Designers to Keep an Eye On: Olivia Ozi-Oiza Chance

Olivia Ozi-Oiza Chance of her eponymous brand Oiza, is carving out a space uniquely her own. Founded in 2022, Oiza is a womenswear brand with a broad, inclusive appeal, focusing on hand-crafted lace pieces that push the boundaries of African fashion within the context of modern luxury. Olivia’s designs are steeped in cultural storytelling, blending traditional craftsmanship with contemporary themes. 

Their recent collection, “A Rose By Any Other Name,” challenges traditional beauty standards and explores the idea of what it means to be an “English Rose” in contemporary society. Combining themes of identity, nature, and storytelling, Olivia Ozi-Oiza Chance is quickly becoming a name to watch amongst British fashion designers. Having recently been featured on the official schedule for London Fashion Week, Olivia Ozi-Oiza Chance’s latest digital showcase is a testament to their growing influence in the fashion industry, having already captured the eyes of The New York Times, it’s time for us to follow suit.

Here, we get a moment to find out the inspirations behind these the bold, yet delicate styles.

1. How was your presentation experience at London Fashion Week?

“It was good but different. The presentation was digital because it was part of Discovery Lab, which is run by the British Fashion Council. I was excited to finally be on the official fashion calendar this time, as my February showcase was off-schedule. Though I missed the in-person interaction, having the film and the look-book really helped, and a few days later, the New York Times article came out, which boosted visibility. Overall, it was a learning experience, but I loved the film, and it definitely reflected my creative direction. I also did a small, private viewing of the collection for some press and stylists on the day the collection launched. It was a bit weird, though, because it was the last day of Fashion Week, which was all digital, and a lot of people were traveling to Milan for their shows, so it wasn’t as busy as I’d hoped. But I loved having Natal Media Magazine come by; they’re so supportive.”

2. What inspired your latest collection, “A Rose By Any Other Name”?

“The collection stemmed from my personal experience growing up mixed-race and hearing the phrase ‘English Rose.’ It’s a beauty standard I never fit into, which made me want to explore it further. I was at a dinner table not too long ago, and someone said, ‘I just want my son to find a nice English Rose,’ and it got me thinking what is an English Rose and how do I relate to this concept being from mixed heritage. I wanted to explore that feeling and question whether it’s an outdated phrase, or if it needs a new interpretation. I also examined the idea of the rose as a symbol of beauty, comparing British and African gardens—contrasting the lush, wet lawns of Britain with the arid, spikier plants of Africa. This contrast informed both the mood of the film and the materials I used, like durable suedes and delicate lace. There’s a lot of wetness in the film—dew on roses, sweat, saliva—and that’s all part of this exploration of beauty and nature. I wanted it to be raw, you know? Beauty isn’t always neat and tidy—sometimes it’s messy, and that’s what I wanted to capture.”

3. What was your creative direction for the film?

“I wanted the film to feel visceral, with a sense of tension between beauty and something a bit unsettling. There’s a moment where the model bites into a rose—that’s exactly the vibe I wanted. The film is supposed to be offbeat and disjointed, a bit perverse yet beautiful. I collaborated with my friend Kynza K-J, who directed and edited the film, and we were so in sync that the process was very fluid. Kynza was incredible—she really got what I was going for, which made it easy for me to trust her direction. We had this amazing energy on set—we were just bouncing ideas off each other, and it felt like we were both on the same wavelength the entire time. I wanted to explore beauty through my lens, while still addressing the discomfort I feel with traditional English beauty standards.”

4. How does your approach differ from others in the industry?

“My approach is deeply personal. The brand is named after my Nigerian name, Oiza, and everything I create is an extension of my identity. I don’t follow a traditional design process. Sometimes I have a look in my head and I’ll start there, without drawing anything. I don’t overthink it—I go with what feels right. My work also draws heavily from research, whether that’s from archives, family images, or museum collections, like the portrait of a Black gardener that inspired the colour palette for this collection. There’s also an element of surrealism—I love references that feel a bit off-kilter, like Salvador Dali’s work. It’s all about building a story, whether that’s through clothing, imagery, or even the setting of the presentation itself. Honestly, I’m just a bit of a magpie—I see things, and if they spark something in me, I’ll run with it. It’s not about being traditional or following rules; it’s about telling my story.”

5. What challenges did you face during the creation of this collection?

“Where do I start? This collection was definitely the most challenging, partly because it’s the first one I’ve done since going full-time with the brand. I pushed myself to work with new materials like suede and knitwear, which were both learning experiences. Suede dungarees? Now I know why no one does them! It was challenging but so rewarding—I love how they turned out. And don’t even get me started on the knitwear—I’m not classically trained in knitwear, but I was determined to give it a shot. Sourcing the right location for the film was another challenge. I wanted a garden that fit the story but also worked within my budget. Luckily, I found a community garden in Islington that was perfect, and as a bonus, the roses were in bloom when we filmed, which tied in perfectly with the theme. It was all very organic and overgrown, which felt right for the story I was telling.  I’m a big believer in things happening for a reason, and this garden just felt like it was meant to be.”

 

6. What advice would you give to other designers starting out?

“I’d say just go for it and learn along the way. I didn’t always feel brave—I like structure and safety—but stepping out of my comfort zone has been the best thing for my creativity and growth. With my previous project, House of Mother Tongue, I just started creating things—shoes, clothes—without knowing where it would lead, but it helped me define the brand that Oiza is today. You have to put your work out there, even if it’s not perfect. Someone will connect with it, and that’s how you start building your community. My husband really pushed me to quit my full-time job and focus on Oiza, and it was the scariest thing I’ve ever done, but I’m so glad I did it. Honestly, it’s about taking that leap—no one feels ready, but if you wait until you do, you’ll be waiting forever.”

7. How do you balance creative freedom with the business side of fashion?

“It’s tough, especially since I’m still emerging as a brand. I’m learning to navigate the manufacturing process, working with UK suppliers for made-to-order pieces. This has been a learning curve, especially since I use materials like lace that require immaculate finishing. You really have to build relationships with your manufacturers, but understanding the business side is crucial to growing sustainably. I’m also trying to make sure everything I do feels authentic to me, which can be hard when you’re balancing budgets and deadlines. The thing is, I’m a designer first, not a businessperson, so I’m still figuring it out. There’s a lot of trial and error, but I think that’s part of the journey.”

8. What makes your design approach different from others?

“It’s personal. Oiza is me—it’s my Nigerian name, my identity. I’m not trying to tell anyone else’s story, just my own. That’s what grounds me. I don’t always follow a traditional design process—sometimes a look starts as an idea in my head, and I just go for it. It’s very instinctive. I’m not classically trained in knitwear, for example, but I love it, so I tried it. I’m not afraid to experiment, and I think that’s what makes my work different. It’s a mix of research, instinct, and storytelling, all coming from a very personal place. I think that’s what makes it resonate with people—it’s real, it’s me, and it’s not trying to fit into anyone else’s mould.”

If you want to find out more about Olivia Ozi-Oiza Chance’s work, you can visit their website and follow them on Instagram.