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This year, the CFDA/Vogue Fashion Fund is back to its original format after two years of awarding equal grant prizes and mentorship among its finalists. But one thing is clear from talking to the designers in the “CVFF Class of 2023,”—the competition has not stopped them from developing a sense of community. The diversity of the finalists hints at the real melting-pot that is the United States—and that by extension constitutes the new look of American fashion. Hailing from Japan, Jamaica, Germany, El Salvador, and yes, even New York, the designers cover an equally vast gamut of specialties: from menswear to eveningwear, knitwear, and everything in between.
Last week, the designers gathered at the Vogue offices in New York to present their collections in person to the members of the jury panel, which includes Chief Content Officer of Condé Nast and Global Editorial Director of Vogue Anna Wintour, designer and CFDA Chairman Thom Browne, CFDA CEO Steven Kolb, Mark Holgate and Chioma Nnadi of Vogue, Brother Vellies designer and Fifteen Percent Pledge founder Aurora James, Saks Fifth Avenue fashion director Roopal Patel, Instagram Director of Fashion Partnerships Eva Chen, Nordstrom EVP Sam Lobban, and the founder of Afterpay The Next Gen Nick Molnar. (Paloma Elsesser was traveling and could not be present). It’s the first time that all finalists were gathered together, though they will meet more often before a winner is named in the coming months.
While you may be familiar with some of the designers, we thought this would be the perfect time to get to know them—and their businesses—a little bit better.
Why did you apply for the CVFF this year?
I felt now is the right timing to re-establish my brand presence and our activity in NYC, following the turbulence of the pandemic years. I believe CVFF is one of the perfect programs to challenge me for this goal.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
Meditating and doing daily practice of managing the immediate needs, while balancing working towards the long term goals. Most important for me is staying focused on what I wish to contribute for the future of our industry, and beyond, for the universal consciousness. I have to say I am lucky to have the help of collaborators and friends that I’ve met along my path, who are supporting my vision and the brand.
Is there someone in the industry whose career trajectory you look up to?
Ralph Lauren, Hiroki Nakamura, and Thom Browne.
If your brand had a theme song, what would it be?
“Snake Eyes” by Trouble.
Who is your dream customer?
Vincent Gallo
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
Happy surprise to find myself among some familiar faces of industry friends.
Why did you apply for the CVFF this year?
I really needed the mentorship—which is such an integral part of the CFDA/Vogue Fashion Fund. I had exhausted all advice/guidance within my inner circle and all of the friends-of-friends that I knew. I was searching for a community of fashion experts who could provide insight on how to grow my brand and business, and CVFF was where I turned. The Fund has an incredible platform to provide comprehensive business advice, while also shining a light on young creative talent.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
Elena Velez’s recent interview with the New York Times is a particularly important conversation and it echoes a lot of conversations and feelings I’ve had as a young designer and business owner, as well as conversations I’ve had with other young designers. There is a real call to action to redefine what supporting young designers looks like.
For me, my focus is having specificity to my product—designing directly for my customer and not wavering on the identity and voice I’ve been developing over the past 4 years. I think it’s imperative to stay genuine and authentic to the story my customers and I have been building. When I first launched the brand, I was searching for my hero wholesale account that would “put me on the map,” or “invest in the brand.” Now my focus is building out my DTC channels. Our website over the last few months has more than tripled last year’s sales, so I see a huge opportunity to invest in building my website into the wholesaler I dreamed of back in 2019 when I launched.
Is there someone in the industry whose career trajectory you look up to?
There are so many and for such a variety of reasons! I would say anyone who still wakes up every day loving what they do and has leveraged their position and career to help further progress in the industry—whether that’s through sustainability, giving back to younger designers, employing diverse talent, or just creating a safe workplace for employees.
If your brand had a theme song, what would it be?
It’s a toss-up between “Make it Happen” by Mariah Carey and “Hold On” by Wilson Phillips.
Who is your dream customer?
Fran Fine, from The Nanny
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
The connection and the community amongst the designers has been truly remarkable. In a very short period, we’ve been able to connect and bond over the similar challenges we face. Being that the Fund has reverted to the competition format I wasn’t exactly sure what the dialogue between designers would be, but I feel like I built a new community of peers and friends.
Why did you apply for the CVFF this year?
It has been on my mind since I launched Diotima, and I felt ready this year.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
It is not easy and every day poses a new challenge, but I’ve learned to approach these difficulties in an open and creative way. I have also learned that the manufacturers I work with are happy to partner with me because of our great relationships and because they believe in the potential of the brand.
Is there someone in the industry whose career trajectory you look up to?
I have an enormous amount of respect for Pieter Mulier. He had a long and successful career as Raf Simons’s right hand, and it is so exciting to see what he is doing at Alaïa. There is so much value to taking your time, and this is often undervalued in the industry.
If your brand had a theme song, what would it be?
“Vibes is Right” by Barrington Levy.
Who is your dream customer?
I prefer to give a small list rather than one dream customer as I believe there is an openness and universality to Diotima. My dream customers are: Rihanna, Angela Davis, Indya Moore, Mati Diop, Nathalie Ours, Taylor Russell, and Isabelle Huppert.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
I was really surprised by how quickly the meetings at Vogue took place after we were notified that we were finalists—it felt like a pop quiz but with way more implications!
Why did you apply for the CVFF this year?
We applied for the CVFF this year to be able to gain the crucial mentorship and funding necessary to grow a brand like Who Decides War. We have seen exponential success within a short period of time, but that doesn’t mean that we have everything figured out. There is still so much to learn.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
This is true, the current economic climate does pose significant challenges for young designers and labels. Who Decides War was not born with any financial backing. Literally zero. Being resourceful and reinvesting our earnings back into the brand is a practice which began as a necessity, and has evolved into the backbone of our brand. We do not forget ourselves when we hit a new benchmark, whatever that may be. We keep our heads down and focus on what is in front of us next.
Is there someone in the industry whose career trajectory you look up to?
Rick Owens and Ralph Lauren.
If your brand had a theme song, what would it be?
“Tunnel Vision” by Pop Smoke.
Who is your dream customer?
We don’t like to confine ourselves to a target audience. However, we love when our clients come to us because they are inspired by the messaging we have incorporated into the clothes. We love to see it resonating with them, doing something for them. That does more for us than anything else.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
The approachability of the CVFF board and Vogue staff. They were so receptive and present, which is rare to come by at this stage in our business.
Why did you apply for the CVFF this year?
Being a finalist in the CVFF has been a goal of ours since we started Tanner Fletcher in 2020. There are many reasons for us to apply but ultimately the most important reason is visibility. Tanner Fletcher is a genderless ready-to-wear line with the goal of making change in the fashion industry regarding diversity, inclusion, gender, and sexuality. While we are fashion designers by trade, at our core, we are changemakers and disruptors. Convincing investors, retailers, press outlets, etc. that our mission is something to pay attention to can be tough in the beginning. Being a part of the CVFF puts the brand in front of our industry’s existing changemakers. It shows that our mission is possible and one to be taken seriously.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
While it is particularly difficult to survive and thrive with the current economy, this seems to be the case for emerging designers regardless of how the economy is currently functioning. Starting any business is tough but fashion in particular poses many difficult barriers, financing and fundraising being the most difficult for Tanner Fletcher. There are many instances of self-sabotaging dilemmas in the way that the current fashion industry operates; meaning, if you make one necessary choice, it may destroy something else that is important to the business. We’re finding that we not only need to be change-makers for the consumers and the overall consumption of fashion but we also need to change the internal workings of the system to accommodate more success in ways that are less toxic than in the past. We do this by trusting our gut, staying true and authentic to ourselves and our vision, not being too influenced by existing systems or external noise, and literally taking it one day at a time.
Is there someone in the industry whose career trajectory you look up to?
We immediately think of Simon Porte Jacquemus and Thom Browne. Both come from stories of change, stepping outside of the box, and staying true to avision no matter what. Now, they are present-day leaders in our industry.
If your brand had a theme song, what would it be?
Our theme song changes from season to season based on the moods we’re in and how the world around us feels. For spring 2023 it was “You Don’t Own Me” by Lesley Gore, for fall 2023 it was “Wet” by Dazey and the Scouts and now going into spring 2024, it’s “Lemon Tree” by Peter, Paul
Mary.
Who is your dream customer?
We often get asked this question and while it may seem like we would say someone like Harry Styles or Billie Eilish, our true dream is to dress our current and future customers whether they are a celebrity or not. For us, it’s all about enabling someone to step into their highest self through fashion. The more people I see on the street dressing in Tanner Fletcher (no matter their gender, age, or occupation), expressing the most authentic version of themselves, the more this dream comes true.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
In order to prepare for our initial presentation to the CVFF selection committee, we watched episodes of the CVFF from when it was a TV show back in 2016. We honestly shouldn’t have watched as it was quite intense and made us more nervous. Perhaps this was for show value purposes but we were surprised to see how much the process has changed since then. It’s seemingly more diverse, more open, and more understanding of its participants. It is, of course, still an intense competition but in a much more modern and less judgmental way. It truly seems like a family is formed during CVFF. Our fellow finalists are all amazing designers and it feels like we can all appreciate and support each other even if we are in competition with one another.
Why did you apply for the CVFF this year?
I applied this year because I’m striving to establish our brand on a broader scale. The CVFF gives us the opportunity to showcase our work to the best leaders in the industry—to be able to receive their acknowledgement is incredibly meaningful. Additionally, mentorship and funding would help us achieve the impact we’re hoping for sooner.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
We’ve been exploring a variety of funding and mentorship programs. I’m also a part of the Tory Burch Foundation as a fellow and I’m in an e-commerce community as a member to learn more from others. I gained my footing first through DTC so we’re constantly working on ways to adapt and improve digitally. We are thinking of new ways to help supplement and diversify our product offerings as well.
Is there someone in the industry whose career trajectory you look up to?
I look up to designers like Tory Burch and Michael Kors–they’ve created lasting American brands.
If your brand had a theme song, what would it be?
Last season’s show soundtrack builds into our world—the collage of sounds I feel is more representative of KS.
Who is your dream customer?
The girl walking down the street in one of my sets...the girl wearing one of my dresses at a party… they are my dream customers.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
I was most surprised by how nice everyone is! On presentation day I thought I would be attacked with questions but it was completely the opposite. You could tell that the panel was really there to support you and just wanted to learn more about your brand and see what opportunities there were to help uplift you. I’m grateful to be surrounded by other talented designers too. It’s been really positive; I’m so happy I’ve been given an opportunity like this.
Why did you apply for the CVFF this year?
Zankov is at an exciting stage of its development: since our launch in 2020 the brand has evolved from a curated capsule sold exclusively through our website, to a fully wardrobed, well-rounded collection with directional global distribution. I applied for the CVFF this year as I wanted the brand to be exposed to incredible industry professionals, whose guidance and support are paramount to the brand’s evolution. Beyond that, I applied so that I would have a bigger platform through which I could continue to share my story and unique point of view.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
The economic climate and inflation have placed new and heightened demands on many of us, impacting all aspects of the business from cost of materials to bookings, cash flow, and day-to-day operational costs. My philosophy since launching the brand has always been to do more with less, and this approach has helped us navigate the current moment. From a development standpoint, we design deeply into only a few materials each season with the aim of reducing costs and lowering waste. Our wholesale partnerships are managed very closely, with payment terms that set us up for success.
Is there someone in the industry whose career trajectory you look up to?
I think Christopher John Rogers is incredible. I’m truly inspired by his trajectory and admire his drive, talent, and business acumen. What began as a clear point of view and self-funded start has evolved into a global brand that is both aspirational and inspirational. I admire his intentional decisions which reach from design to business strategy. Beyond all this, he is one of the kindest people I know in New York.
If your brand had a theme song, what would it be?
The Chromatics’s cover of Bruce Springsteen’s “I’m on Fire”
Who is your dream customer?
My dream customer is an individual who is soulful and creative at heart: a person who is emotionally mature and aware, with an artistic essence. They have compelling individual style, rooted in confidence and a strong awareness of who they are and how they project themselves out into the world. They are passionate and ambitious 21st century people who are on the leading edge. To name a few: Steve Lacy, Isabelle Huppert, Zoe Ghertner, Laila Gohar, Pedro Pascal, and Zoe Kravitz.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
I think the most surprising was when I received the call that we were selected as one of the finalists. So far it has been truly surreal but incredibly humbling and exciting to meet some of the most influential industry professionals as well as get to know all the talented finalists of the Class 2023.
Why did you apply for the CVFF this year?
After 10 years of making our brand a reality in New York, having been part of the Garment District community, and having fully produced everything here, I felt finally ready to apply and have the mentorship that the CVFF provides to take the business to the next level.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
Working locally makes us very efficient in what we do, which is not only sustainable but makes us withstand some ups and downs.
Is there someone in the industry whose career trajectory you look up to?
Rick Owens is a brand that I admire for being independent and staying true to a strong vision.
If your brand had a theme song, what would it be?
“Best Dressed Chicken in Town” by Dr. Alimantado.
Who is your dream customer?
Over the years it has been humbling to see that our pieces have found their way to the wardrobes of many women that are our dream customers. Strong, creative women, from visual artists to sculptors.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
It was surprising that presenting to the judges has turned out to be a very positive memory; the team at Vogue has been very welcoming.
Why did you apply for the CVFF this year?
It was something that had been on my mind for a few years for multiple reasons, for one, a desire to participate and take part in the Fashion Community, the CFDA, Vogue and all the various groups involved. I launched my business in January 2020, but coming out of Covid, this feels like my first year in business, so it was important to step out and participate. For another, all the conversations regarding people of color in fashion feel forgotten and out of the current limelight, so it felt right to start sharing my American experience as well. I am a Salvadoran immigrant and I would not be who I am or be where I am if it wasn’t for my experiences here.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
It’s really been survival mode but as I said before, this feels like my first year in business. I am looking to further build my communication so I can gather and connect with my community. At the moment, I don’t have an exact measure on the different customers that engage with my brand, it’s wide in age and tastes but the common thread is a connoisseurship of sorts. It’s a service business, the way I see it, and I am fine-tuning the bigger message, the craft in the material I am delivering, the use, and a new spirit that’s more tender but tactile. The economy has its difficulties, for sure, but my goal is to deliver product that’s fresh and honed with the pursuit of artisanship, know-how, and forgotten passions, with a new idea of what American luxury can be. To me, the best luxury is ultimately in service to yourself.
Is there someone in the industry whose career trajectory you look up to?
I don’t have a road map. Times are so different now that looking to the past is like comparing apples and oranges. But at this point, I need to dream big for everyone involved. I would like to think I am building my own small world step by step, so someone like Ralph Lauren or Giorgio Armani comes to mind, I like the idea of being able to offer the whole package.
If your brand had a theme song, what would it be?
I would say David Bowie covering “Across the Universe.” The business I am building feels so small in the vastness of it all; but Bowie’s version is less sweet, still romantic but dramatic, and slightly over the top.
Who is your dream customer?
Someone looking for something more, maybe a Brad Pitt or Tracee Ellis Ross but probably more like a J.Balvin.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
It’s all happening so quickly, with so many things going on with my brand outside of the process. I wish I could slow down my pace and really enjoy how warm and inviting everyone is being/has been. I am so grateful to be in the room.
Why did you apply for the CVFF this year?
I am ready! Now more than ever, I feel confident in my unique POV as a designer and creative director as well as the strong eco-conscious and ethical ethos of Sami Miró Vintage as a company. I am really excited for our future and the positive impact we can continue to make on our planet as we give meaning to each of our detail-oriented, quality, and non-seasonal collections with a fashion-forward point of view. Achieving this amalgamation of education, ethics, and fashion has always been the root of Sami Miró Vintage, and maintaining this standard as well as scale brings me tremendous joy. Yet, it still feels like just the beginning.
It seems that the current American fashion scene is particularly open and embracing of young designers, but the state of the economy makes it difficult for young labels to survive and thrive. How are you navigating in this climate?
For Sami Miró Vintage, we are conscious of the current retail and economic climate. For that reason, we stay focused on our pillars of planet, people, and purpose and are actually leaning into them even more this year. We feel that our audience resonates with the DNA of our brand; being centered in responsible fashion and signature design details. When planning our vision, strategy, and goals for this year—while taking into account a potentially more challenging retail space—we wanted to make sure our designs and collections were rooted in our DNA and provide a unique value added. This has proven to be the right strategy and is allowing us to navigate well thus far. We feel grateful that our audience appreciates our ethos and POV.
Is there someone in the industry whose career trajectory you look up to?
Virgil Abloh. Hands down. I both resonate with and look up to his journey. Virgil, being Black, accomplished so many firsts, and challenged while changing the industry from the consumer perspective, retail, and those at the top of the fashion food chain. Among many other reasons, that is why I have always looked up to him.
If your brand had a theme song, what would it be?
“Grandma’s Hands” by Bill Withers. The story of a fearless, loving, strong-willed, kind, empowering matriarch, who set a new precedent for her family and community.
Who is your dream customer?
The Vogue reader! They are early fashion adopters, desire high quality materials, appreciate design and construction details, care about taking a more responsible approach to their wardrobe, and value aspirational design and inspirational designers.
You’ve been a part of the CVFF family for a few weeks now, what has been the most surprising part of this process?
The support from the CVFF family has been so special; it has given me a new platform to be seen as a designer. Everyone I have met from Vogue and the CFDA has been extremely gracious and helpful, but what I find most pleasantly surprising is the camaraderie within the 10 finalists. The fashion industry is extremely competitive but upon meeting the others for the first time last week, I felt as though I walked into a room of family I hadn’t known existed until that moment. Leading with kindness is exceptionally important to me and it was returned to me by each designer. We are a community now — the CVFF Class of ’23.
