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Partnerships

Yinka Ilori inspires the next generation of young artists

Yinka Ilori MBE, the British-Nigerian multi-disciplinary artist and designer, is renowned for his narrative-driven creations that celebrate community, joy, and affirmation. These core themes run through much of his work, known for its bold use of colour and ability to connect people through positive, uplifting storytelling. In his latest collaboration with BUILDHOLLYWOOD, Ilori turns his focus to empowering young talent, hosting workshops with children and showcasing their work across London. In this feature, we explore his creative journey, key influences, and this exciting new project aimed at inspiring the next generation of artists. 

Living with his parents and four siblings in a close-knit family environment, Ilori developed a deep appreciation for togetherness, a value that continues to resonate in his projects. “Affirmation is one of the biggest things we were introduced to when we were young,” Ilori explains. This foundation of positive reinforcement, along with his parents’ emphasis on self-contentment and cultural pride, has profoundly shaped his design philosophy. His work celebrates his dual heritage and the joy of belonging, offering audiences a visual language that bridges cultural and emotional experiences. 

23.10.24

Words by BUILDHOLLYWOOD

Since his early career, Ilori’s work has evolved from small-scale projects to major high-profile commissions, each one pushing the boundaries of colour and storytelling. Most recently, he transformed a McLaren Artura supercar into a one-of-a-kind artwork in support of Make-A-Wish, and created an eye-catching installation in Piccadilly Circus in partnership with Art of London titled, Good Things Come to Those Who Wait. He also designed The BRIT Awards trophy and stage in 2021. Notably, Ilori’s Colour Palace pavilion for the London Festival of Architecture became an iconic symbol of vibrant architectural design, blending African patterns with bold geometry. Other standout projects include the transformation of Tottenham’s Art on the Underground station and his joyful Happy Street installation, which turned a bleak London underpass into a kaleidoscopic walkway. His large-scale public installations have brought his exuberant designs to life across the capital, from pedestrian bridges to playgrounds, cementing his reputation as one of the UK’s leading contemporary designers. 

One of his earlier collaborations with BUILDHOLLYWOOD came in 2020 during the pandemic, when he created a series of artworks that brought colour and optimism to the streets during a challenging time. His If you can dream then anything is possible campaign followed, serving as a visual reminder of hope and resilience, a message central to his practice. 

This latest project beautifully highlights the imaginative work created by children during workshops led by Ilori. Scattered across London, displays showcase dream-filled creations, each brimming with colourful exuberance and positive affirmations, such as “dreams are limitless.” Among the standout pieces is Elio’s disco house, featuring a mirror ball and dance floor as its focal points, radiating joy and movement. Another powerful work depicts three unique shapes embracing, accompanied by the heartfelt message, “choose love over difference.” Each piece unmistakably reflects Ilori’s guiding ethos, with the children’s artwork capturing his spirit of inclusivity, creativity, and boundless optimism. 

The children’s drawings are currently displayed on billboards across London, giving these young artists a unique chance to see their creative visions come to life in a public and impactful way. Ilori’s commitment to nurturing young talent is deeply rooted in his belief in the power of affirmation and fostering self-confidence. “I want kids to feel like they can change everything they see and touch. If they can dream it, it’s possible,” he shares, highlighting his dedication to empowering the next generation. With this initiative, Ilori’s passion for inspiring future talent continues to shine, as he helps young creatives dream big and create boldly in the heart of London. 

Can you tell me about your upbringing in London and how that influenced your design career and artistic style?

I grew up in North London in a big estate, Marks Estate. My parents, who are Nigerian, moved to London in the eighties and my upbringing was pretty much centered around church and being outdoors with my community. Faith played a big part, every Sunday we spent the whole day in church with the community.

We lived in a two-bedroom flat, with me and my four siblings, and we were a really close-knit family. I think this idea of community and closeness stemmed from that. That’s why most of my work is very much centered around joy, community, and affirmation. These were things I experienced during my youth, and I saw a huge value in them. It really shaped me as an artist and designer. Affirmation is one of the biggest things we were introduced to when we were young. Positive words, like “You can do it,” were common from my mom and dad, and that fed into the world I try to create today. My parents and their friends built their own community, and they were content, not necessarily with material things, but content within themselves and who they were. That has definitely fed into me, and that’s why my work is about my heritage and my love of being British-Nigerian or Nigerian-British.

Growing up or even now, do you believe that speaking something into existence has spiritual relevance? Where does that idea come from?

When my parents prayed they were affirmations, like praying for a good week, and for things they couldn’t yet see, but believed would happen. So, I think that’s quite spiritual. I also believe in saying things more than once. It might sound a bit strange, but it reminds me of how when you’re young, in movies like ‘Candyman’ or ‘Beetlejuice’ where if you say the name more than once, the character appears. But, in this case, affirmations are more positive, not scary. I feel like my whole career and the world I’ve created have come from affirming things. At the start of the year, I’ll say to myself, “I want to do this project,” or “I want to get to this place,” and these things come into fruition. Some of it I can’t talk about yet because it’s still in the works.

What were some of the first things that inspired you to be creative? Is it still those same things that drive your creativity now?

Yeah, definitely. People, my heritage, being outdoors, and the sense of community. Being raised by my community helped me understand its importance and the benefits it brings. My values haven’t changed; they remain consistent. That consistency shows in my design language and storytelling. I’ve been interested in folklore since I was 16, my parents told us folklore to keep us on track when we were naughty, and as I got older, it became a more prominent part of my life. I started designing chairs by incorporating folklore, expanding on themes like joy, affirmation, love, hope, respect, jealousy—everything that folklore touches on. It all started there, and now, with my collaborations with brands like The North Face or institutions, everything still begins with a narrative.

When did you find that your work started to resonate on a wider scale with a broader audience? Do you remember when that shift happened?

It was around 2015. I did a collection based on five characters, all real friends of mine who I worked with at an all-boys school in North London. Some of them had issues—some were delinquents, while others were super intelligent but had problems at home. I told a story based on these five people and exhibited the work as an installation during Design Week in 2015. I wrote my own press release and did all the outreach myself. That’s when it kicked off!

In terms of BUILDHOLLLYWOOD, what was it like working with us for the first time, especially using the poster format, which you hadn’t used on a large scale before?

It happened during the pandemic. They offered a platform for artists to create work and express how they were feeling. I created murals on posters, and that was the first time I used advertising boards. I had done advertising work before, but it was never about giving artists space to express themselves. That project really helped me—honestly, it saved my career. It allowed me to take a public art installation and create ‘Visions’ from it, and that’s how the idea of ‘Visions’ started. It was one of the good things that came out of the pandemic.

Do you think that working in public art changes how you create products, or does your design process remain similar?

It’s the same. It’s storytelling. The canvas might change, but the process stays the same. Whether it’s a product or an installation, I start with the narrative – I think about how the audience will experience the work, how long it will be there, and where it will go afterward. The only difference is that with objects, people make a conscious decision to buy them. I had someone tell me recently that they waited a year to buy one of my cushions (via Yinka Ilori Objects) because it brought them so much joy. Objects have a way of bringing joy into people’s homes.

How do you balance maintaining your artistic voice with the demands of commercial work?

I think it’s about being direct and honest about what I want to do. I’ve been doing this for about 14 years, but the first 10 years were priming and building a body of work without making any money. My parents instilled in me self-assurance and a sense of knowing who I am, that consistency carries through in the work I create. Most brands don’t try to change my voice because my work is clear and direct—it’s pure, you know what you’re going to get with my work.

This new project focuses on supporting young talent. What inspired you to get involved with this initiative?

I love BUILDHOLLYWOOD and the work they do. I also love kids. I think it’s important to support and nurture them, to give them the tools to feel like they can make a difference in the world. Many kids don’t realise they have the power to do that. This workshop is about empowering them and also showing parents that their child’s small sketch could change the world. I want kids to feel like they can change everything they see and touch. If they can dream it, it’s possible.

Can you tell us a bit more about the pieces that will be displayed?

I want it to be as engaging and fun as possible. I also want them to push their ideas to the maximum. If they can put it on paper, it’s possible. We are displaying all their works as there’s no right or wrong way to design something.

Your work is known for its vibrant color and storytelling. What draws you to these elements?

It’s about seeing joy in a lot of spaces. I get messages from people telling me how my work brought them joy or helped them in some way. That kind of feedback keeps me going.

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