Latest news with #CouncilofFashionDesignersofAmerica
Fashion United
2 days ago
- Business
- Fashion United
US trade organisations commend Trump's comments on sneaker and T-shirt production
Leading US fashion and textile organisations have backed recent comments by president Donald Trump in which he suggested that his stringent tariff policies were 'not focused on driving sneaker and T-shirt production to the US'. A joint letter – signed by the American Apparel & Footwear Association (AAFA), Council of Fashion Designers of America (CFDA), Footwear Distributors and Retailers of America (FDRA), Sports & Fitness Industry Association (SFIA) and U.S. Fashion Industry Association (USFIA) – has said Trump was 'absolutely right' in stating that his tariffs on imports from other countries were not intended to help scale up the domestic footwear and apparel industry. Speaking to reporters last week, Trump responded to a speech by treasury secretary Scott Bessent earlier in April, who said that the US does not need a 'booming textile industry'. Trump agreed with Bessent's comments, and noted that his tariff policy was instead aimed at promoting the domestic manufacturing of tanks and technology products. 'I'm not looking to make T-shirts, to be honest. I'm not looking to make socks. We can do that very well in other locations. We are looking to do chips and computers and lots of other things, and tanks and ships,' Trump told reporters in New Jersey. Call for reduction in tariff burden on apparel and footwear sector While the letter addressed to Trump expresses gratitude for acknowledging 'real-world challenges' the fashion and textiles industries face, the organisations underlined that these sectors 'have operated under a substantial tariff burden — the highest of any sector', for decades. The average tariff rate on consumer goods sits at just over 2 percent, contrasting the average apparel and footwear tariff rates, which exceed 14.5 and 12 percent, respectively. 'These costs ultimately fall on American families, limiting those families from participating in essential activities such as work, recreation, sports, and fitness, all activities that support mentally and physically healthier Americans and help boost the US economy,' the letter notes. It continued: 'As much as our members would love to manufacture more footwear and apparel in the US, closer to our US consumers, it is simply not feasible to do so at scale right now due to significant supply chain, labor, and cost constraints. Tariff policy cannot overcome these obstacles, especially when it is imposing new costs on existing manufacturers in our industry.' The organisations are thus calling on Trump to adopt a 'pragmatic framework that reduces the tariff burden on footwear and apparel, increases high-value jobs for US workers, and provides relief to hardworking American families'.
Yahoo
3 days ago
- Business
- Yahoo
‘Vogue' Editor Who Trump Has Raged at Spotted at White House
A fashion icon was spotted at the White House this week—putting ICE Barbie Kristi Noem to shame. Anna Wintour, the world-famous Vogue editor, rolled up to the South Lawn sporting her perfectly sleek bob and equipped with a mission: to discuss the impact of President Donald Trump's tariffs on the fashion industry. She was not, however, there to end the feud between her and First Lady Melania Trump and finally give her a spot on the cover. Wintour was flanked by two other industry legends: Steven Kolb, CEO of the Council of Fashion Designers of America (CFDA), and Stephen Lamar, president and CEO of the American Apparel & Footwear Association (AAFA). The Trumps opened their home for the party, even though Wintour has famously snubbed the pair on more than one occasion. Melania and Wintour share a host of similarities: both are foreign-born, cold and commanding figures who have an affection for Italian designers. For a while, the two seemed to get along fine: before his presidential run, Trump and his wife were routinely invited to the Met Gala and other Vogue events. Melania even graced the cover of Vogue in 2005 wearing her wedding dress. But things changed once Trump was elected. In October 2017, Wintour vowed she would 'never' invite Trump back to the Met Gala. And unlike former First Ladies Jill Biden and Michelle Obama, Wintour pointedly chose not to put Melania on the cover of Vogue. Wintour arrived in Washington, D.C. to meet with Susie Wiles, Trump's chief of staff, in the hopes of finding relief for the heavily tariffed, $500 billion fashion industry. The industry, which supports 10 million jobs nationwide, has borne a large brunt of Trump's attacks. Right now, the average tax on fashion items is nearly 13 percent. And even though the products only make up approximately 5 percent of what the U.S. imports, they are responsible for over a quarter of the total tariffs collected. Since the fashion industry is already so heavily taxed, the three industry leaders told Wiles the extra tariffs would only put the fashion industry at a disproportionate disadvantage. Wintour, a proud Democrat, was there to say her piece—and butter up to the Trump administration—despite the ongoing feud with Melania. According to Wintour's biographer, Amy Odell, Vogue twice tried to photograph Melania during Trump's first term. She declined both times when she learned it would not guarantee her a cover feature. Immediately after Melania posed for her first White House official portrait, wearing a black Dolce & Gabbana business suit, Vogue published a scathing article saying that the outfit made Melania appear 'more like a freelance magician than a public servant.' 'Trump looked more like she was guest-starring on an episode of The Apprentice than assuming the role of First Lady of the United States,' wrote Vogue's Hannah Jackson. Republicans fell in line to support Melania. Melania's friend, Bill White, wrote on X: 'We cherish and support [Melania]. We've decided to cancel all our subscriptions to Condé NASTY. I urge everyone who loves America to join us in this action.' Melania's former confidante, Stephanie Winston Wolkoff, wrote a book that shone a light on the depth of the rivalry: 'I don't give a f--- about Vogue or any other magazine," Melania allegedly said. 'They would never put me on the cover. All these people are so mad.' The drama extends to the president, too. According to Odell, when Wintour came to visit Trump in New York in 2016, after he won the election, he reportedly felt 'offended' that nobody told him ahead of time. He was so upset he 'didn't even say hello.'
Time of India
06-05-2025
- Entertainment
- Time of India
The Met Gala 2025: Its origins, impact, rules, and how to be part of the biggest fashion event of the year
The Met Gala, which began as a New York high society charity event, has evolved into a globally influential fashion night. The 2025 Met Gala, held on May 5th, celebrated Black fashion and dandyism with a blue-themed red carpet. This exclusive event raises funds for the Costume Institute, showcasing fashion as a living art form. Tired of too many ads? Remove Ads Guest List for 2025 Tired of too many ads? Remove Ads How it Started How does the Met Gala work? Tired of too many ads? Remove Ads Can the public attend or watch? Met Gala Rules What started as a charity event for New York 's high society has become the most influential fashion night globally. The Met Gala , held annually at the Metropolitan Museum of Art, is now a place where art, fashion, celebrity, and cultural commentary collide on a year's Met Gala, held on May 5, 2025, embraced the theme 'Superfine: Tailoring Black Style,' celebrating the history of Black fashion and red carpet felt like a dream this time, turned all blue. Celebrities like Shah Rukh Khan, Shakira, Rihanna, and Emma Chamberlain stood out, but the real spotlight was on the art of fashion Met Gala 2025 guest list features a diverse and star-studded array of celebrities, fashion icons, and cultural influencers. Notable attendees include global superstars like Shah Rukh Khan, Rihanna, Emma Chamberlain, Cardi B, Zendaya, and Hailey Bieber. The list also includes prominent figures from various industries, such as Bad Bunny, Billie Eilish, J Balvin, and the iconic Kim Kardashian. Fashion designers like Thom Browne, Prabal Gurung, and Marc Jacobs, along with influential figures such as Anna Wintour, Ava DuVernay, and Spike Lee, are also part of this Met Gala was founded in 1948 by Eleanor Lambert, a legendary fashion publicist who also helped launch the Council of Fashion Designers of America (CFDA) and the International Best Dressed List. The inaugural event was a simple fundraising dinner to support the newly established Costume Institute at the Met. Tickets were $50, and the guest list was comprised mostly of New York's elite Gala was then more of a society calendar footnote than a global phenomenon. It rotated through various venues and had no strong ties to the Costume Institute turning point came in 1995 when Vogue editor-in-chief Anna Wintour took over as chair of the Met Gala. Wintour transformed it into a curated, themed, celebrity-driven event. Her vision reimagined the Gala as an extension of fashion's cultural and creative power, aligning it with Hollywood, music, and social media before the term even her leadership, each year's Gala began to revolve around a specific theme, ranging from historical eras to subcultures to the works of individual Alexander McQueen tributes to explorations of Catholic imagination, camp aesthetics, and American identity, each year's theme has pushed fashion into bold, sometimes controversial, Gala serves as a fundraiser for the Costume Institute, the only department of the Met that must fund itself. Tickets now cost around $75,000, and a table can go for over $350,000. The money supports the museum's fashion exhibitions, conservation, and research. But buying a ticket doesn't guarantee attendance. Even if a brand purchases a table, Anna Wintour must approve every year's event centers on a specific theme, tied to the Costume Institute's exhibition. Guests are expected to dress in alignment with that theme. Designers often attend alongside the celebrities they dress, making it a collaborative red carpet Met Gala itself is a private event, and there's no public access to the inside of the party. However, the red carpet is broadcast online, typically via Vogue's website, YouTube, and major entertainment outlets. Millions around the world tune in to watch arrivals and fashion reveals in real time. After the Gala, the Costume Institute exhibition opens to the public, giving visitors a chance to see the fashion on display up the Met Gala, there are several strict rules that guests must follow. Smoking is prohibited, and selfies are not allowed, as the event is meant to maintain an air of exclusivity and sophistication. Social media activity is also heavily controlled, with attendees discouraged from sharing moments during the event to maintain the focus on the fashion and the art. Anna Wintour, as the chair of the event, has also set the rule that no one under the age of 18 is allowed to attend. Additionally, all guests are expected to adhere to the event's formal dress code, and Wintour's word is considered Met Gala has grown from a small charity event to a global fashion spectacle, a night where style becomes a living and breathing piece of art.
Daily Mail
30-04-2025
- Entertainment
- Daily Mail
Diddy learns whether he will be forced to wear prison clothes during his upcoming sex crimes trial
Diddy can dress to impress the jury at his upcoming sex trafficking trial after a judge ruled he could wear his own clothes. The disgraced hip hop mogul can ditch the prison issue, tan colored top and pants next week when jury selection begins and for the remainder of the case. But the judge set certain conditions on Diddy, who has designed his own clothing range and once won a prestigious fashion industry award. He can only have up to five pairs of pants, shirts and socks and only two pairs of shoes - with no laces. There was no mention of jewellery so Diddy could bring able to bring the bling if he wanted. Diddy, 55, whose real name is Sean Combs, denies sex trafficking and other charges. Jury selection at the federal court in New York is due to begin on May 5th and opening statements on May 12th. Diddy's lawyers made the application for him to wear clothes other than those from the grim Metropolitan Detention Center, where he is being held, to Judge Arun Subramanian. In his ruling, the judge said: 'The defendant Sean Combs, Inmate # 37452-054, will be permitted to receive non-prison clothing at the MDC to wear for his trial scheduled to begin on May 5, 2025. 'He is permitted to have up to five button down shirts, up to five pairs of pants, up to five sweaters, up to five pairs of socks, and up to two pairs of shoes without laces to wear to court'. Before his fall from grace Diddy was considered one of the most fashionable men on the planet. His high point came in 2004 when he won the Council of Fashion Designers of America award for his own fashion line, Sean John, which came to prominence in the 'Bad Boy' era in the 1990s and was worn by Paris Hilton and Rihanna among others. A feature in Vogue magazine in 2019 to mark Diddy's 50th birthday said it was 'hard to overstate the sartorial impact' he had in the fashion world. The article said that celebrities like Cardi B and Kanye West owe their success in part to Diddy who 'stormed the gates 20 years earlier, introducing the establishment to the dominant sound of youth culture and a brash aesthetic, turning the concept of luxury on its head with an inclusive viewpoint and extroverted swagger'. Diddy himself said that his style could be traced back to growing up in Harlem. He said: 'Coming from Harlem, your style is everything; you can't compromise on your style. So, I didn't compromise; I was going to be straight to the point. They would feel the confidence, and they would start shooting because I was in a light phase. I was shining real bright, my energy, and just the overall frequency and vibration'. Diddy has already made one major change to his appearance since his arrest: he has allowed his hair to go gray and white. He shocked the court earlier this year by appearing without his customary black hairstyle, with the gray making him look significantly older. At a hearing last week Diddy's lawyers suggested their defense will be that he was a swinger but not a rapist. Attorney Marc Agnifilo said that his client may have thought his behavior was 'appropriate' but others did not. Prosecutors say that Diddy drugged and sexually assaulted numerous women and engaged in a decades-long racketeering operation to keep it quiet.
Yahoo
12-03-2025
- Business
- Yahoo
Invest in America: Meet the Political and Creative Forces Driving American Fashion's Evolution
When you buy through links on our articles, Future and its syndication partners may earn a commission. The American fashion industry finds itself in a moment of profound uncertainty, struggling under the weight of challenges that feel as if they're pulling it in every direction. Independent designers, once the beating heart of the country's creative landscape, are now caught in a battle for survival. With financial support often flowing in favor of Europe's luxury giants, smaller, independent labels are left to navigate a marketplace where innovation is sometimes overshadowed by the loudest voices and the deepest pockets. Every season, you'll hear chatter that New York Fashion Week is dead and not worth resurrecting, with brands and buyers prioritizing shows in Milan and Paris over their home base. The Council of Fashion Designers of America, or CFDA, has made it a mission to revitalize New York—the recent appointment of Thom Browne as chairman is a large step in the right direction. "At a time when the role of designers is questioned [every day], we have to ignore the noise and focus on what matters the most to us," the designer wrote on Instagram the night before the fall 2025 shows kicked off in New York. Despite these efforts, many of this nation's great designers are flocking away in a real-time fashion brain drain. For many emerging designers, particularly those from marginalized communities, the dream of breaking through feels increasingly distant, even as they pour every ounce of creativity and passion into their work. "Compared to other industries, fashion's adoption of DEI as an initiative came only in 2020," Sheena Butler-Young, senior correspondent at Business of Fashion told Who What Wear. By and large, many designers we spoke with for this article only began to see both industry and customer reception to their ideas and stories in the wake of Black Lives Matter protests in 2020. Retailers were on board, dedicating sacred shelf space to Black-owned businesses, and industry-led pledges like the 15 Percent Pledge began to hit the mainstream. The industry's recognition of Black talent seemed to have a ripple effect, empowering and uplifting other designers of color. But, as Butler-Young suggests, most of it was a farce. By 2022, funding seemed to dry up, leaving marginalized designers scrambling to scale back orders or rethink their production means. "Fashion's formation of diversity, equity, inclusion as a business category was a reaction. It was emotional," Butler-Young added. "And, at worst, it was performative." At a time when the role of designers is questioned [every day], we have to ignore the noise and focus on what matters the most to us. Here in 2025, it's created a harsh reality where economic pressures, shifting consumer behaviors, and an ever-changing political climate seem to threaten the very foundation of what American fashion once stood for—a professional outlet for society's visionary creatives. Even in this broken state, there remains an undeniable spirit—a raw, unrelenting energy that refuses to be extinguished. Independent brands, armed with little more than their vision, are still pushing boundaries, weaving together identities, cultures, and stories that have often been overlooked or silenced. To them, fashion is about much more than selling clothing—it's about crafting worlds, rewriting narratives, and challenging the expectations of what luxury and success should look like. "I do hope that American designers, just broadly, wherever they produce, do stay encouraged through the next couple of years. Sure, this administration will do things that have long-lasting effects, but we have to keep in mind that the world and life is so much bigger than these next four years," Butler-Young added. "One fact that I always like to mention is that per the U.S. census, by 2045, this country will be majority non-white. … That's who you're going to have to speak to [as a designer] in the next 20 years." Despite the daunting odds, there's a sense of determination, a quiet optimism that pulses through this fractured industry. In the face of economic instability, shifting trends, and the weight of an unforgiving market, these designers are finding ways to hold their ground. They are drawing on their roots, their communities, and their ingenuity to keep going. It's a testament to their resilience—an affirmation that even in the most challenging times, creativity still has the power to thrive and perhaps, just perhaps, redefine the future of American fashion. Jacques Agbobly was born and raised in Lomé, Togo, surrounded by local seamstresses and tailors who cut, sewed, and fit garments in extra rooms rented out by Agbobly's grandmother. After moving to the United States and attending Parsons School of Design, Agbobly established their knitwear brand in an effort to bridge the gap between their Lomé roots and newfound career in New York. "Having grown up between cultures, I use fashion to craft a universe that feels both nostalgic and forward-thinking, where African craftsmanship meets contemporary design," the designer tells Who What Wear. "Agbobly isn't just about garments; it's about storytelling, identity, and redefining what luxury means for a global, diasporic community." Their whimsical, colorful designs are pulled from personal and collective memories—childhood games, vibrant textures, and sacred moments of joy that don't make it into the mainstream when representing Black life. I want to create a world where Blackness isn't confined to narratives of resilience but is also seen through the lens of whimsy, nostalgia, and innovation. In 2024, Agbobly became a semifinalist for the prestigious LVMH Prize, aimed at supporting and uplifting independent and emerging labels. Despite the assumption that a large corporate stamp of approval would be a permanent solution for young brands to gain recognition and financial support, Agbobly admits they still struggle with the weight of the industry. Of course, larger brands with financial support will always be there, but the key in remaining focused and resilient, according to Agbobly, is by leaning into the brand's community of loyal supporters, buyers, and craftspeople who are working together on the brand's larger-than-life storytelling. Each woven piece, stitch, or crochet adds to the Agbobly world, centering joy and Afropolitans. "There's often an expectation that Black designers must center our work on race or struggle. While those themes inevitably shape my perspective, Agbobly exists beyond them," they add. "I want to create a world where Blackness isn't confined to narratives of resilience but is also seen through the lens of whimsy, nostalgia, and innovation." Despite the financial struggles, like most other designers, Agbobly remains hopeful. Sure, brands are coming and going (most notably uprooting to the European capitals, as several labels have recently done), but there's still undeniable grit and spirit behind the independent labels in New York. "We just need to keep pushing forward, and with the right support and resources, I believe the future of American fashion is bright," Agbobly added. "We have to keep going, especially in these tough times." Sergio Hudson derives all of his collections from joy and Black excellence. The designer, who officially started showing on the New York Fashion Week calendar in 2020, was raised in the South, where prim-and-proper American couture was the foundation for his tight-knit Black community. What once was joy, though, has turned into a more realistic gaze at the state of the industry. Although Hudson is an established veteran on the scene (he began his label in 2014), the American sportswear designer only had one word to say about the state of affairs of the fashion business in this country: "Scary. That's the first thing that comes to mind to me," Hudson admits. "We have our supporters and people who do really see us, but when you look at the marketplace, as an American designer, that category is marginalized compared to the luxury houses of Europe. And then, when you are from a marginalized group or come from an ethnic background, it marginalizes you even more." For years, American fashion designers have been compared to those at the helm of Europe's conglomerate-backed luxury maisons. The truth is, though, you can't really compare it—America feels like the Wild West of the fashion industry, with innovation, grit, and craftiness coming above all else as a lagging retail industry feels like it's creeping to a halt. (Hudson nods to the controversial news that came from American retailer Saks the other day, with the brand announcing that it was extending the amount of time it took to pay vendors—some of which are independently backed labels that are already struggling to survive.) "As time goes on, the goalposts to success just get farther and farther away." Despite the monetary challenges that come from being an independently owned American brand, Hudson is still doubling down on his commitment to support United States garment workers. Naturally, it comes at a higher burden to bear, financially. "Maybe that's why some designers don't stay in business, but I just can't allow my integrity to be overtaken by being money hungry," he says. "I'm a young Black man from South Carolina. I was always taught you have to be better. You have to do more to be considered as equal. So that's how I operate in life and everything that I do." Support an independent brand, and you'll continue to see this industry grow. During our conversation, Hudson is honest about the pursuit of the business and his dreams: He's tired of being put into a box as a Black designer, with the industry at large often thinking Black designers' aesthetics must align with a certain vision, whether it be streetwear or clothes pulling from traditional African motifs and prints. "I feel like when people look at me as a human being, they see a Black man first; they don't see an American sportswear designer. And that's the problem," Hudson adds. "People put me in a box by saying I can't be just an American sportswear designer that makes a great trench coat or a suit that a woman would want to wear. There's no space in that, because that's how [the industry] views Black designers." It's not all bleak, though. There's a beauty in surviving, Hudson says. It's hard not to acknowledge that we're in a dark time in history, given the state of the economy and politics, but Hudson says he plans on making it through by any means necessary. "The art form of making beautiful clothing for women to wear has kind of been lost, and I feel like the support needs to come back for that," Hudson says. "So support an independent brand, and you'll continue to see this industry grow. When we stop supporting independent brands, that's when, to me, the industry dies." You might recognize Jackson Wiederhoeft's whimsical, otherworldly designs before you recognize the designer themself. Tucked away in the heart of the Garment District in New York is where the Wiederhoeft world takes flight in a fantastical saloon covered in boned corsets and gowns dripping in jewels. Although Wiederhoeft has long been in the industry (the designer famously worked for CFDA Chairman Thom Browne), it wasn't until 2019 when the label came to life. "There wasn't a business plan out the gate; it was more of a creative project," Wiederhoeft explained. "But after that first collection, I saw a way that it could actually work out." First and foremost, Wiederhoeft is a queer brand. In terms of the storytelling, vision, and collaborators, the designer explains every choice is thoughtfully and intentionally strange and out of place, nodding to the true definition of queer in a literal sense. "We are people who really celebrate things that seem to be misplaced or precariously placed," Wiederhoeft explained. "Everything is beautiful and lovely, but there's always a sense of danger that is inherently tied to everything." It's worth noting that the brand's surge in popularity within the bridal space also comes at a delicate time given that the current presidential administration has signed a series of anti-trans executive orders into law. (When asked if the designer has struggled with coming to terms with the anti-LGBTQIA+ rhetoric that's surging in the country, Wiederhoeft responds cooly. They're fighting the good fight for as long as it takes, whether or not rights get taken away. "It's disheartening, but I think revenge [by simply existing] is sweet, so there's that, too," they say.) One of the most important things I can do is also supporting American manufacturing and New York City manufacturing. Just last year, Wiederhoeft was a finalist for the prestigious CFDA/Vogue Fashion Fund award that aims to highlight emerging American designers with a unique point of view. At this point, the brand doesn't need the press when it comes to doubling down on what makes American fashion so great. (Lady Gaga, Sabrina Carpenter, and Ice Spice are all friends of the house.) But when asked what the future of American fashion looks like, especially given the fact that the brand produces everything in the Garment District, Wiederhoeft practically lights up. "Being an American designer, I think one of the most important things I can do is also supporting American manufacturing and New York City manufacturing. Almost every business I work with in New York is immigrant-owned, woman-owned, which is so New York and so badass," Wierderhoeft says. "I think supporting that is such a privilege that I get to engage in, and I really want to do that forever." Allina Liu attributes her drive and love of design to the chip on her shoulder she had as a kid. The 33-year-old New York–based designer jokes that her Chinese immigrant parents might be partly to blame for her rebellious phase. After stints at The Row, and Rebecca Taylor, she decided to start her own label based on exploring the female form and the BDSM community. Enter the self-titled label that's become a fashion darling among New York City's young scene. Flowy dresses tied together with bows and voluminous skirts aren't just pretty means to an end—for Liu, the brand is about tapping into the strange. (The brand's last presentation during New York Fashion Week featured creepy smiles, doll-like silhouettes, and innocent-seeming models all in reference to religious cults.) After a couple years in business, though, Liu quietly shut down due to financial constraints. It wasn't until she pivoted into the tech sector that she had the funds to relaunch years later in 2020. It's a stark reminder that, for most designers of color in the United States, there are no inventors or conglomerate funding to help small designers stay afloat. That's why Liu produces in Guangzhou, China, known as one of the largest manufacturing hubs on the planet. Without exporting the majority of her business overseas, there's no way she would be able to sustain her brand. Given most Americans' reliance on fast fashion and hyper-fast retailers like Amazon, there's a sticky association between the perception of Liu's production and unethical, subpar garment factories. Right now, it's difficult, and it's complicated to identify as an American designer. "I'm ethnically Chinese, and I take a lot of pride in the term Made in China. Do people see my last name and just assume I'm producing garbage made by 2-year-olds for pennies?" Liu asks out loud. "I've been to my factory—I know the people, and I've seen the conditions. Ethics are massive for me. China is so much more than just sweatshops. I think it's really, really wildly racist to lump an entire country of people together for a couple people's mistakes." What does being an American designer mean to her? It's heavily tied to being an American in general. "It's tough," Liu admits. The looming threat of a catastrophic trade war alongside reverberating impacts of anti-Asian rhetoric would lead most people to err on the side of pessimism. But, above all, being an American designer means being nimble and working with what you've got, despite it all. "Right now, it's difficult, and it's complicated to identify as an American designer. I think that we have been put in a position where our administration doesn't reflect our personal beliefs. All I can do is use whatever small platform I have to really embrace my community that believes in me and that I believe in them right back." Mónica Santos Gil was tired of seeing everyone in New York wear black, so naturally, she started her own label. While the intentions behind the brand might have been rooted in a slight joke, the designer's love for color isn't—her brand, Santos by Mónica, established during the pandemic at her small studio in her parents' home in Puerto Rico, is inspired by the rich, vibrant colors of the Caribbean island she grew up on. After stints in California and New York, the ready-to-wear and handbag designer began to focus on sustainability and biomaterials, another nod to her roots. "As an independent designer, I think a lot about representation—and not just in terms of who wears my pieces but also how they're made and what stories they tell, down to the materials I'm using." Santos Gil explains. Being in the American fashion industry right now means being solution-driven, regardless of what's going on politically or economically. As the immigrant daughter of two creatives who prioritized their lush, tropical home, Santos Gil knew she had to be intentional about the structure of her business when she first started. As an American founder, like many other young designers, there are limited funds available to make your dreams a reality. Santos Gil prioritized high-quality biomaterials like cactus leather in lieu of massive first-run batches, opting to sew and cut everything herself for the first few launches. Although she now has two factories working on the label—one in the United States and another in Mexico—at her core, Santos Gil believes being an independent brand is about being resourceful and nimble. "Being in the American fashion industry right now means being solution-driven, regardless of what's going on politically or economically," she added. "It's at the cornerstone of what an emerging or young brand is, especially if you don't have the capital or a factory or financial backing." Contrary to popular belief, it is possible to create and execute a brand right now, even if the marketplace is so tough, she adds. You might pull out your hair in the process, but it's all worth it. "It's all the more rewarding when everything falls into place," Gil Santos finishes. It's a reminder that even in challenging times, creativity, perseverance, and resourcefulness can make your vision a reality—something she's living proof of with every collection she brings to life. Yitao Li lives between two worlds. The 26-year-old has spent half of her life in China, only moving to the United States at 13 years old. Her label, Taottao, was born out of a passion project for geometric design and patternmaking. (She was on the math team during high school, she jokes.) While Li might not see herself as a fully born-and-bred American designer, her brand is quintessentially American, relying on New York aesthetics and edge, born out of her schooling from the Fashion Institute of Technology. Like most young designers whose customer base lives in the United States, Li is playing on the narrative of what the modern girl wants to wear—not the modern woman. There are micro miniskirts layered atop leggings, sherpa-lined neck pillow–style scarves, and baggy pants that are definitely Dimes Square approved. Although the brand is only three years old, Li has already garnered a sizable following both in New York and abroad. "Growing in America is nowhere near as hard as growing in China," Li admits. While her small team produces between Guangzhou and Jersey City, the bulk of the brand's efforts are concentrated in seeping into the niche, alternative market in the United States. "The markets are so different—from influencer collaborations to working with Asian stylists." Growing in America is nowhere near as hard as growing in China. In the midst of economic tariffs imposed by the United States, it's hard not to spiral. Li admits that, although exporting and importing garments might become more expensive and challenging, there's still an advantage as a small, independent designer producing overseas—it's still a net positive as it pertains to profits and being on-site to see production firsthand. Regardless, there are certain privileges that come from being an America-based designer. "I don't have as much creative freedom in China as I do in the United States. Copyright protections also don't really exist—I can post something on social media, and then soon after, 10 stores are selling the same thing using my image," Li says. "I can't post as freely. There's nowhere near as much freedom of speech [in China]." Despite the challenges, Li sees the experience as a valuable learning curve that has only strengthened her determination to push her brand forward. The contrast between the two worlds she navigates—China's competitive fashion landscape and the creative freedom she enjoys in the United States—has given Li a unique perspective on the industry as a global-first designer.
