Trieste, Italy — The 22nd edition of the prestigious International Talent Support (ITS) competition, held annually since its inception in 2002 by Barbara Franchin, showcased impressive creativity under this year’s theme, “Borderless.” The event, renowned for championing emerging fashion talents, saw a continuation of the modified format introduced last year, wherein each of the ten finalists was bestowed the ITS Creative Excellence Award 10x10x10.
Among the standout participants was Maximilian Raynor, a 26-year-old designer from Derbyshire, who has been a significant figure in the London fashion scene since launching his own label in 2022. Raynor, famous for dressing celebrities, captivated the jury with his collection that features opulent, sculptural designs inspired by various historical periods. His concept, set against the backdrop of a surreal purgatorial haunted mansion, significantly impressed the panel, earning him the ITS Jury’s Rewarding Honour.
Also recognized was Patrick Taylor who clinched the Modateca Deanna Prize and the Pitti Tutoring & Consulting Award. Taylor, a Parsons School of Design alumnus, integrates sportswear elements with intricate knitwear, drawing inspiration from his active childhood and love for outdoor sports like skiing and sailing. His collection, notably crafted from merino wool and designed to mimic denim textures, combines comfort with technical excellence.
The competition did not just spotlight individual brilliance but also emphasized sustainable and ethical fashion practices. Raynor, for example, highlighted his commitment to sustainability, sourcing recycled materials and employing zero-waste techniques in his creations. He combines different fabrics and textures, from shredded tweeds to voluminous knitwear, all adorned with unique embellishments.
Apart from Raynor and Taylor, other contestants also made their mark. French designer Macy Grimshaw received accolades for her paper dresses, capturing both the Swatch Prize and the Fondazione Sozzani Award. Zhuen Cai from China, praised for incorporating traditional craftsmanship with circular design methods, was awarded a €5,000 scholarship by the Camera Nazionale della Moda Italiana.
The ITS also fundamentally reshaped the traditional competitive ambiance of fashion showcases by providing each finalist with a €10,000 scholarship, a ten-day residency at the ITS Arcademy — the first museum dedicated to contemporary fashion — and the opportunity for a ten-month exhibit of their work. Participants also enjoyed an exclusive industry visit and a training day with the Italian fashion group OTB.
This year’s ITS edition also drove a poignant narrative on fashion as an expressive medium for personal and collective narratives of emotional and physical challenges. Designers like Naya El Ahdab and Macy Grimshaw utilized their collections as platforms to explore themes surrounding disability and memory loss, articulating profound personal and social messages.
As Franchin noted, the competition is becoming a platform not just for showcasing talent but also for fostering a supportive and collaborative creative environment. This sentiment was echoed in the manifesto on the future of fashion, co-written by this year’s finalists, marking a pivotal shift towards nurturing a fertile ground for innovative ideas and sustainability in fashion.
The ITS 2025 successfully mirrored not only the artistic and professional growth of emerging designers but also underscored the evolving narrative of fashion as a tool for social commentary and change. This paradigm shift enhances how competitions can fundamentally influence not only the careers of new designers but also the wider discourse in global fashion and sustainability.
The inclusion of all finalists in various supportive initiatives underlines the competition’s commitment to providing substantial, real-world opportunities, setting a new trend in how fashion talents are nurtured and recognized globally.
This article was compiled using AI technologies; the facts, people, and specific circumstances mentioned may contain inaccuracies. For factual corrections, please contact [email protected].