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E D I T O R - I N - C H I E F
M E L I S S A W U S A T Y
E X E C U T I V E E D I T O R
F A S H I O N D I R E C T O R
F E A T U R E S E D I T O R
F A S H I O N E D I T O R
C O N T R I b U T I N g E D I T O R
C O N T R I b U T I N g w R I T E R S
C O N T R I b U T I N g g R A p H I C D E S I g N E R S
w E b D I R E C T O R
A R T D I R E C T O R
S A N D R A C R O S S
A M Y LY N N S T R I L C H U K
M E L I S S A C H O W
M E L I S S A R E N W I C K
S T E p H A N I E O R R
N A H R I C H I , A N g E L A K I M ,
T AY L O R C O U T T S & R A E R I C H A R D
v I N C I A N E D E p A p E
K A T K I N A S E W I C H
D Av I D A U S T I N
A L L I S O N T O O H E Y
S / S 2 0 1 1
CONGLOMERATE is published
bi-annually by Conglomerate
publishing Ltd. All rights
reserved. No part of this
publication may be reproduced
in whole or in part without
permission from the publisher.
The views expressed in
Conglomerate are those of the
respective contributors and are
not necessarily shared by the
publisher. Canada’s Fashion
Week Magazine is a registered
trademark of Conglomerate
publishing Ltd. ©
p R I N T I N g
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Conglomerate publishing Ltd.
M A I L I N g A D D R E S S
1600 90th Avenue SW
p.O. Box 72163,
Calgary, AB T2C 5A8
A D V E R T I S I N g
a.taylor@conglomeratemag.com
conglomeratemag.com
C O N g L O M E R AT E M A g . C O M
www.bourjois.ca
LITTLE ROUND POTSCreating Wonders since 1863
The Boss Speaks – C O M M E N T A R Y 0 7
Fashion Meets Film – C A T A l O g
Shout Outs – C l I Q U E
(App)ealing – C O M P l I M E N T S
Mr. Roth, You Astonish – C O M P O S E
Fashion Tribes/Maskerad /Ed Williams – C O R N E R
Pass-i-on – C O M P O S E
C h A P – Legend Carries On
C O l l E C T I O N S – S/S 2011 Runway Report
C h A P – Men’s Suit Guide
C h A P – Out of Hibernation: The Gentleman
C R A f T – CocoKipp
C O N T E M P l A T E – Designer’s View
t r u e l o v e w a i t s
s e r a p h i m
c o h o r t
a l l h a i l g e n e r a t i o n y
h a u t e f a s h i o n f o r c h e a p
z e p h y r
f a s h i o n f o r w a r d
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C O N T E N T S0 6
I cannot place my finger on what it is, but there is something
stirring in Canada’s fashion industry. It is clandestine.
Vehement but somehow placid. Watchful. Perhaps it is not
a singular, autonomous thing but several intangible currents
that are on the brink of colliding. I have sensed it at the
nation’s respective fashion weeks and been charmed by it
when speaking to fellow colleagues. Despite not knowing
much about this evasive rising, I have the inclination that it
will instigate change.
Fashion is obsessed with the future. Each season, droves
of fashion professionals endure the cruel task of accurately
pinpointing what will be coveted. Nowness is passé. What
is unusual about fashion, particularly in Canada, is that with
each season the industry recreates itself visually but as an
institution it dawdles along. The stagnant nature of the
fashion institution in Canada has sparked a passionate need
for change. Perhaps, this is motivating drive behind this
increasingly restless movement I have sensed.
It is discomforting knowing the fashion industry in Canada
is visionless at times, walking around in circles in a pitch
black abyss. The larger picture and the dedication to create
a light at the end of the tunnel is often omitted from our collective consideration. The ramification of covering our fashion
industry in a white wash of false prestige and glamour, when it is severely incapacitated, is immense and simply absurd.
Who wants to party when misery is the silver lining? Is this why we are still fumbling around in the dark? Because we are
too scared of what we will see when the lights turn on?
The bottom line: the designers are struggling in an outdated system. Whether they are established or honing their skills
in design school - they are the pulse. In order to change the system, Canada also needs to recognize it completely lacks
the ability to retain fashion professionals and academics that possess the forward thinking to do so; the shocking void of
fashion programs, other than design and marketing, in Canadian academic institutions is embarrassing when compared to
other countries. How can an industry develop when it is not supported by an education system or even considered worthy
of academic thought? It is time to return to the grittier fundamentals of the industry and get our hands dirty. Now is the
time to step back from the spectacle of fashion, rip the industry from its connotations of frivolity and take control before
things get unruly. We are optimistic that things will change, and we look forward to playing our part.
For this issue, we have highlighted the topics, struggles, tensions, setbacks and triumphs that will define the future of
fashion in Canada. Whether it be technology, emerging niche markets, changing attitudes or values, or a new crop of
fashion consumers like Generation Y, we feel dialogue is the most appropriate starting point to turn things around. We
have also given the designers an opportunity to voice their opinions regarding the future of fashion in this issue. We are,
most importantly, a platform to encourage debate and because we wouldn’t exist without the designers, this is our way
to give back.
M E L I S S A W U S A T Y
c o m m e n t a r y
T H E s / s 2 0 1 1 I s s U E
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C L I Q U E 0 9
F a r z i n g h a y o u rP H O T O G R A P H e R
Ghayour believes there is nothing more inspirational than working
in the fashion industry. Having the opportunity to be constantly
challenged in an environment that fosters creativity and collaboration,
Farzin finds the motivation to push his craft further.
z e n a i d a k w o n gP H O T O G R A P H e R
Hailing from the Western Canada, Kwong began her fashion
photography career in Vancouver and now lives in Australia. Inspired
by natural ambience, she found the perfect setting for her sunrise-
themed editorial Zephyr in Calgary’s Nose Hill Park.
l a u r a m a r g a r e t r a m s e yP H O T O G R A P H e R
Ramsey is an American photographer, currently living and working in
Canada. After graduating from the Alberta College of Art and Design
in 2009, she has been focusing on the labyrinthine complexities that
shape reality. She attempts to portray figures as embodied ideas and
representations of abstract virtues.
m i c h a e l m o r r i s o nP H O T O G R A P H e R
Fascinated by vanity, Morrison loves to explore and visually
communicate the cultural poles of a subject. His images always capture
the essence of the beauty or visual intrigue he sees in his subject.
Infatuated with perfection, Morrison never ceases to push the limits of
both his medium and the creative interpretation of his inspiration.
c h r i s s a t l e g g e rP H O T O G R A P H e R
Sattlegger lives and produces work in Calgary, is a design junky and
collector of hobbies. Inspired by all aspects of life, Sattlegger keeps
sketchbooks filled with inspiration and ideas he plans to realize.
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t h e r e s a J a l o t J o tH A I R S T y l I S T
Jalotjot has honed her skills as a hairstylist for two years, designing
hair directives for some of Calgary’s premier fashion events,
collaborating with the city’s finest photographers, and building a
strong client base at Hedkandi Salon.
l a u r e n t a m a k iI l l U S T R A T O R
Tamaki is an illustrator and graphic designer currently in her final
year of study at Alberta College of Art and Design. Clients include
Murale, GOOD Magazine, Theatre Junction GRAND and Swerve
Magazine. She also has a degree in Fashion Design that comes in
handy sometimes.
o l g a o n u l o Vm A k e - U P A R T I S T
Onulov loves the expression, freedom and possibilities that makeup
provides from pure and simple beauty to complete transformations.
Her sharp sense of aesthetics, artist’s touch and understanding of the
creative process, make her a vital component to a successful shoot.
J o a n n e b l a c km A k e - U P A R T I S T
Black has been a professional makeup artist for 17 years, with work
featured in prominent publications such as Greek Vogue, Cosmo
HK, and Elle Canada. Black has worked with personalities such
as Charlize Theron and Minnie Driver, has appeared on Cityline,
Breakfast Television, CTV and MTV, and has worked backstage at
Alexander McQueen and Vivienne Westwood.
d y l a n s m i t hI l l U S T R A T O R
Smith is an emerging design talent currently honing his skill at the
Alberta College of Art and Design.
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Online BOutique
splitpeavintage.com
F A S H I O N A P P SB Y M e l i s s a C h o w
Slide. Tap. Slide. Expand. What image do these verbs conjure? Fingers
moving frantically over a glossy iPhone of course! Today our fingers are
being exercised to their maximum potential, thanks to Apple’s almighty
iPhone and first generation iPad. Our fingers are downloading information
at lightning speed, giving owners instant access to complement any lifestyle,
interest, secret vice, or obsession. With over two hundred thousand apps
ready to be downloaded from Apple.com or iTunes, the possibilities are
endless and slightly overwhelming. To prevent fatigue, check out our
favourite and fabulously free fashion apps to keep you in style.
Style.com - Be like Anna Wintour and review the latest runway shows during
fashion week, complete with up-close and personal video footage and photo
slideshows of every collection, which you can save onto your phone.
Today’s Shoe by Bergdorf Goodman - Shoe lovers get instant buying
power with 24-hour access to specially selected styles from the Shoe Salon,
expedited delivery and complimentary returns.
Amazon.com - See someone carrying a handbag you admire on the street? By
using the ‘Amazon Remembers’ function, you can take a photo of the product
and it will try its best to find the exact same item online for you to purchase.
Evernote - More than just a fashion app, this tool will help save all your
favourite Sartorialist inspired photos, jot down a restaurant review in a digital
notebook, and catalog your poems or songs as a voice-note.
c o m p l i m e n t s 1 1
Technology has changed fashion. Prior to the internet and iphone applications, fashion was
an exclusive world. Television programs and magazines offered a partial, impersonal glimpse
into fashion; however, these platforms did not allow for interaction. Within the last ten years,
the proliferation of technology and information has democratized fashion, introducing it to the
masses and transforming the industry from monologue to a tête-à-tête.
1 0 0 N e w F A S H I O N d e S I g N e r SB Y T a Y l o r C o u T T s
Every six months, the capricious nature of
fashion produces another season brimming
with ways to express our identity, our times,
and our bodies. Fashion is perpetually
changing, which is why, many of its faithful
supporters continue on through thick and
thin. Fashion is addictive. The tingle of
mystery that accompanies each new season
is electrifying, let alone the allure of being
a part of it; it is a narcotic that entices,
destroys, and causes frenzy every time H&M
announces a new designer collaboration.
Desp i te fash ion ’s never-end ing
transformations, postmodernity has stirred
anxiety concerning the industry’s creative
threshold. Pressure to achieve commercial
success has created moments of dull
uniformity. The rise of the celebrity designer
has prompted many to wonder if designers
like Valentino will exist in twenty years. The
prevalence of masstige has given luxury an
identity crisis, and to tie up all these escalating
concerns, the mother of them all rears its ugly
head: can originality exist when the concept
itself seems too much of a risk?
The argument can go on for hours. Some
argue fashion is hypocritical, operating under
the facade of originality when most designs
are blatant references to some other time,
designer, or style. Others argue that fashion
remains original because even though the
industry is loyal to the classics, it is ever so
careful to place a twist upon familiarity; it
is the combination of the references and
interpretations that makes it original. Then
there are always a couple smart-asses who
believe nothing is original anymore, period.
The discussion can make an entire room
of fashion cronies glaze over, and very
frankly, it is a can of worms we would rather
not open any further.
This very discussion is what Hywel Davies’
100 New Fashion Designers instigates. The
title itself is complicated. Davies’ treasury of
talent, however, offers the perfect antidote to
all of this over-analyzation - optimism. The
London-based fashion journalist accurately
notes early on that “young talented fashion
designers make a huge impact on the
fashion industry and ensure that new ideas
are explored and contemporary visions are
realized,” and we couldn’t agree more.
Focusing on designers who are within
the first decade of their careers, the book
is undeniable proof that fashion is thriving
quietly at an unexpected level - where
it all begins. The eagerness, unhindered
exploration and manipulation of fabric, and
overall healthy disregard or lack of familiarity
with the fashion system leaves something
to marvel in. It is exciting. Ranging from
the surreal to the strikingly commercial,
beautiful to the odd, Davies’ investigates
each designer through pictures, sketches,
and short informative paragraphs or Q&A’s.
Canadians Rad Hourani and Erdem Moralioglu
are featured amongst some of Britain’s
rising stars such as Aimee McWilliams. The
anthology leaves no stone unturned, offering
the reader a wide range of talent. Website
addresses are provided to encourage
exploration outside of Davies’ compilation,
an endeavor worth pursuing since many of
the designers featured boast healthy careers
since the book released.
The fashion community must give itself
more credit, there are individuals who want
to be couturiers. As long as new designers,
with their fresh ideas and willingness to shake
up the establishment are being welcomed
into the community, the avant-garde will live
on. The key is to allow them to succeed. It
could be these energetic newbies that will
revolutionize the industry, and Davies’ proves
that the idea is worth exploring. Sure it is a
gamble, but it would be one heck of a ride.
Available at Indigo bookstores
chapters.indigo.ca
Fashion is a melting pot of colours, textures,
cultures, and visions. Now with technology
splashed into the mix, fashion extends
beyond the boundaries of glossy print
covers and narrow catwalks.
As a three-dimensional art form, it seems
only natural that fashion is sashaying its way
into the entertainment limelight on the big
silver screen. There has been a surge of
designers using motion picture to display
their collections; such use of multimedia
allows designers to breathe life into the
inspirations that lie behind their creations.
What began as an ingenious partnership
between a few of the industry’s forward
thinkers, the fashion short film is now an
effective and ubiquitous means of marketing
the world of fashion to the masses. Even the
major fashion house of Chanel used cinema
to launch their latest men’s fragrance, Bleu
De Chanel, with a video directed by the
Academy Award winning director, Martin
Scorsese. Such collaborations of creative
geniuses from across industries can only
result in a match made in artistic heaven.
The dividing line between film and fashion
was extinguished by none other than Tom Ford
with the debut of his movie, A Single Man,
which gained instant critical acclaim. Further
fueling this growing trend of fashion and film
is the technological ability of cinematography
to enhance the effectiveness of foraying the
latest fashion news through the Internet.
With the intense popularity of outlets such
as Youtube, viral videos have allowed for the
overnight success of its subject matter. What
does this mean for the average individual?
For starters, the ability to stream video feeds
of the latest runway shows will make you privy
to an up-close and personal view of fashion
weeks across the globe, all from the comfort
of your own home.
B Y N a h r i C h ii l l u s T r a T i o N s B Y D Y l a N s M i T h
P I c t u r e M e : A M O d e l’ S d I A r yB Y M e l i s s a r e N w i C k
Model Sara Ziff was blessed with naturally
long and slender limbs, a blank-canvas face
that transforms her from the all-American
girl-next-door to a Greek goddess with
the swoop of a make-up brush, and a wide
straight smile that even braces couldn’t
realize on us mere mortals. But rub off the
make-up, pull out the hair-curlers and take
away the lights, and you will find hollow
eyes, dejected and wearied.
Winner for Best Picture and Best Fashion
Film at the Milan International Film Festival,
Picture Me captures Ziff as she transforms
from a glowing, fresh-faced 18-year-old
enthralled “to be invited to this exclusive world
of billboards and magazines,” to a broken
23-year-old, unfulfilled with walking down a
straight platform and stripping down at the
request of photographers and designers,
despite a six-figure pay cheque.
With a combination of home video footage
and behind-the-scenes shots at elite fashion
shows and photo-shoots, Ziff and her then-
boyfriend, filmmaker and co-producer Ole
Schell, lift the curtain on the not-so-glamorous
world of modeling – revealing cocaine as a
vice models use to get through back-to-back
shows during the fashion week circuit, the
crippling debt aspiring models owe to their
agencies and the bleak future that lays ahead
once appearances tire and editors clammer
over the latest 14-year-old sensation.
The documentary features interviews
with models: Caitriona Balfe, Lisa Cant and
Cameron Russell – who confess, as Ziff
explains, “everything from one model’s story
of being sexually assaulted on a shoot at 16,
to another model’s opinion that the naturally
gangly physique of young teenage models
sets a dangerous standard to which the older
models are forced to aspire.”
Picture Me exposes the modeling industry
and its darker undercurrents; its façade of
glamour loosely covers the grim realities that
cause many models to either collapse under
pressure or simply lose their professional
drive. The industry will always stir debate, but
through education comes change and perhaps
Picture Me is a positive move forward.
y v e S S A I N t l A u r e N t : H I S l I F e A N d t I M e SB Y T a Y l o r C o u T T s
Unfussy (if it were a word) best describes
David Teboul’s documentaries featuring the
late courtier Yves Saint Laurent. Both films
unfold as if they were home videos meant
for private viewing; there is no narration,
sombre music, or gloss some would expect
from a documentary featuring a high-
profile designer. His Life and Times simply
reveals the designer’s upbringing, time
spent at Christian Dior, and his eventual
rise to fame punctuated by interviews from
colleagues, family members, supporters, and
the designer himself. The second feature,
5 Avenue Marceau 75116 Paris, documents
the development of Laurent’s last collection
(which interestingly reveals the inspiration
behind Stefano Pilati’s strawberry appliquéd
dress for SS10). There is little fuss. The
audience watches the collection unfold from
sketch, to muslin, to final creation, revealing
the tedious operation of fine-tuning a
garment; meanwhile, Laurent chain-smokes,
jokes earnestly, trips, and compliments his
seamstresses work. Some might be bored,
others will be invigorated by the creative
process. Yes, the film may be ‘uneventful’
but it is undeniably the life and times of a
master at work - a side of the business that
is rarely considered or revealed on film.
c a t a l o g1 4
with scraggly and grown-out white blonde
extensions that draped down to their lower
backs. Sadly, that image wasn’t a one-off
fashion tragedy, but rather, one that repeats
itself with each visit to the mall.
I realize this doesn’t say much about
Calgary girls. This is not the issue at hand,
think Heather Marks and Elisha Cuthbert, but
it does say something about malls and the
consumer behaviour they encourage. The
deduction is simple: malls create fashion tribes.
Through their convenience, malls spawn
similarly dressed people. It’s remarkable.
With Chinook’s $280 million expansion
nearly complete, I am left with one question:
what is the addition of over 67 new stores
going to do to Calgary’s fashion? Will it initiate
the arrival of the “Urban Outfitters girl” and
the “Anthropologie girl,” or will it be a leaping
stone to invigorating a collective fashion
consciousness the city so desperately needs?
For decades, malls have been our direct
source to consume fashion, but with the
recent push of social media, bloggers are
now acting as catalysts for how fashion is
consumed. Gone are the days when you could
go to the mall and find that one quintessential
item that you wouldn’t have to share with the
rest of the city. Many have now turned to
online shopping to find less-donned items or
frequenting inner-city boutiques many have
not bothered to uncover - and why would
they? The hyper reality of malls are hard
to ignore. The bigger and brighter it is, the
more it is hard to resist.
A recent trip to Calgary’s Chinook Centre
shopping mall burned the image of four
giggling 20-somethings linked arm-in-arm
in my mind. The girls were clad in matching
spandex pants with TNA and Lululemon
logos on display right above their perky ass
cheeks; all of which were tucked into their
slightly varying models of UGG boots; while
their skin-hugging graphic tees didn’t leave
much to the imagination – and just like the
cherry on top, their looks were polished off
M A l l S : B A t t l e O F t H e F A S H I O N t r I B e Sw o r D s a N D p h o T o g r a p h Y B Y M e l i s s a r e N w i C k
Tension between independent boutique owners and sprawling shopping centers has never been so lively. In cities like
Calgary, where urban sprawl influences when and how people shop, many small boutiques and their plethora of designer
goods collect dust while angry commuters fight over parking stalls at Chinook Centre. It is a given that boutiques are
vital businesses in any well-rounded metropolis, but why are they shutting down in droves? Inaccessibility, intimidating
shopping environments, snobby staff, and price points are commonly brought into the discussion but one cannot ignore the
obvious sign that most modern consumers lack the knowledge and value system that previously supported these businesses.
Revolving door closets have replaced edited ones. Why purchase an impeccably crafted sweater when a similar item can be
purchased at a big box store, for a fraction of the price, when you know that no one else can tell the difference?
And just like that, I found myself en route
back to Chinook Centre on a quest to find
out whether in fact, it does – or not.
Mannequins draped in perfect outfit
combinations filled window displays,
evoking a type of lifestyle that is, at times,
simply irresistible. Standing outside of Club
Monaco, I couldn’t help but daydream where
I could be and what I could be doing when
wearing the brand’s perfect mix of feminine
frill and masculine tailoring. Inside Zara, I
found myself staring at a long grey skirt I had
been admiring and fell again into a stupor of
daydreams and possibilities.
Stop. Freeze. Could it be? Was I the
wonderstruck retail girl? I quickly ruled it out,
determining that there is a difference between
being inspired by what the mall showcases and
buying items only because they are sold at a
particular store. There is a difference between
viewing a mall as a launching pad for personal
creativity versus nominating a retail store as
your personal shopper. There is a difference
between commercialism and originality. As
Coco Channel once said, “In order to be
irreplaceable one must always be different.”
Chinook’s expansion may be servicing
commercialism, but it is also presenting a
chance to be different, a chance to set a
new trend in motion. A trend of developing
personal style rather than buying into the
images presented by marketing geniuses.
A trend instigating the need to define and
fine-tune a personal image rather than
conforming to the masses.
My challenge to you, take the trend and
run with it.
6455 Macleod Trail Southwest, Calgary, AB
chinookcentre.com
c o r n e r1 6
l I F e ’ S A B I t O F A M A S k A r A dw o r D s a N D p h o T o g r a p h Y B Y
M e l i s s a r e N w i C k
On first impression, it is easy to mistake
Montréal boutique, Maskarad for a cluttered
costume shop. The brick and green walls
are covered with glass shelves littered with
flashy Victorian-style diamond necklaces
and old lockets that look as though they
were recovered from sunken pirate ships.
Old fur shrugs are hung from the ceiling
and racks of clothing cloud the sides of the
walls with sweetheart neck-lined dresses
that drape out at the waist, giving off a
classic 50s feel. The shopping experience at
Maskarad, is like digging through a treasure
chest of lost, but now found riches – and
it doesn’t take long before you notice that
the initial sense of disorder fades, as you
register that every item was placed with
purpose and precision.
“We have some people who sell their own
items,” describes Anika Lefebvre, the boutique’s
owner. “You have something that you care for
but that you’re not wearing anymore, you don’t
just want to give it away. Some people feel
more comfortable [with]somewhere they can
sell these special pieces – [somewhere] that
allows somebody else to have an opportunity
to give it a second life.”
Lefebvre describes herself as a treasure
hunter and is constantly traveling – seeking
antique, vintage and one-of-a-kind creations
and collections from all over the world. With
items coming from Brazil, Thailand, Sweden,
Great Britain, the States and local Montréal
designers, women of all ages can enjoy pieces
selected for their versatility and personalize
the style according to their shape and liking.
Maskarad is like an invitation to walk
through someone’s boudoir and play
dress-up. It is your one-stop-shop to
create outfits that are as cohesive as they
are rare; in an environment that fosters the
Québécois mind set that favors freethinking
rather than pretence.
103, avenue du Mont-Royal Ouest, Montreal
514-844-7676
g r A N d r e - O P e N I N ga M Y l Y N N s T r i l C h u kp h o T o g r a p h e r M e l i s s a r e N w i C k
Calgary boutique, Ed Williams Menswear,
held their grand re-opening on November 3,
2010. After celebrating the addition of 1,600
square feet and introducing a new aesthetic
to the clothing store, Conglomerate’s
Fashion Director spoke with Lowell Williams
about the future of the family business.
C: Besides having the vacated space next
door to make an expansion possible, what
drove the decision to grow the store?
LW: We’ve been in business for over 25
years, catering to customers’ business and
formal clothing needs. That being said,
with the emergence of dressy casual in the
workplace and the growth of denim in our
market, we’ve found it necessary to expand
our casual collection to accommodate our
customers’ needs. While we were able to
grow that aspect of our business in our
current space we weren’t able to dedicate
the amount of floor space to really do it
justice. The expansion has allowed us to
devote more space to display both our new
casual as well as our formal collections in a
more shopper-friendly way.
C: The new addition is distinctly younger
and more modern, both in its design and
the merchandise sold within it. What made
you decide to create two distinct spaces in
the shop rather than mesh the younger and
more traditional aesthetics?
LW: While we have worked hard to create a
space that any 20 to 40 year-old can feel at
home in, shopping for a pair of designer jeans
and a cardigan, we still wanted to remain true
to the needs of our long standing 50 to 70
year-old customer. That being said, we did
strive to create a space that all customers
would feel comfortable in crossing over from
one side to the next. There are plenty of
stores that your average 30 to 60 year-old
can go into and feel like they’re shopping with
a bunch of teenagers, while many younger
customers who are new to buying suits and
work clothes find it to be an intimidating
experience going into many of your
“traditional” menswear stores that remind
them of somewhere their grandpa shops.
C: What can your customers expect with the
new expansion? Any changes in labels you
carry or services you provide?
LW: Aside from being able to enjoy an
espresso at our new cement top cappuccino
bar while he waits for his pants to be hemmed,
our customers will be treated to a larger
selection of designer clothing. In addition
to expanding our current collection of
favourites like 7 for all Mankind, Ted Baker of
London and Robert Graham, we’ve also been
able to pick up new lines like Ernest Sewn,
Belstaff, and Shirt by Shirt to round out the
collection. However the key to this equation
is perhaps the one thing that isn’t going to
change: our service. We pride ourselves
in providing knowledgeable service that
is simply unattainable at most suburban
malls, while avoiding the pretentious or high
pressure sales environments that many feel
when shopping at some of our downtown
competitors.
830, 20 Crowfoot Cr. NW Calgary, Alberta
info@ewmenswear.com | ewmenswear.com
c o r n e r1 8
The balance between the menswear and womenswear industry has always been lopsided.
Despite the proliferation of female orientated magazines, television programs, websites,
and retail spaces, the rising demand for gent orientated platforms has infiltrated the
market. Businesses new and old alike are adjusting their methods to accommodate this
growing population of style conscious males, manifesting itself in revived services and
trends. The well-groomed and presentable male is not a new concept, but what has
changed in recent years is men showing conspicuous signs of fashion consumption; men
have always shopped, but now they are doing it in ways that is less tight-lipped and they
want the world to know they are consciously putting themselves together.ccHAP
d I S S e c t I N g t H e S u I tB Y M e l i s s a C h o w
i l l u s T r a T i o N s B Y D Y l a N s M i T h
The suit is eternally stylish. Always the most appropriate and
dapper choice for men wanting to channel a gentlemanly
demeanor, the suit is best known for its ability to morph
with subtle style nuances - from the size of the pant leg
to the lapel, the suit allows any man to express his own
sense of style. With the increasing popularity of Mad Men,
the look of the quintessential gentleman, think J.F.K’s all-
American black suit, has become enticing. Unfortunately,
many men have gone ages without wearing a suit or have
never purchased one, making the task of finding the perfect
fitting suit a daunting task. Follow Conglomerate’s essential
suit guide for a fit that measures up:
c h a p2 0
t H e P e r F e c t F I t
Shoulders. The fit should be snug with the
seam ending at the shoulders. If the fabric
wrinkles it is too big or it was poorly tailored.
The classic style is to have a natural armhole,
but a higher armhole tends to have a more
favorable drape.
Blazer Length. With arms straight by your side,
the bottom of the blazer should hit your palm
when you curl your fingers under.
Torso Fit. When you pull the front of the
blazer, there should be no more than a gape
bigger than your fist between you and the
fabric. If the buttoned up blazer is too tight, a
“X” will form on the torso front.
Sleeves: Shirt cuff should extend out from
under the sleeve about 1/2 to 1/4 inches.
Trousers. Always strive for a fitted trouser.
You should not hear the fabric flap when you
walk. Properly fitted trousers should sit natu-
rally at the hip.
RemembeR this geneRal Rule:
sOmetimes: buttOn the tOp buttOn in a 3-buttOn blazeR
alWaYs: buttOn the tOp buttOn in a 2-buttOn blazeR OR
middle buttOn in a 3-buttOn blazeR.
neVeR: buttOn the bOttOm buttOn. it is alWaYs left
unbuttOned.
t H e r u l e S
Fit. The suit should always fit seamlessly, not hang off you. A suit should be
a slender fit from the shoulders down to the trouser legs.
Keep it simple. If you are in doubt, stick with a neutral, solid coloured
blazer and trousers. Investing in a navy suit is the best option. For spring,
no need to wear a vest, unless you are ready to sweat.
Purpose. Know your occasion and intended purpose for the suit, whether
it’s for work, going out, or attending special events.
Accessorize. Tiny details, like a pop of colour in a tie or pocket square can
add interest to the most basic suit. Belts should be sleek, not worn out or
too casual.
1234
Trousers. Look for stylistic nuances like
flat front, pleats, double pleats or cuffed.
The hem length ranges from full-break
(down to the top of the shoe’s heels), to
no break (the hem ends right before the
shoes to show a bit of sock).
Shoes. Oxford, Derby, Brogue (with
wingtips), or a loafer. Oxfords are classic
and formal; loafers are semi-formal and
has no lacing. Be bold and wear bright
colored socks.
t H e d e tA I l S
Buttons. Look for buttons made from naural
materials like horn, pearl, and bone or quality
materials. Choose from 3-button (most tra-
ditional), 2-button (most popular), or single
button (most modern).
Vents. Centre or double back vent –
slits created to make space for moving
around the hip area.
Lapels. Choose from notched, peaked,
or shawl-collar. The notched lapel is
standard on single-breasted suits. The
normal width is about 3 to 4 inches.
Fabric. Generally made of cotton, wool,
or a silk blend. Wool gives the most
flawless look, is durable, and comes in a
variety of weights and finishes.
Pockets. Besom, Patched, Flap, or Ticket
(double flap). Besom, a horizontal slit,
is considered more formal; the patch (an
outside pocket) is a casual detail
c h a p2 2
LEGEND cARRIES ONFor the last few years, Calgary’s downtown
core has been subjected to countless
renovations and new developments;
revealed results so far have not disappointed
and has helped instill a sense of pride
in the city. In effort to attract and keep
visitors or professionals downtown, the
Core shopping centers, consisting of TD
Square and Scotia Bank Center, have also
received much needed cosmetic surgery to
invigorate Calgary’s downtown shopping
experience. To help attract new shoppers,
entertain visitors, and impress hard to please
downtown dwellers, the Core has brought
in a bevy of retail heavyweights. Post-op
has introduced Calgarians to the legendary
American clothier, Brooks Brothers.
Succeeding Holt Renfrew’s former
three-story, twenty-two thousand square
foot space, the iconic company is the first
Canadian location to house the entire Black
Fleece collection designed by Tom Browne,
whose design aesthetic melds classic taste
with modern sensibilities effortlessly.
Complementing the Black Fleece collection,
which is contained within its own, specially
designed space, is Brooks Brothers’ Country
Club collection, complete womenswear
collection, Fleece label for boys and girls, and
a made-to-measure boutique located next to
the bar where customers are encouraged to
relax, have a drink, and play a game of billiards
before picking out one of the company’s non-
iron, cotton dress shirts.
While Brooks Brothers has been dressing
distinguished men for 192 years, notable
clients include Abraham Lincoln and John F.
Kennedy, Canada received its first opportunity
to dress its own eminent figures last year with
two locations in Vancouver and Toronto.
According to Brooks Brothers Chairman
& CEO, Claudio Del Vecchio, the company is
considered an American institution, helping to
not only define a quintessential American style
but to encourage timeless designs and good
taste. “The clothing is ageless and we like the
idea of not putting limits on our clients. To
open up the second largest store in Calgary,
aside from the Madison Avenue location, was
a very natural process for us.”
The clothier not only wants to, “Make and
Deal Only in Merchandise of the Best Quality”
at a fair price, but also to provide a long-
lasting relationship with their clients.
Nowadays, we crave the special attention
that is lacking in most retail stores; we want to
experience the lifestyle they exude. Despite
wanting excellent customer service, we are
frightened when a sales associate greets us
with a tinge of pseudo friendliness, but at
Brooks Brothers, service is genuine. Ask
any of the Brooks Brothers’ employees and
they will be happy to give you a company
history lesson or introduce you to one of their
in-house tailors – not to gain a sale, but just
because they love to.
B r O O k S B r O t H e r S O P e N S I N c A l g A r yB Y M e l i s s a C h o wp h o T g r a p h e r D a V i D a u s T i N
“CalgaRY is undeRgOing gReat Change, peRhaps What peOple pReViOuslY thOught defined the CitY is diminishing. We aRe heRe tO maRk this Change.”
The essence of Brooks Brothers caters
to those who revere the traditional Ivy-
League lifestyle, which poses an obvious
concern regarding its ability to succeed
in Calgary. “There is an obvious demand
for what we offer,” states President Diane
Ellis, “Calgary is undergoing great change,
perhaps what people previously thought
defined the city is diminishing. We are
here to mark this change.”
Ellis goes on to say the true success of the
company is the loyalty of their customers,
whom they hold in high regard. “Our
objective is to provide a shopping experience
that is memorable and most of all positive,
we want to extend this to Calgarians and
offer them something they may have not
experienced before. So many Canadian
business professionals who come down to
the States have asked us when we will open
in their area. We wanted to fill the void and
give Canadians, who yearn for a quality
clothier, what they are looking for.”
Ellis continues to explain that their customer
focus also explains why the company does
not have a celebrity spokesperson. “It is very
simple. A celebrity spokesperson would do
the brand an injustice. The face of Brooks
Brothers is our day to day clients, which has
ultimately assisted our growth and success.”
Calgarians now have the option to clothe
themselves in one of America’s most classic
style icons. Some may argue the traditional
roots of Brooks Brothers does not reflect
the needs and desires of Calgary, however,
it is very hard to resist the allure of high-
quality, accessible, and undeniably timeless
pieces. Shopping at Brooks Brothers is
about obtaining an education. Even though
many Calgarians may not fully identify with
the elite lifestyle the company portrays,
the company strongly values the edited
wardrobe, and many pieces can be styled
and incorporated into any closet. The result
is simply irresistible.
c h a p2 4
M c u t S H A v e S S H I N e SB Y r a e r i C h a r D
p h o T o C o u r T e s Y o f M C u T s h a V e s s h i N e s a l o N
Recently, the growing number of well-
groomed men walking the streets in polished
shoes has swelled. You can’t help but notice
them. Their tenor radiates beyond their
appearance. The way they hold themselves,
interact with others, speak, and go about
their daily activities is charming and curious.
Why should it be unusual though? Perhaps
society has gone too long without this
elusive set of men, and now that they have
been resuscitated from hibernation, the
concept and all they embody seems too
foreign to welcome immediately.
The nouveau gentlemen, however, is not
to be misinterpreted as a fad. There have
always been gentlemen, but now there are
more men learning the subtitles of its ethos
and embracing it wholeheartedly. Simply,
there are more options for men nowadays,
allowing many to act, think, and present
themselves in ways society has long scoffed
at or discouraged. The momentum behind
changes in men’s apparel, chosen past-
times, interests, magazines, conduct, even
depictions in popular media is formidable,
timeless, and soothingly contagious.
Significantly, the movement has caught hold
regardless of age, income, or profession,
shedding it’s previously held connotations
of nobility, and giving rise to new services
catered specifically to the contemporary
gentleman. The grooming industry has caught
onto the movement, prompting the opening
of gentlemen salons which are geared toward
specific grooming practices like the straight
razor shave. Such salons have opened their
doors in stylish cities like Tokyo, New York,
London and now Calgary.
Heading M Cut Shaves Shines, a polished
new gentleman’s salon tucked away
off bustling 8th Street and 14th Avenue
Southwest, is Daniel Lewis and Wissam Akl,
both quintessential gentlemen who spotted
an opportunity to recognize the city’s less-
noted, chivalrous characteristics. To help
revive gentlemanly manners in Calgary, Lewis
describes how his team hit the streets to
reward gentlemen and their chivalrous acts.
Lewis goes on to explain “that it has not come
without challenge. It has been rewarding in
some respects, sometimes surprising, when
we have the opportunity to reward a man for
his random act of being a gentleman, but in
more cases we have been disappointed by
how scarcely these acts are performed.”
When asked why acts are so hard to
come by, whether it be opening a door or
offering a helping hand, Lewis explains that
“a lot of men have the attributes of being
a gentleman but have lost the guidance in
terms of what is acceptable, we want to help
reinvent this. We want to encourage men
to not be afraid of chivalry. Chivalry is not
dead and we hope to promote it both inside
and outside the walls of M.”
What exactly is a gentleman? “The questions
itself instigates an interesting dialogue,” says
Lewis, “It is not just about opening doors.
Being a gentleman is all encompassing. It has
to do with your appearance, pride in how you
c h a p 2 5
Out Of HIbERNAtION:
tHE GENtLEmAN
put yourself together, how you present yourself
on a daily basis, but overall it is embodying a
spirit that is less tangible.” With all considered,
being a gentleman is an art form rather than a
set of strict guidelines, and M has succeeded in
reinventing the art by creating a sophisticated
environment, where men can enjoy straight
razor shaves, manicures, haircuts, facials, or a
shoe shine amongst numerous other services
that could make any lady jealous.
M is undeniably masculine. From its
cherry wood walls, to its butterscotch leather
barber chairs, one cannot help but envision
a group of well-groomed men, sharing a
laugh at the end of the day while waiting for
a shave or having their shoes shined. “It is
about creating an experience that is unique
and completely self-indulgent. Men do not
feel comfortable going to a typical salon, and
sitting amongst women to have their hair cut,
so we have created a very different space that
deviates from a typical salon,” says Lewis, “a
lot was considered when designing M.”
Lewis describes that many of the men
who frequent M are professionals, of various
ages, and value the time they set aside to
experience what the salon has to offer. “Our
clients tell us they look forward to their visits.
Many of them have very little time to spend
on themselves. In what time they can spare,
they choose to relax. Some initially feel
hesitant, many of them have been referred to
us by established clients or were encouraged
by their wives or girlfriends, but once they
experience a straight razor shave or have
their first facial, they regularly frequent the
spa because their visit was a positive, unique
experience. M is unlike anything else.”
M is an exclusive club. In its exclusivity it
offers men who are seeking tailored service
an oasis to indulge themselves. So don’t be
surprised if you see a lot more well-groomed
men strolling the streets of Calgary.
B e N e f i T s o f a s T r a i g h T r a z o r s h aV e
Experiencing a revival, the straight razor shave,
or wet shave, is gaining popularity due to its
advantageous perks. Here are the benefits:
By applying the shaving cream using a
badger shaving brush, facial hair is lifted,
allowing a closer cut.
The shave is done according to the growth
direction of the hair, preventing unnecessary
skin irritation.
The lather and cream exfoliates the skin,
which prevents in-grown hair and razor burn.
Hot towels infused with aromatherapy
softens the hair and provides relaxation.
The professional barber knows the correct
amount of pressure to apply. Most men
press too hard on the razor which leads to
skin irritation, redness, and bumps on the
skin’s surface.
B e N e f i T s o f a B a r B e r ’ s f a C i a l
The facial has unfortunately been typically
reserved and perceived as a female practice.
At M, clients are encouraged to complete
their shave with a facial which will provide
these additional benefits:
Extracts skin irritations and evens skin tone.
Cleanses, exfoliates, tones, and moisturizes
the skin, improving its overall appearance.
Facial massage completes and facial
c h a p 2 7
cThere is much happening in the cosmetics
industry these days, and frankly, it is
pretty damn exciting. With the growing
concern for our bodies, especially what we
put on it, consumers are expanding their
vocabulary to spot harmful ingredients
in their make-up, moisturizers, creams,
and hair products. The escalating “bare
essentials” movement has helped paved a
healthier future for the beauty industry, so
we spoke to some amazing individuals to
help clarify some of its misperceptions and
what it means for the future of beauty.
compose
You can’t help but gape at brave parents
who haphazardly apply sunscreen onto their
disconcerted children at the beach. They
are gentle but severe in their application
- knowing that at any moment their
newly oiled whippersnapper will evade
imprisonment and flee, most likely to the
water where they will stare back at their
defeated adversaries, triumphant and
haughty amidst their orbiting oil slick. Time
is precious when applying sunscreen.
The hilarious, ancient pursuit of cat and
mouse is maybe why as adults we avoid
sunscreen altogether: we’re waiting for
someone to spring out from the shadows,
pin us to the ground, and slick us up with the
viscous abomination. If we’re not forced, we
don’t bother until our horrid ignorance will
cause our skin to shed like a snake during
a vacation - maybe our blatant epidermal
abuse will be so nauseating that our closest
friends will refuse to apply aloe vera.
Sunscreen has thankfully come a long
way. Peter Thomas Roth, a clinical skin
care line that offers unique solutions to a
variety of skin concerns, has developed a
line of Instant Mineral SPF powders as an
effective and convenient alternative to
greasy sunscreen products. The product,
which comes in a variety of SPF spectrums,
provides UVA/UVB protection, works well for
all skin types, contains vitamins A, C, and E,
and the lightweight mineral powder leaves a
residue-free layer of sun protection. With a
I n s t a n t M I n e r a l s P F P o w d e r r e v o l u t I o n I z e s s u n C a r e
B Y R a e R i c h a R di l l u s t R a t e d B Y v i n c i a n e d e p a p e
flick of the wrist the product can be applied
to the face after applying make-up - an easy
and quick way to prevent sun damage.
Other products in the Peter Thomas
Roth sun care family include Uber-Dry
Sunscreen SPF 30, Oily Problem Skin Instant
Mineral SPF 30, and the newly introduced
Retinol Fusion AM Moisturizer SPF 30 a
multi-tasking product that fights wrinkles,
protects, renews, and moisturizes.
Thank heavens: a convenient way to apply
sunscreen without the fuss or the constant
fear of being jumped by our parents.
c o m p o s e3 0
pass-i-onShawn Hlowatzki, award-winning National
Trainer for Smashbox Cosmetics, is well
acquainted with passion. Inclined to think
outside the box, make-up is more than a
shroud to Hlowatzki but an art form that
creates a deep emotional connection with
its wearer.
Although make-up artistry was not
initially what Hlowatzki had set out to do,
life had other plans for him. A chance
encounter, with a gentleman at his aunt’s spa
after completing his training in dermatology,
prompted Hlowatzki to question how
make-up is applied. Using his mathematical
prowess and analytic eye, he deconstructed
the face into a grid, catapulting traditional
methods of make-up application into flux.
The numeric grid detailed the angles of the
face, allowing artists to pinpoint unique traits
of the face and assigning them a make-up
placement according to each individual; the
grid has become Canada’s first patented
make-up application technique. “Everybody
has a blank canvas,” states Hlowatzki, “We
can create illusions that make people feel
s h a w n h l o w a t z k I , s M a s h b o x ’ s C a n a d I a n n a t I o n a l t r a I n e r ,
M a k e - u P P h I l o s o P h yB Y s a n d R a c R O s s
more comfortable in their skin rather than
layering a mask on. [As an artist] you want
to take the mask away and we want to show
the best of what’s inside outwards.”
Hlowatzki’s unorthodox approach to
make-up caused stir in the industry. His
philosophy and abilities became vastly
supported, moving him into the cosmetic
industry where he branded himself and
relied on word-of-mouth to propel his career
forward. Passion was always an inciting
factor. “When you talk about what you do
and you share your heart about who you are
and what you believe in, that opens [doors],”
and that is what exactly happened. By
asking the right questions and challenging
convention, Hlowatzki’s unwavering passion
for make-up as an art form garnered a vast
support base in the industry. It wasn’t long
until Smashbox took notice.
Whether or not you believe in faith, it is
hard to deny whether Hlowatzki’s partnership
with Smashbox was meant to be. Parallels
abound between the man who became
Canada’s National Trainer, and the make-up
tour de force that started as a photo studio;
both relied on word-of-mouth to help them
grow. An ethical brand, with a passion
for realistic beauty, Smashbox’s doctrine
intertwine with Hlowatzki’s; both strongly
believe that women can feel good about
themselves, without the layers of suffocating
make-up, and can look just as good in front of
a camera without photoshop. Significantly,
Smashbox’s ethical practices such as their
PETA endorsement, interest in charitable
endeavours, and overall humbleness
reinforces the connection between Hlowatzki.
It makes perfect sense.
Indeed, these ethical practices that tie
the two together form a bigger philosophy -
make-up creates an emotional connection to
its wearer. As Hlowatzki points out, “A lot of
the best make-up artists have backgrounds in
philosophy. And the reason why is when you
work with people … make up is always with you
at the most important times of your life.”
The obvious positives, like a wedding
day or graduation, are emotionally laden
times when make-up is a focal point, but
even the bad days require make-up, for
instance, using a concealer to hide tired
eyes or emotions when confronted with a
break-up or death of a loved one. In the
end, make-up play an emotional role in life
rather than a completely superficial one;
an alternative, unique way to look at the
heavily criticized industry. For Hlowatzki,
“It’s not about loving make-up, it’s about
loving the process of making someone feel
beautiful. The touch you have to skin can
be a touch that is traced to an emotion, it
reaches beyond the face.”
The most important principle Hlowatzki
advocates today was acquired at a
conference where Dr. Maya Angelou was
a guest speaker. The idea of passion
can be broken down and separated into
individual words becoming - “Pass - I - On.”
To Hlowatzki, “passing a piece of yourself
through what you do, and that’s the best
gift.” Touching people on an emotional
level, going beyond the physical realm of
beauty, is the passion that Hlowatzki has
delivered to all those he has touched.
Beauty is: your signature that everyone sees.
Beauty is natural and organic.
Mission statement: where ever you are is
either preparing you for something better
or saving you from something worse.
Proudest accomplishment: making my
parents proud.
Earliest makeup memory: 4 years old with
my grandma’s red lipstick during special
occasions
Perfect day: sunny skies, the beach and good
conversation with good friends
Latest impulse buy: leather trunk
Retail therapy: antique markets and flea
markets – the best items are there!
Ultimate party guests: Michaelle & Cheryl
Guilty pleasure: bag of chips
Wouldn’t be caught dead: NAKED!
s h a w n h l o w a t z k I Q & a
A plus B does not equal C and that some
of the most interesting make-up artists that
I hire within our artistry programs are the
ones who have no experience at all, but
they’re the ones who have put emotion into
their technique. So can make up artistry
be learned? Yes, but that’s one of a million
people who are make-up artists around the
world. The key is to realize you’re no better
than anybody else; put yourself out there,
there’s no job not worth doing. Don’t get
caught up in the rush of the excitement
and the glamour. Be the least superficial
as possible.
s h a w n h l o w a t z k I ’ s P a s s - I - o nt O a s p i R i n g M a k e - u p a R t i s t s :
c o m p o s e3 2
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M O D E L n a t a l i e t u s z n i o [ M O D E ]
S T Y L I S T a l l e e n e d a t h a m m a v o n g
H A I R d y l a n r a i n e
M A K E U P K a y l a W h a t l e y
A S S I S T A n T t i f f a n y K u m p
4 5
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F o r t n i g h t L i n g e r i eB Y A n g e l A K i mp h o t o B Y m A c K e n z i e D u n c A n
“With Fortnight, I hope to encourage
women to embrace and love lingerie,” states
designer Christina Remenyi, “to remind
everyone that lingerie is an important part
of fashion as it is the first layer you put on
in the morning and the layer that helps you
look and feel your best.”
No doubt this is a mission Remenyi has
partially completed. After the release
of her smart, tongue-in-cheek Sexy CPR
videos, Fortnight Lingerie became an
instant household name in Canada and
throughout the world. With a couple
million hits days after its launch, Fortnight
Lingerie caught people’s attention, not just
for its steamy ads, but also because of the
apparent craftsmanship of the designer’s
underpinnings. After completing her
studies in design, and spending time
abroad, Remenyi recognized the dire need
for lingerie that fits all sizes of women -
particularly those who boast feminine
curves. The petite powerhouse launched
her label to address the needs of women
who don’t fit into undergarments sold
at big box retailers. Propelled to fill this
niche in Canada, Fortnight was designed
c o l l e c t i o n s 5 3
P a r i a L a m b i n aB Y A n g e l A K i mp h o t o B Y J i m m Y h A m e l i n
Rolling waves. Cloudless skies. A tropical
landscape. Brilliantly-coloured buildings. An
overdue vacation to the Caribbean offered
designer Paria Shirvani an opportunity to
sketch from a relaxed state of mind.
Springing from her state of bliss came
Paria Lambina’s SS11 collection consisting of
beautiful, vibrant hues of violet, blush, blue,
m a r i e S a i n t P i e r r e B Y m e l i s s A c h o w
Marie Saint Pierre’s archives are a telling sign
the Montréal-based designer is a proficient
to embrace modern styling with vintage
glamour while offering a custom-made fit
for women who felt ignored.
For SS11, Remenyi launched her collection
into the limelight with strategically cut,
wired, and constructed undergarments that
include bodysuits, high-waisted knickers,
and structured bras in silk, stain, lace, and
mesh combinations. With names like Rita,
Vivienne, Natalie, and Sophia there is a
definite nod to old Hollywood and vintage
style emphasized by a soft colour palette
of dusty rose, nude, and the natural staple,
black. Most noticeably the bras extend out
from under the cup to provide support and
smooth appearance underneath clothing.
The verdict? Brilliant.
shimmering metallic-like fabrics, and delicate,
abstract prints. Without being fixated on
any idea in particular, the designer’s carefree
mood manifested itself into a collection
of quiet beauty and joie de vivre of a
sophisticated woman. SS11 is undeniably
feminine. Billowy, one-shouldered blouses
were paired with lustrous shorts of similar
colour. For a dreary, rainy day one could
throw on one of the collection’s modern
mandarin collared trenches, with a belted
cinched waist, in a brilliant hue to brighten
the day. Bows and frills are abundant,
popping up in both day and evening pieces
that compliment each outfit without being
too over the top. Whether for the office, an
exotic vacation, or weekend brunch Shirvani’s
pieces are simply irresistible.
With a résumé boasting names like Arthur
Mendonca, Jeremy Scott, and Costello
Tagliapietra, it is no wonder that Shirvani’s
collection exudes experience, maturity,
and a completeness that often evades
newer designers. The designer’s lines are
clean and details, whether it be the bows,
draping, twists of fabric, or soft layers, they
are just enough to create an easy, natural,
and feminine look that easily translates to
the modern woman’s lifestyle.
manipulator of fabric. Referring back to her
jersey dominant FW10 collection, Saint Pierre
demonstrated her design prowess through
smoothly sculpted, round shouldered jackets
crafted out of raw edge, double knit jersey;
crafting such a highly structured piece from
a capricious fabric like jersey is not easy, but
Saint Pierre makes it appear effortless.
For SS11 Saint Pierre flexed her design
prowess once again in a comfortable
private showing at her atelier located on
Rue de la Montagne. Borrowing inspiration
from a curvaceous landscape, the designer
channeled the ethos of a variant terrain
through fluid dresses detailed with distinctive,
ovular-shaped appliqués which bloom out
from the neck and chest. Saint Pierre uses
the motif to create a sense of height and
flatness in her designs, bestowing simple
pieces, such as a knee-length cream dress
with dimension through a cascading, gold
pool of plates at the neckline. Contrast to the
circular shapes found in the appliqués, Saint
Pierre uses angular lines in her jackets to
create sharpness in the shoulders and lapels.
Diverging from layers, Saint Pierre offers a
collection that is masterfully constructed so
it can be worn without much embellishment
other than a bold neckpiece. From jacket, to
shift dress, to evening wear, complimentary
to the facet of the designs is the colour story,
consisting of cream, red, beige, and notes of
metallic, tangerine and spring green.
As a seasoned designer, it is clear Saint
Pierre understands how to blend the
experimental into a simple design without
it becoming too complex. Any piece can
be worn without fear of being overwhelmed
by it, evidence that her aesthetic is a telling
sign that good design rests in execution
rather than in gimmicks.
D e n n i S m e r o t t o B Y R A e R i c h A R Dp h o t o B Y c h R i s n i c h o l l s
Dennis Merotto’s design aesthetic and
sensibility is undeniably contagious. Built
upon the principles of timelessness and
depth, it is not surprising the veteran
designer’s debut SS11 collection is a force to
be reckoned with. Drawing on his impressive
career in Canadian fashion, Merotto
unleashed an intelligent, relatable, and
relevant collection perfect for any woman
who prefers an edited wardrobe rather than
temperamental trends.
Playing with and blurring dichotomies of
lightness and darkness with the masculine
and the feminine, Merotto shaped his
collection on a simple palette and infused
its boarders with intricate details. Taking
the collection one step further, Merotto
demonstrated his design dexterity through
his ability to seamlessly pair the fluid with the
constructed. Delicately balanced silhouettes
were experimented with - full trousers, in a
luxurious woven and knitted white linen, were
paired with fitted, lace overlay blouses while
cropped, slouchy pants were paired with
loose tanks and tailored jackets with couture
style stitching. Punctuated with natural
L a u r e n b a g L i o r e B Y s t e p h A n i e o R Rp h o t o B Y R A V i l A l l
To say that Lauren Bagliore is twisting things
up for Canadian fashion would be a gross
c o l l e c t i o n s 5 5
tone stripes, shades of blush, cobalt blue,
and navy the collection deviates from jarring
colour, furthering the enduring element of his
designs. Carefully considered crisp summer
scarves add an informal touch when layered,
and exposed zippers add a gutsy modern
edge to soft tunics and structured jackets.
Many pieces, such as a tailored, cut out vest
can transition effortlessly from day to night,
while leather and sequined details add a
sophisticated playfulness.
Most of all, Merotto’s collection is
educating. For example, the designer
carefully designed his skirts and dresses with
a sub structure that minimizes the need for
additional foundation garments, creating
an effortlessly sleek and streamlined look.
Such considerations quickly trump poorly
constructed, fast fashions. Whether head-
to-toe, or individually, Merotto’s pieces are
simply beautiful and accessible - a fine
balance that is not only hard to achieve, but
hard to come by.
understatement. With her SS11 collection,
La Risurrezione: Dalla Scura alla Luce,
literally meaning The Resurrection: From
the Dark to the Light, Bagliore delivers a
beautiful display of transformative pieces
demonstrating her exceptional ability to
create architecturally complex work in the
most unassuming fabrics.
Working with a monochromatic palate,
Bagliore drapes and weaves her fabrics in
her signature style, creating elegant yet
intricate shapes, challenging the notion that
delicate draping cannot be married with
elaborate structure. Always maintaining a
feminine aesthetic, edgy slouched low-rise
“Aiko” trousers fashioned in black high-tech
Japanese nylon are paired with curving and
twisting soft grey Italian micro modal jersey
tops. The collection boasts bolero jackets
with Victorian style twist sleeves, sateen
covered beads, lace detail and twisted
backs. Blazers are fitted with bias-cut black
and white stripe inserts, sheering details and
avant garde sleeves. The show stopping
“Wilhelmina Waspy hooded trench” is another
stand out piece, made again with Bagliore’s
signature high-tech Japanese nylon – which
is both wind and water-resistant. Having her
collection designed to literally move from
dark to light - with her inspiration deriving
from persevering through a personally tragic
year - Bagliore reveals the aptly named
“Nastasia Resurrection Gown,” which caps
the collection off with a hint of colour; this
one shouldered, asymmetrical gown features
specialty draped three-layered textured
silk chiffon, an eye-catching blush pink silk
jacquard under layer, with intentionally raw,
unfinished edges.
Bagliore’s La Risurrezione: Dalla Scura
alla Luce is designed with thought provoking
and multi-functional pieces that can be
converted and used in ways limited only
by the wearer’s imagination. In times of
economic uncertainty, this designer’s ability
to create a number of couture pieces in the
guise of a singular garment truly sets her
apart. Her attention to detail, choice luxury
fabrics and exceptional draping never fail to
surprise or flatter – which is sure to keep her
on the forefront of fashion innovation.
C a i t L i n P o w e r B Y m e l i s s A R e n w i c Kp h o t o B Y m i c h A e l m o R R i s o n
Based on the idea of time, Calgary designer,
Caitlin Power’s SS11 collection channels the
past, present and future. Incorporating
Elizabethan period inspired necklines,
modern tailoring techniques and futuristic
cutouts, this is a collection that will be
able to stand the test of time (fashionably
speaking, of course).
“When I was searching for inspiration
for this season, I was in New York, so I was
looking at the architecture there,” Power said.
The collection is a nod to the complexity
of the cables and the rigid structure of the
Brooklyn Bridge. The thin black straps
on the dresses are paired together and
criss-crossed, never flying solo; while the
bold silhouettes call out to the minimalist
techniques used in the architecture of the
late 18th Century. “I kept it really neutral
and saw how far I could push it with the
colour blocking and the style by just keeping
a minimal palette,” Power described of her
collection, referring back to the the timeline
trend. Also drawing inspiration from a
photo she saw of the Yves Saint Laurent
“Cage Boot,” Power wanted to incorporate
a similar caging element in her collection,
which can be seen in the sleeves of classic
blazers, and high-waisted dress pants. “The
cut of the pant sits at your natural waist so
it’s not revealing anything, but it still has the
edgy detail of the caging,” says Power, “as
for the jackets, they are classically tailored,
but then it has the leather detail in the front
and the cutouts at the sleeve – it’s just a little
push on classic pieces.”
Power ’s collection is perfect for a
woman who finds herself torn between
classic silhouettes but finds herself drawn
to a futuristic aesthetic. The pieces are
by no means subtle but if worn with the
right attitude and flair, they will no doubt
catch attention.
C h L o é C o m m e P a r r i S B Y A m Y l Y n n s t R i l c h u Kp h o t o B Y R A V i l A l l
Canadian girls keep getting cooler,
thanks to sisters Chloé and Parris Gordon.
With their modern masculine aesthetic,
Chloé comme Parris is tapping into the
unbuttoned sexiness of so many young,
Canadian women for SS11.
Making their LG Fashion Week debut, the
design duo presented a collection fit for the
‘effortless chic tomboy’ while hinting at the
female form beneath flowing fabric and chic
cut outs. Prime examples of this balance
between the masculine and feminine were
a sporty, cotton bomber jacket and gauzy
tunics with tails. The bomber, trimmed with
fabric loops draped at the waist, was literally
pulled together with a men’s belt - giving
rough heft to a basic day piece, while a
featherlight, navy tunic with a calf-length
train was perfectly paired with creamy harem
pants and topped off with a long, delicate
chain peppered with miniature cartwheels.
Parris, who is responsible for each season’s
accessories, complimented the collection
with their characteristic raw metal pieces
but was decidedly more delicate in her
approach to SS11.
Overall, Chloé comme Parris for SS11
gave off a pauper princess vibe; pieces fit
for adventurous women with a sense of
wanderlust. In Chloe Gordon’s words, “The
garments allude to history and travel - but
still translate to the modern woman.” Though
Chloé comme Parris offers a look that
many young women are currently craving,
the design duo continues to resist mass-
production, ensuring handmade individualism
is infused in their garments. Independence
with a laid-back vibe - Chloe comme Parris
are truly models for modern women.
b r o S e B Y R A e R i c h A R Dp h o t o B Y m A J A h A J D u K
After launching her debut collection in
2009, designer Marika Brose has made an
evident impact on Canada’s fashion scene.
Her designs have graced the pages of Flare,
Lou Lou, Z!NK Canada, and Elle Canada
in addition to being donned by some of
the nation’s most recognizable television
personalities like Leah Miller and MTV’s
Jessi Cruickshank. There is substance to the
hype however, and it can be found in Brose’s
unmistakable panache.
c o l l e c t i o n s 5 7
a n D r e w m a j t e n y iB Y R A e R i c h A R Dp h o t o B Y c A R l o s l u m i e R e There is something understated about
Andrew Majtenyi’s SS11 collection. Upon
first glance you are swept up in its organic
colours of earthy green, taupe, sand, and
textured whites that give the impression the
collection is soft and charming. The pattern
incorporated throughout is tranquil and looks
somewhat like smooth pebbles at the bottom
of a crystal clear river. As soon as an item is
worn, however, a completely different picture
comes forth - a powerful, aristocratic one.
This girl will not only take the coat off your
back, but she’ll wear it too.
There is always an element of toughness in
Majtenyi’s collections, but it is communicated
in a manner that initially flies under the
radar. Whether it is masculine, military,
or a slightly defensive touch, underlying
the overall prettiness of his collections is
strength; the Majtenyi woman knows she
is powerful but doesn’t feel the need to
let the world know about it blatantly. The
toughness of the collection comes through in
the tailored details, ranging from Edwardian
inspired jackets to the masterfully executed,
tiered sleeve of a dress or subtle, contrastive
panelling. The collection is well balanced,
offering cropped trousers with finely stitched
appliqués and crisp blouses for the day to
waist cinching cocktail wear for the evening.
There are, of course, Majtenyi’s famous
leggings, this time in white and olive green
with varying trim.
Despite being predominately made out
of fine silks, woolen knits, linen and super
light cottons, there is no sense of fragility
about the clothes. Majtenyi has used the
materials in a way that makes them appear
indestructible, and through his unorthodox
usage of the fabric, he creates a pleasant
dichotomy that can be worn effortlessly.
After deconstructing Brose’s SS11
collection, all the elements of her design
aesthetic and brand are present; simple,
feminine silhouette, beautifully paired outfits,
texture, and precious details. Grounded in a
soft palette of white, cream, soft camels and
pinks with punctuations of black and red is
a concise, youthful collection that highlights
the designer’s experience. There is a good
balance between day and night pieces;
the designer’s time spent at Chloé comes
through especially in an undeniably chic
open jacket and cropped trouser duo done
in a light, coral pink. Day pieces range from
asymmetric tunics, smartly tailored jackets
that flare out at the waist, a-line mini skirts
to carefully considered day dresses. For
evening, Brose offers figure forming mini
dresses with sophisticated cut-outs to more
conservative pieces like a cream, t-neck long
sleeve dress with the most unique bobble-
like finishing. There are, naturally, those
feathered frocks like a champagne, strapless
ostrich poof and a black, rooster feather
tutu dress that Brose is known for.
Fresh is a word that is maybe thrown
around too loosely in fashion, but it easily
slips off the tongue when describing Brose’s
latest collection; it’s like an effervescencent
soda on a balmy evening. From her FW10
collection to SS11, Brose has developed
a design identity; something that many
designers struggle with for years. It is
evident, however, that Brose’s design maturity
will certainly carve a niche into the fashion
industry whether at home or abroad.
m a D a m e w o L F B Y m e l i s s A R e n w i c Kp h o t o B Y i A n h A R D i n g
One word comes into mind when looking at
designer Jenna Etcheverry’s SS11 collection
for Madame Wolf, sex and lots of it. Womanly
curves are flaunted, celebrated and revealed
through mesh fabrics and body hugging
dresses. Thighs are exposed with high-
waisted shorts, both tight and baggy, while
the mixing of tie-dye and dark fabrics with
floral prints and ruffles, creates that perfect
combination of girly grunge Etcheverry has
become known for. Altogether, it makes for
one scandalous collection.
Drawing inspiration from musicians and
bands like The National, Rihanna and Eagles
of Death Metal, which Etcheverry plays in her
studio while she sketches, a rebellious, “walk
on the wild side” attitude is channeled into
the collection; Madame Wolf is designed for
the girl who likes to dance the night away and
walks herself home when the sun rises (or
when the Red Bull buzz wears off, whichever
happens first). Etcheverry likes to take cues
from street fashion, turning to blogs like
Wildfox Couture for a creative spark, but also
turns to Europe to stir her imagination. “I
try to look at what is happening abroad and
D e n i S g a g n o n B Y m e l i s s A R e n w i c Kp h o t o B Y s é B A s t i e n R o Y
Denis Gagnon’s SS11 collection will have you
down on both knees, groveling and pleading
for more. Models stormed onto the runway
with pierced faces and haphazard locks of
hair jetting out in all directions, creating
a rough-and-tumble mood that made the
audience wonder if they had taken a wrong
turn down the wrong alleyway (we know this
translate certain trends into my collections,”
states the designer, “Obviously these trends
will not be fully incorporated into Calgary’s
fashion scene yet, but there’s definitely
things that I can tone down and make them
work for my client.”
It is evident Etcheverry loves her work.
When asked to recall her favorite piece from
the collection, she laughingly describes the
chosen dress as a, “triple black diamond,
because it’s so dangerous.” Long sleeved
and thigh-high, it’s designed entirely out
of black mesh, incorporating patchwork
that covers only the necessary body parts.
Whether or not you are part of Etcheverry’s
wolf pack, you cannot help but stop dead in
your tracks and stare.
is ridiculously stereotypical, but we couldn’t
resist and it is too easy to poke fun at the
rather conservative front row). Despite the
overall fierce appearance of the models, it
was the clothes that caused jaws to drop,
eyes to bulge and goosebumps to surface.
Fine metal chains were laid over lace.
Bleached and dyed ombre fringe swayed
side-to-side. Exposed zippers. The
collection was an overall feast for the eye.
Gagnon’s signature use of leather made an
appearance, but when contrasted with the
other incorporated elements, they created
moments of stillness next to his other pieces
that looked as though they were sent down
from the design gods. “When I’m working
on a new collection, I never draw sketches
beforehand. I always do the same thing –
play with the fabric,” Gagnon notes, “The
fabric speaks to me.”
Gagnon’s favorite piece from the collection
was the last dress to appear on the runway
- slits run up to the hip bone on either side
of the dress, shimmering from head-to-toe
in delicate silver. His unconventional use of
zippers is present, running up and down the
entire length of the dress, creating length
and contours of the female body. Fringed
sleeves hang off the shoulder, while more
fringe drapes the necklace, creating a feeling
that is very Cleopatra-esque. It has the liquid
motion of water, yet the structure of the earth.
Words can do this collection no justice.
m a r k F a S t B Y R A e R i c h A R Dp h o t o f R o m c A t w A l K i n g . c o m
Mark Fast’s designs are always provocative,
but for SS11 there was something molten
about it. Picking up from his FW10 collection,
Fast infused movement into his designs
once again through liquid-like fringe that
danced down the runway after each model.
j o e F F e r C a o CB Y R A e R i c h A R Dp h o t o B Y c l i V e c h i A o
Deviating from the body-hugging designs
found in his FW10 collection, Joeffer Caoc
offered women a different type of sexi-
ness for SS11 - a looser fitting, sophisticated
silhouette that is flirtatiously suggestive and
confident. “I’m very much inspired by the
1970s and a sense of nostalgia,” states Caoc
of his collection, “classic silhouettes, long
jackets, stripes, fitted t-shirts, and especially
fuller dresses.”
The collection pleasantly referred back
to the iconic styles of the 1970s without
being too literal, bestowing each piece with
a sense of endurance against fashion’s fickle
nature. It doesn’t come as a surprise, after
months of body-conscious styles which
cling unforgivably, that the SS11 runway is
dominated by more compassionate styles.
Coac, however, creates a happy balance
between tightness and looseness to provide
any woman, young or vintage, something
to feel good in. Wide-leg trousers, short
sleeve blazers with contrasting cuffs, full
skirts, floor sweeping cardigans, and flowing
dresses were presented in a beautiful palette
of champagne, white, navy, and gold with
c o l l e c t i o n s 5 9
hits of vibrant hues, stripes, and exotic
prints. The collection is not overdone, could
easily be worn head-to-toe, and most of all
it relied on its craftsmanship rather than
ostentatious flair to convey its beauty.
The strength of Caoc’s collection
rests in its subtleties, perhaps one of the
designer’s greatest attributes. Season after
season Caoc proves continuously that his
designs are meant to enhance rather than
overwhelm, encouraging each women to
convey her personality through individual
touches. Who says fashion needs to be
fussy? After all it is the woman that looks
effortless, whether she braves the world
bare-faced or doesn’t take her dress too
seriously, that always attracts admiration.
This is the Caoc woman.
“I wanted to create a dichotomy between
the strictness of my knitted stitches and new
sensitive textures,” explains the designer, “I
want to show a sense of fragility with the use
of new textures in my work, I concentrated on
the shimmering quality of the knit and how
it moves on the catwalk.”
Playing with the idea of disintegration and
restoration, Fast’s collection consisted of his
signature knits which took a more geometric
and symmetrical deviation from his previous,
intricately woven cob-web designs. The
theme was prevalent throughout; swaying
from each seemingly indestructible dress was
fringe, sometimes copious amounts, that gave
the impression that the designs were melting.
The collection began with black, get-out-of-
my-way, fringed pants which transitioned
into cage-like dresses and slowly gave way
to a plethora of tropical coloured pieces that
were complimented again by a succession
of multi-hued fringe and Swarovski crystals.
You couldn’t help but stare, the collection
was mesmerizing.
The debate remains, how is the collection
wearable? The same war of words happened
in the early 1980s when Japanese fashion
hit Paris; critics either did not understand
what they were viewing or simply dismissed
it because it was too strange. Look around
today and Japanese design aesthetics are
everywhere. The more appropriate question
to ask: who is defining what is wearable? The
lady who strolls into Mark Fast’s showroom is
not a wallflower, and she probably does not
rely on widely circulated fashion magazines
to get her fashion sense. So what if the front
row dismisses it, because we know there are
droves of eager trail-blazers itching to get
their hands on one of his pieces. Perhaps
the world needs to catch up.
t h i e V e Sm e l i s s A c h o wp h o t o f R o m t h i e V e s B o u t i q u e
What would sea nymphs look like after
days of being stranded on a deserted
island? Sonja den Elzen envisions these
fresh-faced beauties emerging out of the
sea barefooted, with salted hair, somewhat
like a Botticelli Venus but with cloth draped
wetly on their bodies.
Entitled accurately as Water Bearers,
den Elzen’s SS11 collection demonstrates
this romantic, liquid-like design aesthetic.
Simplicity, despite its own definition, is not
so simple to achieve, but den Elzen does so
through her soft-toned dresses that drape
delicately from the body. Weightlessness is
prevalent throughout the collection, seen in
more of den Elzen’s expertly crafted designs
such as an opaque, cowl-neck, layered tank
dress in a fine linen knit, to a tencel jersey,
knee-sweeping dress which can be wrapped
in five different ways. It is hard to resist
how wearable each piece is. These are
clothes meant to be worn. In its entirety,
den Elzen’s collection could be packed away
for a holiday without concern, be worn in the
evening with simple jewelry, be danced in,
or as the title of the collection insinuates, be
worn walking down pebbled beaches.
Thieves’ menswear also picks up on
the motif of wetness. Casual staples are
incorporated into a collection consisting of
a heavily creased hempcel linen weave suit,
which seemingly looks like its been worn
in water and still appears to be wet, and
crème colored, slightly drop-crotched hemp
canvas pants named ‘Poseidon,’ paired with
a hemp canvas and noil silk v-neck.
It is important to note that den Elzen
does more than just present beautiful
collections season after season - she does
it with a conscience. Her work is an ongoing
protest against the wasteful nature of the
fashion industry. It is rather shocking how
little attention is paid to the habits of the
fashion industry, and den Elzen is set on a
mission to educate insiders and consumers
alike. In regards to her SS11 collection,
den Elzen describes the reasoning behind
Water Bearers as a conscious effort to call
attention to “our jobs as Canadians to act as
stewards to the large amount of fresh water
we have.” This sense of responsibility should
come as naturally as throwing on a pair of
Thieves’ organic cotton, satin, skinny pants.
It is an all encompassing process.
e v a n b i D D e L LA m Y l Y n n s t R i l c h u K
Evan Biddell always said his clothes were
made for strong women, but this season
they are built for beautiful warriors. For
SS11, the designer, best known for his
voluminous creations and use of unexpected
materials, infused a militaristic energy into
his ‘Kingdom’ collection.
Black, sleeveless dresses with shimmering
silver torsos were a nod to the classic chest
plate. Strong capped-sleeves with hits of
hardware dusted the shoulders of many
looks. Bold, studded, leather neckpieces
and belts added an aggressive finish to even
the softest of looks. It was his short, cream
and floral-printed dress that presented his
signature style. With fabric draping from
behind the neck to the front of the waist,
Biddell created a shoulder hood for bare
summer arms to rest in peace - adding
structure to his sweetest look. Even in his
most feminine piece, Biddell never let any
of his forays into femininity deviate too far
from his forward aesthetic.
Though there was a breezy prairie air
blowing through his collection, Biddell
grounded his SS11 line with heft and hard-
lines as well. Leggy models showcased
stunning bodysuits trimmed with hints of
leather and metal. A gorgeous leather
miniskirt was given layers of short fringe
popping from the hips and it was his toppers
that were the real show-stoppers. Biddell’s
treatment of the trench was angular and
voluminous, while the lady-like day coat
was given added femininity through tubular
pieces of fabric draped over the shoulders
that billowed over the chest, creating the
image of beautiful budding petals. Biddell
himself has never been a wallflower but he
seems to be showing his softer side this
SS11. Retaining his consistent, strong point
of view, Biddell has also discovered that
pretty is powerful.
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C O H O R TP H O T O G R A P H E R L a u r a M a r g a r e t r a M s e y
M O D E L s L i a M k , J e r e M y , a p r i L , J e n n a M ( M O D E ) & e L i z a b e t h
s T Y L I s T M e L i s s a W u s a t y & s t e p h a n i e O r r
H A I R & M A K E U P s a n d r a c r O s s
3 3
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A NEW SET OF SAVVY FASHION CONSUMERS REVOLUTIONIZE FASHION RETAIL.B Y m e l i s s a w u s a t Y
P h o t o g r a P h Y B Y m e l i s s a r e n w i c kFashion retail is a peculiar world. Nestled unexpectedly
between mastering the art of folding and learning how to
politely tell detestable shoppers to screw off, are profound
moments that makes one feel closer to understanding what
exactly is going on in fashion at its rudimentary level. Out
of all the interesting things I learned about fashion while
employed in retail, one particular lesson rises above the rest -
fashion retail is an opportunity to learn why people consume
what they do.
It is outrageous how many people visit shopping malls
during the weekend. I cannot recall the number of times I
stood baffled, surrounded by discarded mounds of clothing
in an out of control fitting room, at the sheer madness and
swarms of people. There were no sales or special events. In
fact, I worked for a fashion-forward, boutique-style company
allhailg e n e r a t i o n y
7 3
that boasted an astronomical mark-up. There
was never any reason for anyone to get
excited except by the clothes, which was
instantly extinguished, in most cases, once
the price was discovered.
The world is mesmerized by fashion.
Shopping for new items to add to our
congested closets has become a favourite
pastime. In addition to spending countless
hours obsessing over or consuming fashion,
the everyday consumer can educate
themselves about the industry through
media outlets. Regardless of age, gender,
income, or geographic location, anyone
can access fashion, and various trends
have yielded from this democratization
of information. Designers have become
household names. New collections can be
viewed on the internet. Amateur, street-style
photographers have become celebrities.
Everyday fashion enthusiasts like 13 year-old
Tavi Gevinson or Judy and Jane Aldridge, the
mother-daughter duo behind Sea of Shoes,
have become style authorities despite having
little background in the fashion industry
other than being vehement consumers of it;
anyone who is interested in fashion can now
carve a niche into the industry.
I was conscious of what was happening,
mostly because I was in the thick of it
everyday adjusting to client’s transformed
shopping habits, but it never really interested
me enough to investigate it thoroughly.
Everything changed, however, when a
customer entered the store with a beautiful,
dove grey, Hermès Birkin bag in tow. She
was maybe in her late twenties, dressed
well, but not entirely originally, in mid-price
merchandise. I was fascinated. The sight
of her five figure, iconic handbag hanging
casually from her arm, amongst her Gap jeans
and TNA parka made me think. After helping
her through the store, I learned she was a
recent graduate, living at home (much to her
dismay), and worked in a professional field
that took her months to enter. While packing
up her purchased items, I complimented the
impressive purse; despite being slightly shy
about it she revealed it was an investment.
She was so adamant about purchasing an
Hermès handbag, she refused any other gifts
and told friends and family to contribute to
her ‘Birkin bag’ fund instead; it took her four
years to save enough money to place an
order. Her story was baffling. Why did a
woman her age, who lives with her parents,
and is just beginning her professional career
need an Hermès handbag? Her answer
explained it all: “It is not just a handbag.”
From this moment on I became obsessed.
Fifteen years ago this encounter would
have been rare, now it is a common place.
Designer wares were strictly donned by
a small demographic, and if they were
young, such items were usually gifts,
inherited, loaned, or were counterfeits.
One could argue this change is not because
the younger are necessarily richer, but
because they are more informed and are
making different choices. A handbag is
no longer a just a handbag. Items must
convey a lifestyle, and the desire to find
and purchase such items is a quintessential
characteristic of a rising tour de force in the
consumer world, Generation Y.
Unlike previous generations, Gen Y, a
demographic born between 1978 and 2001,
possess an enormous influence in retail.
According to statistics, Gen Y shoppers visit
malls or boutiques approximately 54 times
a year; have on average, $100 per week of
disposable income to spend; and influence
family purchases. In addition to being
avid shoppers, Gen Yers are educated and
fastidious consumers; they demand items
that are relevant, authentic, insinuates some
form of distinction, and resonates a particular
lifestyle. It is a tall order to fill.
Kit Yarrow and Jayne O’Donnell, authors
of Gen BuY, How Tweens, Teens, and Twenty-
Somethings are Revolutionizing Retail, state
one of the reasons why Gen Y have so much
influence in commerce, particularly in fashion
retail, is because the “generation no longer
considers itself middle class at heart.” Since
income is no longer a defining factor when
making a purchase, Gen Yers have a sense
of entitlement that goes along the lines of:
I want what you have. Age, income, or any
other demographic classifications are not
seen as qualifying factors to have access
to or own a particular item. In the case of
my Hermès clad client, she wanted a quality
handbag that would not only distinguish
herself from others but to communicate to
the world what she values - quality.
The influence of Gen Y is everywhere. The
demand for quality and access to what was
previously reserved to an exclusive, members
only club, has sparked big box retailers to
rethink their strategy; gimmicks no longer
work, as the Gen Y consumer is also very
skeptical of marketing ploys attached to
inauthentic products. Aside from designer
capsule collections, if a store cannot offer the
same quality as brands like Hermès, it must,
at the very least, offer a lifestyle that can be
experienced through visiting their stores and
purchasing their goods; walk into any new
Gap flagship or Club Monaco and they look
more like designer showrooms.
It will be interesting to see what happens to
Gen Yers’ influence considering the industry
has been remarkably slow to simultaneously
recognize its market potential and adjust
its methods accordingly. It will also be
interesting to see what happens to Gen Y as
it gets older, and whether its current set of
values and consumer habits will hold as its
members develop professionally and acquire
larger incomes. Regardless of whether its
influence will benefit or disturb the industry,
it marks a significant change in fashion retail.
The proliferation of information has created a
power shift, and the generation has benefited
greatly from it. Times have changed, and
so have consumers. Once upon a time,
consumers were told what to purchase
based on a series of social characteristics and
economic restrictions, but now the tables
have turned. Anyone can wear whatever
and however they want. Anyone can walk
into Holt Renfrew to shop or browse freely.
Those with deep pockets frequent the same
stores as budgeted shoppers and vice versa.
Fashion is a free-for-all and consumers have
more power than ever before. Maybe what
is shocking, but perhaps a telling sign of how
strikingly things have changed, the power
is not in the hands of aged executives but
young, savvy, hard to fool and equally hard
to please twenty-somethings. [ C l o S e ]
“THE gENERATION NO LONgER CONSIdERS ITSELF MIddLE CLASS AT HEART”
7 5
| 1518 4th St. SW | Calgary, Alberta. | 403 457 4020 |
mealan.com
T h e D e s i g n e r C o l l a b o r a T i o nb y M e l i s s a R e n w i c k
i l l u s t R a t i o n s b y l a u R e n t a M a k i
Inside Holt Renfrew, a design by Canada’s fashion king,
Denis Gagnon, loosely hangs from a silk hanger. The dress is
exemplary of Gagnon - classic silhouette, exposed zippers,
masculine details, all wrapped up in a magnificent black that
is delightfully à la mode. As you slip it over your head and
glance in the mirror, you are confronted with your alter-ego
and she is looking smokin’ hot; with a $3,500 price tag, it is
no wonder the dress makes you feel like gold.
At BEDO, you are greeted with the “Denis Gagnon for
BEDO” collection. All of his classic design principles are
incorporated into the garments – dark colours, leather and
bold silhouettes. As you step into one of his long sleeve
dresses, the allure and instant sense of excitement is there but
you feel more like silver than gold. While standing in front of
the mirror, it is hard not to wonder if the same girl who wears
Denis Gagnon, also wears “Denis Gagnon for BEDO.”
7 7
H A U T E F A S H I O N FOR CHEAP
Designer collaborations with prominent
retailers have taken hold of the fashion
industry. In 2004, Karl Lagerfeld joined
forces with H&M and set the trend in motion.
Over half a decade later, designers like Stella
McCartney, Victor & Rolf, Roberto Cavalli,
Comme des Garçons and most recently,
Lanvin, are teaming up with the Swedish
chain to create one-off capsule collections
that cause instant frenzy. It is a commercial
success. Those who crave high fashion but
cannot afford the price tag scramble to snag
coveted items amongst just as enthusiastic
fans with deeper pockets. Not everyone in
the fashion industry, however, shares the
same enthusiasm.
While some haute couture collectors
and fashion purists have voiced their
apprehensiveness regarding the trend,
scrutinizing designers for selling out, it has
been argued that designer collaborations with
a retail chain is anything but. “When a design
house is offered this level of collaboration
it’s because you already have a name in the
industry,” says Mathieu De Latour, executive
assistant of Denis Gagnon. “You will not see
a less-established designer offered a similar
opportunity.”
Once upon a time it would have been
considered a fashion faux pas to rock one
of the late Cristóbal Balenciaga’s gowns
with H&M accessories, but nowadays mixing
and matching is common place because
head-to-toe designer attire is simply not
affordable or practical. Flipping through
various fashion magazines confirms the
spirit of the trend; some even go as far as
creating lower priced versions of expensive,
designer outfits. The blend of costly, designer
goods with fashionably affordable items is
a breath of fresh air for those who do not
boast six figure incomes. The industry has
been democratized. Everyone has access
to fashion and anyone can be fashionable,
whether they are investing in a designer
handbag or buying a trendy sweater from
a high street retailer. Fashion is no longer
a one-sided gesture determined by rich
insiders; retail collaborations are a telling sign
of this movement because designers are now
communicating directly to the previously
ignored masses.
While a design house deeply invested in
producing the avant-garde will always remain
constant and true to its mandate, De Latour
recognizes the need to broaden a brand’s
reach. “Once in a while it is fun to do these
collaborations. It’s healthy for a brand to have
access to a wider public. It was important for
Denis, at one point or another, to make sure
that his collections and brand were exposed
and made more recognizable.” De Latour is
careful to note that designer collaborations
are a fine balance and have to be executed
properly. “It is important to make sure the
brand is strong prior to a collaboration, if
not, it will get lost in the process and no one
“designers are now communicating directly to the previously ignored masses.”
will benefit. The retailer needs to understand
the soul of the house so it is complimented
rather than overwhelmed.”
Notably, the process of creating a
collection for a mass market varies greatly
from designing a seasonal collection that is
sold in boutiques to a smaller demographic.
Upmarket collections are about exclusivity;
designers are expected to push boundaries
and be on the forefront of trends. Collections
designed specifically for the mass market
revolve around a different set of sensibilities.
Fast-fashion operates at a blistering speed
and turn-over is high, so a collection needs
to be of the moment and profitable. It is the
consumer that rules, not the designer.
While designers are careful to not
oversaturate their brands in the market, retail
chains like H&M are reaping the benefits of
doing the opposite. It is a double edged
conundrum. Previously unknown designers
(to the world outside of the fashion industry
network) and their respective labels have
grown through retail collaborations, but is
their widened audience beneficial or toxic?
Emily Scarlett of H&M Canada believes that
as long as their customers appreciate offered
collaborations, they see no harm in continuing.
“We feel that it is certainly making high-
fashion more accessible,” says Scarlett, “these
collections allow people to experience amazing
iconic designers, like Alber Elbaz, they would
have previously been isolated from.”
This is where the debate comes to a
troubling intersection. What are the long-
term ramifications of designer collaborations?
If consumers are led to believe one-off
capsule collections are equal to a designer’s
respective label, how can one appreciate
or even value high fashion anymore? Sure
the designer benefits from having a wider
demographic, but will H&M consumers
become Lanvin clients? Or will the boundaries
between high fashion and high street become
so diluted no one will be educated enough to
tell the difference anymore?
Perhaps the argument is different in Canada.
For Gagnon, his BEDO collection has resulted
in nation- wide familiarity. Those who passed
by BEDO’s windows during the collaboration
were instantly curious, prompting many to
seek out information about Gagnon and his
label. Gagnon’s collaboration with BEDO has
not only made his name and designs more
widely known, but has opened the door to
many other future endeavors; the newest
being a partnership with Place d’Armes Hôtel
& Suites to brand a luxury suite in his honour
for their anniversary celebration.
But the question remains - does the girl
who wears Denis Gagnon, also don Denis
Gagnon for BEDO? I am afraid the answer is
not black and white. Just like beauty, what
is considered fashionable is in the eye of the
beholder; fashion is subjective. It is apparent
designer collaborations will be here to stay,
but whether it is a positive move forward for
the design industry in the long term is still
up for debate. Do designer collaborations
capture class distinction or uphold it? Do they
educate consumers about high fashion or
lead them astray? There are more questions
than answers, but one cannot help but sense
that despite the number of well-clad, frugal
fashionistas walking the street, there will
always be a Daphne Guinness sticking her
nose up at them. [ C L O S E ]
8 0
Z E P H Y RZ E P H Y RP H O T O G R A P H E R z e n a i d a k w o n g
M O D E l a p r i l k a r g a r d [ M O D E ]
S T Y l I S T m e l i s s a w u s a t y
M A K E U P o l g a o n u l o v
H A I R t h e r e s a J a l o t J o t
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P H O T O G R A P H E R M i c h a e l M o r r i s o n
M O D E l G e r M a i n e D e n e G r i s
l O C A T I O N c o n e y i s l a n D , n e w y o r k
S T Y l I S T J a n e t o k u n o l a
H A I R & M A K E U P l e a n n e h a r p i n
d r e s s w i t h b e a d a p p l i q u e K a h r i . c o m t i g h t s p a p u s z a c o u t u r e . c o m b l a c k p u m p s s t e v e m a d d e n 8 9
l i a l a c c o c k t a i l h a t K a h r i . c o m m u l t i p l e c h a i n p y r a m i d s e t m W u s h o u s e . c o m
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F o r wa r DFirst, lets lay the obvious out on the table:
each fashion week council has slightly
different priorities when they set out to
produce, organize, and execute their event.
While there are common threads running
through Canada’s respective fashion weeks,
what sets them apart are the strategies used
to promote designers.
H o w f o r w a r d t H i n k i n g i s c H a n g i n g c a n a d i a n r u n w a y s
B Y A m Y L Y n n S t r i L c h u k
LG Fashion Week and Montréal Fashion
Week are nationally recognized, buyer-based
events whereas younger fashion weeks,
like Alberta Fashion Week and Atlantic
Fashion Week, tend to promote designers
to local boutiques and consumers. Jamal
Abdourahman of Vancouver Fashion Week
notes that immediate buyer pick-up is not
a key concern, but his team does ensure
that featured designers benefit from
publicity; VFW is held later in the fashion
calendar, kicking off in November instead of
September for the spring/summer season,
reiterating that attendees are not interested
in purchasing garments from upcoming
collections, but to gain exposure to Canadian
designers. Abdourahman explains, “we go out
of our way to bring in international coverage,
we fly editors out and invite them to shows.”
The process ensures that Abdourahman and his
team secures coverage that will simultaneously
benefit the designers and VFW.
News of LG Fashion Week’s amped-up
partnership with IMG, however, will bring
global promotion to a whole new level.
On October 22, 2010 IMG and the Fashion
Design Council of Canada announced their
augmented alliance; the relationship will
include a heightened collaboration in all
areas including production, marketing,
communication, operations and sponsorship
sales for LG Fashion Week. Commencing
March 2011, IMG and the FDCC note that
their “primary objectives will be supporting
a strategic international communications
program, expanding the opportunities for
interaction in the industry at LG Fashion
Week Beauty by L’Oreal Paris, creating new
opportunities for designers and elevating
the FDCC and the council’s role in the global
fashion landscape.” Danny Fritz and Sam
Galet, Vice President and Managing Director
of IMG Canada, add “Our goal is to continue
to connect premier corporate brands to LG
Fashion Week Beauty by L’Oreal Paris, that
will further escalate the position of the FDCC
and its members for the long-term growth
of the industry.”
When promotional efforts are increased,
buyers and industry heavy weights follow; a
strategy that VFW and LG Fashion Week have
benefitted from. Groupe Sensation Mode also
executes a considerable promotional strategy
for Montréal Fashion Week that includes a
unique level of government support; a gesture
co-president Chantal Durivage recognizes
as a motivating factor for visiting fashion
professionals. “Government support brings
interest from buyers,” states Durivage, “many
representatives invite international delegates,
which helps Montréal Fashion Week’s profile.”
In addition, Groupe Sensation Mode pounds
the proverbial pavement for MFW, making
over two thousand phone calls to Canadian
buyers alone. Though Durivage recognizes
that only ten percent of those contacted attend
F a S H I o N
9 9
When promotional efforts are increased, buyers and industry heavy Weights folloW; a strategy that vfW and lg fashion Week have benefitted from...
MFW, but regardless, a whopping two hundred
buyers still flock to the event because of their
increased understanding of the designers’
expertise and talent, but because of Groupe
Sensation Mode’s direct efforts.
Smaller fashion week productions,
however, have a different mission - they
focus on those who can help burgeoning
designers prosper at a local level, rather
than draw international attention. Alberta
Fashion Week director, David Politi, reaches
out to local boutique owners to link the gap
between designers and potential buyers.
For Angela Campagnoni, director of Atlantic
Fashion Week, pride comes from providing
new designers a platform to learn and gain
experience from before they tackle larger
markets; the Gordon sisters, of Chloé comme
Parris, are notable AFW graduates, showing
their SS11 collection at LG Fashion Week this
fall which reaped editorial interest.
Supporting emergent designers is a
strategy most Canadian fashion week
councils are implementing to secure future
talent for their runways. Atlantic Fashion
Week, whose primary focus are Halifax-based
designers, ensures that NSCAD students
are bolstered through their Emerging
Designer Showcase. Peter Levy, Senior Vice
President and Managing Director of IMG
Fashion Worldwide states they are “proud
to be working even more closely with the
FDCC team, offering Canadian designers
new opportunities and helping them build
strategic alliances in the global fashion
industry,” while other institutions, like Groupe
Sensation Mode, have already tapped into this
vein through off-site events. Now in its sixth
edition, Durivage describes Le Showroom
as “a small trade show of sixty collections
where buyers can meet and be eye-to-eye
with designers, learn about the garments,
and exchange information.” This networking
opportunity is not just about highlighting
new talent or being on the global radar, as
Durivage explains, “it’s about relationships.
It’s a call to action.”
With all this in mind, there are still
challenges facing designers, the most
prevalent being production. Many young
designers cannot produce large quantities
of their collection to sell to buyers; both
Abdourahman and Politi recognize this
as a common occurrence. After the last
installation of Alberta Fashion Week, Politi
notes that a Calgary boutique owner was
eager to buy pieces from a collection, but
the designer was unable to produce more
than the samples shown on the runway. One
could argue this problem exists for both
VFW and AFW because their focus is on
the spectacle of a fashion week, designed
to attract everyday fashion enthusiasts rather
than industry professionals. AFW, however,
makes it very clear that local boutique
owners are in attendance and VFW strives
to give designers a great deal of media
coverage, so why designers would show but
not sell is curious. That said, Politi wants
to take action to assist emerging designers
in this regard. Next year, he is hoping to
set up an advisory board to curb some of
the challenges designers face, envisioning
seminars led by industry professionals who
can provide guidance and knowledge to help
designers develop their business strategies.
Across the nation, fashion week producers
and councils are taking note of their influence
and are thinking of ways to advance the
industry entirely. On November 15, 2010
Groupe Sensation Mode announced their
new strategy that will not only shake up
the nation’s industry, but will catapult it
to a whole new level. MFW’s fall/winter
2011 collections will be presented a month
earlier than other Canadian runways, placing
the event in fashion’s regular show season
by hosting it February 7-10, 2011. Groupe
Sensation Mode publicly stated:
“This place on the calendar issues a clear
message to the industry and, by the same
token, increases the performance possibilities
for our companies by moving up production
cycles. This will, in turn, maximize sales,
which will be launched at the very beginning
of the year. As a result, this positioning will
have an undeniable economic impact.”
Apart from being an undeniably smart
move to increase buyer acquisition of
designer goods, MFW’s move is also
strategic. Moving a month ahead conveys
an important message - the designers
showcased during the affair are worthy of
international attention. Abolishing prevalent
thoughts, whether implicit or explicit, that
Canadian fashion is somehow subordinate to
other industries will provide a much needed
confidence boost. Groupe Sensation Mode’s
move is simple, showing designers faith will
up the ante in all respects; everyone will
put their best foot forward now they are
presenting to an international audience.
Though this daring move has potential
to significantly impact the Canadian fashion
industry, it doesn’t come without challenges,
especially for those who work closely with
MFW. As Groupe Sensation Mode announced,
“We are aware that this change requires a
significant adjustment to the company cycles
and will certainly have various consequences,
which is why we have planned this change
in tandem with designers and various other
stakeholders involved, to ensure the transition
over a one-year period,” noting that this is
just the first step.
Supportive, strategic and competitive -
Groupe Sensation Mode is proving again, that
they are the leading fashion week producers
in Canada. Not only are they instituting what
works, they are challenging what doesn’t,
thereby ensuring that every step they take
is a calculated move forward. A well played
move that will perhaps catalyze change
throughout Canada. Game on. [ C L o S E ]
by Sonja den Elzen
Thieves Boutique 1156 Queen St. W,, Toronto
c h l o e k o s h m a nJ e w e l e R y D e S I G N e R
Challenging her mind to entertain the uncommon, jewelry designer Chloe “Co
Co” Koshman strives to constantly push the creative limits of her designs.
Following her love for bohémien chic style, Koshman fuses vintage materials
with modern twists to create statement pieces that accentuate rather than
overwhelm. Centered around the motif of feathers, Cocokipp pieces are
handmade ensuring individual nuances in each design. With a range of
sterling silver earrings and necklaces, Cocokipp designs, whether a delicate
pair of earrings or a vivid pendant-style necklace, appeal to a variety of tastes
and personalities that wish to catch the designer’s outgoing mantra.
visit cocokipp.com
C r a f t1 0 2
DeSIGN + CONQUeRdesignandconquerjewellery.com
C H R I S T I N A R E M E N Y If o r t n i g h t l i n g e r i e
As trade restrictions and environmental preservation become bigger issues on a global
platform, the future of locally made, Canadian fashion will surely flourish.
c o n t e m p l a t e1 0 4
C A I T L I N P O W E Rp h o t o b y W i l l n g u y e n
It is hard to tell where Canadian fashion is going. Toronto wants Canadian fashion weeks to
be consolidated. Montréal is hosting their fashion week during the regular fashion calendar.
But then you have places like Alberta or Halifax trying to develop their own fashion scene.
Maybe in the future it will only be sponsored shows like Joe Fresh or Pink Tartan showing
at fashion weeks then everyone else will be showing off-sight. Either way, there needs to be
more communication.
c o n t e m p l a t e 1 0 5
J E N N A E T C H E V E R R Y - M A D A M E W O L Fp h o t o b y l a u r a p a r r y
I think Canada is on the map around the world. People are obviously
familiar with Toronto fashion week, LG fashion week … I think it’s slow
but sure. I think we’ve definitely made a mark and I think it’s important
– everyone starts somewhere, and I think especially Calgary is starting
to make a little name for itself. There’s a lot of talented Canadian people
which is really cool to see, they ‘re really going for their dreams too, so I
think it’s really positive.
E V A N B I D D E L Lp h o t o b y p e t e r b a l i n s k i
The Canadian fashion industry is growing. It keeps getting better, more diverse and excit-
ing! Now we just need the general public to catch on!
c o n t e m p l a t e 1 0 5
L A U R E N B A G L I O R Ep h o t o b y J e f f e r y t o W n
If Canada does not foster the growth of its emerging talent, they will go elsewhere to be noticed. There is amazing talent here,
we just need to be embraced.
S O N J A D E N E L Z E N - T H I E V E Sp h o t o f r o m t h i e v e s b o u t i q u e
Canadian fashion is starting to grow its own little scene that is on par
with the international market. There are some designers beginning
to make their mark abroad, and at home, and Canadians in general
are learning to appreciate their home talent without requiring outside
approval first.A N D R E W M A J T E N Y Ip h o t o f r o m l u m i e r e l o n d o n
The future for Canadian Fashion is looking good. Currently it seems quite promising as
seen with many new Fashion Weeks across the country including Vancouver, Calgary
and Ottawa. To continue this we need the co-operation and support of the press and
buyers to make many designer’s dreams a reality.
c o n t e m p l a t e 1 0 5
C H L O E + P A R R I S G O R D O N - C H L O E C O M M E P A R R I Sp h o t o b y h a y l e y b l a c k m o r e
The future of fashion, in our opinion is very optimistic. Everyday people are beginning to take
more risks, there is a huge influence of street style. You see a lot of runways presenting looks
adapted from what people wear on the street, and a lot of people on the street dressing like
they’re on a runway. We’re heading out of a recession and into a real sense of liberation in terms
of how people dress. You don’t really see people sticking to one particular trend or way of
dressing these days. You see a lot of mixing and matching. This is really exciting for us, as our
pieces are always based on versatility and adaptability to different personal styles.
P A R I A S H I R V A N I - P A R I A L A M B I N A
There are many talented Canadian designers continuously emerg-
ing from the runways of Toronto Alternative Arts & Fashion Week,
Montreal Fashion Week and LG Fashion Week. With Montreal mov-
ing up their event to coincide with the international fashion calendar,
showing collections one week prior to New York Fashion Week, gives
Canadian designers a competitive edge and allows us to receive the
attention we deserve. There is no doubt that the future of Canadian
fashion is growing strong!
J O E F F E R C A O Cp h o t o b y J a m e s r e i d
Since Canada is a relatively new country compared to those abroad, there is a lot of room
for growth. The potential of Canada’s fashion industry is huge. The one thing that is on
our side is that other countries view “Made in Canada” as a major selling feature - the
products that are designed and made here are excellent quality.
M A R I E S A I N T P I E R R Ep h o t o f r o m m a r i e s a i n t p i e r r e
Canadian designers need local support to grow internationally. The
initiative would create a new customer conscience about buying
local - the result would benefit designers immensely.
D E N I S G A G N O Np h o t o b y s é b a s t i e n r o y
Canadian fashion is changing. If you go to the United States, they have two or three
cities (that are the major fashion hubs), it’s always New York or L.A.. It’s the same thing
here, you can buy my clothes in Toronto, Montreal and Vancouver, that’s it. That’s all.
It’s not people in Calgary who are going to buy it. It’s the people who know fashion and
they NEED to know fashion, they need to love fashion. It’s not the people in the north of
Quebec who are going to buy it.
c o n t e m p l a t e 1 0 7
F I R S T P O I N T O F I N S P I R A T I O N F O R H I S C O L L E C T I O Nf r o m d e n i s g a g n o n
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