- 4 minutes ago
"The Importance of Making Diverse Creative Connections" panel moderated by Merle Ginsberg was joined by Corey Smith, VP diversity and inclusion and academic relations at LVMH; Randy Cousin, global senior VP collaborations and VIP styling at Tommy Hilfiger; and model/actress and diversity rights advocate Jillian Mercado.
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00:02Like Taryn was saying, she used the word empowerment, and I feel like there is just a lot of empowerment
00:09going on here today, listening to everyone talking.
00:14This is about the importance of making diverse creative connections. Very important topic.
00:20We're standing at a crossroads in 2026.
00:23For years, the industry focused on representation, simply making sure diverse faces were in the room.
00:31Today, we're here to talk about power.
00:34We're discussing who holds the keys to design studios, how we're mentoring the next generation of creative directors,
00:42and how we build a fashion ecosystem that doesn't just invite people in, but actually belongs to them.
00:51To explore these connections, or built from the inside out, we have a powerhouse trio of leaders.
00:58The man bridging the gap between the world's largest luxury conglomerate and the academic halls where the next icons are
01:07born.
01:08Corey Smith, Vice President, Diversity and Inclusion and Academic Relations at LVMH.
01:24Hi, Corey.
01:26I'm very good. How are you?
01:29A creative visionary building the pipeline for black talent through his work at Tommy Hilfiger and his nonprofit, Creatives Want
01:37Change.
01:38Randy Cousin, Global SVP at Tommy Hilfiger.
01:53And an icon who has spent her career shattering every ceiling in her path, proving that true inclusion must be
02:01intersectional, visible, and one of my favorite words, unapologetic.
02:06Jillian Mercado, fashion model, actress, and disability rights advocate.
02:25Okay, Corey, we're going to start with you.
02:28You've often said that luxury isn't exclusive.
02:31It's aspirational.
02:32In your role bridging D&I with academic relations, how are you ensuring that students from underrepresented backgrounds don't just
02:42aspire to buy luxury, but feel equipped to lead it?
02:49Wow.
02:50Well, first, it's great to be here.
02:53I'm glad everybody came out this afternoon, and congratulations to the Social Impact Summit Fund for putting this together, and
03:01I'm honored to be here.
03:05Well, we want them to buy, first of all.
03:09Look, I think it's a variety of things.
03:14When you think about talent pipelining, because that's what our academic relations strategy is at its core, right?
03:22Going out to these colleges and universities, and at least offering to students the idea or notion that LVMH could
03:33be a career destination for them.
03:38We're really trying to do a few things, and to summarize it, I would probably say access, information, opportunity, and
03:47representation, right?
03:48And it's really this idea that you need to see yourself or envision yourself working in these spaces.
03:58And that's the part about the word exclusivity that just made me cringe when I entered this industry.
04:07I get the idea of scarcity in the luxury industry, right?
04:12I get the idea of if you know, you know, and quiet luxury, and all the terms that we hear
04:19throughout.
04:19It's not really quiet anymore.
04:20I mean, you know, but this idea that or the notion that it's not meant for certain people just did
04:27not sit right.
04:30And so, you know, leveraging the word aspiration, because I think we all aspire as humans.
04:36We evolve, we grow, who you are at 18 when you're a college freshman is not who you're going to
04:43be at 25.
04:44It's not who you're going to be at 35.
04:46And in that evolution, as your goals evolve, as your aspirations hopefully evolve, somewhere in that journey can be your
04:57entry point into luxury.
05:00And so the idea that exclusivity means that it could never be for you, it just may not be for
05:06you now, it may be for you at some later point in your life, was what I was trying to
05:12promote, right?
05:13But a lot of it is about just the awareness to begin with, that there is a role for you,
05:21there is a place for you.
05:22I think a lot of people at most educational institutions, they look at this industry and they think, well, if
05:29I don't want to be a creative director or if I don't actually want to be on the creative side
05:34of the business, there is no place for me in that business, which is wrong.
05:38We're a corporation like anybody else.
05:39We need a finance department.
05:40We need marketing.
05:41We need supply chain.
05:42We need all the things that every other corporation needs.
05:45Plus, yes, we have this incredible idea around creativity and savoir-faire and craftsmanship that, yes, you may need a
05:53very specific skill set for.
05:55And so the access is just showing them that there's the possibility.
06:00It's the information of letting them know you can be here and here are all the entry points in.
06:06And then it's just about creating the opportunity.
06:08And then the last piece, the representation, is you have to see yourself reflected in the organization.
06:13And that's where the diversity and inclusion piece comes in.
06:18Are there enough women in the CEO position?
06:21Are there enough people of color in executive positions?
06:24Is the LGBTQ community represented?
06:27Where do we stand in terms of our people with disabilities as a part of our workforce?
06:31And so that representation piece is key.
06:34You can't be it if you can't see it.
06:37And so for me, that's where the worlds intersect.
06:42But it's always about the aspirational.
06:45I don't care if you walk into one of our stores and you want to buy a, you know, a
06:4950, well, we don't sell anything for $50, but, you know, a $250 item.
06:57If you want a $250 item, you know, come in.
07:00And at that point, I should make you feel as special as if you're buying a million-dollar item.
07:05And hopefully, if I do that at the $250 price point, you'll become a loyal client.
07:11And when you can afford the million-dollar item, you'll come back to us because of how we made you
07:15feel at that $250 point.
07:17Straight out of Breakfast at Tiffany's.
07:20There you go.
07:22Randy, you're the founder of Creatives Want Change.
07:25You're working to ensure that black talent has a seat at the table from the very beginning.
07:31What's the biggest barrier you're seeing in 2026 for young creatives trying to navigate the unwritten rules of high fashion
07:40design?
07:41I have to echo Cora.
07:42I'm really excited to be here.
07:44And such an important question.
07:47The challenge in 2026 continues to be the challenge that existed when we created Creatives Want Change,
07:53and that's just access, access and visibility, visibility to the opportunities that are out there
08:00but go so unnoticed to underrepresented students and students of color.
08:05And when Creatives Want Change was founded, I was having a conversation with a dear friend of mine
08:12who actually recruited me in my first job.
08:15And, you know, back in 2020 during the BLM movement when we saw a lot of the systemic challenges that
08:21were out there
08:22and the veil was lifted, he said, you know, when I'm recruiting in so many colleges,
08:27why is it that I see so many little students of color?
08:30And I said, the reality is in a lot of cases by college it's too late.
08:33And the reality is a lot of the institutions out there that a lot of big fashion companies recruit from
08:40have pre-college programs.
08:42So he said, you know, I would love to work with you to do something about that.
08:47Little did I know when we reached out to a lot of the amazing institutions and, you know,
08:52shout out to FIT who's one of our partners,
08:55when we asked what the representation was in a lot of the programs, it was zero to none.
09:00And we wanted to make that change, and that's where Creative Want Change was born.
09:05And really it has been our focus and our goal to create that access.
09:09First it starts with visibility.
09:10Then it starts with access and it starts with partnership.
09:13And really working in the last six years with the likes of FIT, Otis, SCAD, RISD,
09:19the list goes on of our great partners, we have been able to open up access
09:24and give pre-college scholarship programs and scholarships to 25 students a year,
09:30creating that pipeline.
09:32And looking six years from now, looking the fact that there are 100 students
09:36that have gone through that program, and I say 100 because it's important for us
09:40to create a pipeline so that they feel nurtured, we know their names,
09:44they can reach out to us, we can mentor them, we can connect them with internships,
09:50access to housing if they need it.
09:52And that's really what then changes that.
09:55And, you know, I was just talking to our program director, you know,
09:59we have these meetings every other Monday, and the reality of having 50 students
10:04in the last six years who are now in design programs out there with colleges
10:09is astounding because we are creating that pipeline.
10:12And even, I always say, if just one of those students ends up becoming a future leader
10:18who deserves a seat at the table, it will then truly make the difference.
10:22And, you know, I used to say that I don't take for granted for the fact
10:27that I'm in this position that I am today as a leader in fashion,
10:30but the reality is you want to be able to see others like you to feel
10:35that you can have a seat at that table.
10:37And I used to often say I'm a unicorn, I shouldn't be here, but I should be here.
10:41And while I am here, I'm going to make the change that I want to see.
10:45So, you know, join the movement.
10:47It really has been amazing to see the light in these students' eyes.
10:51And, you know, this is a philanthropy that me and my co-founders do.
10:56And, you know, when you're in your day-to-day hustle, you take for granted.
11:00But when I get an opportunity to see those students and the light in their eyes
11:03and the fact that they are in college programs and that they feel that they have that access
11:09and that they are now a part of this fashion system,
11:12a system that would not exist without, you know, the representation of all diverse races,
11:18it's important that based on the consumerism that is out there in order for fashion to exist and survive,
11:25we have to create opportunity and access for these future leaders of color.
11:36Jillian, my dear, you have moved the industry conversation from disability inclusion to undeniable presence.
11:45When you walk into a creative meeting at a major brand today,
11:49what's the one connection or accomplishment that is still too overlooked by people in the C-suite?
11:58Hello? Hello? Hello? Is this working?
12:00You can hear me? Okay.
12:02Well, first of all, before I answer that question,
12:04I kind of want to take this moment in because I graduated FIT.
12:122010, so I feel old.
12:14But also, that man over there, who's, I'm going to point, Nicola,
12:22he was the reason why so many things happened in my life.
12:28He was the one who gave me the first opportunity to be in a global campaign in Diesel in 2014.
12:37I love him.
12:38I love you.
12:40But that just shows the power of noting that there's a gap missing in a company or in the world
12:47and taking that power and actually changing it for good.
12:50And he knew that there was a lack of representation in my community.
12:54And he was like, excuse my language, fuck it.
12:56You belong.
12:57You belong in a really awesome, high-fashion campaign
13:01that is not necessarily focused on my disability but me as a model.
13:06And so it humanized that.
13:08And that was so important for me.
13:09And it also made way for where we are today.
13:12And I just, so thank you, again, for a million times.
13:18But to answer your question, I mean, I can, we can talk about this for like 30 years.
13:22But I think when I do go into a situation or, you know, a room,
13:29I look at the reason why they hired me, right?
13:32Is it my disability?
13:33Is it myself being Latina?
13:35Is it my queerness?
13:37Is it being a woman?
13:38And usually something is always missing.
13:42They're only picking one side of me and not all of me.
13:45And I think that that's really important.
13:47If you're going to hire me, pick me as a whole person.
13:50So that's one.
13:51And I think another one is, actually, I can think of three.
13:56The second one I would say is maybe hire a diverse people behind the scenes, too.
14:07It really kind of pains me when I am in a situation where I am in a campaign
14:11and I don't see disabled people inside the company.
14:15So I feel like they're only checking a box just to say that they did it
14:20and not actually invest in our community.
14:24So that's really important because then language is learned.
14:32I can also say, no, I think that was it.
14:36Yeah, that was it.
14:36Yeah, I'm going to keep it at that.
14:39Yeah.
14:41Corey, question two.
14:44OVMH has recently leaned into long-term partnerships
14:48with organizations like Harlem, Smash, and Roe.
14:51How do these deep creative connections fundamentally change the way a legacy house
14:57approaches its design and recruitment process today?
15:01Great question.
15:06Well, there's multiple ways to answer that.
15:09I think when we think about partnerships in general,
15:11we are looking for people or organizations that bring something to the table
15:18that obviously we don't necessarily have an abundance of ourselves.
15:23In the case of Harlem Fashion Row, we were the title sponsor in 2022
15:28for their fashion show and style awards.
15:32And a lot of our maisons leaned in at that time,
15:36and those partnerships have continued.
15:39We also don't like to do one and done, right?
15:41Like, why would I sign up with you for just one year
15:43and never see you or partner with you ever again?
15:45So we do look for organizations that we see ourselves
15:49in some sort of long-term relationship with.
15:53But when it comes to the creatives or the creative side of engaging
15:58in a particular partnership, I think it also goes back
16:01to how we define luxury, the word luxury itself.
16:07To your point, it is one part of the definition is this idea of heritage, right?
16:13These iconic brands that have been around forever.
16:18Some of our brands have been around for over 100 years, over 200 years.
16:24The other part of that is what we call edge.
16:30And by edge, we mean cultural relevance, right?
16:33So the perfect combination of heritage and cultural relevance.
16:36And the cultural relevance piece is the thing that takes these heritage brands
16:42and keeps them relevant now and forward-thinking.
16:45And what that essentially boils down to is innovation and creativity.
16:50It is the thing that takes a brand that is 100-and-something years old
16:55and makes people want it now or makes people are going to want it
16:59in the next 50, 100 years.
17:01So it is a heritage brand like a Louis Vuitton bringing in a Virgil Abloh
17:06and then bringing in a Pharrell.
17:08It is brands like Dior bringing in a Jonathan Anderson.
17:13And that edge is what drives everybody crazy.
17:20It's what makes them look forward to the next collection and do the next thing.
17:24And so when we think about partnerships, we're trying to tap into organizations
17:29that kind of have their pulse on the culture.
17:32Harlem Fashion Row was one of them, but there's so many that I think we have
17:38identified as the edge piece for us.
17:42That innovation, that creativity, that sure, we have it within the walls of LVMH.
17:48But again, if we're forward-thinking, if we're thinking about the next 100 years,
17:54we recognize having to go out and source that sometimes elsewhere
17:57or at least partner with somebody that can help us tap into it.
18:00And it's not just about the internal creativity.
18:03It's about any collaboration that we do.
18:05I know I've got some of my Tiffany colleagues in here, and I saw them earlier.
18:09And so just a really quick story.
18:11Tiffany partnered, I guess this was maybe two, three years ago,
18:14they partnered with Supreme to do like little charms for the iconic Tiffany bracelet.
18:21And I tell this story often.
18:22The day the charms were released, it was a Friday.
18:26I'll never forget this.
18:27There was a line down the block and around the corner of the Tiffany store.
18:32Everyone on that line, they were under the age of 25.
18:35It was hoodies and Air Jordans.
18:37And I was like, that is not your traditional Tiffany customer, right?
18:43But that collaboration created such a level of cultural relevance for that moment
18:48right then and there.
18:49It took an iconic heritage brand over 100 years old like Tiffany
18:54and made it really cool.
18:57And so those opportunities to collab with what's hot or even collabs that you may not necessarily
19:05sometimes see right away, but it makes a ton of sense.
19:09At least three or four of our brands have collaborated with Nike and done like some sort of Nike drop.
19:15Dior has done it.
19:16LV has done it.
19:17Tiffany has done it.
19:18So these moments to tap into the zeitgeist of what is culturally relevant definitely keeps our brands
19:26forward thinking about what innovation and creativity can look like.
19:29I love the way LV re-released the Murakami in slightly different shapes and colors.
19:35But I want to know when the graffiti bag is coming back.
19:39You know what was so funny is I actually tried.
19:42When it was the 50th anniversary of hip-hop, which was what, two years ago?
19:462023?
19:47I tried.
19:48I was like, graffiti is an element of hip-hop.
19:51We need to bring that bag back.
19:52And they were all kind of like, Mark Jacobs will kill you.
19:57So I sat down.
19:58I was like, I'm new to this industry.
19:59Let me stop while I'm ahead.
20:00But I did try.
20:01I did try.
20:02And who knows?
20:03Maybe we'll see.
20:04I actually have one.
20:05And I will never part with him.
20:07Randy, Tommy Hilfiger has a long-standing commitment with opening doors and creating pathways for the
20:15next generation of talent.
20:17How do you ensure that high-visibility collaborations translate into real, lasting opportunities for
20:24emerging talent?
20:25Well, I do have a confession to make, guys.
20:28My job is really cool.
20:30I mean, I grew up with the Tommy Hilfiger brand.
20:33I wore the clothes.
20:34I grew up in the hip-hop era.
20:36And we very much, I mean, Tommy, Ralph, all of it.
20:39So the opportunity now to work on thoughtful collaborations for the brand that really connect
20:45to these cultural moments and the zeitgeist, I mean, it's a dream come true for me.
20:49But I think being a purist and thinking back when I was a kid and how important these singular
20:56pieces are, you know, and also have an opportunity to work with Tommy Hilfiger, the man, it goes beyond
21:01clothes.
21:01It's all about, you know, the storytelling journey as well.
21:05And whether you are an established designer or an emerging designer, it's important for
21:09us that every collaboration that we work on always feels authentic.
21:14But it also gives you an opportunity to tell the story behind that.
21:17I mean, behind the scene is the scene.
21:19And, you know, being a big brand and having the ability to use your global platform, you
21:28know, not only to celebrate, again, an established designer, but also an emerging designer.
21:31Can you imagine what that means to that designer to have such a global platform?
21:36So, you know, for us, bringing that to the forefront is truly important.
21:41And I think it's important not to take for granted that that can really make really foundational
21:46change when you're working with a collaborator.
21:49But that level of authenticity is so important.
21:52I think next to that, it's also extremely important that it never feels like a one and
21:57done, you know, and that you always feel like you are connected to the brand.
22:01And it's creating that familial aspect of what the consumer looks at with relevant collaborations
22:08and being able to use our platform to create that shine and that positive uplift.
22:14And, you know, having the ability to even look at the emerging designers that we've had
22:19the ability to work with and to see the light in their eyes to be a part of this machine
22:25and
22:26having that access, whether it's like a photo shoot or telling their story or the little
22:31things that you can sometimes take for granted as a big brand means so much to an emerging
22:35designer, so much.
22:37And those have been the extra special heartbeat moments to me being in this role and having
22:43the opportunity to work with great organizations also like Harlem Fashion Row, where you're
22:46making, you know, a really foundational change in the system and being able to then see what
22:53they're doing from a long term aspect in that level of support.
22:57So, truly, the game changer really is about authenticity, storytelling, and really making sure that the
23:04platform is lifted so that all designers feel that they have that global access and that
23:10energy and that support.
23:12Isn't it interesting that we hear the word authenticity, you know, a couple times a day,
23:17those of us in the arts and in culture, but outside of our world, where is it?
23:26Jillian, you're the co-founder of Black Disabled Creatives.
23:33Why was it important to create a specific space for that intersection, and how can the executives
23:40on this stage better show up for talent that exists at the crossroads of multiple marginalized identities?
23:48Um, yeah, that is my pride and joy.
23:51So, Black Disabled Creatives, I came up with during COVID, um, because I was noticing an interesting
23:59phenomenon, which was that people needed to get back to work, right?
24:04And it was interesting for me, and I want to say my community, because we've been screaming
24:10off the top of our lungs to get work, but some of us can't leave our home because of our
24:16disabilities,
24:17and there was an excuse, like, well, if you can't get in the office, you can't get this
24:21job, um, and then what do you know?
24:24COVID happened, and everybody's working from home.
24:28Um, but the most interesting thing that I got from that also is that a lot of Black creatives
24:36were not getting those jobs just for the fact of race, um, and that was really disappointing
24:42to, to see that, so, and also was, kept getting the comment, like, hey, do you know anyone else
24:48like you?
24:49And I'm like, girl, there is, like, a bajillion people out there like me, and you just have
24:53to go and look for it.
24:54So I created a directory, and any person that identifies with being a creative who's Black
25:01and disabled, um, can sign up for free, and for other brands or companies, um, if they're
25:10looking for a photographer, if they're looking for a model, if they're looking for any field
25:14in their creative industry, they can not have the excuse of not knowing where we are.
25:19So that was really important.
25:24Um, okay, now we're on the lightning round, which is fast answers coming from the gut.
25:31And I'm told to keep you at 15 seconds.
25:35I think that's impossible, but let's try.
25:38What is the single most important tool that can give a diverse creative to ensure that they
25:45stay in the industry for 10 plus years?
25:53Curiosity.
25:55You have to want to continue to learn about this business.
25:58You have to want to understand what makes the greats greats.
26:03I know you have your own muse and your own inspiration and your own things, but learning
26:09from some of the best that have done it can never be a bad thing.
26:13So curiosity.
26:14Randy.
26:16Reputation.
26:16You only get one.
26:17And repetition is reputation.
26:19I often tell a lot of students, be on time, show up, take notes.
26:26To Corey's point, be curious.
26:28Um, you, you have to hold your reputation so dear.
26:31Uh, and it's truly important.
26:33It's, it's your calling card.
26:35Jillian.
26:36I say evolve.
26:38I say there's a lot of companies do fall, fall back.
26:41Cause they just don't want to look at what's in front of them.
26:44Um, so don't be afraid of evolving and, and mixing it up a little bit.
26:51We're in New York.
26:52Which specific community or borough is currently leading the way in terms of authentic.
26:58I have not answered this question.
27:00We are about to fight.
27:01Yeah.
27:01Grassroots creative connection.
27:03Okay.
27:03I don't even have to finish.
27:05Um, this is impossible.
27:08I'm a native New Yorker.
27:09I was actually born and raised here.
27:12What I love.
27:14Shout out to the natives.
27:16Um, it's the beauty of this city, right?
27:20Every pocket has its own kind of special flavor and sauce to it.
27:25So there's no one answer.
27:26I could, I could say red hook in Williamsburg, just as easy as I could say.
27:31Harlem, just as easy as I could say.
27:32Astoria.
27:34It's that's next question.
27:38I have to go hard with Corey on this one.
27:40I, New York everywhere, you know, and I, I have an opportunity to travel the world.
27:46Corey and I were joking.
27:47I'm always on a plane, but I will tell you there's no city like New York city.
27:52No city.
27:53I'm telling you.
27:54And my heart still beats when I'm on that terrible drive from JFK.
28:00Trying to get home to my dog.
28:02And you, and you look out and you see that and I said, wow, I am so lucky to be
28:06a New
28:06Yorker.
28:07You are making me feel really bad about living in LA.
28:12It's all right.
28:13It's fine.
28:13I also live in LA too.
28:14So it's okay.
28:16Um, I was actually also born and raised here, but I'm going to be the villain and I'm going
28:20to say the Bronx, whoa, I'm going to say the Bronx just because every time I go there,
28:28it still feels the same and the culture is still alive.
28:31Whereas the other places.
28:36Gentrification is real.
28:37I'm going to go with the Bronx.
28:39It's a safe space.
28:41Remember that old joke about New York city would be a great place if they ever finish
28:46it.
28:49Never.
28:50The van wick will never be finished.
28:54By the year 2030, what's the one major change you hope to see in the way luxury houses recruit
29:02talent?
29:07You know what?
29:08I think for me, considering I came from outside the industry, I would love for them to actually
29:16factor in transferable skills from outside.
29:19We do spend a lot of time kind of spinning with the same folks.
29:24Oh, you were at X company.
29:26Come on over here.
29:26Oh, you.
29:27And so I think there's a lot of untapped talent that you could gather from.
29:31Again, I came from sports and entertainment, like those industries, when you look at it
29:36through the perspective of lifestyle are very tangential to this world of luxury, but financial
29:43services, there's certain industries that I think those skills are actually much needed
29:48in the luxury sector and we haven't quite tapped into them yet.
29:52So I would say bringing in talent from outside.
29:55For me, it's two things.
29:58First of all, it's recruiting outside of the normal places you look.
30:02And then next to that, how can we also look outside of the four-year college system?
30:10That's huge.
30:11That's a great one.
30:12I think college is so important, but it is not easy and it is way more expensive than
30:17when we went.
30:18So I think there should be alternatives to the typical way that we, you know, look for
30:26and recruit for students.
30:28Except FIT, of course.
30:29Yes, of course.
30:31No.
30:32Well, you know what?
30:33To me, and I'm on this whole new journey of not just this, it's this and this.
30:37You know what I mean?
30:38So I think that's just like, let's create an alternative to that four-year college experience.
30:44Yeah.
30:45Jillian?
30:45That's a really good one.
30:47I would say, let's get out of our bubble of what, I guess I'm speaking as far as like
30:55the campaigns and the brands and what a model looks like.
30:59I think we need to pretend like we, stop pretending like we don't exist.
31:05And add a little sassong to it, because I am tired of seeing the same type of architect
31:12again and again and again.
31:14And I would love the luxury world to remember that there is an outside.
31:20Love talking to you guys.
31:24Yeah, you're all awesome, and I think we should go to dinner.
31:28Let's do it.
31:29And thank our fabulous panelists.
31:32Thank you so much.
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