Damien Pommeret discusses international Woolmark Prize eligibility changes
As applications for the 2028 edition of the International Woolmark Prize (IWP) have officially opened, the prestigious competition is shaking up its own rules. For the first time in seven decades, the prize is no longer exclusively for founders of independent labels. It is now open to designers working within established houses.
Damien Pommeret, regional director for Western Europe at Woolmark, explains the reasons for this strategic pivot to FashionUnited. He also analyses the economic transformations affecting young designers and the merino wool market.
The IWP is undoubtedly one of the most legendary launchpads in global fashion. For over seventy years, this competition dedicated to innovation with Australian merino wool has propelled the greatest names in couture history. These include Karl Lagerfeld, Yves Saint Laurent and Valentino Garavani, as well as major contemporary figures like Rahul Mishra and Gabriela Hearst.
For this new cycle, with the final taking place in 2028, the Woolmark organisation is evolving its eligibility criteria. The finalists will each receive a grant of 60,000 Australian dollars to design a capsule collection. They will then compete for the grand prize of 300,000 Australian dollars. Finalists will now be selected from both independent brands and talents working behind the scenes in the industry's design studios.
You are now opening the prize to designers who have not necessarily founded their own brand. Is this a sign that the independent designer model is becoming more difficult economically? What are you observing today in the career paths of young talent?
Damien Pommeret: The evolution of our eligibility criteria primarily reflects the evolution of the fashion industry. Designers' career paths are much more diverse today than they were a few years ago. Talent emerges from both independent brands and the design studios of established houses, where they develop high-level expertise and creative vision.
With this new edition, we wanted to ensure that the IWP continues to reward the best talent, regardless of their working environment. Our ambition has never been to single out a particular entrepreneurial model. Instead, we aim to recognise designers capable of pushing the boundaries of design and innovation, and demonstrating the potential of merino wool to shape the future of fashion.
Of course, we are aware that young designers are operating in a more demanding economic context today. This is precisely why the IWP is much more than a competition. It is a comprehensive development programme. It combines financial support; mentorship; technical expertise; access to an international network; and global visibility to provide long-term support for designers on their journey.
The Woolmark Prize has discovered Karl Lagerfeld, Yves Saint Laurent and Gabriela Hearst. Today, how do you concretely measure the prize's impact on the winners' careers? Do you have data on their commercial development five or ten years after their victory?
Damien Pommeret: The legacy of the IWP is exceptional, and its impact is primarily measured by the career paths of the designers it supports. Beyond the financial grant, the Prize offers international visibility and recognition from buyers, media and fashion houses. It also provides privileged access to a global network of experts and industry professionals.
The most recent results illustrate this dynamic. Since the last edition, winner Duran Lantink has been appointed artistic director of Jean Paul Gaultier. Two finalists have also secured major roles: Meryll Rogge has taken over as artistic director of Marni, while Rachel Scott, founder of Diotima, has been named artistic director of Proenza Schouler. These appointments demonstrate the IWP's ability to identify the designers who are already shaping the next generation of fashion.
Each designer then follows their own path, but the IWP acts as a true career accelerator. It provides industry recognition and access to a global network of experts, manufacturers, buyers and media. For many of our past finalists and winners, these connections, credibility and the resulting opportunities are the true legacy of the Prize.
Beyond creativity, are we seeing a real economic comeback for wool? Are new regulatory requirements, the search for traceability and the questioning of synthetic fibres genuinely changing brand demand, or is it still mainly about image?
Damien Pommeret: We are observing a fundamental shift. Brands are no longer just looking for creative or premium materials. They now expect fibres that can meet growing demands for performance, traceability, sustainability and regulatory compliance.
In this context, merino wool addresses several strategic challenges. It allows brands to reduce their reliance on synthetic fibres by using a natural, renewable and biodegradable alternative. It also offers recognised technical performance in terms of comfort, breathability, durability and versatility.
Beyond its intrinsic qualities, wool can also play a positive role for nature when produced using responsible farming practices. The preservation of soil, biodiversity and ecosystems is a central concern for many farmers. This is because the health of the pastures directly affects the health of the flocks and the quality of the fibre. This approach illustrates the potential of natural fibres to be part of a more regenerative vision for fashion.
The role of the IWP is precisely to prove that merino wool is not only a responsible material but also a formidable driver of innovation. Designers today use it in tailoring, knitwear, technical textiles and experimental developments. This proves it meets the creative, environmental and economic expectations of the industry. Its comeback goes far beyond mere image-making; it is part of a structural transformation in the material choices made by brands.