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There were more than 2,400 applicants for this year’s LVMH Prize. But just 20 designers have made it through to the semi-final this week in Paris. At the showroom, for the first time within LVMH-owned retailer La Samaritaine, the brands are presenting their collections over two days to an 80-strong committee of fashion experts. They will select eight designers to compete in the final this summer at the Fondation Louis Vuitton.
“You need a lot of courage to create a brand today,” says Delphine Arnault, chair and CEO of Christian Dior Couture and founder of the LVMH Prize, now in its 13th edition. “At the end of the day, these designers are working with very small teams; most of the time, they’re alone or with one person creating their brand. It shows that they have a strong vision, and they have passion for their work. It’s really exciting to see.”
This year’s prize is more global than ever. Designers from across the world are taking part, with Kenya, and Thailand represented in the semi-final for the first time.
Even for those who don’t take home a prize, there is so much industry exposure to be gained. “During these two days, the designers will meet a lot of people who can help them in their careers, and can help bring awareness to their brand,” Arnault says. “Of course, they’re all in competition. But they also really feel a sense of community. It’s nice for them to meet each other and exchange advice on the problems that a young designer can face.”
The prize now comprises three honors: the LVMH Prize, which awards €400,000 in funding and a year-long bespoke mentorship from LVMH; the Karl Lagerfeld Prize, which awards €200,000 and a one-year mentorship program; and the Savoir-Faire Prize, which was added in 2024 and focuses on brands that demonstrate exceptional craftsmanship, artisanal expertise, innovation, or sustainability credentials. The Savoir-Faire winner will receive €200,000 and a one-year mentoring program dedicated to encouraging the transmission of skills in these areas.
“When you look back, it’s more than 10 years that I’ve been doing this prize, and there have been amazing designers like Virgil Abloh, Demna, Simon Porte Jacquemus, and Grace Wales Bonner who have participated. It’s impressive to see that all those young talents have become really important designers today. So the future is here,” Arnault added.
We caught up with each of the semi-finalists to understand more about their work and what the prize means for their business. Quotes have been edited for clarity.
Vogue: How would you describe your brand in two sentences?
Act No.1 is a fashion platform rooted in social commentary, using design as a medium to amplify marginalized voices and challenge urgent global issues. But beyond creating garments, the brand seeks to spark dialogue around child marriage, gender inequality, and the deconstruction of cultural and gender stereotypes.
Vogue: What is unique about your brand and your point of view?
The intention of rewriting the rules of dressing by reinventing the classical wardrobe. Starting from traditional tailoring codes and archetypal garments, silhouettes are transformed through experimental volumes, layered structures, and unexpected cuts.
Sustainability is also central to the brand’s ethos: we work with natural dyes, Italian deadstock, unused and overproduced buttons, and leftover leather from trade fairs, transforming surplus materials into garments rich in cultural and emotional meaning.
Vogue: What is the ultimate ambition for your brand?
To expand the reach of Act No.1 and become a global platform that amplifies the communities often excluded from mainstream fashion narratives. I want to break down cultural and social barriers, foster dialogue across backgrounds, and build meaningful collaborations with underrepresented creatives.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize would provide the visibility, credibility, and mentorship needed to elevate Act No.1 to its next stage of development. Access to LVMH’s network and expertise would enable me to scale responsibly while strengthening cross-cultural collaborations and long-term partnerships with underrepresented creatives and artisans. But beyond growth, this opportunity would allow me to amplify these diverse voices on an international stage, building a more inclusive and forward-thinking fashion landscape.
Vogue: How would you describe your brand in two sentences?
My brand is about feminine embodiment through the lens of mystical and spiritual connection — to this, to yourself, and to nature. I wanted to create a sort of connection and community with the women around me.
Vogue: What is the ultimate ambition for your brand?
We’ve been able to really grow the brand quickly, but in a really intentional way. For me, the goal is to be able to grow the world around it, while staying really concise and true to the vision of it. We want to expand categories; we already introduced bags this season. Really, it’s about being able to grow the world — being able to eventually have a show or a store where you’re fully immersed in our worldview.
Vogue: How would the LVMH Prize help you get there?
It would be such an incredible step in reaching a wider audience. I would really love the mentorship to be able to grow the business and keep that intentionality. It’s about being able to support the brand as it grows.
Vogue: How would you describe your brand in two sentences?
A self-described ‘love letter to fashion’, De Pino presents a conceptual take on the Parisian woman by playing with archetypes from her closet. Sculptural volumes and sophisticated details meet over-the-top and cheeky femininity, culminating in a new sexy and fun silhouette.
Vogue: What is unique about your brand and your point of view?
De Pino is rooted in a deep love of craft and technical knowledge, shaped by my experience in haute couture ateliers. Within this framework, we embrace a playful attitude that references the fashion memories of my teenage years. There’s this tension between dedicated craftsmanship and expressive fantasy.
Vogue: What is the ultimate ambition for your brand?
To grow in a thoughtful and sustainable way — building the brand step by step, with intention and clarity. And to continue offering a fresh, avant-garde perspective in an industry that thrives on inspiring projects. I would like to further build a community of talented craftspeople who naturally connect with the pieces and want to make them part of their own story.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize embodies this balance between creativity and structure. The mentoring would allow me to build more structure on the foundation I have created.
Vogue: How would you describe your brand in two sentences?
Derrick is about elegance under pressure. British tailoring and archetypes re-engineered for the realities of contemporary urban life.
Vogue: What is unique about your brand and your point of view?
My work begins with movement and observation. I design instinctively while walking through London or while on the Tube, studying how to adapt strangers’ clothing to weather, transport, work, and social shifts.
I’m interested in tailoring as both a signal of smartness and a form of armor. Rather than reproducing traditional construction, I dismantle and rebuild it from within. This might mean cutting merino melton from a 200-year-old British mill into raw-edge, seamless jackets; sharp in appearance, but able to be stuffed into a suitcase or worn on a bike. British textiles were once engines of innovation, and I’m interested in returning them to that position.
Vogue: What is the ultimate ambition for your brand?
There are two ambitions. The first is cultural. I want to help reopen the conversation around British menswear. In the UK, heritage and tradition can feel politically loaded or overly nostalgic. I believe there’s space to treat that history not as something to preserve unchanged, but as material to evolve — bridging Savile Row and the multicultural, kinetic reality of modern London.
The second is broader. Much of fashion today operates in fantasy or escapism. I am more interested in designing for the world we are actually in. That doesn’t mean pessimism; I see optimism in creating garments that function as tools — elegant and rigorous pieces that allow the wearer to feel composed and capable in real environments.
I hope for Derrick to become the missing link in British menswear, and more universally in how fashion designs for an age of uncertainty.
Vogue: How would the LVMH Prize help you get there?
Founding the label in the aftermath of Brexit and Covid forced clarity, refining construction, and learning how to innovate with very little. That period has shaped the work in learning how to be disciplined, and in a strange way, I am grateful for it. The LVMH Prize would allow me to move from survival to development. I want to invest properly in textile research with British mills, develop proprietary cloth rather than adapt existing stock, and deepen manufacturing partnerships so innovation happens at source. Britain has the knowledge and the infrastructure; what it needs is designers willing and able to push it forward.
Vogue: How would you describe your brand in two sentences?
Golshaah is a multidisciplinary lifestyle brand rooted in Iranian culture and shaped by architectural sensibility. Through sculptural tailoring, layered construction, and voluminous silhouettes, we create timeless pieces for contemporary women who express strength through subtlety.
Vogue: What is unique about your brand and your point of view?
Being born and raised in Iran, layering was never just a styling choice — it was a way of life. Over time, it became intrinsic to my personal expression and naturally evolved into the foundation of Golshaah’s design language. With a background in architecture, I approach garments as structures: building sculptural forms through deliberate layering, volume, and proportion. I reinterpret traditional patterns and cultural references, giving them renewed purpose in a contemporary wardrobe. Each piece is designed to be styled in multiple ways, allowing women to shape their own narratives through the garments.
Vogue: What is the ultimate ambition for your brand?
I aspire to build a brand that endures beyond seasons; one that becomes a reference point for modern femininity shaped by depth, structure, and identity. Long term, I envision Golshaah expanding beyond fashion into a complete lifestyle universe, while remaining rooted in craftsmanship and cultural storytelling.
Vogue: How would the LVMH Prize help you get there?
The mentorship and strategic guidance would allow me to refine the brand’s structure, scale sustainably, and strengthen its international presence.
More importantly, it would provide a global platform to share a nuanced cultural narrative, to show how constraint can evolve into creativity, and how heritage can be translated into contemporary luxury.
Vogue: How would you describe your brand in two sentences?
At Iamisigo, we believe in the works of hands as a living knowledge system that preserves, evolves, and transmits cultural intelligence. By building a decentralized network of makers across over 11 African countries — while collaborating with artisans and material producers skilled in over 30 practices — we work as a research-based wearable art brand that delivers experimental and fully traceable artwear.
Vogue: What is unique about your brand and your point of view?
Our material language and design methodology is rooted in Pan-African ancestral practices and technologies. We invest in Africa’s métiers d’arts, building an expanding artisanal network, whose knowledge shapes every piece. The aesthetic is intentionally unfinished, using stretching, soaking, blowing, beating, knotting, tying, fringing, and distressing techniques to constantly question how materials can be manipulated beyond their conventional use. By using the body as the ultimate canvas, we are able to restructure fibers like glass, agave, and recycled materials onto the body. As an artist first, experimentation and play are central to my process.
Vogue: What is the ultimate ambition for your brand?
Our goal is to create development by sharing access to Africa’s deep craft history and living practices through research, documentation, and application — demonstrating its relevance in the future of art and fashion. Furthermore, preserving heritage techniques as living systems of memory, knowledge, and cross-fertilization.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize would offer access to new opportunities to expand the scope of our research and application. We would like to invest in extended explorations, documentation, and preservation of crafts while partnering with LVMH maisons to experiment with applications of unfathomable materials. The exchange would create a dialogue between historic luxury frameworks and evolving systems grounded in Africa and other continents.
Vogue: How would you describe your brand in two sentences?
Institution is a dialogue between multidisciplinary languages, where craft, identity, and contemporary expression converge.
Vogue: What is unique about your brand and your point of view?
Institution operates as a social artistic organization with an ethical foundation. We develop hand-woven materials on vertical looms in collaboration with rural communities in Georgia and Azerbaijan, working closely with local artisans. Our mission is to sustain weaving practices at risk of disappearance, with the vision of taking this work beyond the Caucasus.
Vogue: What is the ultimate ambition for your brand?
To be able to express myself independently. And in doing so, be able to use my platform to collaborate with diverse geographical areas and bring meaning to the fashion system.
Vogue: How would the LVMH Prize help you get there?
I believe the most important part is the mentorship and the visibility the LVMH Prize gives.
Vogue: How would you describe your brand in two sentences?
It’s a brand for women who can have different identities throughout the day. They’re not one person. They can really switch their identities: be a mother in the morning, a businesswoman, and towards the evening, they can be very social.
Vogue: What is unique about your brand and your point of view?
I think what makes it unique is that we have a language that we can take back, and we have pieces that we return to, but every time, it’s about a different story. And the story is very visible and also very conceptual. I hope that we create something that people want to collect — a piece per collection. I want people to say, ‘This was from the Change collection,’ or ‘This was from the Shadow collection,’ to feel part of the brand.
Vogue: What is the ultimate ambition for your brand?
We take it all step by step. We’re a super small team; we don’t think too much about the future. But of course, we have dreams, and we’re very ambitious, because we also organize art exhibitions, not only shows. It’s things that we dream of, and we organize, and if it feels forced, we will never do it. As a young brand, we also want to stay free.
Vogue: How would the LVMH Prize help you get there?
I think [the semi-final] is already a big achievement. You get to talk with a lot of people, you get to meet a lot of people — it’s super good for the network. But my dream is to meet more very good manufacturers, specialists of craft, and I think [LVMH] has more of these contacts. We want to build the brand further and reach the next stage.
Vogue: How would you describe your brand in two sentences?
Kartik Research is rooted in a celebration of Indian craftsmanship. We work with expert artisans around the country to produce clothing imbued in humanness.
Vogue: What is unique about your brand and your point of view?
We work closely with artisanal communities across India, but the goal isn’t preservation for preservation’s sake. It’s more about the evolution of craft and how it is a living thing, and how handicraft can be positioned as luxury. There’s also a friction that we play with: how craft can be ornamental but a part of daily life. A linen jacket might be naturally dyed and hand-embroidered, but it’s cut like something you’d throw on every day and beat up. At its core, the brand is about giving Indian craft parity with the global fashion ecosystem, as opposed to positioning it as exotic.
Vogue: What is the ultimate ambition for your brand?
To build a truly global fashion house rooted in Indian craft. That’s definitely easier said than done, but we’re slowly getting there.
Vogue: How would the LVMH Prize help you get there?
There are a couple of things. First, is the business mentorship. We’ve built a solid foundation, but taking those next steps from ‘indie punching above its weight’ to a legit business with real numbers is still hard to navigate. So far, it’s involved a lot of guesswork and relying on instinct. The expertise from LVMH mentors on that side would be huge. Then, using the money to build out our direct channels, figuring out our fulfillment, and building out the universe through stores etc.
Vogue: How would you describe your brand in two sentences?
Kinyan Lam collaborates with artisans in Hong Kong and southern China to weave their centuries-old textile techniques — natural dyeing, hand-embroidery, and beyond — into modern, wearable garments. We exist to prove that true luxury is not a price tag, but a commitment to honesty, time, and the irreplaceable human touch.
Vogue: What is unique about your brand and your point of view?
We are building a living archive — Kinyan Lam is not just a fashion brand, but a working repository of endangered knowledge. Our point of view is shaped by our role as custodians. We actively document and practice centuries-old techniques, like the precise recipes of our natural dye library and the stories stitched into ancestral embroidery. We offer not just clothing, but a connection to a legacy that would otherwise fade.
Vogue: What is the ultimate ambition for your brand?
We once described our brand as a sapling with strong roots. Now, our ambition is to grow into a forest. This means nurturing more than just our own label — cultivating an entire ecosystem around [southern China province] Guizhou’s crafts. We dream of establishing a physical center where artisans can work with dignity, where young people can learn natural dyeing and embroidery, and where the world can come to understand that true luxury grows slowly, with care.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize would help Kinyan Lam transform our artisan network into a lasting institution, with our living archive at its heart. With mentorship and funding, we could establish workshops, create apprenticeship programs that make craft a viable career for young people, and document our library of natural dyes and textile techniques in accessible forms: publications, educational materials, and a space where researchers can learn directly from our artisans.
Vogue: How would you describe your brand in two sentences?
Lii explores the intersection of architectural, forward-thinking silhouettes and a practical wardrobe. Bold shapes are interpreted in tactile, sporty fabrics and vibrant colors, diffusing the hierarchy of formalwear versus sportswear, or occasion versus everyday.
Vogue: What is unique about your brand and your point of view?
Lii exists as a conversation between clothing and other mediums, like sound, film and art — and how these mediums influence the way we envision clothes in a modern experience. The end result is clothing that takes shape beyond functionality: silhouettes that emulate sculpture, textures that recall familiar sounds, and an overall look that evokes a certain character.
Vogue: What is the ultimate ambition for your brand?
Longevity and creating something timeless has been the goal from the beginning. At the same time, it would be a privilege to create a brand that people feel challenges the notions of what’s beautiful and wearable, while always being relatable.
Vogue: How would the LVMH Prize help you get there?
The mentorship, conversations, and interactions with industry leaders who have created lasting impressions on fashion and the arts would be the most valuable reward.
Vogue: How would you describe your brand in two sentences?
Maz is a multicultural fashion house and textile laboratory operating at the intersection of fashion, textile art, and structural innovation. We create sculptural, timeless garments through purposeful processes that ensure pieces are relevant, enduring, and globally resonant.
Vogue: What is unique about your brand and your point of view?
We design high-contemporary fashion with strong aesthetic clarity, architectural knitwear, complex loom constructions, hybrid textile surfaces, and conduct material research through our permanent textile laboratory. Our garments are built through proportion, balance, and a studied understanding of the female body, creating silhouettes that feel protective, controlled and enduring rather than seasonal. Through our 360-degree holistic sustainable process, we have built a transparent structure that aligns design, education, and production.
Vogue: What is the ultimate ambition for your brand?
We want to prove that a brand built at the intersection of fashion, textile art, and rigorous structure can lead internationally without abandoning its origin or values. The goal is not only growth, but endurance — scaling our textile laboratory, strengthening our production ecosystem, and opening new global markets while maintaining traceability, transparency and aesthetic integrity.
Vogue: How would the LVMH Prize help you get there?
For a brand developed outside the traditional centers of fashion, the LVMH Prize represents access to a scale of dialogue and infrastructure that is rarely available from our geography. Its mentorship and visibility would allow us to strengthen our structure, deepen textile research, and accelerate international expansion, while preserving the roadmap we have built. For us, the prize is not about validation alone, it is about positioning a human, traceable and aesthetically rigorous way of making fashion in the global conversation.
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Vogue: How would you describe your brand in two sentences?
Nong Rak is a textile and design studio that we built as a space for developing our creative partnership. Spanning many focuses from photography to sculpture, the brand is best known for its one-of-a-kind knitwear and high-tactility garments, which are often crafted in complex colorways using irregular vintage and artisan yarns or carefully sourced fine fabrics.
Vogue: What is unique about your brand and your point of view?
As self-taught designers who are also married and co-parenting, our ‘brand’ has functioned as a continuous process of learning and ongoing development, and a space for us to break barriers, question and change systems, and grow together to create work that people can connect with. Besides being self-funded and bootstrapped from the beginning, Nong Rak is at its core a family business and all of our pieces are crafted by us with the help of our single seamstress. This need for an intimate process has become core to our approach to variation and irregularity in our garments, as well as to the many methods of hand-crafting that we practice.
Vogue: What is the ultimate ambition for your brand?
After many years of moving all over the US, including NYC, we finally opened our dream shop in Bangkok at the end of 2025, which had always been our biggest ambition. Our goal now is to build a larger studio and to grow our team and ultimately our output. Our flagship store is located on a historic property that also has the perfect space to build up a compound for establishing our team. Since our output has previously been very limited, we have struggled to meet international demand. While our goal is to keep a small and intimate operation, we do aim to create space for more collaboration and teamwork outside our partnership, as well as to support and uplift the vast ecosystem of handicraft and artistry throughout Thailand.
Vogue: How would the LVMH Prize help you get there?
We’ve built Nong Rak with no budget for growth, so we accepted years ago that it would be a long and winding road. That said, all of the prizes offered by LVMH would completely change the trajectory and speed of what we hope to create with Nong Rak, while creating almost endless opportunities for us and for those we hope to work with in the future. In addition, the mentorships offered would be supportive in ways we have never experienced, whether that be in relation to business or creative work. We know we will get there someday no matter what, but with the opportunities from LVMH, our doors would open in ways we’ve only dreamed of.
Vogue: How would you describe your brand in two sentences?
We are a Swedish, London-based womenswear brand built on textile innovations and the reconstruction of traditional craft techniques, most notably through lenticular pleating. Our work explores womanhood today, aiming to create a new way of being a woman through agency and glamour, while simultaneously rejecting purity culture and minimalistic ideals.
Vogue: What is unique about your brand and your point of view?
My practice is grounded in the idea that clothing can hold more than one truth at once. I develop textiles and silhouettes that physically transform through prints and construction changing how the garment is perceived. Conceptually, I’m interested in how cultural archetypes — whether domestic, athletic, romantic, or utilitarian — can be transformed into something sharper and more powerful, while rejecting the aspects of being a woman today that frustrate me.
Vogue: What is the ultimate ambition for your brand?
To build a house recognized for advancing textile and constructional innovation within luxury fashion. I want Petra Fagerström to be recognized for its technical language, engineering skills, and intimate community. I want to see a community of women connected to the brand identity — not just wearing the clothes, but taking up space culturally in them. Long term, I see the brand’s technique expanding into a complete identity-driven wardrobe with broader product categories, while maintaining a rigorous research-driven approach to material development.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize would accelerate our brand transition from a technically ambitious emerging brand into a structured, scalable house. To receive the guidance and support on how to protect our innovation and refining the supply chain would be pivotal at this stage for development. It would allow us to continue our investment in the techniques and the textile research, ensuring that experimentation remains as central as brand growth.
Vogue: How would you describe your brand in two sentences?
Ponte is about memory — both personal and collective — and creating pieces to be worn, collected, and exhibited. Occupying the space between art and fashion, we create one-of-a-kind pieces alongside ready-to-wear, using found objects and materials.
Vogue: What is unique about your brand and your point of view?
Sourcing materials typically unobserved in a fashion context is an inherent aspect of our approach. We ‘re-compose’ objects, taking them from one context and placing them into another, to give them meaning and sensibility. For example, steel yarn normally used as conducting filament in wires, but hand-knitted and moulded to create our version of chainmail. In the attention to detail and time needed, it becomes close to a couture approach. We are also working with an artisan in Wales to spin yarn from sheep, which is not traditionally used in the wool industry, creating our own fabric to make sculptural coats with a Savile Row tailor. Ponte combines traditional craft with the fabrications and sensibility inherent to the brand.
Vogue: What is the ultimate ambition for your brand?
We want to continue the path that we are on — building a world, while cementing the foundations and pillars of the brand. We want to make collections and produce beautiful and lasting garments. One-of-a-kind works is the second pillar we are building, both exhibiting and selling; our first exhibition is in Paris in July. The vision is to have a workshop where we can make our objects, garments, and sculptures together. A hybrid couture atelier and artist studio, with spaces for exhibitions and purchasable garments. The other aspect we are beginning to explore is cultural impact across disciplines, be that through projects and collaborations with film, theater, literature or architecture.
Vogue: How would the LVMH Prize help you get there?
Our aim is to create an environment where we can continue to work and pursue scarcity, purity of idea, and elevated craft. The LVMH Prize is so special as it not only provides financial support, but a platform and awareness needed to further develop ourselves.
Vogue: How would you describe your brand in two sentences?
We believe fashion is not defined by garments alone, but comes into being only when sound, scent, objects, experiences, and people come together. ‘Picturesque scenery’ is the core of the brand, through the creation of immersive scenes and narratives in which all of these elements unite to become fashion.
Vogue: What is unique about your brand and your point of view?
I begin by writing the release [for the collection]. From that text, I create a single drawing, before reading the story in my own way and translating it into design. I place strong importance on silhouette. My work is often perceived as oversized, but I believe the space between the cloth and the body also holds its own silhouette, and I consciously shape that in-between volume.
Since my student years, I have been drawn to incorporating hand painting, embroidery, needle punching, and hand stitching. I still work with my own hands, but as the brand has grown, I have increasingly collaborated with factories and skilled makers. I think of it like filmmaking: master set and prop artisans using their expertise to create richer stages and objects, elevating each element. Their craftsmanship has become an essential part of our production, helping each piece become something more complete and compelling.
Vogue: What is the ultimate ambition for your brand?
I want to show that a niche deserves its own place. Recognizing niche communities is not enough; what is needed is to offer a place where they can be received and belong. Shinyakozuka aims to provide a sense of belonging and empowerment for those who feel out of step with dominant values. The form of that place remains open — it may be clothing, a show, a store, an event, social media, or something else entirely. To realize this and let that voice reach people across the world, the brand must also become widely recognized.
Vogue: How would the LVMH Prize help you get there?
I see the LVMH Prize as an ideal opportunity to move into the next chapter of the brand through three key aspects: international recognition, network-building, and mentorship. Beyond expanding the market, I consider it the most fitting first step toward building new forms of fashion communication with people around the world.
Vogue: How would you describe your brand in two sentences?
A brand defined by quiet, minimal, and dignified beauty. Natural in spirit, but carrying an understated elegance.
Vogue: What is unique about your brand and your point of view?
Our design language is built on the relationship between silhouette and material. Rather than imposing shape onto fabric, we develop each piece through a precise dialogue between pattern, textile, and construction. Textiles are central to our process. We develop original materials and carefully source fabrics from Japan and Europe, selecting each for its character and depth. Color is approached with equal intention — we study how tone interacts with texture, adjusting density and finish so that color is not applied onto fabric, but expressed through it.
Vogue: What is the ultimate ambition for your brand?
Our ultimate ambition is to build a brand that endures — one that transcends seasons and trends, and continues to hold relevance through time. We aim to create garments imbued with quiet strength and poised beauty, pieces that feel deeply personal to the wearer and remain meaningful beyond a single moment. At its core, the ambition is longevity — not only in product, but in philosophy. To establish a design language rooted in material integrity, silhouette precision, and thoughtful restraint, and to refine it continuously on a global stage.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize represents an extraordinary platform for growth and dialogue. Beyond its global visibility, the opportunity to engage with leading creators, artists, textile innovators, and industry experts would be invaluable. We believe meaningful evolution happens through exchange; through encountering new perspectives and challenges that sharpen and expand our vision. The prize would allow us to strengthen our foundation while accelerating our international development, giving us the structure and network necessary to grow with clarity and purpose.
Vogue: How would you describe your brand in two sentences?
TheVxlley is a space where I can explore and be free creatively — experimenting and learning through every project. It’s like a garden where I stop when something catches my eye and give it a new form, a new life.
Vogue: What is unique about your brand and your point of view?
I combine traditional craftsmanship — which I learned growing up in a house where everyone made things with their hands — with contemporary design. I reinterpret old techniques to create a personal and experimental language, where each piece reflects a dialogue between materials, memory, and artistic expression. In my last collection, I worked with different techniques and materials like glass, ceramic, wood, and I embroidered, wove, sculpted, and more. I’m not going to stop exploring; I like to be completely proud of what I make, and respecting that process is an important part of the brand’s DNA. Unique pieces, made with slow care.
Vogue: What is the ultimate ambition for your brand?
Growing TheVxlley means growing as an artist — discovering obsessions, exploring new forms, and continuously finding fresh ways to express myself. Fashion has always been a central force in my career as an artist, so I want to keep developing that side. I believe TheVxlley can grow into a completely new stage in fashion, while always respecting what feels natural in terms of rhythm and creative process.
Vogue: How would the LVMH Prize help you get there?
The LVMH Prize would allow me to experiment with new techniques and materials that I haven’t been able to afford. I’m also very excited about the year-long mentorship; I’m curious and eager to learn more.
Vogue: How would you describe your brand in two sentences?
Tíscar Espadas is a Madrid-based brand that creates a fashion narrative as a connecting axis for a much broader and more diverse aesthetic language than clothing alone.
Vogue: What is unique about your brand and your point of view?
At Tíscar Espadas, every garment is made one by one in close collaboration with small workshops and skilled artisans. We combine meticulous handiwork with modern techniques, from knitwear and tailored denim to handcrafted footwear. These collaborations preserve traditional artisanal skills, support local communities, and foster a human-centered approach where creativity, quality, and innovation coexist. Each collection involves an extensive research process consisting of material studies, aesthetic concepts, and old and new techniques, which form a body of work that continues to evolve. We find the creation of a complete wardrobe made up of pieces from different chapters, or capítulos, much more compelling — garments that carry meaning beyond a single moment and can live through time rather than seasons or collections.
Vogue: What is the ultimate ambition for your brand?
As we grow and gain more experience in the industry, our main goal is not to become bigger, but stronger: in developing meaningful products and stories, in creating the highest-quality garments, in maintaining control over the full production chain, and in preserving the excitement within the designs.
Vogue: How would you describe your brand in two sentences?
Yoshita 1967 is a craft-led fashion house rooted in artisanal practice, community empowerment, and the preservation and transmission of savoir-faire. We use fashion as a tool for cultural sovereignty, placing dignity, authorship, and long-term collaboration at the center of everything we produce.
Vogue: What is unique about your brand and your point of view?
Our craft journey began with crochet, a technique often seen as domestic or informal, which we have pushed into the realm of luxury construction. We explore its structural potential and position it in dialogue with other high crafts, expanding its vocabulary into form and silhouette. Our design language is grounded in handiwork, material integrity, and time, with our most recent collection 100% handmade and built around three core materials: cotton thread, glass mirror, and silver-plated bells. We work with a team of women artisans in Kenya, who we have trained and nurtured over the past four years.
Vogue: What is the ultimate ambition for your brand?
Our ambition is to offer a complete product universe — from ready-to-wear and couture, to bags and accessories — while remaining fully craft-driven. We began with crochet and are now expanding into leather and more complex garment construction. Each season, we aim to introduce another craft, material, or technique into the studio. Ultimately, the goal is to build a living dialogue between craft communities in Kenya, India, and France, the three geographies that shape me.
Vogue: How would the LVMH Prize help you get there?
Winning the prize would allow us to facilitate deeper technical exchange and strengthen our production infrastructure. At the moment, our process is highly manual, and our construction capacity is limited. The support would enable us to bring in experts to refine our development and production processes without compromising our slow methodology. It would also allow us to formalize and expand our training systems, investing in future craft communities we have identified but do not have the means to support.
