Born in the leafy enclave of Bedford, New York, designer Conner Ives, a self-professed “country mouse,” grew up in a household that taught him two things early: that quality is worth protecting, and ambition is worth following.

At 16, a connection through his mother's dental practice landed him an internship with Wes Gordon, and soon after he moved to London and set about becoming a designer.

In his first year on the BA at Central Saint Martins, a garment from a school project — a duchess satin duster coat adorned with swans — was requested and worn by model Adwoa Aboah to the 2017 Met Gala. The moment announced him to the industry before he graduated, but back at school, the reception was rather cool:

“I remember my tutorial after [the Met Gala], being sat down and told, ‘It’s nice that you can make dresses for people’ – reducing doing the Met Gala as a 20-year-old first-year BA student to that – ‘but school has to come first,’” Ives recounts.

Now, almost six years into building his label, the designer is navigating what it takes to turn creative instinct into a functioning business. His label began with one-of-a-kind reworked vintage pieces and deadstock materials — a proposition that gave the clothes their character, but was not always easy to translate into the wholesale system.

“We would do 1,500 T-shirt dresses and no two were the same. That was always the selling point of it, but that is a very difficult business pitch to get to a Net-a-Porter, let alone a Net-a-Porter buyer, or a Net-a-porter customer,” he says. 

This week on The BoF Podcast, Conner Ives joins BoF CEO and founder Imran Amed to discuss what it means to build an independent fashion business without losing the instinct that made the work resonate in the first place.

Key Insights: 

• Ives’ brand is built on an American idea of high-low dressing: Ives describes his label as shaped by family memory, American fashion imagery and a belief in clothes that can carry time. His mother’s care for old Frye boots and his father’s instinct for wearing things until they wore out helped form a design language that values both glamour and durability. “Things of quality have no fear of time,” he says.

• Central Saint Martins gave him confidence by forcing him to defend his taste. Ives arrived at CSM with a clear instinct for American glamour, spaghetti-strap dresses and debutante references – ideas that did not always fit the school’s preferred mythology. His “White Project” from his first year at the BA later became the basis for Adwoa Aboah’s 2017 Met Gala look, but the response from school was muted. “I think that struggle made me a better designer,” he says. “It made me also have to defend what I did so much more so.”

• “Protect The Dolls” worked because it came from instinct, not marketing. “My whole aversion to fashion being involved in politics sometimes is that it oftentimes can feel quite self-serving,” he says. Made the night before his Autumn/Winter 2025 show, the T-shirt only clicked when Ives moved from affection to urgency. “My love for trans people was not what was being threatened here right now. Their safety was being threatened,” he says. The final phrase – “Protect The Dolls” – was printed on at-home transfer paper, ironed onto a T-shirt, and went on to sell over 600 units in a day. 

• Ives’ advice is to trust the instinct before you overthink it. Looking back, Ives says the clearest lesson was learning not to override his own internal signal. “If you are a creative person, you are probably also a reactionary person,” he says. “That reaction is coming from somewhere really pure and really whole – so listen to it.”

Additional Resources:

•  Conner Ives | BoF 500 | The People Shaping the Global Fashion Industry
• ‘Protect the Dolls’ T-Shirt Becomes a Fashion Symbol for Trans Rights | BoF 
• Unearthing the New at London Fashion Week | BoF 

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