Colour appears as a sentient entity in Ibby Njoya’s work. For the Cameroonian British artist and spatial designer, who burst onto the fashion scene for his experimental and often provocative visualisations, every hue carries an innate energy and elicits emotion. Njoya’s collaborations with photographers such as Paolo Roversi and Rafael Pavarotti have resulted in iconic magazine covers. With fashion houses like Hermès, Chanel and Gucci among his clients, Njoya’s vision extends beyond set design and shapes the perception of luxury. Among his recent commissions is Naomi In Fashion, an exhibition that explores the super model’s career, on view at the Victoria and Albert.
Across his vast repertoire of creative collaboration, visual storytelling through colour lies at the very centre. “Colour is more than just a visual element; it’s an experience,” he says. “A soft pastel pink beside a deep, saturated red doesn’t just contrast—it shifts the entire atmosphere of a space. The gradual transition of one shade melting into another—like a rich green bleeding into a warm yellow— feels like an unfolding moment.” This reverence for the life force of colour lies at the core of Njoya’s creative process.
At British automotive company Jaguar’s Copy Nothing exhibition during the Miami Art Week in December 2024, as part of the launch of the brand’s new Type 00 concept car, Njoya revealed his Theory of Colour. This dynamic installation was showcased at the Jungle Plaza in Miami works by British artists Campbell Addy Yagamoto and Patience Harding, in a multidisciplinary curation of exhibits.
Njoya’s installation was a psychedelic, phosphorescent artscape that unfolded in a labyrinthine series of curves. Looking back on it, he says, “Jaguar provided a strong foundation with its brand colours— red, yellow and blue. From these, we expanded into a universe of subtler tones and layered patterns. I believe people often shy away from bold colours, fearing the risks of mixing patterns and vibrancies. We embrace them.”
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