Design WK 01: Olise Antonio-Constantine Iloba Lives In A Minimal Design World

DESIGN WEEKLY is a special weekly issue dedicated to highlighting ingenious stories of designers who create at the very intersection of creativity

Olise Antonio-Constantine Iloba Lives In A Minimal Design World

Olise Antonio-Constantine Iloba is a 22-year-old conceptual fashion designer whose expertise lies in conceptualising custom ideas and creating graphic sketches, illustrations, and digital designs of fashion wear and accessories for brands and businesses. He hails from Delta State, Nigeria, but was raised in Jos, Plateau State, and still resides there.

Olise studied accounting at the University of Jos, and he is currently running his master's programme. He is a designer whose corporate lifestyle as a chartered accountant is artistically infused into his minimalistic design styles and fashion preferences.

“I’ve always been into fashion and design,” he says while revealing more about himself and his career trajectory into the fashion design world to me. “My first memory of me designing is from when I was 9-10—designing jerseys for a fictional football club, using Microsoft Word and Paint. I then stopped designing clothes for a while, then picked it up again in 2020,” he continues. Drawn to it, he started using an app on his phone to draw clothes and portraits of himself and friends—a passion he paid less attention towards until he decided to install Photoshop and Illustrator on his laptop in 2021.

Olise’s ideas and work ethic towards designing take a stunning, minimalistic approach, one that seeks to flip the cards towards a custom perception of creativity, allowing him to assume control and forge a natural bond with his designs.

DESIGN WEEKLY is a special weekly issue dedicated to highlighting ingenious stories of designers who create at the very intersection of creativity and design—an extension of what Pawners Paper Magazine seeks to capture. It’s not just about the art but also the artists and their personal stories. These are those that pull back the curtains that blur the message between the artists and their audiences.

In this issue, Olise talks about prioritising authenticity over forcing difference, relying on clean presentation, his creative process and the major influencers in his meticulous design world.

*Interviewer: Adedeji Adebusuyi 

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AA: What kind of designer would you consider yourself?

OA: A designer that makes what he’ll wear. Before designing, I ask myself if that’s something I’d wear. It’s not like I can’t design what I can’t wear; I just have a preference for making things I can wear. Even when I’m designing for other people and brands, I like to leave a little bit of me in the design, if I can.

AA: Most of your designs showcase streetwear features and styles. What draws you specifically toward these fashion pieces and styles? And is there a particular statement behind them?

OA: Well yes, like I said, I design what I can wear. I have this formal/streetwear style or smart streetwear style. I’ve never really thought about making a statement. It’s just about showing people how I dress or how I’d design things. I have to put a bit too much of myself in every design.

As for what draws me into this style, I think it’s because of my course of study. You know, as an accountant, you have to be smart, corporate and all. So, I just infuse streetwear into it to balance that.

AA: That’s a nice blend. It appears you tend to showcase yourself as the art in a literal sense. Is there anything that often inspires your design concepts, aside from seeking to create what you personally accept as a means of depicting how you wanted to be perceived—fashion-wise? You know, like a form of muse, an idea, imagination, like any artist or designer would.

OA: Well, yes. I have a few musicians, brands and artists that influence my style and inspire me. One that inspires me a lot is A$AP Rocky. His style just blends well with mine. I try to make things I could see Rocky wearing too. Prada too does it for me. I’m also a big Raf Simons fan. I like the way he makes vintage items.

I also like minimalism a lot. You don’t have to do too much. I just like a few things to speak out. Sometimes, I see the fashion in some things that aren’t necessarily fashionable. Like the Agreement Belt I made. The idea came from a handshake with my little brother.

I don’t see creativity as something that only exists in trying to force a difference. For me, it’s more about being myself. I wouldn’t say I don’t have my own style. I want people to look at something and think of me, you know. But I also want to be able to do different things. I’m a designer; I need to make different things for different brands, people and businesses.

AA: I was really stunned by the agreement belt, to be honest. It just has this unusually stylish feel to it. Do you have a brand? If not, do you have any intention to found your own design brand? —And if you do, what would you hope it reflects?

OA: Thank you. I do not have a brand, but I do want to start one in the nearest future. When I do, I want it to be for people like ASAP Rocky, Tyler, The Creator, YG and me. Minimal, clean, faded and crazy accessories. Accessories are what tie the outfit together. Caps, belts, chains, bags. They all improve fits by 300%.

AA: You’ve had some partnerships and collaborations with some brands and businesses. In terms of collaboration and partnerships, what strikes you the most as the most necessary skill to set yourself apart amidst the pool of other designers?

OA: I don’t try to be different really. I just do me and present my stuff as well as I can. Presentation and execution do a lot. When I work with and for other brands, I really just try to stay on theme. Most have their ideas, and I just present them in the cleanest way possible.

Virgil Abloh has his 3% rule. I have my 30% rule.

AA: That struck me and got me curious actually. While most designers would heavily tilt towards the idea of crafting an identity for themselves by using specific themes, flows, and styles, what made you decide there’s really no need—or, if rephrased, no artistry in seeking to be different? And does that not affect your brand identity as a designer?

OS: I don’t see creativity as something that only exists in trying to force a difference. For me, it’s more about being myself. I wouldn’t say I don’t have my own style. I want people to look at something and think of me, you know. But I also want to be able to do different things. I’m a designer; I need to make different things for different brands, people and businesses.

AA: That was a nice take. Tilting a bit towards the mention of creativity? Would you take us through your creative processes and how your ideas are often birthed? Also, what graphic design tools do you use to design your works? Have you got any major preference?

OA: Well, I see something, and I think of how I’ll make it different and just design. Virgil Abloh has his 3% rule. I have my 30% rule. I start from the 3% and then change more stuff till it’s 30%. Because, then again, nothing is original anymore; just put your own touch. I’m usually on Pinterest, SSENSE, Farfetch, YouTube and Supermrkt. As for my design tools, I use Adobe Photoshop and Illustrator.

AA: Have you faced any challenges as a Nigerian designer? If yes, how did you navigate them?

OA: Yes, I have faced challenges. From undercharging, to stressing, to finding a way to get paid, to delayed payment, to them making you make ugly stuff. As a Nigerian designer, you need patience. It’s a big part of the job. Patience.

AA: What’s your biggest dream as a Nigerian fashion designer? And is there any fashion brand you’d love to work with in the nearest future?

OA: The dream is to make cool stuff and make proper money from it. As for brands I’d like to work with, no Nigerian brands come to mind. I’d love to make shoes with Adidas and Nike. I’d love to make clothes with FOUND, AWGE.

AA: Thank you for your time. I really appreciate it.

OA: You’re welcome.pp*