An honorable mention goes out to Stinarand and Diotima, brands from Sweden and New York that have made strides in creating sustainable designs. Stinarand, similarly to Bettter also focuses on the use of upcycled fabrics and finding new, creative materials to feature in designs. The brand is conceptual and features sculptural, eye-catching designs. Rachel Scott, the founder behind Diotima that is also making the prize’s first debut for a designer from Jamaica, works with artisans and crochet techniques from her homeland to honor her roots through her designs. The brand was founded in 2021 and is rooted in amplifying the communities of artisans that are integral to the brand’s identity. Coastal communities see the direct impact of the climate crisis and Rachel wanted her brand to support environmental conservation through the use of sustainable materials.

The LVMH Prize has a clear focus on sustainability, inclusion, and diversity, possibly signaling the future of luxury fashion. Many of this year’s finalists are using upcycled or recycled materials in their designs and feature genderless collections. Many of these emerging designers use their art form to pay homage to their countries of origin which is a large part of the identity of these brands. All of the finalists have a clear vision for how to revolutionize the fashion industry to embrace values that will propel the industry into a more thoughtful future.

A common criticism people have of influencer culture is that they’re taking these product or brand recommendations with the belief that it is completely truthful and transparent, then feel a sense of distrust when products don’t align with the claims that were made. De-influencing sparked hopes for authenticity and transparency for consumers but is now facing criticisms for how it crashed and burned, becoming the exact opposite of its intended purpose. The pandemic marked a shift in consumer behavior – people have grown to be more concerned about the impact of their purchases and are wanting to understand the greater social and environmental consequences of what they’re buying. In the past three years, we’ve witnessed brands making small and large-scale changes alike to align themselves with the values of their customers, such as cruelty-free formulations and ingredient transparency. De-influencing was piggybacking off of this movement and bringing these values to light on a greater scale but ultimately became another marketing and monetization opportunity. 

But, was it ever what it was cracked up to be? In hindsight, it’s easy to see that this is a marketable trend. Everything can be monetized and it’s an influencer’s job to do exactly that. Consumers were growing tired of viral products, constant ads, and PR hauls being pushed down their throats, and in comes the perfect opportunity to create a false sense of authenticity and relatability with the de-influencing trend. The trend and the concept of de-influencing are two different things, what started as a criticism of overconsumption became a ‘trend’ adopted by fast fashion influencers and even brands to sell ‘other’ products that fit into this narrative. The irony isn’t lost that the fast fashion industry is a direct contributor to the climate crisis and a concept meant to bring awareness to this has become another exploitive opportunity that takes advantage of consumers that are none the wiser to these issues. The age of social media gives us a chance to raise awareness and create change but the ability for these topics to be easily monetized creates difficulty for these movements to grow further than the lifecycle of a trend.

STAMM Designer, Elisabeth Stamm

Ukrainian-based brand TG Botanical used plant-based materials in its collection, such as hemp and linen, and plant-based pigments for fabric dye. Designer Tatyana Chumak takes inspiration for their designs from technology and nature. The brand is produced locally in Kyiv, Ukraine. TG Botanical keeps every process, from manufacturing to shipping locally, to create minimal environmental impact. 

Salem Fessahye, a Swedish-based designer, used the collection to showcase their self-made textile, composed of recycled materials. The brand is known for being host to the most diverse runway shows in all of CPHFW and is diversifying Scandinavian Fashion. The AW23 season continued the brand’s broad inclusion as they explored noble attire through a more diverse lens. Salem Fessahye puts a significant emphasis on upcycling and repurposing materials for its designs.

STAMM took home the Zalando Sustainability Award with its collection that featured cotton fabrics dyed from natural materials such as tree bark. The Copenhagen-based brand founded by Elisabeth Stamm focuses on gender-neutral designs. The brand has a heavy streetwear influence with an emphasis on individuality within the expression of clothing and the unity that comes from genderless Fashion. Showing for its third season at CPHFW, STAMM’s collection told a story of creativity and human connection. STAMM’s use of embroidery, handcrafted textile materials, and unique silhouettes was a highlight of the collection. CPHFW continues to push boundaries in the fashion industry, and the Zalando Sustainability Awards offers immense opportunities to further innovation.