For over five decades, the Montreux Jazz Festival has transcended its origins as a premier destination for world-class music to become an immersive cultural phenomenon. Nestled along the serene shores of Lake Geneva in Switzerland, Montreux is more than a venue; it is a living, breathing celebration of the arts. While legendary performances from the likes of Miles Davis, Nina Simone, Prince, and David Bowie have graced its stages, an equally compelling story unfolds each year on the festival's walls: the story told by its posters.
Since the inaugural festival in 1967, Montreux has upheld a tradition that few other musical gatherings can claim. Each year, the event commissions a renowned visual artist to design a poster that encapsulates the essence of that edition. Far from being merely a promotional item, the poster becomes an emblem of Montreux’s evolving identity. These artworks are not just marketing materials but cultural artifacts that narrate a broader story of innovation, artistry, and evolution. The result is a gallery of visual statements that mirrors the dynamism and spirit of the music it represents.
This deep intertwining of visual and musical excellence makes Montreux an unparalleled confluence of disciplines. As much as the festival is known for its audio legacy, it is equally recognized for its visual storytelling. With every poster, the festival not only captures the energy of the time but also extends an invitation to audiences to experience jazz through an expanded lens. The Montreux poster becomes a time capsule, reflecting the changing aesthetics, moods, and cultural climates that have defined each passing year. The initiative has solidified Montreux's reputation not just as a stage for music legends but also as a canvas for visual pioneers.
Masters of Modern Art Who Redefined the Montreux Poster
The Montreux Jazz Festival’s embrace of visual art has resulted in a tapestry of poster designs that span decades of artistic evolution. Each edition stands as a bold statement, a unique fusion of the artist’s language with the festival’s enduring ethos. The early 1980s marked a period of visual experimentation, and one of the most groundbreaking contributions came from Jean Tinguely. His 1982 design introduced an air of kinetic chaos and mechanized elegance, establishing an aesthetic of movement and momentum that has since become synonymous with the festival’s visual identity. His avant-garde constructionspart sculpture, part performancereflected the improvisational spirit of jazz itself.
Shortly after, in 1983, Keith Haring, then an emerging force in the New York art scene, brought his unmistakable visual lexicon to Montreux. With three submitted designs, each one pulsated with human energy and his trademark hieroglyphic lines. Haring’s figures seemed to dance across the poster, echoing the rhythms of the music they represented. His contribution was not just an artwork; it was a kinetic mural of sound translated into line and color. The culmination of Haring’s involvement came in 1986 with a collaborative piece that saw him join forces with Andy Warhol. The resulting poster, a marriage of Haring’s raw dynamism and Warhol’s polished pop sensibility, was a cultural moment in itself, bridging street culture and gallery sophistication.
The 1990s continued this legacy of bold expression. In 1995, the festival welcomed David Bowie, not just as a performer, but as a visual contributor. Bowie’s poster design offered a glimpse into the eclectic mind of an artist who continually pushed boundaries. His involvement symbolized the festival’s broadening scope, embracing not only jazz but the wider currents of contemporary sound and image. Montreux had, by then, firmly established itself as an environment where cross-disciplinary voices could thrive.
In the years that followed, the tradition deepened with contributions from a growing range of boundary-pushing artists. Yoann Lemoine, also known by his stage name Woodkid, infused his poster with cinematic texture and narrative tension. Christian Marclay, a pioneer in audio-visual collage, crafted designs that blurred the line between sight and sound, invoking the experimental spirit of both jazz and visual art. The enigmatic street artist JR brought a socially engaged approach to his poster, embedding layered narratives and photographic intimacy into his composition. Each artist added new texture, context, and meaning to the festival’s evolving visual canon.
Camille Walala: Weaving Rhythm into Geometry for the 56th Edition
Stepping into this illustrious lineage for the 56th edition is French artist Camille Walala, whose visual identity is immediately recognizable for its unapologetic vibrancy and geometric structure. Walala’s work is often described as architectural pop artbright, bold, and built upon a foundation of optimism. Her contribution to Montreux is a visual exclamation point, a dynamic composition that synthesizes sound, movement, and mood through a prismatic array of shapes and colors.
Walala’s poster bursts with kinetic energy. Each shape within her design appears to dance, collide, and harmonize in ways that reflect the very nature of jazz improvisational, layered, and emotionally resonant. The color palette is electric, inviting the viewer to feel the music before even hearing a single note. Her use of pattern and repetition mirrors rhythmic cadences, transforming the poster into a visual symphony. The curators of Montreux fittingly describe her work as a polyphony of dancing shapes and electric colors, capturing the essence of both the festival and her artistic philosophy.
But Walala’s impact extends beyond the visual aesthetics. In her work, there is an undercurrent of connectivity and public engagement. Much like how the Montreux Jazz Festival aims to be an inclusive and celebratory space for diverse audiences, Walala's art often reclaims public spaces and transforms them into zones of shared visual experience. Her design for Montreux channels this same spirit, welcoming attendees with a sense of joy, wonder, and rhythm.
Her poster is not only an artwork; it is a manifestation of everything Montreux represents at this moment in time. It’s bold but accessible, avant-garde but grounded in emotion. It reinforces Montreux’s role as an incubator of multidisciplinary brilliance and its power to bring people together through the universal languages of art and music.
In embracing Camille Walala, the Montreux Jazz Festival continues to build on its storied legacy, reaffirming that great music and great art are not parallel pursuits, but intertwined threads in the same vibrant cultural tapestry. Each year, a new voice adds to this evolving dialogue, enriching Montreux’s legacy as a sanctuary where sound meets vision, and where every note finds its visual echo.
Camille Walala’s Vibrant Jazz Vision: The 2022 Montreux Jazz Festival Poster
Camille Walala’s 2022 Montreux Jazz Festival poster is not simply a visual treat; it’s a full-bodied sensory experience. Far from a static image, her work pulses with rhythm, contrast, and a kinetic energy that transforms the visual medium into a quasi-musical language. Known for her bold colors, geometric designs, and an unmistakable sense of playful precision, Walala brought all of her signature traits into this piece. But she went beyond the decorative and stepped into the interpretive, giving us a deeply personal and intuitive translation of jazz into visual form.
The Montreux Jazz Festival has long been celebrated for commissioning artists who can capture the soul of music through design. Walala’s contribution stands out not only for its vibrancy but for its ability to translate music’s ephemeral qualities into something tangible. At a glance, her poster is a dazzling mix of shapes and hues. Upon closer inspection, however, it reveals an intentional narrative of movement, rhythm, and improvisation. Her forms seem to glide across the canvas, interacting with one another like instruments in a bebop ensemble. Shapes overlap and bounce with syncopated flair, some taking center stage while others fade into percussive background elements. The composition feels like an animated score where each element plays its part, echoing the layered textures of a live jazz performance.
Her dynamic layout isn’t just an artistic flourish; it’s a conceptual embodiment of jazz’s spontaneity. Camille’s use of juxtapositionbold solids meeting confetti-like patternscalls to mind the balance between structure and freedom, a hallmark of jazz itself. Much like a skilled soloist riffs within a chord progression, Walala’s shapes and motifs interact in unexpected yet harmonious ways. The visual rhythm is palpable, moving the eye in a manner that mirrors the unpredictability and exuberance of jazz. The movement is not arbitrary but orchestrated, carefully choreographed to suggest a sonic flow. She doesn’t depict music directly; rather, she offers a vibrant evocation of it, crafting a visual language that taps into the emotional core of sound.
Her intention wasn’t to illustrate music in a literal sense but to distill its essence. Drawing from her notebooksrepositories of color explorations, patterns, and spontaneous sketchesshe developed a vocabulary that speaks in pulses and pitches. Every corner of the design holds a surprise, a modulation in tone or tempo, mirroring the experience of listening to a track unfold in real time. This method brings an element of synesthesia into play, where the boundaries between senses blur and the eye begins to perceive what the ear would normally hear. This transmutation of sound into sight isn’t a gimmick but a genuine expression of how deeply interconnected art forms can be.
Visual Architecture of Sound: The Language of Form and Pattern
What distinguishes Camille Walala’s work from others in the field is her deep understanding of how visual forms can convey emotional and rhythmic resonance. Her Montreux poster is a masterclass in this principle. Rather than adhering to a traditional compositional hierarchy, Walala employs a democratic distribution of visual weight. Each shape, whether a rectangle, circle, or irregular polygon, contributes to a broader symphonic whole. Her color palette is both electric and methodical, designed to evoke the highs and lows of a musical phrase. Rich blues, sun-bright yellows, urgent reds, and grounded blacks play off each other like notes in a scale, each providing counterpoint and emphasis in a vibrant composition.
Of particular note is her integration of black and white stripes that unmistakably suggest piano keys. These stripes act as a visual anchor amid the surrounding movement, giving the viewer a recognizable symbol around which the rest of the abstraction can pivot. They slice through the composition with rhythmic certainty, grounding the chaotic interplay of other forms while also suggesting the foundational role of piano in many jazz compositions. These motifs are not mere decorative accents but embedded symbols that speak to the history and architecture of jazz itself.
Walala’s visual style, while unique, draws upon and reconfigures various art historical movements. There are echoes of constructivism in her calculated precision and attention to geometric order. The playful energy and bright palette bring to mind the irreverent joy of pop art. Yet she synthesizes these references without ever becoming derivative. Her work functions as a bridge between eras, paying homage to visual traditions while forging a path that is distinctly her own. This duality places her among a rare breed of artists who not only understand the lineage of their practice but actively contribute to its evolution.
In the Montreux poster, this synthesis is especially poignant. Walala’s ability to simultaneously channel tradition and innovation mirrors jazz’s own artistic philosophy. Jazz, too, is a genre built on the shoulders of its ancestors, constantly sampling, reinterpreting, and innovating. Through her visuals, Walala encapsulates this dialogue between past and future. The result is not just a poster, but a full-bodied aesthetic experience that asks viewers to engage with music in a new waythrough the eyes rather than the ears.
This holistic approach transforms the act of viewing into an active process. The poster invites movement, guiding the gaze from one corner to the next with the same finesse as a conductor guiding an orchestra. Lines pull you forward, patterns hold your attention, and colors trigger emotional cues. It’s a choreography in pigment and form, a symphony without a single note played. This is the essence of what makes her work resonate so deeply: the ability to make viewers feel music through a purely visual medium.
Artistic Freedom and Cultural Legacy: Montreux as a Canvas for Innovation
What makes the Montreux Jazz Festival poster series so iconic is its longstanding commitment to artistic autonomy. Unlike traditional promotional materials that are laden with logistical information, artist lineups, and branding constraints, Montreux allows its invited artists total creative freedom. This open brief is rare in the commercial design world and is precisely what enables visionaries like Camille Walala to work at their highest level of expression. Free from the need to advertise, explain, or conform, she was able to dive fully into her interpretive process and emerge with a piece that speaks not just for the festival, but for the very spirit of jazz.
The freedom granted by Montreux transforms the poster from a marketing asset into an artwork in its own right. These designs are not disposable event collateral but collectible pieces of cultural history. They chart the evolving relationship between visual art and music, each one adding a unique chapter to the anthology of jazz’s global influence. Camille Walala’s entry into this lineage is not just a standout visually but also conceptually rich, offering a powerful statement about the cross-pollination of disciplines. Her poster exists not just on paper but in the imagination, alive with the rhythms it seeks to express.
The Montreux poster series has hosted contributions from legends such as Keith Haring and Niki de Saint Phalle, and Walala steps confidently into this legacy. Her work is not only a continuation of the festival’s tradition of visual experimentation but also a bold affirmation of the contemporary moment. Her voice as an artist is distinct, but her message aligns seamlessly with the ethos of Montreux: to celebrate music not just as sound, but as a cultural force that spills over into every creative form.
As art and music continue to converge in the digital age, pieces like Walala’s serve as vital reminders of the power of tangible design. They hold space in galleries, homes, and archives, preserving fleeting sounds in the permanence of pigment and paper. Her 2022 poster doesn’t just mark a festival, it marks a momenta time when art and music danced together once again, not on a stage, but in the vibrancy of a visual sonata.
Camille Walala’s contribution to the Montreux Jazz Festival poster series is not only a triumph of design but a testament to the enduring interplay between artistic mediums. Her work amplifies the voice of jazz in a way that words or even music alone could not accomplish. It speaks in color, in motion, and in emotion, giving us not just something to look at, but something to feel. Through her eyes, we see jazz. Through her hands, we hear it. And in her vision, we understand it anew.
Visual Harmony as Language: Camille Walala’s Design Philosophy
Camille Walala approaches design in much the same way a composer approaches music. For her, visual creation is not merely a matter of aesthetics, but a structured, deliberate process rooted in rhythm, tone, and expressive timing. She has often described her motifs as a kind of visual language, where geometric forms, bold hues, and contrasting textures become phonemes that articulate a broader narrative. This perspective elevates her design work into something multidimensionala fusion of structure and spontaneity that evokes a deeply sensorial response.
Her sense of colour isn’t just intuitive; it’s emotionally strategic. Camille doesn’t use colour just to decorate, but to direct attention, sculpt emotion, and guide the eye in ways that mimic the beat and pulse of sound. This synesthetic interpretation of spacewhere colour takes on the characteristics of tempo and toneallows her to create work that feels as though it breathes with its internal rhythm. Each pattern seems to swing in tempo, each block of colour feels like a resonant note, and the relationship between them acts as harmony and counterpoint.
There is also a profound linguistic element to her style. Camille's designs speak, not in words but in forms that communicate through repetition, variation, and composition. The interaction of vivid colour fields and structured black outlines becomes a dialogue between energy and discipline. Rather than producing flat or static visuals, she composes environments that feel immersive and alive. Her projects are never silent; they hum with intention and pulse with the vitality of the artist behind them.
In the context of the Montreux Jazz Festival, this linguistic approach to design takes on added significance. Jazz, like Camille's artwork, relies on interplay, unexpected shifts, and a deep sensitivity to timing. It is a form of expression born from freedom but refined through practice. Camille’s contribution mirrors these qualities with clarity and emotional resonance, making her poster more than a promotional toolit is a visual improvisation that captures the very essence of the event it represents.
A Dance of Texture, Tone, and Spatial Emotion
At the core of Camille Walala’s poster for the Montreux Jazz Festival lies a dynamic digital collage that appears to move before the viewer's eyes. It is a composition rich in texture, contrast, and layered emotion. Blocks of saturated colour rest beside intricately patterned areas, creating a visual tension that plays out like syncopation in jazz. These differences in visual weight and rhythm don’t clash; they converse. They build an energy that flows across the piece, drawing the viewer in through alternating sensations of density and openness.
This interplay is where the emotional heart of the work lives. In the dialogue between vibrant simplicity and textured complexity, there is a sense of motionalmost as if the poster breathes. There’s clarity in the flat planes of primary colour, but also a sense of curiosity and depth in the more detailed sections. Camille achieves this equilibrium with remarkable instinct, ensuring that no single area overwhelms another, yet each element maintains its unique identity. The poster is an orchestra in itself, composed of parts that function individually but achieve greatness together.
Camille’s instinctive ability to pair architectural balance with unrestrained playfulness lends the work an extraordinary lightness. There’s a grounded logic to how the forms are arranged, almost as if following a silent blueprint, but that structure never feels rigid. Instead, it becomes the springboard for expressive leaps, for splashes of joy and surprise. The piece is clearly born from a deep knowledge of design theory but is animated by freedom and spontaneity. That duality-discipline meeting delight is the foundation upon which this artwork stands.
This tonal and rhythmic complexity speaks directly to the identity of the Montreux Jazz Festival itself. For decades, the festival has positioned itself as a haven for musical exploration, where genres aren’t restricted and creativity knows no limits. From the classic rhythms of bebop and swing to the edgy pulse of electro-jazz or experimental funk, Montreux celebrates multiplicity. Camille’s poster acts as an abstract prelude to that experience. It teases the eyes in much the same way a jazz introduction teases the earssetting mood, hinting at themes, and inviting the audience to lean in with curiosity.
Though the lineup for the 2022 edition of the festival was still under wraps when the poster was unveiled, the artwork already offered a sensory clue to what might lie ahead. It suggested a celebration that would be as varied and vibrant as the colours it displayed. In this way, the poster transcends its role as marketing material. It becomes a tonal overture, an artwork that plays the role of emotional herald for what is yet to come.
Echoes of Legacy and the Rise of a New Visual Narrative
Camille Walala’s contribution to the Montreux Jazz Festival poster series is part of a prestigious lineage, one that spans nearly six decades and features many of the most notable artists and designers of their time. As the 51st contributor to this long-standing tradition, Camille steps into a cultural conversation that reaches back to the festival’s earliest visual expressions. Her work joins that of a lineage defined by names who have helped shape the visual culture of global music.
But Camille doesn’t just enter these traditions reshapes them. Her presence, along with those of her contemporaries Malika Favre and Marylou Faure, introduces a much-needed feminine dimension to what has long been a male-dominated arena. These three French-born, London-based artists bring fresh perspectives, unique aesthetics, and an unapologetically bold energy to the festival’s visual history. Camille, in particular, helps usher in a new era where intuition, emotion, and formal play exist in harmony.
This generational handoff between female artists is significant not only for what it represents socially, but also for what it brings to the festival’s overall identity. Malika Favre’s sensual minimalism and Marylou Faure’s effervescent whimsy align with Camille’s exuberant formalism to form a cohesive, if varied, visual triad. Together, they offer a new vocabulary that is deeply personal yet universally resonant. Their work signals a shift in visual tone, one that prioritizes vibrancy, inclusivity, and emotional depth.
Camille has often spoken about how these two fellow artists have influenced and supported her. There is a sense of camaraderie and shared purpose that extends beyond their individual styles. Their mutual presence within the Montreux poster series adds a connective layer lineage within the lineageredefining what artistic heritage can mean in a modern, multicultural context. This isn’t just about adding women to the list; it’s about enriching the conversation, expanding the visual lexicon, and allowing space for new kinds of stories to be told.
Moreover, Camille’s contribution arrives at a moment when the role of design in music culture is undergoing a transformation. No longer confined to album covers or promotional posters, visual art is becoming a central part of how festivals define themselves and communicate their values. Camille understands this evolution intuitively. Her poster doesn’t just accompany the Montreux Jazz FFestivalhelps narrate it. It acts as a bridge between tradition and tomorrow, between what the festival has always been and what it dares to become.
In this way, Camille Walala’s work stands as more than a striking image. It is a declaration of rhythm, colour, and cultural evolution. Through her hands, design becomes not just an artistic expression but a storytelling mechanism, one capable of capturing the soul of a globally beloved festival. Her poster is vibrant, yes, but it is also layered with meaning, carefully composed and deeply felt piece that sings as much as it shines.
The Montreux Jazz Festival: Where Art and Music Converge in Harmony
At the Montreux Jazz Festival, the connection between art and music is not a coincidence but a deeply intentional design. From its earliest days, Montreux has celebrated a symbiotic relationship between visual artistry and sonic expression. The annual poster tradition isn’t an afterthought; it is a central narrative that reflects the spirit and character of each year's musical celebration. Each commissioned artwork becomes part of a larger cultural legacy, embodying the festival’s ethos that music is a full-bodied, multisensory experience.
Among the most striking additions to this lineage is the 2022 poster created by acclaimed artist Camille Walala. Known for her bold patterns, geometric structures, and vibrant colors, Walala’s work brings a compelling sense of rhythm and visual dynamism to Montreux’s artistic archive. Her poster is not simply an aesthetic companion to the festival; it is an artistic statement in its own right. It celebrates the interplay of color, shape, and form while echoing the improvisational energy of jazz itself.
This visual contribution doesn’t merely accompany the soundscape of the festival. It becomes part of the experience, engaging viewers with the same emotional depth and complexity that one might find in a musical composition. Walala’s approach shows how the fusion of disciplines can elevate an event beyond its primary function. In doing so, it turns a summer festival into a cultural moment, a place where design and music speak in unison.
The poster reflects the festival’s evolving identity, one that respects its storied past while embracing bold, forward-looking interpretations. It reminds us that Montreux is not only a showcase for world-class music but also a canvas for visual experimentation. This approach ensures that every edition of the festival stands apart not just for its lineup but for its aesthetic, capturing the essence of an event that is as much about mood and atmosphere as it is about sound.
Camille Walala’s Poster: A Living Work of Art
What sets Camille Walala’s Montreux Jazz Festival poster apart is its refusal to fade into the background. Although it was created specifically for the 2022 edition, the artwork possesses a timelessness that defies seasonal or annual constraints. The design pulses with a rhythmic life of its own, inviting ongoing reflection and reinterpretation. Its layered complexity, combined with a palpable sense of joy and movement, transforms it into something much more than an event poster. It becomes a piece of art that stands independently and invites deep engagement long after the festival lights have dimmed.
Walala’s composition brings together abstract architectural forms with bold, primary colors and intricate patterns. These elements echo the layered textures and unpredictability of jazz music. The poster feels like a visual symphony where every element is meticulously arranged yet feels spontaneous, as if drawn by the spirit of improvisation. The viewer is not just looking at the artwork but moving through it, much like listening to a jazz solo that takes you on an unexpected journey.
This interplay between spatial design and rhythmic vibrancy offers a meditative experience. It is a visual maze that one can get lost in, a tapestry of shapes and colors that seem to dance across the surface. Every glance reveals something new, a hidden detail, a surprising alignment, a sudden harmony of colors. This invites viewers to return to it again and again, discovering fresh nuances each time. In this way, the poster acts not only as an introduction to the festival but also as a lasting visual memory of it.
By refusing to be ephemeral, the poster challenges the conventional role of promotional material. It asserts itself as a work of enduring value, capable of transcending its functional origin. Its jubilant character and striking composition ensure that it will remain a point of reference in festival design for years to come. This longevity underscores the significance of interdisciplinary collaboration, where visual artists are given the space to contribute meaningfully to musical events, rather than being relegated to the margins.
Moreover, Walala’s work sets a high benchmark for what a music festival’s visual identity can achieve. It demonstrates that when artists are trusted to interpret the spirit of an event in their language, the result is a richer, more immersive experience for audiences. The poster serves not just as a marketing tool but as an emblem of Montreux’s unique blend of tradition, innovation, and cultural depth.
Looking Forward: A Blueprint for the Festival’s Visual Future
As the Montreal Jazz Festival looks to the future, it does so with a clear understanding that its identity is built on more than just sound. The festival’s longevity and prestige are tied to its openness to evolution, and this includes how it presents itself visually. Camille Walala’s poster is a shining example of how the festival remains fresh, relevant, and artistically bold. It signals to future collaborators that Montreux is a place where visual innovation is not only welcomed but celebrated.
This dedication to visual storytelling ensures that the festival continues to resonate with global audiences. In an age where imagery circulates as fast and widely as sound, the poster becomes a vital touchpoint, a symbol that travels across platforms, cities, and continents. Through design, the festival can speak a universal language, one that transcends genre and geography. Walala’s work illustrates how a single image can encapsulate the emotion, diversity, and energy of an event as multifaceted as Montreux.
The success of her design lies not only in its aesthetics but in its conceptual strength. It offers a compelling metaphor for the festival itself, vibrant, layered, unexpected, and emotionally rich. The harmony between form and function in her poster mirrors the harmony that Montreux strives for in its programming: a delicate balance between legacy and novelty, structure and spontaneity. The design is not merely decorative; it is expressive, embodying the freedom and complexity of jazz through visual means.
As future artists take up the mantle of designing Montreux’s visual identity, Walala’s poster will serve as both inspiration and challenge. It sets a precedent for depth and originality, encouraging contributors to go beyond surface appeal and delve into the heart of what Montreux represents. It is a call to treat the poster not as an assignment but as an opportunity, a chance to create something that captures the spirit of the festival in a new and compelling way.
At its core, the Montreux Jazz Festival has always been a celebration of collaboration, of disciplines weaving together to create something greater than the sum of their parts. Walala’s poster beautifully embodies this ethos. It is a conceptual bridge, connecting sound with sight, emotion with design, and past with future. Through her use of kaleidoscopic patterns, architectural balance, and a radiant palette, she delivers a visual improvisation that complements Montreux’s musical excellence.
Her poster stands not just as a commemoration of a single year but as a beacon pointing toward the future of music festivals. One where visual and auditory storytelling are treated with equal reverence, and where each element contributes to an immersive, unforgettable experience. In celebrating Walala’s contribution, we celebrate a broader vision for Montreux one that is inclusive, boundary-pushing, and deeply resonant.
Ultimately, the Montreux Jazz Festival’s poster tradition is more than a recurring commission. It is a declaration of values, a statement that music is a multidimensional art form. Through works like Camille Walala’s, the festival reminds us that great design can do more than adorn it can amplify, inspire, and transform. And as long as that spirit endures, Montreux will continue to be not just a festival, but a cultural institution that sings through both sound and sight.
Conclusion
Camille Walala’s 2022 Montreux Jazz Festival poster reaffirms the festival’s unique role as a confluence of artistic disciplines. With bold geometry, rhythmic precision, and vibrant energy, her design transforms the experience of jazz into a visual language. It honors the legacy of past contributors while forging a path forward, amplifying Montreux’s ethos of innovation and inclusivity. This work transcends its promotional purpose, becoming a lasting symbol of creative synergy. In Walala’s hands, design becomes melody, form becomes rhythm, and color becomes emotiondemonstrating that at Montreux, music is not only heard, but deeply seen and felt.
