To say that Yinka Ilori had a major moment at NeoCon would be an understatement. Across Chicago’s Merchandise Mart, the British Nigerian designer’s debut commercial textiles and wallcoverings line with Momentum served as the trade show’s unofficial branding this year; visitors flocked in droves to snag a coveted tote bag adorned with the collection’s graphic motifs (which were out of stock by Monday afternoon). People might have come for the merch, but they stayed for the infectious energy that radiated from floor to ceiling in Momentum’s showroom — a modern Wonka factory rendered in sweet, candy-like hues that offered a refreshing change of pace from the contract market’s often subdued palette.

But beyond the joy they inspire, the patterns boast a narrative quality that has become a through-line in Ilori’s work — in everything from architecture to furniture design — reflecting his profound connection to his heritage. During NeoCon, he translated this affinity for storytelling into an entirely new medium, presenting his Art on the Mart commission, a larger-than-life projection onto the art deco building’s massive riverfront facade. Like poetry in motion, the animated film, entitled Omi Okun (meaning “ocean water” in Yoruba), took viewers on a spiritual journey through Ilori’s memories of Pentecostal church rituals and his travels. We sat down with the designer to learn more about his monumental showing in Chicago.

On inspiration:

“The collection started from a memory — experiencing my first dream catcher while staying at a friend’s house — and I watered that idea until it
grew and blossomed into something like a sunflower or rose. It’s really symbolic, as I’m a huge believer in dreaming and affirmation and joy.”

On collaboration:

“We went to the mill in Pennsylvania where we saw the yarn and textiles being made. With our first sample, I noticed that the colours weren’t as rich as I’d wanted. So I pushed Momentum and the mill to make the richest red, the most pungent orange — taking them out of their comfort zone and into my world. I imagined Joseph and his Technicolor Dreamcoat.”

On his film debut:

“I grew up watching Nollywood films, which are produced in Nigeria. I just love the way that they tell stories. With a film, you want to tap into all kinds of emotions and the viewer has to be still and listen. With interior spaces, the user is moving around, touching things and interacting with them. So the challenge was, how can I capture your attention from the first few scenes and sounds? Whereas with the textile collection, the emotional connection is instant — you know what to expect just by looking at it.”