October 14, 2024 |
Continuing a twelve-year relationship, Mercedes-Benz is racing to endorse a new generation of creative leaders at the 39th International Festival of Fashion, Photography and Accessories, Hyeres with the Mercedes-Benz Sustainability Prize. Launched in 2021, the prize forms part of the brand’s mission to drive responsible luxury by supporting innovation outside of the automotive industry. On Sunday, the Festival d’Hyeres Fashion Jury – complete with industry hard-hitters like the artistic director of Courrèges, Nicolas di Felice – announced Logan Monroe Goff as its winner, applauding his motorsport-inspired collection for its commitment to responsible design practices. Goff is set to receive a grant from Mercedes-Benz and is featured alongside the finalists in a fashion-forward campaign for the CLA car model’s new Erlkönig finish.
Before announcing Goff as the winner, Mercedes-Benz ran a mentorship programme, where each of the ten finalists were instructed in the latest sustainable design practices and repurposing materials became a common thread amongst them. Gaëlle Halloo Lang spliced-up and reassembled second-hand pieces like football jerseys, Julie Mouly-Pommerol upcycled her grandmother’s shirts to create a 1920s-esque draped dress, and Japanese designer Kenshiro Suzuki used ninety-percent biodegradable materials in his everyday ensemble. Designer duo, La Cage’s use of sun-faded and buried-and-unburied fabrics also played with the ideas of use, reuse, construction and deconstruction. The same can be said for Romain Bichot, whose dramatic, inventive use of deadstock fabrics has seen him take the helm as a junior ready-to-wear designer at Balenciaga, Fabian Kis-Juhasz, who presented a rebellious take on traditional wedding attire, and Tal Maslavi, who showcased leather goods designed to look like cake… and a massage-chair-trouser-hybrid.
Shifting gears in pattern-cutting proved valuable for Lilian Navarro, who presented bold, modular garments created in a process that she describes as similar to assembling “flat cartons into three-dimensional forms”, and Dolev Elron, whose eponymous label placed a playful emphasis on curved zips and twisted seams.
In a pit stop before yesterday’s announcement, we spoke to the finalists about the mentorship programme, sustainable design practices, how Hyeres is supporting young designers.
WINNER: Logan Monroe Goff
Why is it important for you to centre sustainability at the heart of your creative practice?
Fashion design, like all design disciplines, has a responsibility of service. I think the standard mode of operation in the industry has separated fashion designers from the full process of making clothes, but our creativity should be applied to problem solving throughout the whole system. Working on a garment is in its own way problem solving, so I think we’ll see more sustainability naturally come as creatives are less siloed off from the other parts of the business.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
I found this to be very natural while designing. My main takeaway was the full potential of how far this idea of upcycling garments could go. Fashion is very much about what’s hot right now, but there’s still value in the materials – they just require a new framing. Very similar to how I found a wealth of knowledge by studying traditional tailoring techniques and motorcycle gear while making this collection, I think we should view the lifecycle garments in the same way we view knowledge as continuous.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
The hardest part was figuring out how to patch the two worlds of motorcycle racing and tailoring together in a visually cohesive way while demonstrating the garment knowledge gained from both. In terms of efficiency, I think it’s crucial that we as designers don’t attempt to reinvent the wheel but rather look back at fashion heritage to find the keys for moving forward.
The Sustainability Prize is supported by Mercedes-Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes-Benz to support the drive for sustainable practices in fashion?
With Mercedes-Benz having these mentorships, it was the absolute driving force for all the designers to have a conversation about sustainability. It was admirable to see a company of Mercedes-Benz’s position use their platform to bring together some of the leading experts in sustainability to include and open up the dialogue to emerging talent.
Why are platforms like Hyeres so important when it comes to supporting young designers?
They’re extremely crucial because it’s a platform where young designers can display to the universe their desire to create. Simultaneously, we get the privilege of connecting with and being challenged by our fellow competitors as well as the opportunity to work with an incredible team of people that make this festival happen. Getting to present work to a diverse jury with immense industry experience is also a prize in itself.
Fabian Kis-Juhasz
Why is it important for you to centre sustainability at the heart of your creative practice?
I think that things should be made well and they should be made to last, we shouldn’t dispose of our clothing so quickly, we should take care of them and mend them. Loving our clothes and admiring the work and craftsmanship that goes into making them is something that is near and dear to my heart.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
Throughout this process I learned that some of my interests already aligned with sustainability and it was actually an effortless process in incorporating sustainable practices into my collection.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
For my project I was looking at wedding gowns and this idea of sentimental and precious items of clothing that hold special value to us. I wanted to create something that would conjure up similar sentiments, however I couldn’t just go and cut up a perfectly fine vintage wedding gown or veil to repurpose it, since that would be the opposite of sustainability. Identifying and finding my materials were the biggest challenge, but having a thoughtful approach and adjusting my design to the materials I had available, working around their flaws solved everything.
The sustainability prize is supported by Mercedes Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes to support the drive for sustainable practices in fashion?
I think sustainability is still seen as something un-glamorous, it is associated with a certain aesthetic of linens and earth tones. This is entirely false, sustainability is just a practice, a way of having consideration for how we work. I think initiatives such as the Mercedes-Benz prize and mentorship programme do a lot to dispute such misconceptions.
Why are platforms like Hyeres so important when it comes to supporting young designers?
Once you are selected as a finalist, you already won in a sense. You are given so many resources and you can connect with so many amazing people from the industry. A platform such as Hyéres can really launch your career, and you can sense that they take you seriously and that their main goal is to help you in any way that they can.
LA CAGE
Why is it important for you to centre sustainability at the heart of your creative practice?
Sustainability is a key practice in our way of producing garments but in addition to that, it’s a creative lever.
First of all our production is made in France using mainly sustainable materials. Our work is divided in three key approaches:
Products made from antique textile from flea markets or charities, hand-made in our atelier
Products made from military deadstock directly reworking the existing garments and accessories
Products made from leftovers fabric from French fashion houses, produced in Paris.
Then thanks to those ways of producing we are working with various antique materials with their singularities. Wear and patina are an integral part of our creative process. Our creation is limited in quantities by the vintage resources or deadstock available.
Each garment is a unique piece or part of a series in which each product is slightly different from each other.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
Our pieces are made with four hands and are the result of craftsmanship and experimentation. A part of our work consists in the garment facing the test of time. In this collection you will find sun-faded garments or completely worn out pieces after being buried for several weeks.
We’re reworking military deadstock, uniforms being outdated, taking advantage of the strong construction of those garments.
For our Last Tour collection we also gathered old linen or cotton family sheets and wool and felt from the ’60s and ’70s recovered from a retired tailor
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
Our sustainable approach requires a constant quest for new materials and ways to transform them. It’s an habit part of our work routine. The challenge was to find partners at Première Vision matching our DNA and ethic.
We’re now introducing linen ordered from factories thanks to our partnership with the European Linen Alliance. On the same look, European sourced linen and antique linen are side by side.
The sustainability prize is supported by Mercedes Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes to support the drive for sustainable practices in fashion?
Nowadays sustainability in fashion needs to be a central and essential component rather than a topic, a small side project. Sustainability is not a business plan, it’s a way of being creative which needs to be highlights.
Why are platforms like Hyeres so important when it comes to supporting young designers?
The after school seems like a void in which it’s easy to be lost and it’s very difficult for young designers to enter the fashion industry. As well as being a great stage to show our work it’s a unique place to meet other professionals and designers of our generation.
Gaelle Halloo Lang
Why is it important for you to centre sustainability at the heart of your creative practice?
I believe that fashion creation today must strive to be as sustainable as possible. Firstly, because it’s the right thing to do. Secondly, customers, particularly younger generations, place immense value on sustainability. To achieve success, we must integrate it into the core of our operations, rather than treating it as a mere marketing gimmick. Thirdly, and most importantly, sustainability acts as a constraint that can open up new creative avenues. As young creators, it is our generation’s responsibility to establish innovative ways of working.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
For my collection, the process of ‘how to do it’ was just as crucial as ‘what to do’. Throughout my creative reflection, I consistently considered whether I could produce each garment sustainably, weighing the consequences of different methods. When the process wasn’t sustainable, I made compromises and discovered that these adjustments often led to creative breakthroughs and connections with people who could support my journey.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
The biggest challenge was creating a streetwear collection where most fabrics are typically synthetic. With hype cycles becoming shorter, synthetic fabrics are often more convenient. I aimed to use natural fabrics instead, primarily recycled, and sourced within the EU or my local region when possible. I collaborated with partners like Mos’laine and Alyeska Industries in Moselle to produce wool garments locally and sustainably. To integrate second-hand pieces, such as F.C. Metz football jerseys, I had to rethink garment cutlines, which opened new creative avenues. Using 3D apparel design software helped ensure the first prototype was perfect, minimising fabric consumption.
The Sustainability Prize is supported by Mercedes-Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes-Benz to support the drive for sustainable practices in fashion?
The automobile and fashion industries have historically had significant negative impacts and are now recognising this. As a global brand, Mercedes-Benz can and should lead the charge in driving a global mindset change. Known for pushing creative and technological boundaries, Mercedes-Benz balances sustainability, performance, and comfort in the automobile industry. The fashion industry, particularly streetwear, is on a similar journey and can benefit from shared creative breakthroughs while influencing customer mindsets and habits.
Why are platforms like Hyeres so important when it comes to supporting young designers?
Being selected for the Hyeres festival offers a unique opportunity to professionalize and expand our network. Beyond the visibility it provides, the support and advice from the Villa Noailles organisation and its partners leading up to the show have a lasting impact on my career. Whether learning how to stage a runway show, adopting new sustainability practices, or receiving coaching to become better creators and entrepreneurs, it has all been invaluable. Accessing the network this institution offers and receiving ongoing advice and support is a true game-changer.
Tal Maslavi
Why is it important for you to centre sustainability at the heart of your creative practice?
Sustainability is a core value in today’s world, especially when building a brand. It’s crucial to be aware of what can be changed and to take small steps that can influence the fashion industry in a positive way. For me, sustainability also presents an exciting challenge—one that can fuel new creative ideas and inspire innovative designs.
Incorporating sustainable practices into your collection is a key qualifier for this prize – how did you find this and what did you learn in the process?
For this collection, I used a fabric from a previous season of Rick Owens, which was excess production. Additionally, I created an accessory as part of my submission for this award. My brand typically features leather shoes and bags designed to look like a piece of cake that’s been bitten from the corner – a playful, yet functional illusion. For the Mercedes award, I explored how I could integrate sustainability further. I took an old bag I found in a charity shop – it had a vintage look, with beads and a metal closure – and I sculpted a cake into one corner, transforming it into a renewed piece. This approach has opened my eyes to the creative possibilities of upcycling, and I want to continue sourcing and revitalising old items in my future designs.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
One of the main challenges was sourcing sustainable materials without relying on conventional recycling plants or the latest sustainability developments. To overcome this, I researched what was available within the framework of my designs and turned to upcycling. Another solution was taking existing bags and renewing them, which allowed me to maintain creativity while being resourceful.
The sustainability prize is supported by Mercedes Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes to support the drive for sustainable practices in fashion?
I believe Mercedes-Benz recognizes the global shift towards sustainable production, and they understand how crucial this movement is for industries like fashion, which is notoriously resource-intensive. Their support of sustainable design can shape a new generation of designers who create smart, eco-friendly fashion. This kind of support not only impacts fashion but can influence other industries as well, including automotive design, fostering sustainability on a broader scale.
Why are platforms like Hyeres so important when it comes to supporting young designers?
Hyerès is an essential platform for young designers because it offers opportunities and exposure that are rare in the fashion world. There aren’t many festivals or competitions of this magnitude that focus on emerging designers. The level of visibility and the connections we make can open doors to new, exciting opportunities, helping to shape our paths in innovative and unexpected ways.
Dolev Elron
Why is it important for you to center sustainability at the heart of your creative practice?
I believe it’s essential to stay conscious of our impact on the planet. We need to make deliberate choices that minimize our footprint while fostering creativity.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you approach this and what did you learn in the process?
For my collection, I focused on sustainable practices by using production waste denim fabrics, in collaboration with Berto. In addition, I upcycled vintage aviator sunglasses, giving them a new life. Throughout the process, I realized that these sustainable methods not only reduce waste but can also inspire and enhance the design process, leading to more thoughtful and innovative outcomes.
What challenges did you face in incorporating these sustainable practices, and how did you overcome them?
The biggest challenge I encountered was upcycling the aviator sunglasses. Reshaping the existing frames to fit the lenses while ensuring the final result looked seamless and untouched, as if the sunglasses hadn’t been reworked, required a lot of trial and error.
Why is it important for organizations like Mercedes-Benz to support sustainable practices in fashion?
It’s important for organizations like Mercedes-Benz to support sustainable practices because fashion has significant cultural influence. Their support can help raise awareness of sustainability and encourage the industry to consider more responsible approaches.
Why are platforms like Hyères so important in supporting young designers?
Hyères is the most influential platform for young designers. Many of my own idols were showcased on this stage, which highlights the festival’s role in spotlighting new talent. It serves as a stepping stone, providing invaluable opportunities in the fashion world.
Romain Bichot
Why is it important for you to centre sustainability at the heart of your creative practice?
Sustainability isn’t about a choice anymore, it’s mandatory.
Incorporating sustainable practices into your collection is a key qualifier for this prize – how did you find this and what did you learn in the process?
I personally only use dead stock fabrics to create my looks. All my clothes are also conceived to last in time, that’s another way to approach sustainability. I’m far from a production aspect. The techniques I use to construct my garments are quite time consuming, which directly eliminates the production aspect.
For my Mercedes-Benz look, I wanted to think above this production question.
To “create” a new look who would be sustainable, while the production of this new look in itself would put in question the sustainability of it. My base of reflection was all those couture gowns, made only for a “one time in a life”. My look for Mercedes-Benz is a car cover, draped on a corset, and pined to itself. I bought it in a shop next to my apartment, kept the receipt and will bring it back in its original state to the shop. The « one time in a life » dress.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
The reflection of the project was quite the challenge, to think above the dead-stock and think about the concept of suitability in itself.
The sustainability prize is supported by Mercedes Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes to support the drive for sustainable practices in fashion?
As the fashion industry, the car industry is also a main actor of the global warming crisis. So I think it’s great if both industries can work hand in hand to make change happen.
Why are platforms like Hyeres so important when it comes to supporting young designers?
Hyeres is such a place of freedom in terms of creativity. This festival, before it even officially starts yet, brought me so much, in terms of reflexion, human contacts and professionalism.
Lilian Navarro
Why is it important for you to centre sustainability at the heart of your creative practice?
Sustainability is central to my creative process because it aligns with the way I see the world. We live in a globalised society where objects that seem to have no value, like a simple banana box, have traveled thousands of kilometres to get to us. This awareness of the journey and the transformation of such items into something new is crucial to me. It’s about giving importance to processes that minimise waste, thinking intelligently about garment construction, and creating with ecological responsibility in mind.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
The incorporation of sustainable practices into my collection, such as reducing fabric waste and exploring innovative cutting methods, has been a fulfilling challenge. It allowed me to rethink how I approach fashion design – not just aiming for aesthetic beauty, but for a form of intelligence in the construction process. I learned how to create modular garments, similar to folding and assembling flat cartons into three-dimensional forms. This experience taught me that sustainability is about more than just materials – it’s about the thought process behind every cut and stitch.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
One of the main challenges was ensuring that my designs remained functional and aesthetically appealing while minimising waste. It required a shift in how I approached design – thinking in terms of creating garments with as few cuts as possible, and reusing any leftover material for additional elements like pockets, collars, and shoulder plates. Overcoming this challenge involved a deep dive into the technical aspects of garment construction, where every element had to serve a purpose. The result is garments that are not only sustainable but also conceptually rich and versatile.
The Sustainability Prize is supported by Mercedes-Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes-Benz to support the drive for sustainable practices in fashion?
It’s incredibly important for large organisations like Mercedes-Benz to support sustainability initiatives because they have the resources and influence to make a significant impact. Their involvement in the mentorship sessions allowed me to gain new perspectives on how sustainability can be integrated not just in the design process but in the entire fashion ecosystem. Their support signals that sustainability is a collective responsibility that transcends industries, and having such backing accelerates the push towards meaningful change in fashion.
Why are platforms like Hyeres so important when it comes to supporting young designers?
Platforms like Hyeres are vital because they give emerging designers a space to experiment, innovate, and be seen. It’s an opportunity to showcase not just our designs but the ideas and principles behind them. For me, it’s a chance to present a collection that is both conceptually rich and sustainable, to engage with an audience that values both creativity and responsibility. These platforms help amplify voices that are pushing the boundaries of what fashion can be, and that kind of support is crucial for the future of our industry.
Julie Mouly-Pommerol
Why is it important for you to centre sustainability at the heart of your creative practice?
As everybody knows, fashion industry is one of the most polluting industries so for me the sustainability issue can no longer be eluded. Hopefully there are many answers to this issue (second hand, sustainable fabrics, upcycling, careful selection of suppliers…). I think that now most of the brands are aware of the climate crisis consequences and origins but there are still a lot of work to do. The sustainability movement faces a particular challenge nowadays as people’s purchasing power tends to diminish so we must also show that fashion can be sustainable and affordable.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
For my collection « Métamorphose », I tried to use several of these methods. I designed my garments with fabrics from dead-stock, I selected my suppliers by choosing only suppliers from the Première Vision program “a better way”, which promotes sustainability and transparency, and I focused on suppliers close based in France or close to France (Italy and England). I also tried to use as much natural fabrics as possible, such as linen and silk. For the design of the shoes of the collection, I used old pieces of jewellery and an old golden candlestick that I cut to replace the heels of existing shoes.
For the Mercedes-Benz look in particular, I upcycled two of grandmother’s shirts to make a dress. I love upcycling process because I find it very interesting to use garments that already « lived » and had a story with a former user and mix and twist them to give them a new story of my own design. I also designed a body jewel made by hand of blackberry tree paper and sano fibers.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
The only challenge I faced when incorporating these practices is that this commitment necessarily limits the number of fabrics you can use and suppliers you can work with. Fortunately for me, there was a great diversity of suppliers at the Première Vision show, including sustainable suppliers, and their fabrics are beautiful so I did not feel really limited.
The Sustainability Prize is supported by Mercedes-Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes-Benz to support the drive for sustainable practices in fashion?
As I said the fashion industries is one of the most polluting industries but it is obviously not the only one and car manufacturers also have an important role to play in our change of consumption and production practices. I find it great that Mercedes-Benz is not only committed to improve their products and production methods but also promotes similar change in other industries such as fashion. It’s a way for Mercedes-Benz to show that the company really wants to have an impact which goes beyond its own commercial sector.
Why are platforms like Hyeres so important when it comes to supporting young designers?
The fashion industry is not the easiest to have access to and it is especially very difficult for young designers to break through alone. There are other competitions for already existing brands, but Hyères is the only big competition where designers can compete without having their own brand yet. The Hyères fashion festival was an amazing opportunity for me, and I am so grateful to the organisers and the jury for having selected my collection. After the competition, I intend to launch my own brand with my boyfriend and the Hyères platform is a great help for this. The people from the festival are really here for each of us and they are in particular always willing to give advice and offer their help to those who want to launch their brand. We even have an interview with a consulting agency (Sterling International), which is one the festival partners. The Hyères Festival is the best platform for upcoming designers without brand and it’s no surprise that it’s already the 39th edition.
Kenshiro Suzuki
Why is it important for you to centre sustainability at the heart of your creative practice?
Because making clothes is not sustainable in the first place but we have to make for our own reason. Therefore I always put sustainability centre to my practice to deal with this contradiction and offset the impact towards the planet. Sustainability could sometimes be a limitation. However, as I studied and worked in product design for my bachelor and work, limitation sometimes intensifies creation.
Incorporating sustainable practices into your collection is a key qualifier for the Mercedes-Benz Sustainability Prize – how did you find this and what did you learn in the process?
I felt that it’s the best opportunity to challenge myself to push further what I have done for my master diploma at my school in terms of sustainability. I believed my collection as a whole was sustainable enough but there was still something I could work for that.
What are the challenges you faced incorporating these sustainable practices and how did you go about overcoming them?
My collection is fully made out of celluloce based material including sewing thread and sub material like ribbons except some buttons. Hence 90% bio-degradable. I have to push its limit and I made Mercedes-Benz look out of 100% cellulose-based material with natural treatment; garment natural dye and natural oil coating to make the fabric stronger, translucent and waterproof at some point. Since I carefully chose the base material for the look, the garments themselves are compostable; not only bio-degradable but also release no harmful residue or toxin.
The Sustainability Prize is supported by Mercedes-Benz, who led some mentorship sessions in springtime – why is it so important for organisations like Mercedes-Benz to support the drive for sustainable practices in fashion?
Sustainable practice can be led by glass root activity, but it should also be more industry-led practice to make more impact to one of the biggest issue on this planet. Organisations can provide more insight, knowledge, know-how etc. and chance to create the network of each practice.
Why are platforms like Hyeres so important when it comes to supporting young designers?
There’s a lot of designers in the world and we always miss getting to know most of them. 10 designers for each year is not enough for all designers in the world but as long as creating the network of designers comes from different realms, it could foster the community and network to involve more designers.
Photography by Thibaut Grevet courtesy of Mercedes-Benz.
