The It Factor of American fashion has always been its endless pool of talent. Ambitious designers and creatives all flock to New York to chase big dreams in the big city, but what happens if they slowly disappear? This challenge was top of mind this week as industry scions and design legends gathered to honor fashion’s best and brightest at the CFDA Awards where a new class of independent designers dominated across categories.

Of course, the event still delivered the requisite glitz and glamour of the fashion establishment. Addison Rae showed up in a slinky mermaid gown designed by CFDA chairman Thom Browne, cementing her place among pop’s stylish elite. Fashion’s jane-of-all-trades Jenna Lyons hosted the red carpet in her usual stellar suiting (also by Thom Browne), and Wicked star and industry darling Cynthia Erivo took over duties for the main event, wearing a custom hooded number by Zac Posen for Gap styled by Jason Bolden. 

However, the Council of Fashion Designers of America doubled down on substance and style this year. “We’re celebrating the creativity that defines American fashion and its ability to serve as a powerful voice for both culture and individuality,” says Steven Kolb, CEO of the Council of Fashion Designers of America of this year’s class of winners. 

“Creativity is thriving, along with progress in sustainability and social responsibility. More designers are committed to reducing their environmental impact, and we’re seeing more diversity and representation in fashion than ever before.”

“There’s room to support more independent designers and new voices,” adds Kolb when asked about his hopes for American fashion. “More creativity through collaboration—whether that’s designers working together, new technology, or building stronger connections between fashion and other creative fields.”

The CFDA voters co-signed Kolb’s sentiment, casting their ballots for fresh talent and delivering a trio of second wins to independent designers across all three major categories. Rachel Scott of Diotima took home the big win of the night, accepting the womenswear designer of the year award from actress Da’Vine Joy Randolph—just a year after her emerging designer win and only three years after starting her brand. 

This second win was the ultimate vote of confidence, not just for the label’s coveted crochet styles and cool-girl insouciance, but the potential and power of new talent—and the industry’s responsibility to nurture it. Scott herself credited both “the incredible woman in Jamaica who make the most beautiful crochet that I’m so honored to bring to the world” and her mentors in her acceptance speech. “I ask so much of you as I try to navigate this insane thing that is building an independent brand.”

The menswear category also awarded a back-to-back win to Willy Chavarria. The industry vet, who draws inspiration from an eclectic mix of Latinx design codes, Americana, and Catholic iconography, has made fans of even the most jaded fashion editors with his dramatic proportions and meticulous craftsmanship. He also has fashion’s most compelling origin story: Almost a decade after first unleashing his singular aesthetic on the world in 2015, Willy Chavarria has become the hottest NYFW ticket in town and a 2020s menswear trendsetter. And Chavarria himself is racking up the accolades he deserves in his 50s. 

From Chavarria’s perspective, this year’s awards represent something of an industry vibe shift. “The CFDA awards on October 28 marked a pivotal moment in American Fashion history by recognizing the social impact of designers before they have reached their peak success,” the designer explains. “Every person who works in this industry knows the insanity that is required. We are all incredible in our dedication to the art.” 

That artistry and devotion is finally being recognized. Chavarria’s win, much like Scott’s, is more than just a trophy. It’s a message to any designer who’s spent years developing their craft in relative anonymity: It’s never too late to strike out on your own.

After all, the challenges of running a fashion brand in New York—let alone starting one—have never been more apparent. Since the pandemic, McKinsey studies, WWD think pieces, and designers themselves have warned of the American fashion capital’s waning influence as an increasingly out-of-reach and no longer attractive option for young talent. It’s not just about flagging luxury sales and the rapacious U.S. real estate market anymore (although they are contributing factors). The reality is that many young, diverse designers can’t afford to even join the industry, let alone transform it. And for a city known for pushing artistic boundaries, that’s a problem.

Raul Lopez, the creative force behind Luar, accepted his second CFDA Accessory Designer of the Year award on Monday. Beyond its viral Ana Bag, Luar has established itself as an energetic New York institution that makes the impossible possible, like bringing Beyonce to Bushwick and Madonna to Midtown during NYFW.

These designers are proof that American fashion needs fresh talent, and fresh talent needs institutional support. “I’d love to see a deeper collaboration between major institutions and emerging designers,” says Lopez, describing what he hopes for the future. “I want to see fashion acknowledged culturally in America the way it is abroad.” 

Michael Kors, who received the CFDA’s 2024 Positive Change Award for his work in philanthropy, agrees that there’s still work to do in terms of impact—both with emerging designers and the world. As the architect of American sportswear, Kors shared that he hopes to see more “people using their platforms for good and supporting both established and new talents” in the years to come.

Emerging designer of the year, Henry Zankov of Zankov, is another post-pandemic success story. “We are celebrating a new generation with unique voices,” says the designer of this year’s event. After launching his eponymous brand in February 2020 (yes, that timing should make you wince), its slow and steady ascent to every fashion person’s favorite sweater line makes the case that it’s possible to play the long game and win fashion awards.

These shared challenges are perhaps why this CFDA cohort is so deeply supportive of their peers. “There’s a lot of mutual support and love within the industry right now,” says Lopez. For Zankov, all the “fresh and audacious points of view” are what’s most inspiring about the industry. Chavarria agrees: Celebrating “each other” was his highlight of the night.

The 2024 CFDA winners signal a return to what made New York a fashion capital in the first place: raw talent, diverse perspectives, and grit. Fashion’s elite appear ready and willing to support young brands once again (or at least make a public show of it), which is an important first step in facing the challenges ahead. Hopefully, this show of faith also translates to the capital infusions, industry connections, and PR support necessary to thrive in today’s industry. 

There’s an air of confidence that a more vibrant and vital industry is on the horizon—in New York and beyond. So, what’s the future of American fashion? Confidence, community, and commerce. Or, as Luar’s Raul Lopez puts it, “me.”