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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

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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

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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

0 7

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

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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

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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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k a h k i d r e s s K a h r i . c o m p u r p l e t i g h t s h m . c o m b l a c k p u m p s s t e v e m a d d e n

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b l a c k c r o p J a c k e t c o d y s a i . c o m g r e y J e r s e y d r a p d r e s s c o d y s a i . c o m l e o p a r d t i g h t s h m . c o m l a c e u p w e d g e s K a h r i . c o m

o n e s h o u l d e r p r i n t d r a p e d r e s s c o d s a i . c o m w a i s t b e l t m W u s h o u s e . c o m V i n t a g e b e a d w o r k J a c k e t m W u s h o u s e . c o m

b l a c k m e r m a i d d r e s s i m a n i l i a . c o m l i l a c c o c k t a i l h a t ; K a h r i . c o m

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