Imagine a world where the unsung heroes of fashion finally get the recognition they deserve. It's a world 1 Granary is fighting to create, challenging the industry's traditional focus on celebrity designers and holding the fashion establishment accountable. But is the fashion world ready for such a radical shift? Let's dive in.
Recently, the Fashion Awards at the Royal Albert Hall celebrated industry giants like Jonathan Anderson (Designer of the Year), Anok Yai (Model of the Year), and Delphine Arnault (special recognition for supporting new talent through the LVMH prize). The event was a dazzling tribute to fashion's elite. It's easy to see this as a glamorous celebration of talent, but is it truly representative of the collaborative efforts that bring these creations to life?
Almost immediately, the praise was met with a critical counterpoint. The anonymous Instagram account @boringnotcom, a known voice for strong opinions within the industry, bluntly stated: "As predicted, the same names got rotated and won the fashion awards … how utterly boring." This sentiment highlights a growing frustration with the perceived lack of recognition for those working behind the scenes. But here's where it gets controversial: are these awards solely about individual achievement, or should they reflect the collective effort of entire teams?
Enter 1 Granary, a platform championing emerging and existing fashion talent beyond the figureheads. They're introducing the Design Awards, an event dedicated to crediting the often-overlooked individuals who contribute to fashion's creative process. For each winner, 1 Granary plans to acknowledge the entire team, from junior designers to creative directors. This move aims to shift the spotlight from individual acclaim to collective accomplishment. And this is the part most people miss: fashion is a team sport, not a solo act.
"Instead of repeating the industry’s habit of celebrating one figure at the top, we wanted awards that reflect how fashion really operates: collectively, collaboratively, and through thousands of decisions made by teams who never get to walk a red carpet," the press release stated. Jonathan Anderson himself acknowledged this reality during his acceptance speech at the Fashion Awards, saying, "I am only the show girl up here. There’s an entire team … I can’t do it without them.” This begs the question: why has it taken so long for the industry to formally recognize this collaborative dynamic?
The 1 Granary Design Awards feature 20 categories, with winners selected by a diverse panel of designers, including heads of brands like Veronica Leoni at Calvin Klein and Julian Klausner at Dries Van Noten, as well as studio staff. Approximately 1,000 individuals participated in the voting process. While established names like Alaïa, Phoebe Philo, and Chanel secured wins, with Miu Miu picking up four awards including best womenswear collection, the crucial difference lies in the recognition of the teams behind these successes. The names of the individuals responsible for Miu Miu's influential collection will now be known to 1 Granary's 19,000 Substack subscribers. This increased transparency is a step towards a more equitable and appreciative fashion ecosystem. But how much will it change the status quo?
This approach aligns with 1 Granary's core values. Founded as a student magazine by Olya Kuryshchuk, a Ukrainian-born fashion design student at Central Saint Martins in 2012, the platform has evolved into a prominent advocate for those working behind the scenes. Thirteen years later, it serves as a powerful voice highlighting issues within the fashion industry's work culture. Kuryshchuk and her team of six part-timers manage everything from brand recruitment to student projects across 50 universities worldwide. This dedication to nurturing emerging talent and addressing industry challenges sets 1 Granary apart. It's a testament to its commitment to fostering positive change.
These awards stem from a desire to correct an imbalance. “We just want to follow a very simple principle, to credit the people who create the work,” Kuryshchuk explains. “Architecture does it, music does it. Fashion, weirdly, is an outlier and it should not be like this.” This comparison underscores the need for fashion to adopt a more inclusive and collaborative model, acknowledging the contributions of all team members. Why has fashion been so slow to adopt this approach?
Named after the address of Central Saint Martins, 1 Granary has expanded into a website, Substack, and Instagram feed (with over 314,000 followers). Its wide readership and industry respect make it a significant influencer. When Seán McGirr's appointment as creative director at Alexander McQueen resulted in all top positions at Kering being held by white men two years ago, 1 Granary sparked a widespread debate, pointing out the lack of diversity in an Instagram post. More recently, they've addressed topics ranging from AI's impact on stylists to the collapse of online store Ssense, even publishing a list of brands owed money by the retailer for their paid Substack subscribers. This fearless approach to addressing critical issues solidifies 1 Granary's role as a vital watchdog within the industry.
1 Granary was at the forefront of a broader movement towards openly discussing problems within the fashion industry, issues that were previously often overlooked to avoid being labeled a troublemaker. Now, other platforms are also unafraid to express their opinions. Instagram accounts like @boringnotcom, launched in 2024, offer outspoken and often scathing reviews, sometimes awarding shows a zero out of ten. Diet Prada, established in 2014, continues to post regularly on Instagram, calling out cultural appropriation and highlighting allegedly racially offensive posts by Dolce & Gabbana (leading to a defamation lawsuit against the account's founders). This growing chorus of critical voices suggests a shift towards greater transparency and accountability within the fashion world.
However, Kuryshchuk emphasizes a key distinction between 1 Granary and these other platforms. “We never shame anyone,” she states. “We only talk about structural issues. We never highlight individuals or specific brands. We’re not about gossip, we’re not about stirring the pot to get likes. None of us hide our faces. We don’t publish anything we don’t stand for.” She attributes their lack of legal challenges to their careful approach. “Our work is solution-oriented,” Kuryshchuk explains. “If a story doesn’t help move the industry forward, we leave it.” Instead, she describes 1 Granary as “more of a community hub that advocates for [jobbing] designers.” This focus on constructive criticism and community support sets 1 Granary apart as a positive force for change.
Dal Chodha, the leader of Central Saint Martins' fashion communication course, identifies 1 Granary's greatest contribution as its "advocacy for those that are behind the scenes." He describes it as "almost a union in lots of ways. Who do you go to if you work at a major design house?" This analogy highlights 1 Granary's role as a support system and advocate for those who often lack a voice within the industry.
Chodha emphasizes the importance of Kuryshchuk's presence at international fashion weeks and her connections with teams "in every house." “She’s not used that to grow her own profile,” he says. “She’s used that to try to re-establish what the hell fashion is and what it looked like when she started, what it looks like today, and more critically, how we could maintain it, or maintain something, for the future.” This dedication to preserving the integrity and future of fashion, while prioritizing the well-being of its workforce, is a testament to Kuryshchuk's vision.
Kuryshchuk remains motivated by her experiences as a design student. “We all entered fashion education with a very romantic idea of the industry,” she says. “And we started discovering that the majority of graduates will never work in design, won’t get jobs.” This stark reality fuels her commitment to creating a more equitable and supportive environment for aspiring designers.
She believes 1 Granary's influence is becoming evident. Now, when students graduate, “and they see that the expectations don’t match what they believed, or what is right, they are actually pushing back.” 1 Granary's work has made some within the industry wary. “I think [Kuryshchuk] makes people nervous in the way that union members make people nervous,” says Chodha, “because she upsets the apple cart. There aren’t many bold voices in our industry talking about the exhausted, exploited designers who are making these collections and are locked in studios overnight.” This fear highlights the power of 1 Granary's advocacy and the potential for significant change within the industry.
Chodha hopes that 1 Granary will continue its vital work, supporting design teams rather than just the "show girls" like Anderson. Because it's “so inside that it’s kind of an outsider, it gets to have that opportunity to be more fearless, perhaps, than a lot of others are.” 1 Granary's unique position allows it to challenge the status quo and advocate for a more just and equitable fashion industry. What do you think? Is the fashion industry ready to embrace a more collaborative and inclusive model, or will it continue to prioritize individual celebrity over collective accomplishment? Share your thoughts in the comments below!
