It’s easy to spot the work of British-Nigerian designer Yinka Ilori. Whether he’s designing a chair or a building, he lavishly applies bold swathes of color to create his eye-popping signature patterns, which are inspired by the West African fabrics that surrounded him as he grew up.

The London-based designer first attracted attention as a student, with his vibrant collections of upcycled furniture. Today, he heads an eponymous studio in North West London that tackles everything from large-scale pavilions and skate parks to graphic and exhibition design. In everything he does, he has a singular mission—to celebrate his cultural heritage and to bring joy and love to the world through design.

When did you first become interested in design?

I’ve always been interested in how things work, and as a kid, I loved sketching and designing toys. My parents would sometimes buy me toy cars—and it was then that I understood that objects could bring joy and make people feel good.

At school, I studied art, and I was convinced that I wanted to do a fine arts degree and become an artist. One of my teachers said I should do a one-year course in design before I went to art school. So, I enrolled in a course at the London Metropolitan University where we were able to explore different disciplines—industrial design, fashion design, photography, printmaking, and furniture design. I soon discovered that my strongest area was designing and making products. I went on to study furniture and product design at the London Metropolitan University, and I’ve been designing for about ten years now.

You first became known for your colorful upcycled furniture. What is the inspiration behind these collections?

The initial idea came from a project I did at university, and these collections are inspired by the personal experiences of myself, my family, and my lifelong friends. For me, the best way to discuss these experiences is through design, and I use everyday objects to tell narratives. It’s how I start conversations and communicate with the people around me.

The chairs I use come from all over London, and I think of them as immigrants. When people migrate, they have to integrate into new cultures and communities. In the same way, these chairs come to charity shops—or to me from people’s homes—and have to become comfortable in new spaces. I love that each chair has its own unique narrative. I find it interesting to take these objects, which I see as quite vulnerable, and give them a new story. It’s not about trying to erase their original story, but about adding a new layer to that existing narrative.

Your parents emigrated from Nigeria to the UK in the 1980s, and you often talk about taking inspiration from your Nigerian heritage. Can you tell me more about how you express this?

A huge part of my inspiration has always come from my family. They are really proud of their culture, and they express it in every shape and form. They had an amazing life in Nigeria, but they moved to London because they wanted different opportunities for their children. I’ve always respected my mum and dad because they show the world that they are proud of their Nigerian culture—they show it through an expressive use of color, pattern, and texture, and they speak Yoruba in public. There is no shyness or shame about where they come from. I’ve always had a respect and admiration for that.

I grew up between two cultures, and I found the best way for me to celebrate my culture was to take elements of my parents’ expression of their identity through their love of color and put it into my work. In Nigeria, color is a huge form of expression, and it was something that was always around us at home.

Understanding what it means to be British-Nigerian, especially in the design industry, is a big part of my narrative. Being part of two cultures allows me to design with a unique perspective—as my experience is very different from that of other designers.

What does color mean to you?

Color is such a powerful tool. I really believe in it, and to me it’s precious. I think a lot of people take it for granted, though. If you understand the power of color and how it is used, it can become a form of communication and expression. Applying color to a chair or a building, or even wearing color, is an art form. It also has the ability to show the world your pride and dignity.

I don’t just apply any color to any object—it’s always well thought out, and often comes from tapping into a memory of an experience or a place. I’m always thinking about how I want people to interact with my work. So, when I use color, it’s about trying to capture an emotion for both the audience and myself.

You established your studio in 2017—can you tell us more about the way you work?

My practice started in 2011, and my studio in North West London was founded in 2017. The studio is myself, three architects, and one graphic designer—and we work on a range of projects, from architecture and interior design to product and graphic design. I always say we’re a small team, but we do mighty things.

We also work with various consultants and contractors—it’s great, as I love collaborating outside the studio, and it enables us to take on big projects. I love working on large-scale projects, because I want to have a real impact—I think art and design bring joy, and are things that everyone should experience.

When you design large-scale projects, what kind of experience are you hoping to create?

A chair is often experienced in an intimate setting, whether that’s in a gallery or your home. The experience is often short-lived, and it’s the memory that lives on in your mind. With public spaces, architectural projects, and pavilions, however, it’s a longer, more permanent experience. Working at a larger scale also allows me to work in a closer way with the community and understand what they want.

While the small-scale objects, like the chairs, are purely based on my experiences, I really enjoy collaborating with the community and bringing people, families, and children into the process. I believe art and design should be inclusive, and when I’m designing spaces, I keep the people who will use that space, and how they feel, at the forefront. I want to bring them joy and love through these spaces.

The minute I design something that goes into a public space, it no longer belongs to me—it belongs to the people and the community. They create memories there, give that space life, and build on the narrative of the building. That’s the power of design.

You celebrate 10 years in design next year. How has your practice evolved since you began working in the field?

When I started, I was quite a shy designer. I was still trying to find my feet and decide what I wanted to say. Now I know what that is—and that’s great. It does take a lot of time, though. It took me three or four years to make my mark in the industry. I now really understand the power of design, and how it can benefit communities. When I was growing up in North London, I didn’t understand the impact of design—what it is, and what it can do for communities. I’m also a lot more confident, I trust in my vision, and I’m more expressive and experimental.

What are some of the highlights of your career in the past decade?

There have been many! The Color Palace was incredible, Happy Street on the Thessaly Road Railway Bridge was a special project, and winning awards like the ELLE Decoration New Designer Award was amazing.

With the Color Palace, I wanted to celebrate my cultural heritage and bring a bit of Lagos to South London. It was inspired by my visits to Nigeria, where I would go to the amazing Balogun fabric market. I wanted to bring that experience to London. It was a way of trying to bring everyone together.

What’s it like to work with major brands like Pepsi, the Cannes Film Festival, and Universal Music?

I’ve always said I’m very lucky. Every time a brand has come to me, they’ve come to me for a purpose. They know what I’m about, and what I can bring to a project. No one has ever tried to make me be something I’m not, and they’ve always been respectful. They know why they’re coming to me—it’s for my use of color, my storytelling, and my heritage. It’s very important to me that I keep my integrity and make sure I stay true to who I am. I want to work with brands that come to me to add value to their brand, not to take away from my brand, my aesthetic, or my heritage. That’s what’s beautiful about collaboration.

How would you describe your personal style?

My personal style is colorful, maximalist, and unapologetic. I take inspiration from my parents. They are my day-to-day inspiration in many ways—the way they use color, how proud they are of their culture, and also how entrepreneurial they are. They are always positive.

How would you describe your home and interior style?

My home is my happy place. It’s where I can switch off, relax, and reflect. It’s a bit like a shrine, as I have objects I’ve collected on my travels—calabash bowls, a talking drum from Nigeria, and candelabras—and artwork that I’ve created. It’s also a place where I can bring my family together, which is important to me.

More from Yinka Ilori:

British-Nigerian Artist and Designer Yinka Ilori Is Forever Inspired by This Humble Bowl

The Color Palace Is an Exuberant Ode to Nigerian Fabric Markets

Every Chair Tells a Story

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Q&A: How British-Nigerian Designer Yinka Ilori Uses Color to Celebrate His Heritage