For perhaps the first time in a long time, Carly Cushnie feels free. Dressed in all black against the backdrop of neon spotlights and glittering crystal embellishments of the outrageously colorful American Girl Doll Place in New York City, the fashion designer seems almost anonymous. Nearly a year after she was forced to shut down her celebrated luxury brand, Cushnie, due to financial strains from the COVID-19 pandemic, she’s here tonight to celebrate a spin on history, a reinvention of her own making. When she steps out onto the runway, the crowd—including no small number of elementary-aged girls—springs to life with shouts and applause.
To commemorate ” data-vars-ga-product-id=”4440c439-c0c0-4986-bcd6-c5e2cc5e4af6″ data-vars-ga-product-price=”0.00″ data-vars-ga-product-sem3-brand=”” data-vars-ga-product-sem3-category data-vars-ga-product-sem3-id data-affiliate=”true”>American Girl‘s 35th anniversary, the doll company partnered with design agency Harlem’s Fashion Row to imagine doll and girl outfits for its brand new characters, Makena, Maritza and Evette. But HFW founder and CEO Brandice Daniel also ushered in Cushnie to sketch six re-imagined designs for American Girl’s flagship historical characters. If you grew up in the ’90s and early 2000s, you likely remember all their names (and have a favorite), but Cushnie’s artistry focused specifically on Felicity, Josefina, Kirsten, Addy, Samantha and Molly. She was charged with recreating the dolls’ signature ensembles for a modern era, as well as outfitting real-life girls with those same outfits for an ensuing runway event.
“I didn’t grow up in the States, so I didn’t grow up with a doll,” Cushnie told ELLE in an exclusive interview ahead of the show. “But when I would tell friends, like, ‘Oh, I’m doing a project with American Girl,’ they’re like, “Oh!! I had this doll!’”
Proclaimed “one of the most prominent Black-owned brands in American fashion” by the New York Times, Cushnie the brand was like Cushnie herself—bold but elegant, sensual but sensible. At the height of its success, Cushnie’s designs found their way to such prominent fans as Michelle Obama, Beyoncé, Rihanna, Priyanka Chopra, Selena Gomez, Jennifer Lopez, and Halle Berry. When she announced she’d be shutting down the label because it “could not survive the pandemic,” the reaction was intense and immediate. Models, journalists, fellow designers, and celebrities alike took to Instagram to express their shock and enthuse about Cushnie’s next move, but the designer, 36 at the time, chose to briefly retreat from the attention.
The brand’s loss was a crushing blow, personally and professionally. But it also marked the first time, Cushnie says, she felt she could stretch her creative boundaries. She could focus, too, on her young children—both girls—and the world she was helping shape for them, one where Black female fashion designers might not have to wrestle so hard to keep a businesses afloat. In that sense, American Girl arrived at the perfect moment.
Below, Cushnie discusses reinventing some of the most iconic characters of our youth; her favorite designers working today; and whether a revival of her eponymous label might, someday, be in her future.
The look of these dolls is so iconic, especially to those of us who grew up with them. What was the process of re-imagining these designs?
It felt like a lot of pressure. These dolls have been around for 35 years. People are very attached to them and have their opinions. So it was doing the research, understanding their stories, reading their stories. The team at American Girl have been [working] there for so long and know these dolls inside out. They were just a huge resource of, What could she possibly be wearing today?
Is there a particular theme you used to tie the collection together, or is it specific to each girl?
It’s very specific for each girl. Because I really wanted it [that way] because the characters are so specific in the things they like and their storylines and what happens. So it’s really about picking up on those details that inspired each individual look. They’re from different time periods as well, so I wanted to make sure I [got that] right and created something new and fun.
It’s been almost a year since you decided it was time to close Cushnie. What have you been up to in the months since, and where are you focusing your attention now?
After having the business for 12 years, it was definitely hard. I guess it was time. But at the same time, it was definitely heartbreaking. So I took some time. I have two young girls—they’re a lot. It was also wonderful to be, in this weird world that we’re in at the moment, like, let’s take some time to reset.
Right now I’m working on projects that spark my interest and that keep me creative. I’ve done this doll project. I am working on a couple of fashion things. I am working on a couple of interior things as well. I’m spreading my design reach a little bit. I feel like I have more creative freedom now that I don’t have the company.
Do you have any hopes or intentions of starting another label, or perhaps re-launching Cushnie?
I think right now—do I want to? I’m enjoying having more flexibility and being creative in different avenues. I think I’m not opposed to starting a new brand or reinventing the brand somehow, but it has to be in the right way.
There’s just so much that has changed in the world. There’s a lot of beautiful fashion out there, too, that if I reinvent myself with redoing the brand again, it’s got to be in a thoughtful way. Never say never, but not right this moment.
You’ve been picking your projects very intentionally over the past year. So why did this collaboration with American Girl mean something special to you?
When I was growing up, I never had a doll that even closely resembled me. So introducing these dolls, introducing these new stories—these modern stories—are so important for kids growing up nowadays. I think it’s great to highlight these historical characters for the younger generations to learn. Because history is so broad, it can be difficult to teach children, to have certain hard conversations with them.
Like, when I was reading the Addy story I started crying. But these stories are still so important, so relevant.
How do you feel that your style and design taste has evolved in the years since you launched your label?
It’s definitely become more fluid. I’ve always loved the play of more structured, tailored looks versus fluid looks. But I think as I progressed over 12 years—I feel like it grew up in the same way I did. It was more elevated, more elegant. I really wanted to create this easiness to it. It’s still sexy and still sleek and modern, but it has a little bit more suppleness. I think I became softer over time.
When you first announced the brand was closing, you mentioned how the fashion industry has continually made it challenging for female designers, and specifically women of color, to be successful. A year after you made that statement, do you see the industry wisening up?
Women of color and female designers are still lagging behind male designers; It’s been [like that] for decades and decades. Whether it’s raising money or doing a collaboration or getting this gig here or whatever, you’re fighting tooth and nail. You either hear or you know, firsthand, from other designers telling you that you didn’t get in the room. I do definitely think there is progress being made, but I still think there is a long way to go.
Which designers and brands are you finding yourself particularly enamored with right now?
I think Fe Noel makes stunning things that make you want to go on vacation. I’ve always been a big fan of Jonathan Simkhai. I saw Charles Harbison at the Harlem Fashion Row show [during New York Fashion Week], and I thought he had a great collection. I really think he’s someone to watch.
Which of your designs for American Girl is your personal favorite?
Oh, it’s hard. I do love them all, but I think my favorite is Josefina’s jumpsuit. It’s so cute; I’m like, “I want to wear that!!”
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