dreams, particularly for those from disadvantaged backgrounds where achievement once seemed unimaginable.'

'The music I am releasing has been over 30 years in the making. It is more than just a moment in time, it could only be created by the artist I was, I am and what I will be,' Jean added.

'Being able to collaborate with creatives that understand this concept is important to me. Creating beyond more than just a wave - being the ocean. As a meticulous craftsman, Yinka Ilori MBE embodies how these Quantum frequencies reverberate through time. This connection is more than just a piece of artwork. It is shared experiences told through many different time periods, textures, colors and ideas that will continue to inspire fearless creativity. Like time, we are all connected.'

Secret 7”, the charitable initiative which invites creatives both established and up-and-coming to submit artwork for the sleeves of 700 vinyl records, is back for its ninth edition. The event is presented by War Child, the charity that will be the recipient of the proceeds, which provides protection, education and mental health support to children in conflict zones.

The initiative selects seven tracks from global musicians, pressing each onto 100 limited-edition 7” vinyl records. Secret 7” then asks creatives to design a one-of-a-kind sleeve for each record, interpreting the track in any style or medium they want. This year, the event partnered with Design and Art Direction’s New Blood initiative, which hosted an open call for emerging talent to take part.

The headline artists for 2025 have now been revealed, and it’s a star-studded agenda, with sleeves designed by, among many others, Turner Prize-winning sculptor Antony Gormley OBE RA; fashion designer Sir Paul Smith; The Cure frontman Robert Smith; artist and designer Yinka Ilori MBE; multimedia artist Haroon Mirza; multidisciplinary artist Ken Nwadiogbu; sound-inspired painter Andrew Pierre Hart; contemporary painter Yooyun Yang; and Radiohead’s longtime collaborator and visual artist Stanley Donwood. Yinka Ilori will also create etched designs on all 700 records, wrapping them in bright colours.

The result is 700 distinct records that blur the boundaries between music and collectible art. These will be showcased at Greenwich Peninsula’s NOW Gallery from 11 April until 1 June 2025, and will be available for auction throughout. The designers’ identities are kept secret until all the items are sold, meaning that buyers won’t know who designed their sleeve, or which track is inside it, until after purchase – hence the name Secret 7”.

The seven tracks featured on the records are Warsong by The Cure, Be More Kind by Frank Turner, Merchant of Paradise by Gregory Porter, Beautiful People by Jessie Ware, Black Rain by Keane, Return to Oz by Scissor Sisters, and Sophie Ellis-Bextor’s new song, which is exclusive to Secret 7", Devotion.

During its nine-year run, Secret 7” has produced and sold 5,600 one-of-a-kind records, raising over £700,000 for charity, and has attracted contributions from artists and designers including Sir Anish Kapoor, Yoko Ono, Sir Peter Blake, David Shrigley and Ai Weiwei. The initiative has also pushed boundaries of what a record artwork can be, with past sleeves having been made from concrete, felt, lego, acrylic, clay and stitchwork.

secret-7.co.uk

Known as the 'Architect of Joy', British-Nigerian multidisciplinary artist and designer Yinka Ilori will represent a triple threat at the 2024 NeoCon trade show. He is the first artist and designer in the history of NeoCon to deliver a keynote, present a commission for the popular ART on the MART series – and launch a major collection – Yinka Ilori x Momentum – all at once.

Drawing inspiration from Nigerian parables and verbal traditions, Ilori’s creations resonate with a global audience. Ilori is also renowned for his sustainability-driven work that uses colour to inspire joy and a sense of community. Ilori’s collaboration with Momentum marks his first foray into commercial textile and wallcovering design.

Yinka Ilori x Momentum

His collection for Momentum is on point with this approach, and features five distinct patterns: 'Shower Me With Flowers' (a modernist, geometric floral take), 'Dream Catchers' (featuring a juxtaposition of shapes), 'Eyes in Reflection' (a versatile grid of rounded motifs), 'Blossoms Time' (solid colours with a woven texture), and 'Rhythms Surround You', an exuberant stacking of stripes with multiple arches, circles, chevrons and triangles. 

The collection’s wallcoverings include 'Rhythms Surround You' (also a textile), 'Moving Mountains', a visual geometric feast, and the kaleidoscopic 'Shifting Motions'.

'My collaboration with Momentum is a testament to the power of happiness created by strong community and storytelling. Together, we aim to transform commercial spaces into playful, creative hubs that inspire, uplift, and even heal. Forged by my dual heritage and my belief in the positive impact of joy on our lives, we’re bringing a fresh take to commercial design with products that breathe colour and optimism into every corner of any space,' Ilori explained.

As the industry’s largest commercial textiles and wallcoverings supplier, Momentum represents a natural partner to highlight Ilori’s work. This collaboration is the latest in a history of partnerships with artists like Sheila Hicks, Shantell Martin, and Aleksandra Gaca. This reveal blends Momentum’s industry expertise with the undeniable cool factor Ilori brings to the table.

'We are delighted to embark on this exciting journey with Yinka. His ability to infuse spaces with culture and storytelling aligns perfectly with Momentum’s commitment to pushing boundaries and fostering creativity in commercial environments. This collaboration is not only a fusion of artistic prowess but also a celebration of heritage and the transformative power of joy. We couldn’t be prouder to be the ones to bring this collection to the world,' said Momentum Chief Marketing & Creative Officer, Jennifer Nye.

Ilori will publicly unveil Yinka Ilori x Momentum in Momentum’s showroom at NeoCon 2024. He will also deliver a (sold-out) keynote address on Tuesday, 11 June. A new immersive commission by Ilori exploring memories and mindfulness will premiere on 6 June for Chicago’s ART on THE MART, with projections scheduled nightly at 9:00 p.m. and 9:30 p.m.

NeoCon 2024 is scheduled from 10 June to 12 June at the Merchandise Mart in Chicago, neocon.com

momentumtextilesandwalls.com
yinkailori.com

Two years since launching the Yinka Ilori Homeware brand, the designer opens his first pop-up store in Shoreditch, east London. Featuring Yinka Ilori’s signature colourful motifs, the space is inspired by West African architecture and features his homeware products as well as limited-edition pieces and a new collection created to coincide with the launch. 

With his first retail space, Ilori aims to explore how stores can help customers ‘connect, experience and discover’, at a time when the retail sector faces creative and practical challenges. Inspired by his heritage, the designer created colourful display furniture whose forms nod to the architecture of houses and mosques in Burkina Faso, rendered in a bright palette of blue, green, pink and red to instil a sense of joy and optimism in his visitors.

Ilori’s new collection is also aimed at fostering joy and togetherness, with stationery, games and homeware that focus on ‘memory-making and play’. These include the ‘Ayo Game’, a strategy game popular among the Yoruba people, which Ilori redesigned as a collectible object, as well as notebooks and umbrellas.

‘The high street plays such an important role in our communities but in recent years we have experienced a steep decline, with many independent businesses struggling,’ says Ilori, who in 2021 took over a nearby space to create a play area inspired by a traditional London launderette in collaboration with Lego.

Community is central to the designer's work. Drawing from his childhood growing up on a north-west London council estate, and with the current struggles of families everywhere in mind, Ilori will donate 5 per cent of profits from the shop to Shelter, a charity dedicated to supporting those who struggle with housing or homelessness.

‘With this pop-up, I wanted to bring retail back and design a fun, engaging space that tells a story. I want to start a conversation about the future of our stores, how we curate these spaces and what experiences we can create to forge deeper, more meaningful connections.’

Yinka Ilori Shop, until 3 January 2023

9 Club Row
London E1 6JX

yinkailori.com

British-Nigerian designer Yinka Ilori – whose his first solo display at London's Design Museum, ‘Yinka Ilori: Parables of Happiness’, opened earlier this year – has designed the trophies for The Fashion Award 2022, taking place on Monday 5 December 2022 at the Royal Albert Hall.

The trophies, made up of varying lengths of glass rods, were made in collaboration with environmentally friendly jeweller Skydiamond and The Glass Foundry (each award was created at the Cotswolds glass studio in a collaboration arranged by the British Fashion Council). Organised in a nine-by-nine configuration, the miniature statues remain faithful to Ilori’s vivid design work by putting colour first. 

‘I wanted to tell a story about fashion – and how powerful it is,’ says Ilori, the trophy designed to be symbolic of the collaborative nature of fashion, with each multi- speer representing the ‘many creative roles within the fashion industry’. ‘The trophy represents the energy and synergy between designers and celebrates a sense of togetherness,’ he continues.

Yinka Ilori’s trophy for The Fashion Awards 2022 revealed

The collaboration with Skydiamond introduces a diamond to each of the awards. Founded by entrepreneur and environmentalist Dale Vince, Skydiamond doesn't mine but generates diamonds – its diamonds are made sustainably from excess carbon drawn from the Earth’s atmosphere and in their production use sustainable wind and solar energy. This results in carbon-negative diamonds, ‘mined from the sky to protect the Earth’. (See more options for man-made diamond jewellery.)

‘Skydiamonds are the rarest diamonds on the planet, making the trophies even more unique,’ says Vince. 

The fruits of Yinka Ilori, Skydiamond and The Glass Foundry’s work will – as Ilori hopes – serve as ‘a celebration of the designers who acknowledge and honour their individualism and heritage’.

fashionawards.com

‘A smiling face dispels unhappiness.’ This is but one of the many Nigerian sayings that can be found in the Design Museum’s new exhibition ‘Yinka Ilori: Parables of Happiness'. Open from until 25 June 2023, the free display charts the creative journey of British-Nigerian designer, Yinka Ilori. Skilfully weaving together furniture, graphic design, and architecture the show invites visitors to engage with West African culture.

Bursting with colour, the solo show follows Ilori's unconventional voyage into the world of design. Here visitors can view his community-focused commissions, murals, and installations. Projects such as the vibrant play area ‘The Flamboyance of Flamingos’ and early career furniture can be seen alongside more notable work such as a sample of the maze-like 2021 BRIT Awards stage. In the exhibition, visitors can watch a short film on the ‘Brick Laundrette of Dreams’ made from 200,000 LEGO pieces and find out about the now dismantled ‘Colour Palace’ Dulwich pavilion, while learning about Ilori’s humble upbringing in North London.

The exhibition showcases over 100 items which include a selection of artworks, fabrics and key reference material that help give context to Ilori’s work. As you meander around the Design Museum, a copy of the discontinued Black lifestyle magazine DRUM can be seen paired with British rapper Kano’s debut album Home Sweet Home. ‘I remember looking outside my window dreaming of design as a kid and playing ‘Sometimes,’ ‘P&Qs,’ ‘Reload it’,’ says Ilori.

In the display, a traditional talking drum named the Dùndún can be found on the same level as a striking maquette by Congolese artist Bodys Isek Kingelez. These objects provide an unprecedented glimpse into the mind of Ilori. The Design Museum worked with the designer to acquire pieces such as the elegant Washington Skeleton Side Chair designed by Sir David Adjaye for its permanent collection to showcase furniture that inspires the British-Nigerian designer in the exhibition. Adjaye has acted as a mentor to Ilori and encouraged him to tap into his West African heritage throughout his work.

One of the most powerful parts of the exhibition is Ilori’s gold name badge from when he worked at British retailer Marks & Spencer. It is a powerful reminder for designers to not give up or stop pursuing their dreams. ‘I grew up in a council estate in North London and I think sometimes people see what I am doing now but don’t quite know my story’ says Ilori.

At the heart of the exhibition is the belief that art and design should be accessible to all. For this reason, the display is in the atrium of the Design Museum, a democratic zone that is free for visitors. ‘If you are going to tell a story about inclusive design then there isn’t a better space to show it’ says Design Museum Head of Curatorial, Pryia Khanchandani. ‘I want museums to be accessible for people like me and I want to open doors for kids that have a passion for design,’ states Ilori.

‘Yinka Ilori: Parables of Happiness’ celebrates the designer’s rich portfolio of work while unpacking the key components of his iconic visual language. ‘The exhibition is a clever fusion of cultural references that demonstrate that Ilori’s work goes much deeper than simply injecting colour into spaces’ states Khanchandani. The display shows the world that Ilori’s projects aren't simply an exercise in colour but a powerful amalgamation of Black identity and West African culture. The carefully curated show illustrates how Ilori uses design to evoke feelings of empowerment, hope, and love and aims to put a smile on the face of its visitors.

INFORMATION

'Yinka Ilori: Parables of Happiness' is on view until 25 June 2023
designmuseum.org
yinkailori.com

ADDRESS

224-238 Kensington High St
London W8 6AG

VIEW GOOGLE MAPS

September 2022 sees the Bulgari Hotel in London’s Knightsbridge celebrate its tenth anniversary through a collaboration with multidisciplinary designer Yinka Ilori, whose exuberant vision for an afternoon tea is served in the Bulgari Lounge.

Bulgari commissioned the London-based British-Nigerian designer to use his distinctive visual language, which draws on his multicultural heritage, in a unique interpretation of the popular afternoon repast. Ilori’s work is underpinned by a firm belief that art and design should be accessible to all; using the city as his canvas, he reimagines spaces to encourage a sense of community and invite audiences to engage with his work and its surroundings.

Ilori’s joyful combination of colour and pattern perfectly complements the elegant glamour of the Bulgari Lounge, which has recently been redecorated as part of its anniversary celebration. Traditional afternoon tea stands have been reimagined as bold artworks in the form of fantastically colourful stacked spheres – a motif that pulses with energy and life, and recurs with an exciting takeover of the building’s façade, as well as on the linen napkins.

Ilori comments, ‘I am extremely excited to have worked with Bulgari Hotel London for its momentous tenth anniversary. My designs for this collaboration celebrate London's cultural mosaic and the joy of coming together over food. The tea stands are based on the geometry of the sphere and the meeting of different cultures, and I hope people will gather at the hotel and enjoy a vibrant and colourful dining experience through the afternoon tea.’ Fittingly for a brand whose heritage is rooted in high jewellery, the cakes presented by Bulgari are gem-like – neon-hued and dazzling, and designed to complement the striking geometry and colouring of Ilori’s work.

The designer joined forces with award-winning Italian pastry chef and chocolatier-in-residence, Gianluca Fusto, whose carefully considered creations, sweet and savoury, are a delight to the palate as well as the eye. Guests may select from a menu of fine and rare teas, including a Scottish black tea named ‘Nine Dancing Ladies’ of which only one kilo a year is made.

For those that prefer a different kind of drink in the afternoon, Ruinart champagne and cocktails are also listed. The launch of this special afternoon tea experience coincides with the opening of Ilori’s first institutional show at the London Design Museum (showing now, ‘Yinka Ilori: Parables for Happiness’), as the city also celebrates the London Design Festival 2022 and gears up for Frieze London.

Which makes the Bulgari Lounge the perfect haven for a refreshment stop as you take in the capital’s art and design events. Should you wish to take a piece of Ilori’s work home, a limited-edition of 200 Yinka Ilori x Bulgari Hotel London napkin sets are available to buy

INFORMATION

bulgarihotels.com

Since starting his design practice in 2017, British-Nigerian designer Yinka Ilori has stretched his work in many directions. His signature language (partly inspired by the colourful textiles of his upbringing) has graced objects and furniture, sports venues and playgrounds, and has accompanied hopeful messages, which were dotted around London during the pandemic. 

In 2020, he launched his eponymous homeware brand, making his playful, optimistic aesthetic available on a larger scale. Spanning from homeware, textiles and objects, the brand’s items are meant, like much of Ilori’s work, ‘to instil a sense of optimism and joy’.

The designer's work is deeply rooted in community and play: in 2022 he completed The Flamboyance of Flamingos, a playground in east London’s Parsloes Park featuring play equipment inspired by the residents’ stories, while last year he debuted Launderette of Dreams, a temporary installation for children in collaboration with Lego to encourage and celebrate free play.

Here, Ilori welcomes us into his new studio space in London…

At home with Yinka Ilori

Wallpaper*: Where are you at the moment?

Yinka Ilori: I'm currently in my studio. It's the place where I'm most creative and where I like to say the magic happens!  

W*: Can you describe the space where you work?

YI: The studio has a mixture of flexible spaces. I have an office where I sketch, design and hold meetings and adjacent to this space is where the team sits. It's a very collaborative space where we discuss briefs, brainstorm and come up with new ideas. There's also a communal area which sits in the centre of the studio and is where we come together, spend time together. The studio is open plan and we've incorporated dynamic partitions like curtains which allow us to play around with the space and the way we use it. It's an incredibly colourful space that draws on tones that I use within my work. The colours are very joyful and really help set the tone for the day. Pink and yellow are the dominant colours in the space and I've used them to create a really positive, happy environment. I hope that it gives everyone in the office time to dream and imagine.

W*: What’s your favourite spot in your new studio?

YI: My favourite spot would be the communal area with the dining table and kitchen. Above the kitchen, we've incorporated a mural that says ‘Love Always Wins’, which I originally designed as a permanent artwork for Harrow Council. In the studio, I have enjoyed bringing in a bit of Harrow to Park Royal [where the studio is located, near Acton] but also elements of public-realm projects that I've been working on. The communal space is where I meet different people, whether that's people I'm working with on projects or someone who just stops by the studio. It's also where we celebrate birthdays and the team has lunch every day. Often I can hear them laughing and joking, which is a sound I love to hear. It's an area of the studio that has a positive and happy feel.

W*: How do you start your days?

YI: I start my day by going for a run in the morning for an hour. I like to prioritise fitness and some time for myself. When I get to the studio, I usually have an açaí bowl with fruit, granola, seeds and nuts, and make sure I'm hydrated. I will also usually have a walk around and water my plants. That's what gets me ready for the day ahead.

W*: What are you listening to at the moment?

YI: Music is really important to me. It allows me to escape and takes me into a different world and space. I love how musicians tell stories and paint you a picture to transport you elsewhere. Words, storytelling, poetry, sound, it all comes together to be able to make you feel something different or like you're somewhere else. It's very much what my work is about as well. I'm very interested in words and using these in my designs to create an environment that evokes something new.

At the moment I'm listening to Burna Boy's new album, which came out a few weeks ago. My favourite track on my album so far is ‘Last Last’. If you follow me on Instagram, my Instagram stories always feature what I'm listening to in my car.

W*: Where do you currently live? Can you tell us about your neighbourhood?

YI: I live in west London in Acton, which has a really strong community spirit. There are many independent businesses, from shops, cinemas and galleries to fruit and veg shops and butchers’. It's an area that is powered by the community and I love that about the area. My studio is located [nearby and it's] great to be able to access the office really easily. 

W* Your Nigerian heritage has played a key role in your work from the start. How do you incorporate it in your work, and what elements are you most drawn to?

YI: A lot of my work has been inspired by traditional Nigerian parables and African fabrics that I was surrounded by growing up. My parents would tell me Nigerian parables, which are essentially words of wisdom. Over time it's led me to understand the power of storytelling, which forms a really key part of my work. I draw on many of these parables that I heard in my childhood and have incorporated some of them into my work.

For example, 'If Chairs Could Talk' is based on the parable ‘no matter how long the neck of a giraffe is, it still can't see the future’. The story is about not judging people based on their current circumstances because you never know what the future holds. I created five chairs that were based on people from my childhood and tried to tell their stories through these objects. Each chair reflected on who the individual has become over time. I use traditional Nigerian folklore to tell meaningful but personal stories.

The textures, graphics and colours in my work come from the fashion I was surrounded by as a kid. My parents and their friends would be dressed in bright colours and rich textiles. This left a really strong impression on me. In my work, I have incorporated some of these styles, patterns and colours. I think colour can be an incredibly powerful tool that can influence the way you feel.

W*: Where are you finding inspiration at the moment?

YI: I recently spent some time in Switzerland, which was an absolutely incredible experience where I was surrounded by nature and fresh air. There were these incredible sweeping views and landscapes that were completely unobstructed by any buildings. I've been really inspired by being in nature and I've been thinking about how landscapes can tell stories or how we can feel more connected to nature. The green was such a rich colour and I don't think I've seen so much green in my life! 

W*: What’s the most important object you own?

YI: There's probably a few objects that I own that are incredibly important to me. There's a portrait of my grandmother which is in my studio. I also have photographs from my parents' collection of my grandparents, whom I only met once. Photos essentially capture memories and they allow you to go back in time or to a certain place. Whenever I feel low or uninspired, I can look at these photographs to revisit different moments. They're also where my use of colour comes from. 

W*: What’s your next big launch?

I'm working on an exhibition with the Design Museum which opens in September, during LDF [London Design Festival 2022]. The exhibition is really special to me because it's my first major institutional show. It will explore my work over a decade and I'm really excited to give people an insight into my practice and journey.

I've also been working with Kings Hill [a garden village in Kent], Liberty Property Trust and Kent County Council as artist in residence. As part of this project, I have been working with [Margate art gallery] Turner Contemporary, students from UCA, and the Kings Hill community to create a public artwork for the garden village’s new park. 

I'm also collaborating with the Bulgari Hotel on an exciting new project. 

W*: What’s your most recent, favourite design or art discovery?

YI: I was in Paris recently and visited the Pompidou, which was designed by Renzo Piano and Richard Rogers. It's an iconic building with a rich architectural history so it was incredible to see the building in person. It has a different look and feel and I love the way it incorporates a skeletal structure on the outside which also uses colour in architecture in such a radical way. 

W*: You have worked on small objects as well as large structures and dynamic spaces. What has been your favourite type of project to work on, and why?

YI: My favourite projects are probably the play spaces that I've worked on. I was commissioned to create Flamboyance of Flamingoes, a playground at Parsloes Park on the Becontree Estate, which featured spring rockers, abstract shapes, seating areas and a basketball court. I also worked with Lego on Launderette of Dreams, where I recreated a community launderette as a play space. We incorporated hopscotch on the floor, slides, vending machines and walls where kids could build and rebuild using pieces of Lego. 

I get such a buzz when I see kids play in spaces and how they make them their own. Even though I might carve up the space in a certain way, kids will always reimagine what the space should be and that's always an inspiration for me. I love to see how they collaborate in a space, communicate and play together. 

W*: What advice would you give to the next generation of creatives?

YI: My advice to the next generation would be to trust the process, really hone in on their craft and who they want to be as an artist or designer. I don't think you necessarily need to go to art school or study a degree in art or design but learning from others is important. Whether that's going to lectures and talks where you can hear from others about their work and process, or collaborating with other artists and designers, and getting experience in an artist's studio. Be open to criticism. That's incredibly important because it helps you learn, grow and develop.

W*: If you hadn’t become a designer, what would you have been?

YI: I really wanted to study English language and literature and when I was in college I used to write poetry. So if I hadn't become a designer, I probably would have become a poet. 

W*: What’s next for your studio?

YI: I want to continue to create more work for public spaces. For the longest time, art and design was confined to museums and for many people that's unaccessible or quite intimidating, so I've really enjoyed being able to bring my work to communities. I've been able to work with local residents and children to develop projects that really speak to them and tell their stories and that's something I want to continue to do more of.

INFORMATION

yinkailori.com

Yinka Ilori and Lego unveil a new project, celebrating the freedom of play through a fun, interactive installation and in Ilori’s signature vibrant colour palette. This is the latest in a series of interactive spaces created by the British-Nigerian artist and designer, including a basketball court in Canary Wharf and a skate park in Lille. 

Yinka Ilori’s Launderette of Dreams

Opened in east London on 28 October 2021, Launderette of Dreams transforms classic launderette design into a space for play, with Lego surfaces encouraging children to create, hopscotch graphics on the floor, a washing machine transformed into a Lego vending machine and bollard-like upholstered elements. The project is the result of a series of workshops Ilori organised with children from his former primary school in north London, and is inspired by the designer’s visits to his local launderette when growing up. 

‘The Launderette of Dreams is a very personal project for me because I spent a lot of time during my childhood at the launderette,’ says Ilori, who recalls playing in the space with his siblings and family. ‘It was where I could dream about the things I wanted to achieve. We often forget about the mundane spaces which play an important role in bringing the community and people from different cultures and backgrounds together, as well as providing an opportunity for kids to meet, play and share ideas.’

The space was designed to give children total freedom, with graphics including ‘yes to play’ and ‘yes to building’ messages (in contrast to signs forbidding play that are often found throughout London housing estates). More than 200,000 colourful Lego bricks are used throughout the space, with lighting installations and interactive machines to foster imagination and a sense of discovery and creativity.

‘Community launderettes are essential to the fabric and DNA of many communities,’ continues Ilori. ‘I hope the Launderette of Dreams inspires both adults and children to believe they can dream and create anywhere. Lego bricks are a powerful tool to help bring this imagination to life by offering the creative freedom to build any structure or object that you can dream of.

‘Children are brimming with amazing ideas for how to rebuild the world around them for the better and use play to transform the mundane into a magical experience,’ comments Alero Akuya, Lego’s vice president of global brand development. ‘Their creative optimism inspires us every day, and we hope the Launderette of Dreams shows how fun and playful the world around us can be when approached with a bit of childlike imagination and joy.’

INFORMATION

‘The Launderette of Dreams’ is open from 28 October to 6 November 2021
Workshops can be booked via eventbrite.com

yinkailori.com
lego.com

ADDRESS

133-135 Bethnal Green Rd
London, E2 7DG

VIEW GOOGLE MAPS

British-Nigerian designer Yinka Ilori transformed London’s Greenwich Peninsula into a colourful hub for the summer. Commissioned to turn Tide Square into a place of collaborative play, Ilori’s installation is titled Promise me memories and I will let you in, and is created as an immersive multilayered ‘experience for play and reconnection’. 

Designed by Diller Scofidio + Renfro, The Tide is an elevated walkway and park connecting the peninsula and is currently adorned with a kaleidoscopic installation by artist Liz West. At the centre of Ilori’s intervention is a covered stage featuring a series of patterned motifs in the designer’s signature style, inspired by images of architectural spaces and colours he collected over the past year, while running and cycling in London during lockdowns. Until 19 September 2021, the installation will be open to the public and become the centre of a series of events and initiatives including open-air live music, film screenings and a talks programme, as well as summer-long radio residencies by Foundation FM and Reprezent FM.

‘After a year being deprived of time with loved ones, fun, and the chance to meet new people, I wanted to create an experience where people will feel joy with others once again,’ says Ilori. 

Playscapes on the square include hopscotch made from reclaimed car tyres, a crazy golf course, and picnic benches for the local community to come together. A series of colourful flags on the riverside are inspired by the movement of water and colours of the peninsula’s surrounding nature, with further chromatic patterns on the pavement. Throughout the summer, the square serves as the setting for a Bompas & Parr-curated farmers’ market (every second Sunday).  

‘We want to make playful, creative, safe spaces,’ says Kaia Charles, cultural projects manager of Greenwich Peninsula. ‘Yinka Ilori’s vision creates colourful, thoughtful narratives for communities to reconnect through curiosity and imagination.’

Concludes Ilori: ‘The installation invites visitors to have fun and promise they will create new memories, and the riverside location of the Peninsula, its open spaces and creative community make it the perfect setting. I hope it becomes a place people will return to throughout the summer, as they reclaim lost time through play.’

INFORMATION

greenwichpeninsula.co.uk

Yinka Ilori has transformed a London park into a colourful public basketball court. Combining the signature patterns and bold palettes of the British-Nigerian artist and designer, the 3x3 basketball court is a new public pop-up space and will remain installed in Canary Wharf until October 2021.

The project’s motto, ‘be the best you can be’, aims to inspire visitors by instilling a sense of optimism and hope, like much of Ilori’s work that has popped up across the city following the pandemic in 2020. 

‘I have loved this project because this is my first ever basketball court,’ says Ilori. ‘I wanted to give people a space they can come and just enjoy being outdoors and being together again. I love that it’s free to use, creating a feeling of inclusivity and giving somewhere for communities to get together.’

The court design is specifically aimed at the 3x3 style of play, where three players on each side compete using a single basketball hoop. The design features Ilori’s motifs on the floor and surrounding walls, as well as the hoop. ‘Be the best you can be’, is emblazoned on one side of the court. As part of the project, Ilori has also applied his unique style to a basketball, available in a limited edition of 100 to celebrate the project. Ilori is no stranger to large-scale installations and sport venues, having designed a skatepark in Lille in 2020 with a follow-up project in Savannah. Applying his colourful signature style to many scales, he recently launched his debut brand, including homeware, textile and accessories. 

The basketball court is part of a larger public art programme led by the Canary Wharf Estate, featuring over 75 permanent works by 50 world-renowned artists and craftspeople, and will host a series of tournaments, classes, and events throughout the summer.

‘I feel like my project is part of the new Canary Wharf, challenging any perceptions of what people might have once had of the area,’ adds Ilori. ‘It is a place that people can live, work, and enjoy whilst experiencing a great fusion of different cultures. I can’t wait to see people using and enjoying the court!’

INFORMATION

Bank Street Park, Canary Wharf, until October 2021

canarywharf.com
yinkailori.com

Brit Awards 2021 winners will be announced on the night of 11 May at London’s O2 Arena, and will receive trophies by British designers Yinka Ilori and Es Devlin. This is the first double, collaborative trophy design in the awards’ history, a concept imagined to celebrate the act of giving during a difficult year.

The Brit trophy design by Devlin and Ilori follows a long tradition of UK creatives designing for the award, including artists Tracey Emin and Anish Kapoor and architects Zaha Hadid and RIBA Gold Medal 2021 winner David Adjaye.

The designers have created two distinct, visually striking statuettes for the Brit Awards: Ilori’s design features his signature graphic colour palette with bold compositions inspired by his Nigerian heritage, while Devlin’s smaller silver trophy is engraved with a maze pattern, the designer explains, ‘that celebrates the paths many of those working within the creative industries have had to tread in order to progress through this challenging year.’ Each winner is encouraged to give the smaller trophy to someone else: a family member, friend, neighbour, colleague, fellow artist, key worker, or another person important to them.

‘The idea came from the experience of lockdown, where your neighbour you’ve lived beside for six years and never say hello to, suddenly gave you flowers, foods, acts of kindness,’ explains Ilori. ‘I wanted to capture that...I would describe it as two artists from different disciplines, different inspirations, coming together to design a trophy based around the idea of giving something back – acts of kindness.’

Adds Devlin: ‘Yinka and I thought that the best award that one could receive would be agency to award another...Each recipient is invited to award the second trophy to someone they consider worthy - it might be recognition - or it might be someone that does something entirely unrelated to music.’

INFORMATION

esdevlin.com
yinkailori.com

‘My first homeware collection is a continuation of design work inspired by my own British Nigerian heritage and childhood,’ says designer Yinka Ilori. His work has traditionally been developed as a ‘colourful celebration of two cultures, expressed through abstract, technicolour pattern and contemporary craft,’ and this new venture seamlessly follows this path.

Ilori selected a small range of functional household items that evoke memories from his own upbringing and reworked them with bold patterns: think enamel cups, printed placemats, plates and pillows, as well as tv dinner-ready trays and carefully crafted rugs and tablecloths. Each item, he explains, has its own story, ‘meant to instil a sense of optimism and joy, to act in their own small way as a distraction to the dark times that we’re facing this year.’

Ilori is no stranger to positive initiatives inspired by the recent pandemic. Earlier in 2020, the designer’s colorful graphics were applied to public buildings across London featuring encouraging messages such as ‘Better days are coming I promise’ and ‘As long as we have each other we’ll be ok’. Commissioned by the NHS, the pieces bounced all over social media and helped create a sense of communal hopefulness. ‘Online, I’ve seen a growing audience interacting with my works that promote positivity and act as a form of creative hedonism on social media feeds,’ admits Ilori. ‘With a number of public installations put on hold, this year has given me time to work on a joy project that could translate this creative optimism offline.’

Each item is meant to instil a sense of optimism and joy, to act as a distraction to the dark times that we’re facing 

To build the collection, the designer spent a long time researching suppliers, focusing on craftsmanship, quality and durability. He sourced stoneware, jacquard table linens and cushions from Portugal, hand-knotted wool rugs from Nepal and tableware from the UK. ‘This collection has been a truly uplifting and fascinating project to work on,’ concludes Ilori. ‘It allowed me to to bring my artworks, which are normally associated with large scale installations and public exhibitions, into a new setting within the home.’

INFORMATION

yinkailori.com

British-Nigerian Yinka Ilori presents the Colorama Skatepark, a new project created in Roubaix, France, as part of Lille’s World Capital of Design 2020. Sport and street art merge in this characteristically colourful space, featuring modular artworks which serve as the structure for the space.

The skatepark by Ilori is part of cultural centre La Condition Publique, a creative laboratory in Roubaix merging art, urbanism and environmental sustainability. It takes over ‘Halle B’, a 1550 m² area inside a 20th century warehouse renovated by French architect Patrick Bouchain in 2004, and previously used for exhibitions and events. The institution’s brief was simple: to bring together different audiences and create a space that's inclusive.

‘Skateboarding is a unique art form on its own,’ says Ilori. ‘It's performative: there's an audience, you’re doing tricks. So there is that element of display and flamboyancy - it's quite a big thing to watch.’ The designer learned from a team of professional skateboarders, working closely with them for guidance throughout the process, which often made him reconsider his design choices.

‘I think as designers, we have to understand that sometimes we're not designing only for ourselves, but for the people,’ he says. ‘This was quite a collaborative process, which I'm really grateful for.’

‘I guess the takeaway for me is, never underestimate the power of the community, and of people coming together to play.’

Ilori’s design features different modules including ramps, partitions and blocks, and integrated the newly designed elements within the existing space through colour. The modules, as well as the structural columns and brick walls were painted in a tonal palette featuring pops of gold and fluorescent hues combined with earthy shades. The design was in part inspired by the building’s 19th century façade, characterised by lacquered tiles that Ilori recreated as a motif on the walls.

‘I wanted to create a space that is joyful and inclusive, and that allows room for stories to be told and created. That’s why I use colour, to create memories,’ he continues. For the designer, it was important to create a space that would become a pillar of the community, a safe space for local children: ‘skateboarding is not only about skating, but it's also about being part of a community, it's also being part of a family,’ he says. 

Further cementing the skatepark’s role in Roubaix, two classes from the local high school took part in the project’s construction, and the park also offered an opportunity for youth employment, with new ad-hoc apprenticeship positions. ‘The kids came down to help us build and paint as well, it was great to get their input as well and I think there are also future designers and makers here,’ adds Ilori. ‘I guess the takeaway for me is, never underestimate the power of the community, and of people coming together to play.’

INFORMATION

yinkailori.com
laconditionpublique.com

ADDRESS

14 Place du Général Faidherbe
59100 Roubaix
France

VIEW GOOGLE MAPS

Find out more about the pavilion and its construction here. Photography: Adam Scott