After a pandemic-induced hiatus, the goal for Vancouver Indigenous Fashion Week’s (VIFW) return was not only to showcase beautiful designs, but to recognize Indigenous communities as triumphant. “For the Indigenous community, the last two years [have] been marked by grief,” explains Joleen Mitton, founder and co-producer of VIFW. “We lost many cherished elders and the gruesome legacy of residential schools saturated everything, so we decided to focus this year’s VIFW on joy and celebration.” The shows ran from November 28 through to December 2, and talented designers like Heather Bouchier, Debra Sparrow, Catherine Blackburn and Melanie LeBlanc staged cutting-edge runway shows.

Uniqlo and Marni launch a second collection

Uniqlo and Marni have teamed up on a second collection, and it looks like a lucid daydream. Uniqlo’s staple Heattech fabrics rae reimagined with Marni’s psychedelic prints and heaps of colour (think tangerine, saffron, and teal). From funky socks to the cocoon-like coziness of the balaclavas, consider this capsule your ticket to escaping your winter woes.

Pucci and Fusalp create vibrant skiwear

The French alpines are brought to life in an extraordinary collaboration between Pucci and Fusalp. To celebrate its 70th anniversary, Fusalp tapped Pucci to impose vibrant prints on its most iconic skiwear sets. Also featured in the collection are padded ponchos, après-ski knits and a slew of accessories.

COS collaborates with Mati Ventrillon on knitwear

Cozy season just got better, thanks to COS’s collaboration with Fair Isle knitwear designer Mati Ventrillon. Featuring three jumpers and a hat, the sustainably made pieces offer a minimalist take on traditional patterns while celebrating U.K. heritage. “It was nice that COS took the time to find someone from Fair Isle to work on this project. Supporting smaller brands, our community and spreading awareness that we still exist is truly wonderful,” remarks Ventrillon, who is one of the few remaining knitters still producing product on the tiny Scottish island.

A fine jewellery brand — and its in-house piercing studio — arrives in downtown Toronto

 

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Mark your calendars: The Blumz will be opening its flagship store on Toronto’s King Street West early next year. The retailer will offer its house jewellery brand Blumz Jewelry, as well as several global fine jewellery labels, all within a beautifully designed space. What’s more, services like permanent bracelet welding, on-the-spot piercings, piercing stylists and custom ear curation make for a unique shopping experience.

The post Vancouver Indigenous Fashion Week Returns + More Fashion News appeared first on FASHION Magazine.

Reality TV is responsible for sparking Salonga’s upcycling journey. A few years after launching his eponymous label in 2014, he found himself on the verge of bankruptcy. “My aesthetic at the time was very post-apocalyptic and dark and I felt no one here really got it, so I almost quit the industry,” reflects Salonga, who was born in the Philippines. In 2018, in an effort to promote his brand, he made an appearance on an episode of Canadian fashion competition TV show Stitched, where the contestants were tasked with creating a garment out of old clothing. After winning the challenge, he thought, “Why am I not doing this at home?”

Fast-forward to 2022 and the designer has become known for upcycling thrifted denim and his East-meets-West aesthetic. “When you think of jeans, you think of the Canadian tuxedo or classic Americana style, so I always try to put an Eastern twist on them,” he shares. This ethos often translates into kimono-inspired jackets, monochromatic colour blocking and streetwear silhouettes. “I like to say I don’t create anything new but rather something that feels familiar,” he adds. “I believe in the power of nostalgia.”

Here, Salonga pulls back the curtain on his process and how he transformed six pairs of jeans into a trendy tux.

Eastern exposure

“The inspiration for this outfit goes back to my East-meets-West ideology. I like the idea of mixing a classic tuxedo with Japanese workwear, so I looked at vintage Levi’s styles and my own closet for reference before sketching the design.”

Pattern play

“Then comes my favourite part, which is pattern drafting. Patchwork can get lost in translation if it’s not curated, so the full suit consists of 25 to 30 pattern pieces. I also wanted to make sure the jacket and pants look linear and cohesive.”

Breaking free

“Next, I deconstructed about six pairs of thrifted jeans and scraps and chose which denim pieces would go where. This step took the most time because I tried to ensure that none of the same colours touched so the blue tones would have a nice contrast.”

Steady hand

“I did all the embroideries by hand while I was sewing the garment. I used a traditional Japanese technique called ‘sashiko’ to make the needlework look like a fishing net in honour of Japanese fishermen. It looks pretty simple, but I had to redo it three times to get it perfect.”

Oh snap

“After everything was constructed, I moved on to the finishing details. I added snaps for functionality and to lean into the Western aesthetic of the outfit. I then checked the fit of the jacket and pants, and thankfully it all looked good

Endnotes

“The final product really encapsulates the brand. I think it shows the quality of our work, our East-meets-West mentality and the power of storytelling in thrifted denim. And since it’s made from jeans, it will eventually mould to your body. I’m very proud of it.”

This article first appeared in FASHION‘s September issue. Find out more here.

The post This Designer Turned Old Denim into a Canadian Tuxedo appeared first on FASHION Magazine.

Welcome “Luscious Lead,” “E. Coli Kiss” and “Mercury Shimmer” to the Cheekbone Beauty lip gloss collection. Sound gross? That’s the point.

CEO Jenn Harper, who is Anishinaabe, founded Cheekbone Beauty in 2016 with the goal of making space in the beauty industry for Indigenous youth. #GlossedOver is an extension of that ethos. “This month is already heavily focused on Indigenous issues, and knowing that attention is on us, we wanted to use that visibility to start a conversation about this,” she says.

In Canada, long-term drinking water advisories have been in place in many Indigenous communities for decades. Water advisories are issued to warn people not to drink water that may be unsafe or contaminated, and an advisory is considered long-term when it has been in place for more than a year.

In 2015, the federal government pledged to end all long-term drinking water advisories by March 2021. Despite making some progress, that deadline was not met, and a new goal has been set for 2025. As of May 2022, there have been 132 long-term advisories lifted, but 34 remain.

To be clear, you can’t actually buy these products. By promoting unusable and even unsafe lip gloss, Cheekbone Beauty hopes to call attention to the double standard that Indigenous peoples face in this water crisis.

For the month of June, Sephora Canada will donate all proceeds from Cheekbone Beauty purchases in stores or at sephora.ca to Water First, a Canadian charity that works with Indigenous communities to address the water crisis.

“We have two main goals in this campaign: the first goal is to raise awareness about this issue and get people talking about it. The second goal is to maximize a donation to Water First,” says Harper. “I want people to understand just how much this is still happening: that it’s not a thing of the past.”

Below, Jenn Harper spoke more with FASHION about the inspiration behind #GlossedOver and how she hopes to see more Indigenous representation in the beauty world.

Representing this problem with makeup makes it more tangible to those who are not in these communities. Why did you choose to visualize the water crisis through lip gloss?

As a cosmetics company that was founded because of a dream I had of young native girls dancing around covered with lip gloss, it seemed [to be] the natural choice. In addition, the play on words was a big factor – lip gloss, glossed over, and the connection between drinking water having to touch your lips. It just made sense.

What message do you hope to send by releasing unsellable products?

The goal of making these into unsellable glosses was to show how outrageous it is that there are still water advisories in Indigenous communities across Canada. The message is, “You wouldn’t put it to your lips. But people in these communities shouldn’t have to, either.”

How do you hope to see Indigenous voices heard in the beauty world?

Loudly and frequently. I want every Indigenous person to feel that they are represented and reflected in the beauty industry. Representation saves lives.

The post Cheekbone Beauty is Here to Remind You About Canada’s Water Crisis appeared first on FASHION Magazine.

Minimalist and modern

 

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In Montreal, Leandro Vergara flipped the script on the barbershop concept when he launched Maison Privée in 2015. “The goal was to bring a salon vibe to the barbershop — with receptionist services, well-trained barbers and a high-end feel — to offer something nice for men,” he says. For its Old Port location, his vision was a crisp, bright all-white space — i.e., something completely different from the more traditional wood- and leather-fitted Canadian barbershops. The only colour in the shop’s airy space — where the stunning 200-yearold 5.5-metre-high plaster ceiling steals the show — comes from a display of fresh greenery. Completing the wow factor? The impressive custom-built mirror framed by Insta-friendly LED lighting in front of each chair.

Vergara’s instinct, of course, was bang on: The demand for upscale Canadian barbershops has increased — so much so that he has opened four other locations in the city. As someone who started cutting hair in his mom’s basement when he was 16, Vergara, now 29, has seen first-hand how men’s attitudes toward self-care have evolved. “Guys used to cut their own hair, or if they had an alternative style in mind, they’d go to a women’s hairdresser,” he says. “There’s nothing wrong with going to a typical salon, but most men benefit from the specific expertise of a professional barber.”

Luxe lounge

“At first, people were intimidated by our concept, but then they’d walk in and see how warm it is and be reminded about how the front-desk staff remembers them each time they come in,” says Ju Tenuta, the manager at Regal Grooming Lounge. Located in downtown Vancouver, the 167-square-metre space is decked out with dark-wood-panelled walls and sumptuous black leather barber chairs. Besides haircuts, Regal’s express facial is one of the most-booked services, as are the relaxing hot-towel shaves.

The men’s self-care landscape has changed a lot since Regal opened in 2017, says Tenuta. “Back then, clients wouldn’t ask about what other services we offer, but now they’re looking for some pampering.” Guys happily sip complimentary cocktails during their appointments and make use of the shoebuffing service, cologne bar and selfie station (complete with feature wall and flattering lighting) before walking out with a little extra swagger.

Old-school redux

Like Vergara at Maison Privée, Tony Sadiku also wanted to change the barbershop experience. “People don’t really give barbers a lot of credit,” says Sadiku, the owner of Dundas Square Barbers in Toronto. He just needed the right location and spot-on design to make his dream of a welcoming upscale shop a reality. So he waited six years to snag the perfect space in Yonge-Dundas Square in 2021. The native New Yorker had long had his heart set on this bustling area by the CF Toronto Eaton Centre because it reminded him of Times Square.

Now, almost a year in, passersby are constantly peeking through the windows, drawn in by the bold contemporary aesthetic created by design firm Nivek Remas. Traditional black and white tiles inspired the striking zigzag-patterned floor, while a few vintage pieces add old-school flair — think tufted-leather barbershop chairs from 1910 and an ornate-gold cash register. To cultivate a social atmosphere, the designers ditched the typical facing-the-wall seating for barber chairs that encircle two mirrored columns in the centre of the shop.

Custom ombré wallpaper, a rose-hued marble coffee bar, ornamental plaster moulding and fringed gold sconces complete the inviting room. And it hasn’t gone unappreciated: Sadiku swears that every single customer takes a photo during their service — no designated selfie station required. “The space provides a beautiful backdrop for people to take photos — to put a stamp in their memory,” says Samer Shaath, half of the design duo behind Nivek Remas. “The barbershop is not just about the service anymore; it’s a fully cohesive, immersive experience.”

This article first appeared in FASHION’s May issue. Find out more here. 

The post Upscale Barbershops Are on the Rise in Canada appeared first on FASHION Magazine.

MAC launched its annual Viva Glam lipsticks this week and the collection did not disappoint. In collaboration with Keith Haring Studio, the three lipsticks feature the NYC artist’s instantly recognizable motifs and bold primary colours. Originally launched in 1994, each MAC Viva Glam lipstick sold in Canada donates 100 percent of its profits to local organizations supporting women and girls, the LGBTQIA+ community and people affected by HIV/AIDS (Keith Haring died of AIDS-related complications in 1990). To date, the program has raised over $500 million dollars around the world.

19/99 launches three more chic, coloured pencils

 

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Toronto-based makeup brand 19/99 (which, you guessed it, is designed for ages 19 to 99) has released three new winter-friendly shades for its much-loved Precision Colour Pencil. The easy-to-use formula can be blended and diffused in any way you see fit, including as eyeliner, lipliner, lipstick, contour, highlight or eyeshadow. The three new hues include an intense indigo blue, deep wine and a vibrant coral, perfect for keeping things pared down yet polished over the holiday break.

The Tanya Taylor x Paintbox collection has dropped on Instagram

The NYC-based designer (who grew up in Toronto) known for her bold prints and colour palettes has taken her love of dynamic shades to the next level with a new limited edition collaboration with Paintbox, available exclusively on Instagram. Two sets inspired by Taylor’s 2022 resort collection were dropped: the first pair features the lightest sky blue and rich, tropical green, while the other is a warm clay shade paired with a zesty vacay-ready purple. “Painting has always brought me great joy, energy and comfort, and I have always wanted to bring our art into the world of beauty.” says Taylor in the release.

Okoko Cosmétiques launches a perfect winter-ready salve

 

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Known for its potent, natural elixirs, Vancouver’s Okoko Cosmétiques has just launched a new, limited edition balm that could just be your saving grace this season. Formulated in a festive emerald green, Émeraude is a cure-all for stressed and compromised skin, acting like an occlusive barrier against winter’s harsh elements. Especially perfect for those that love outdoor sports, the multi-purpose balm instantly melts into skin and conditions with anti-inflammatory ingredients such as mango butter, açaí oil, blue chamomile and calendula. All proceeds from this special edition will go to Beauty Night Society, a local non-profit working with women and youth living in poverty.

LashGod launches lash strips for men (finally!)

Canadian beauty brand LashGod has launched four new strip lash styles designed specifically to fit the curvature of a masculine eye. The various looks include a “wet lash” and subtle, elongated cat eye, each meant to blend in seamlessly with natural lashes, no makeup required. The super-thin strip makes these especially easy to camouflage, and each fringe is made up of a natural blend of hypoallergenic brown and black synthetic fibres.

The post MAC Viva Glam Collaborates with Keith Haring Studio + More Beauty News appeared first on FASHION Magazine.

He would wear the treasure as a necklace for the remainder of his life, and when he passed earlier this year, the pendant was handed down to one of Stonechild’s brothers. In return, she promised her grandfather she would make another.

Come March, the Indigenous advocate partnered with Edmonton-headquartered designer Paris Jewellers for a limited edition Arrowhead necklace.

The collab sold out, with 100 per cent of the net proceeds (totaling more than $31,500) donated to Matriarch Movement, the nonprofit organization Stonechild founded to shift the mainstream narrative around Indigenous women.

Thanks to the success of the first drop, Shayla Stonechild and Paris Jewellers have partnered once again.

The new collection consists of a 21 inch sterling silver necklace ($149) and a pair of earrings ($129), available in both sterling silver and 10kt solid yellow gold-plated sterling silver. Both pieces feature an arrowhead pendant (removable on the earrings to create a classic hoop) with three diamonds.

As with the first Arrowhead necklace, Paris Jewellers will donate the proceeds to Matriarch Movement. And with the extension of the partnership (and another with Lululemon), the organization is in the planning and production phase for its first virtual Indigenous wellness series, set to launch in 2022.

“The arrowhead represents ties to my lineage along with protection, strength and moving forward,” Stonechild says. “As we move into 2022, it is important that we acknowledge our own lineages and the various histories of Canada and how they relate to Indigenous people. We must move forward and act in good relations with one another.”

The partnership with Shayla Stonechild is a natural fit Paris Jewellers, co-owned by sisters Chau Lui and Trang Wong. “As a family that immigrated from Vietnam, we are proud of our heritage and our humble beginnings,” Lui says. “We are also a women-owned business with a workforce of 90% women. That is why we are so passionate about bravely sharing our stories and creating the change we wish to see in the world.”

FASHION connected with Lui and Stonechild about the new collection, the power of personal style and reconciliation.

Could you discuss the making of the Paris Jewellers x Shayla Stonechild arrowhead pendant and its symbolism?

Chau Lui: “I spoke to Shayla about how she wanted people to feel when they wore the piece…After that, I got to work by putting the ideas together and starting to sketch. It was important to include three diamonds in the necklace to represent our past, present and future; to acknowledge the past, which is what got us to the present, and to be intentional about the changes that we make now, in order to create the future we want for our communities. Once I had the initial designs, I shared them with Shayla and she loved each piece.”

How will the proceeds be used to fund various workshops, resources and other initiatives?

Shayla Stonechild: “We will be using the proceeds of this collaboration to create an all-Indigenous wellness series that highlights seven different Indigenous instructors throughout Turtle Island. We will also be curating the second official photo/video shoot for the Matriarch Movement, highlighting a series of Indigenous women and two-spirited people. We’ll be exploring how each of them reclaim their power and do the transformative work they are responsible for in their community.”

CL: “Our goal will always be to empower women and help amplify Indigenous voices; creating space for those who have been silenced for far too long to reclaim their power and tell their stories in their own voices.”

How did you balance masculine and feminine energies for this collection?

SS: “We designed the collaboration with all of our relatives in mind. It is for women, men, non-binary and two spirit. It evokes a masculine feeling with a feminine touch. I believe in a balance and integration of the sacred masculine and feminine energies within ourselves. When we embrace both, we can express a holistic worldview.”

What compelled you to partner with Paris Jewellers for another collection?

SS: “Paris Jewellers is a local, female founded, Canadian brand that I grew up walking by in the mall ever since I was a child. My grandparents actually gifted me my amethyst grad ring from Paris Jewellers. I feel like I have known this brand my entire life. Since my first meeting with Paris Jewellers, Chau made it clear that they were looking for a long-term partnership, that my voice and vision mattered.”

What does healing and reconciliation mean for the Matriarch Movement, and yourself, as we look ahead to 2022?

SS: “A big part of our own healing journeys are about looking within the aspects of our identities that we hide from the world (or even from ourselves). Those fragments are waiting to be integrated and hold a lot of medicine and teachings if we allow them to see the light…Our personal healing journey must begin before we can talk about our collective one.

“Reconciliation is now at the point where we shouldn’t just be talking about it. We need action, recognition of our rights and title, representation and inclusion within every sector and industry. When we talk about reconciliation, it is about inter- and multi-generational healing. Not only within our own communities but also within non-Indigenous people.

“Right now, Indigenous people are still fighting to have our basic human rights met, the right to have access to clean drinking water, the right to even stay alive in a colonial world.

“When we talk about reconciliation we also need to demand [the federal government to] implement the 94 Calls to Action by the TRC, the 231 Calls to Justice, and…the framework within the United Nations Declaration of Indigenous Peoples here in Canada. When we talk about reconciliation, we also need to talk about dismantling the racist Indian Act and the Doctrine of Discovery that still affects every aspect of Indigenous lives. Reconciliation [is] interconnected to our own individual and collective healing. It is an ongoing process and a lifelong commitment.”

How do you see jewellery, personal style and identity as being intertwined?

SS: “Jewellery and personal style have the ability to introduce yourself before you even say ‘Tansi.’ We know that crystals, gemstones and jewellery have the ability to affect one’s own individual being while wearing it…For me, wearing jewellery is an invitation to tell a story, to invite a new feeling, vibration and/or intention into my life. This in return, affects my day to day life which then, creates my identity over time.”

The post This Indigneous Advocate is Telling Her Story With Jewellery appeared first on FASHION Magazine.

Just kidding. It’s a “Glamour Capsule” of decadent dresses and jumpsuits, with all the holiday flair you would expect from Canada’s go-to prom destination.

The 50 look assortment, available on lechateau.com, takes the drama and glitz synonymous with the Montreal-based brand and presents updated versions of its early-aughts staples. Lace and velvet cascade over plunging necklines. Glitter and ruching commingle in wide-legged pantsuits. There’s even a few mom-approved cutouts.

 

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“Our sweet spot was always dresses,” shares Franco Rocchi, senior marketing director of Le Château. “So for the Le Château relaunch we’re starting with occasion dresses for the holiday season.”

It was a sad, nostalgia-inducing day when the pandemic forced Le Château to shut its doors. After filing for bankruptcy protection and subsequently liquidating its remaining stores more than a years ago, the retailer appeared to be gone forever. Or so we thought.

“Our customers never left Le Château; it was Le Château that — for reasons beyond its control — had to leave the customer,” says Rocchi. “So it was incumbent on us to return as quickly as possible. You don’t leave a loyal friend stranded.”

Such was the mentality of Suzy Shier, part of Toronto’s YM Inc. conglomerate, which bought the brand in June 2021 and was determined to keep it in Canadian hands. “Suzy has gone out of its way to honour and respect the original DNA of the Château brand,” notes Rocchi. “They rehired the designers and are ensuring that the original spirit remains intact.”

That isn’t to say that Le Château will pick up where it left off. As the press release teases, the retailer is relaunching with “a new focus and a brand new attitude.” For Rocchi, this translates to one word: trend-oriented.

“Every brand has its unique way of looking forward and looking back. You’ll see Le Château has a more forward-looking perspective: whatever’s exciting in the fashion capitals of the world, you’ll see in our dresses,” Rocchi explains. “We’re not fully walking away from the brand’s history, but the spirit is more fun and trend-driven.”

And yes, it will be available to shop in-store come the spring — along with a complete collection of occasion wear for both men and women — but not in the traditional sense. Select Suzy Shier locations will house Le Château apparel in a distinct and separate space as part of the deal.

As for the possibility of a standalone store in the future, Rocchi suggests never say never. “I hope that we see one again. And if the Le Château relaunch works, I don’t see why not.”

After all, who doesn’t love a throwback?

The post The Ghost of Prom Dresses Past is Back appeared first on FASHION Magazine.

“I know what it feels like to be that girl in the change room, and you can’t find anything that fits, let alone something that looks good,” says Earle over video chat. “It’s just ten times harder to be fabulous when you’re my size: you’ve got to be more inventive, more creative, and source harder.”

Determined to challenge the fashion industry’s body standards, FASHION caught up with Earle to chat about the term “plus-size,” learning to love yourself, and the inspiration behind her latest collaboration, launching on November 9. Read on.

Is shopping for your size still a challenge in 2021, or has it gotten easier?

“Of course it’s still a challenge! I’ve been everything from a size 12 to 18, and when I was the bigger sizes, it was just impossible to shop. We tell women to go out into the world and be these bad*ss bosses or feel fabulous on their dates or whatever, but then stores don’t have anything that actually fits. It’s so demoralizing, and it really affects your self-esteem.”

What are your thoughts on the term plus-size?

“I’ve never called anyone a minus size, so I don’t know why it’s the other way around. If you’re above a certain size, you’re put in some box. I don’t like labels that put people in boxes. I am my size, and my size rocks. That’s where #MySizeRox [Roxy’s online community] came from! The label ‘plus-size’ feels like it’s telling me who I should be: ‘You’re not a regular model; you’re a plus-size model.’ ‘You’re not a regular designer; you’re a plus-size fashion designer.’ I don’t know why we have to put plus-size before everything! I am just a woman.”

What does true size diversity in fashion look like to you?

“It’s not just about what sizes appear on the runways, it’s about the clothes women can actually buy. When fashion talks about diversity, it’s great that designers are starting to show different bodies, but you can’t just show them; you need to design for them. We can see a size-inclusive model on the Fendi runway, and then at the boutiques, their largest size is a 10. Also, when making clothes for a bigger woman, the construction of the garment is different. You can’t just take one piece and size it up. You need to think about the fit, and many brands miss that.”

Keeping that in mind, how did you approach the Roxy Earle Joe Fresh holiday collection?

“I designed these clothes for myself, and they’re true to the clothes that I wear every day. My signature style is quite glamorous and I created this collection based on years of first-hand experience knowing what pieces aren’t accessible to women for the holidays. I hope the collaboration alleviates the stress that comes with size-inclusive shopping. I want women to put on these clothes and dress for themselves! Give them a reason to sparkle.”

Why was it important to you to feature real women in your Joe Fresh ad campaign?

 

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“It felt very natural to me to include my followers in the Roxy Earle Joe Fresh campaign. Why wouldn’t you want to see a woman who’s the actual consumer? Why are we always obsessed with these perfect images of these perfect beings that aren’t even real? And what even is perfect? But I want to erase that, and I think it’s a great way to show women that these clothes are genuinely designed for them.”

You’re famous for your “if you don’t love yourself on the inside, you’re never going to love yourself on the outside” ethos. For women who struggle with self-love, what advice would you give them?

“Well, I’ve literally designed The Ana App [launching in January 2022] to do just that. I was getting asked this question every day: How are you so confident? How can I have the same energy? Why are you so positive all the time? And the truth is that it’s like anything else in life — it’s something that you work towards. It’s a muscle that you have to exercise, and my app has a set of daily practices and rituals that I go through every morning,

“I want women to realize that they can teach themselves how to be happy: it’s totally in their control. I think people look at others and think, ‘she’s richer than me,’ and ‘she has the best husband,’ and ‘her kids are no trouble.’ Essentially ‘her life’s so perfect. No wonder she’s happy.’ But nobody’s life is perfect, including mine! And in my darkest moments, I’ve been able to teach myself how to be positive, so I wanted to pass on that learning.”

The post Roxy Earle is Over the Plus-Size Label appeared first on FASHION Magazine.

Of course, many brands have their own iterations of cozy winter outerwear, but who better than us Canadians to make the most weather-appropriate and stylish coats? Whether you’re looking for a floor-length “duvet” parka or a fluffy fur coat in a punchy colour, we’ve got you covered.

From special collaborations (Canada Goose x Angel Chen, Moose Knuckles x Telfar) to sustainable options (Wuxly, Judith & Charles), we’ve rounded up winter outerwear options for every taste. Here are some of styles from our favourite Canadian brands.

1/20

Angel Chen for Canada Goose

Bayan Puffer

($1,195, Canada Goose)

Buy Now

2/20

Noize

Aberdeen Mid-Length Puffer

($260, Noize)

Buy Now

3/20

Norden

Kal Pongee Puffer

($425, Norden)

Buy Now

4/20

Mackage

Davis Duvet Down Jacket with Funnel Collar

($950, Mackage)

Buy Now

5/20

Freed

Violet Brown Cow Print Faux Fur Belted Coat

($450, Freed)

Buy Now

6/20

Judith & Charles

Chamonix Sustainable Coat

($995, Judith & Charles)

Buy Now

7/20

Wuxly

Elk V Parka

($795, Wuxly)

Buy Now

8/20

Nicole Benisti

Grand Shearling Puffer Aviator Jacket

($3,705, Intermix)

Buy Now

9/20

Moose Knuckles x Telfar

Telfar Leather Bomber

($3,000, Moose Knuckles)

Buy Now

10/20

HiSO

Iroh

($2,595, HiSO)

Buy Now

11/20

Frank and Oak

The Hygge Puffer Coat in Dark Rose

($399, Frank and Oak)

Buy Now

12/20

Hilary Macmillan

Blue Faux Fur Teddy

($350, Hilary Macmillan)

Buy Now

13/20

Vallier

Toolo Parka Men’s

($800, Altitude Sports)

Buy Now

14/20

Sentaler Men

Technical Bouclé Alpaca Robe Coat

($2,695, Sentaler)

Buy Now

15/20

Nobis

Cardinal Men's Puffer Parka

($995, Nobis)

Buy Now

16/20

Quartz Co.

Zoe Down Jacket

($750, Quartz Co.)

Buy Now

17/20

Soia & Kyo

Raquel Hip-Length Faux Fur Jacket

($295, Soia & Kyo)

Buy Now

18/20

Kanuk

Kiruna Black Mini-Floral Kiruna Winter Jacket

($1,200, Kanuk)

Buy Now

19/20

Rudsak

Adeline Women's Belted Down Puffer

($645, Rudsak)

Buy Now

20/20

Aritzia

The Super Puff Long

($350, Aritzia)

Buy Now

The post 20 Winter Coats from Canadian Brands to Buy Now appeared first on FASHION Magazine.

On Sunday night, the founder and creative director of Arnieri took to Instagram to show off his custom ensemble, and the accuracy is nothing short of awe-inspiring. From afar, fans of the Loewe look will quickly acknowledge the true blue tones, glittery accents and voluminous map sleeves. However, the devil is in the details (a phrase befitting the spooky holiday), as Arnieri masterfully mimicked Levy’s dainty gold chain, exaggerated ribbon cuffs, embellished boots, and glitter purse.

 

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While praise has been pouring in in the comments section— see the six clapping emoticons from Levy’s stylist Erica Cloud and Tommy Dorfman’s “incredible” — the ultimate seal of approval came this morning as the Schitt’s Creek star shared Arnieri’s costume on his Instagram Story.

“My friends and I had stayed up doing our little Halloween movie night and tarot card reading. When I checked my phone, everyone had been sending me messages like, ‘Did you see Dan Levy’s story?! He reposted you!’” Says Arnieri over the phone. “And then to see that he put the emoji of a head explosion and also tagged [Loewe creative director] Jonathan Anderson was just incredible.”

The original garment, created by Anderson, was inspired by two works from American artist and AIDS activist David Wojnarowicz entitled “F*ck You F**got F*cker,” 1984, and “Untitled (One Day This Kid…),” 1990–91. The pieces are famed for confronting the systematic oppression of the LGBTQ+ community through the depiction of two men kissing and satirizing a homophobic cartoon the artist had come across. This political aspect of the design made Levy’s choice especially poignant for Arnieri.

 

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“This look was created to represent hope and to celebrate the queer community,” writes the former fellow of The Suzanne Rogers Fashion Institute at Toronto’s Ryerson University, on his post. “I confidently wear this costume for Halloween because of everything it represents to me and a large community of people just wanting to be loved.”

The morning after Halloween, FASHION sat down with Arnieri to chat about the Canadian’s love of costumes, repurposing materials and how he created the Met Gala ensemble Dan Levy wore in two days!

Have you always been a fan of Halloween?

Absolutely! For me, it’s always been about more than just candy. Since I was a little kid, it’s been a time for me to express myself and incorporate my art, fashion, and career into one night of fun, where everyone gets to dress up and have a good time.

Why did you choose to recreate the look Dan Levy wore to the Met Gala for Halloween?

I always look to the Met Gala, designers and pop culture for my costume but being a fashion designer myself, that’s just something I love to look at regardless of Halloween. I’ve been a huge fan of Dan Levy since seeing him on Schitt’s Creek, but this outfit also spoke to me on a personal level because of its LGBTQ+ message. [This look is] everything that I want to do as a designer, and I just wanted to see if I could bring this to life myself. I honestly didn’t know if I was even going to be able to create anything close to it, so I’m proud of the results.

What does the message behind Loewe’s design mean to you?

I loved the spin that Dan Levy and Jonathan Anderson took on David Wojnarowicz’s work [which confronts homophobia] and how they made it into a statement about the LGBTQ+ community. Although there is still a fight for equality, it’s just so beautiful to see it represented on a red carpet and the power of fashion.

It’s emotional for me because the text [on the purse] describes the artist’s rough childhood, and it makes me reflect on growing up in the closet and going to Catholic school where I was bullied for being different and not knowing who I was.

And although I rarely have people yelling slurs at me anymore, those moments have still stuck with me — it’s almost like some kind of trauma that’s been burned into my brain. So wearing this costume was kind of like my F–you back to everyone else.

How long did it take you to recreate the garment?

I actually created this costume in two and a half days because I had just returned from my vacation in Calgary and only had a few days before I left for Montreal. There were quite a few all-nighters, but it honestly was the excitement of just getting it done and surprising my friends that kept me going. I didn’t tell anyone what my costume was just in case I couldn’t finish it!

What materials did you use?

I used whatever scrap materials and resources that I had, and it worked out really well. I found only one type of Atlas fabric downtown, so I picked that up, along with a $3 Ralph Lauren polo from Value Village and then I integrated some fabric from an old bedsheet. I used the same Atlas print for the pants and cut out all the little islands. I created the water from different sequins and spandex scraps and just organically cut out shapes and machine sewed everything together. But I hand-stitched all the black sequins that outline the figures. It was super crazy, but there was no other way for me to do it. I love a good sequin, and I wasn’t going to pass up an opportunity to have a little sparkle on my costume.

How did it hold up during the night?

It held up really well! It did great as we hit the dance floor, and it kept me warm in the Montreal weather. I just felt so beautiful, and just to know the message behind it made me feel even better. Some people dress up for Halloween to escape, and they want to live out a fantasy. And I felt like I was more me in this outfit than I’ve ever been.

Are you already feeling the pressure for your costume next year?

Absolutely! How do I outdo myself? I will definitely look at next year’s Met Gala for inspiration.

The post This Canadian Designer Recreated Dan Levy’s Met Gala Look for Halloween appeared first on FASHION Magazine.

In what feels like a bid to cement Canada’s “cool-status” (Drake and The Weeknd can’t shoulder that responsibility alone!), the influence of streetwear and Gen Z was emphasized using smart styling choices. As seen in the promotional imagery and during the presentation, winter jackets are stacked atop one another to create bulky silhouettes; cold weather baseball hats are hidden under hoods; and even the snow pants are built to resemble joggers.

But perhaps where the Lululemon Team Canada Olympic uniforms truly deserve a gold medal is in the colour choice. As a nation with only two tones on our flag, the combinations are obviously quite limited. However, in an unexpected twist, the brand’s design team has made the bold decision for athletes to walk both the Opening and Closing Ceremonies in fully monochromatic ensembles.

To commence the event, Olympians will sport a mélange of five red hues in muted and bright varieties. Then to signal the end of the global competition, Canadians will be dressed in head-to-toe white and cream. Connecting both colourways is an abstract print inspired by the maple leaf as seen through a microscope.

As the first collection of the multi-year partnership (which will span four Games ending after Los Angeles 2028), expectations were understandably sky-high, especially as Lululemon replaced Hudson’s Bay after a 16-year run. But those excited to wear their national pride literally on their sleeve can rest easy, as the fabric innovation and effortless ease that have become synonymous with Lululemon are integral parts to this fashionable assortment. Officially available for purchase today on lululemon.com, below is a sneak peek of what to expect.

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

Photography courtesy of Lululemon

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Opening Ceremony — Liam Hickey

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Opening Ceremony — John Tavares

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Opening Ceremony — Brigette Lacquette

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Opening Ceremony— Justin Kripps

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Podium — Justin Kripps

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Closing Ceremony — Frederique Turgeon

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Closing Ceremony

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Closing Ceremony — Piper Gilles

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Closing Ceremony — Paul Poirier

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Closing Ceremony — Paul Poirier

The post Lululemon Brings Fanny Packs and Bucket Hats to the Team Canada Olympic Uniforms appeared first on FASHION Magazine.

After being trapped indoors for months, most of us have realized that we either own too much clothing or not enough pieces that actually make sense with the changes to our daily schedules (hello, loungewear!). We’ve also become hypersensitive to touch, not just from others, but to subway handles, grocery carts and, yes, the clothes on our bodies. Should we immediately do laundry after running errands? What’s the risk of sitting on the sofa in the same outfit we wore on public transit? Is it safe to try-on pants in a fitting room?

 

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Because of this, brands have been forced to seek creative alternatives and adapt to the ever-changing times. Canadian label Nonie is one example. The designer has recently announced it will be relaunching its apparel with “antiviral, fully recyclable, sustainable with ZERO microplastic release” material. The first item in the new lineup is an updated version of the Meghan Markle-approved trench coat.

If you’re thinking, “What is antiviral material?” You are not alone. Similar to the first time we heard of oat milk (I’m still slightly mystified at how you can “milk” oats), we have a lot of questions. Luckily, Nina Kharey, founder and creative director of Nonie, and Dr. Daniel Foucher, a chemistry professor at Ryerson University, are here to help.

What is “antiviral” material?

Nina Kharey (NK): Simply put, a material that is resistant/effective against viruses.

Dr. Daniel Foucher (DF): The term can be a bit confusing. When we think of antivirals, we think of pharmaceuticals that are used to treat virus-borne diseases. An effective antiviral coating resists the build-up of a virus on its surface and kills on contact.

One important distinction is that these antiviral coatings on textiles are more permanent — they are in the fibres of the material, robust and do not wash off. It’s different from something like Lysol, which is a biocide (poison) that is absorbed by the virus and a short-term solution as viruses can build back up on the cleaned surfaces.

How does it work?

NK: At Nonie, we use nanotechnology to fuse silver and carbon ions into every fibre of the fabric. This not only keeps the garment clean from bacteria but also discourages the growth of the virus, bacteria and odours in the material.

DF: What we believe occurs is that the antiviral coating presents a positively charged surface to the bacteria or virus. The phospholipids [a type of molecule] in the virus’s outer cell layer are negatively charged, and these materials are attracted to the surface and pinned down, much like a magnet. The phospholipid layer eventually breaks down because of this attraction, and the virus dies.

Is it actually effective?

NK: Yes. The latest testing with the SARS-CoV-2 virus was conducted by researchers at the Doherty Institute, simulating the real-life interaction of small aerosol droplets contaminating clothing. A sample fabric was exposed to a known concentrate of the SARS-CoV-2 virus for 30 minutes, and was then measured for remaining infectious viruses. The fabric sample treated with the advanced technology showed no infective viruses left after 30 minutes. The results show a SARS-CoV-2 virus reduction of 99.99%.

DF: It has been previously theorized that a similar treatment could work to weaken the defences of the viruses within the Coronaviridae (SARS-Co-V2) family, ultimately leading to viral deactivation. The virus is airborne and spread by people coughing or touching surfaces: This is called fomite spread. If your textiles in your hospital room are treated with an antimicrobial/antiviral coating, they will deactivate (kill) the virus on contact. But cleaning is also required!

The post What is “Antiviral” Material and How Does it Affect COVID-19? appeared first on FASHION Magazine.

The Canadian brand’s partnership with the Shang Chi and The Legend of the Ten Rings leading man and Kim’s Convenience star — in celebration of its 15 year anniversary — includes the introduction of a new collection.

 

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Described as boundary-pushing and timeless, the line features functional silhouettes and incorporates a modern twist that channel’s Liu’s own style.

Nobis (available in more than 35 countries across North America, Europe and Asia) and the Marvel Studios superhero created a series of vignettes throughout the campaign that correspond with different elements of Liu’s personal journey and professional career. From music to sports and writing, these components of his life signify the obstacles he has overcome based on “preconceived misconceptions due to his ethnicity,” Nobis stated in a release.

“To me, this new adventure with Nobis is personal — it has provided me with the chance to help continue to pave the way for those who are denied opportunity based on their ethnicity, in ways that bring their voices and stories to the forefront,” Liu said in a statement. “I truly stand behind Nobis and the notion of defying society’s parameters through fashion.”

The brand — its name derived from the Latin word “us” — also noted Liu’s support of Asian creators and entrepreneurs, and his efforts to challenge the status quo in film and television, as being aligned with its own vision.

“Over the last 15 years, Nobis has pushed the boundaries of excellence with it’s innovative approach to highly adaptable, fashion forward performance apparel, as such we are extremely honoured to be partnering with a beacon of excellence, change and diversity Simu Liu,” Nobis founders Kevin Au-Yeung and Robin Yates jointly stated. “His determination for diversification and influential strength is inspiring and embodies the Nobis ethos authentically and naturally for this incredibly special milestone.”

The post Canadian Outerwear Brand Nobis Taps Simu Liu as Global Brand Ambassador appeared first on FASHION Magazine.

But is there also room in life’s mundane moments to feel like a rock star? What does it feel like to be a celebrity in your everyday life? That is the feeling that Utah couple Tezza Barton and Cole Herrmann are reaching for in their latest collection, a collaboration with Canadian outerwear brand NOIZE.

The duo, who previously worked together on the viral Tezza app and Lello eyewear brand, have partnered with the Montreal-based label to create a 14-garment collection entitled Lost in the Sounds. The assortment features men’s and women’s sweatsuits ($125), short jackets ($200-$370) and full-length coats ($300-$370). Keeping in lock-step with NOIZE’s ethos, the line is 100 per cent vegan, cruelty-free and sustainable.

The NOIZE outerwear collection officially launches on Oct. 14, but customers can sign up to shop early by attending the Livescale launch event on Oct. 12 at 7:30 p.m, where Tezza and Cole will walk through the collection and answer guests’ questions.

“We like to keep cruelty-free and sustainability at the forefront of our products,” says Taylor Wilkinson, the project manager at NOIZE. “We’ve been sourcing a lot of our materials for years, and we are constantly trying to improve on the quality of our sustainable materials. It’s great to see sustainability coming into more fashion, and we’ve been doing it for a long time, so we take pride in that.”

As young creatives, both of whom have spent considerable time in both New York and L.A., Tezza and Cole wanted to combine the styles of America’s two largest cities into a cohesive aesthetic. FASHION sat down with the Forbes 30 Under 30 couple to discuss how they worked to achieve this look and who inspired them along the way.

What was it about NOIZE that made you interested in this collaboration?

Tezza: There are so many things, but for one, it’s just so beautiful — the styles of the pieces are amazing and pretty timeless, but also iconic and modern. Initially, I think it was just what NOIZE stands for as a brand that attracted us. They are sustainable, cruelty-free, and they’re doing what so many other brands are trying to do, but they are doing it best.

Cole: We were just blown away at how well NOIZE does it; the quality was above and beyond anything else we’ve ever tried on, all while being able to stick to their ideals. It’s pretty amazing.

How did you come up with the name Lost in the Sounds for this NOIZE outerwear collection?

Tezza: Cole and I both played in a band together for six years, so music is a huge part of our lives, and I think it’s where we draw a ton of inspiration. When designing the collection, we were inspired by anything from the way music makes you feel to how musicians have their own aesthetic and style.

What musical artists inspired this collection?

Cole: I am obsessed with Led Zeppelin, and I just eternally wish that I was Robert Plant. I have always loved his whole style and presence and those iconic Led Zeppelin photos on the jetway, getting ready to take off; that whole vibe is really what I wanted to bring to my side of this NOIZE outerwear collection. I hope that when you throw on the oversized trench that you feel like a rock star.

Tezza: For me, it’s anybody from Joan Jett to Stevie Nicks. I’m going all the way from my boho energy to my rock and roll energy! Women in music have always been powerful icons for me and somewhere that I have always drawn inspiration from.

What design principles did you bring to this collaboration from your previous work (the Tezza app and Lello eyewear)?

Cole: One thing that has always inspired us is vintage authenticity. I would say that many of our app elements were inspired by vintage magazines, vintage fashion photography and lots of the presets are inspired by film. We’re also really inspired by storytelling. It’s something that we try to bring to all of our campaigns, including this one. There is so much story to it, we’re weaving in all of our inspirations from music and vintage.

How do you want customers to feel when they are wearing clothing from the collection?

Tezza: We focused on pieces that were timeless and wearable, pieces where you’re like, “That’s going to stay in my collection forever,” because when you put it on, it’s going to make you feel like a rock star, and it fills you with a powerful feeling. For example, the Penny Lane jacket, I remember when I saw Almost Famous, I was like, “This. Jacket. I want to have it forever,” because it’s the type of thing when you don’t know what to wear you can just throw it on, and you’ll feel great, so I wanted to have a jacket inspired by that feeling.

Are there any pieces in the collection with a specific or personal story attached to them?

Cole: Again, it’s the Led Zeppelin trench coat. I remember the first time we went to New York as a couple. I bought my first trench coat, I had never owned one before, and it just felt so good. Ever since then, a high-quality trench coat has been such a staple in my closet, and I have an attachment to New York and when we first started dating.

Tezza: When we were shooting the NOIZE outwear collection, I was wearing the Jude jacket. It’s this dark brown, beautiful jacket. I was wearing it, and I remember someone stopping me on the street and was like, “This jacket! What is it? I’m obsessed,” and I was like, “Oh my gosh, I get to tell you that we designed this.” I told her, “It is a part of our collection coming out in a couple of months.” I think that piece will always be my favourite in the collection. It was awesome.

The post Tezza App Founders Take on Outerwear with NOIZE appeared first on FASHION Magazine.

 

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During the SHEIN x 100K Challenge, Kardashian had said of Ruddock: “I don’t think she’s going to let anyone else win this competition but her” — and though she did take home the prize, her win is a win for us all. Ruddock’s size-inclusive brand Flaws of Couture is built on the ethos that people of all shapes and sizes deserve to look and feel their best. Having won the competition just a few months after launching an exclusive collection in collaboration with SHEIN, we just had to learn more about Ruddock’s journey to becoming a fashion designer, her experience as a plus-size Black woman, and how she’s working to make the future of fashion more inclusive.

Congratulations on the win! How are you feeling?

It feels really good to know that I won. I feel accomplished and fired up. Being a server for ten years, dropping collections funded by server wages and tips is all I knew. And now I have $100,000 to invest into my brand. I still feel like my usual self, though. I’m still Sasha, from Brampton, in my childhood home. Now I just have some funding for my company which I’m so grateful to God for.

What drew you to becoming a fashion designer?

I didn’t choose fashion design; I really believe that fashion design chose me…Not finding clothes that align with who you are can leave you feeling almost vulnerable as a plus-size person. It’s that feeling of, do I settle for what’s available, or do I create this for myself and those around me who need it too? It’s a huge deal. I’m 31, it’s 2021, and I’ve never experienced a “shop ‘til you drop” moment. And when I ask myself why, I think it’s because people don’t find size inclusivity necessary even though the average person falls outside of a size 12 and this enables and maintains fatphobia.

You went into the SHEIN x 100K Challenge as a streetwear designer weeks after you launched a size-inclusive streetwear collection with SHEIN. How was that experience?

You know, I was trying to do hot girl summer, but God had another plan [laughs]. There are definitely levels to how hard or challenging a competition can be, and this was a competition. And I was going to give it my all because it’s ours. When I found out Khloe was going to be my mentor, I was shook. This was one of the best experiences I’ve ever had in my entire life; it was life-changing. Everything I learned, all the people I met, the heat of the competition, making things even when you feel like you can’t — all of this challenged me and showed me what I was capable of. Sometimes you have to leave home to see what you’re packing.

SHEIN has been caught up in a few online controversies. How has your experience been working with them?

Yes, SHEIN has been the subject of controversy in the past, but from what I’ve personally seen with what the team is doing, they really are making changes and bettering themselves. I love a company that is looking to grow and contribute to changing narratives. I always feel heard. I genuinely do believe in their team because they’re willing to be accountable and grow.

On social media, you encourage your followers to love themselves no matter where they are in their journey to acceptance. So tell me, why name your brand Flaws of Couture?

I’ve always felt flawed. People will always feel like they have the right to tell you about yourself and what’s wrong with you, as a child and even now as an adult plus-size person. I heard someone in the industry say that people don’t want to see fat women on the runway — they want to see what they want to be. So, you don’t think I’m couture? But that was a lightbulb moment for me. I was like, “I’m going to prove that [plus size women] are [high fashion].” Maybe we are the “flaws of couture” to you, but we are perfect the way we are. I am a walking reminder that we deserve and that we will show up and show out, every time.

So, what do fashion and style mean to you?

Fashion, for me personally and [for] so many Black people, it’s culture. It’s really being able to step into a piece or garment that rises up to meet who you are on the inside, at your core…Fashion, to me, is who I am on the inside and a vehicle to express that.

I love that you draw inspiration from the community you seek to serve. Tell me more about what else is inspiring you these days.

Outside of plus-size people, and recently the ‘90s, I always come back to Black and brown people. They — we — are on so many mood boards and style inspiration boards, and not many will give us the credit we deserve. Though I can be inspired by anything at any moment, just being around my people and seeing how they put things together always inspires me. I also love to travel to draw inspiration. I just really want to be around Black and brown people everywhere. You don’t know what it’s like until you’re there, but I just bring my camera with me and click away.

Any final words?

Get with the program. Size inclusivity should be mandatory. I’m not the only one pushing for this, but there’s not enough. I sincerely believe that it’s irresponsible to leave out the average woman. We need above 4X. We need to get our feet wet and stop being so afraid of pushing boundaries…Every single woman is high fashion, and we deserve to feel that way.

The post Meet the Jamaican-Canadian Designer Who is Khloe K-Approved appeared first on FASHION Magazine.

Khan is a storyteller, among other things. As co-founder of Black Lives Matter Toronto and an international ambassador for the Black Lives Matter Network, they’re no stranger to hard conversations. Last year, after the COVID-19 pandemic hit, the Toronto-born advocate began using their Instagram as a space to talk about complex issues. Their weekly live streams, dubbed “Sunday Sermons,” range from more personal topics like self-worth and anxiety to commentary on pop culture and political discourse. And during an undoubtedly isolating time, Khan has nurtured an online community dedicated to growth, self-discovery and multi-faceted activism.

As in-person events have picked up again, Khan’s influential presence has manifested itself in physical spaces, too. Take London-based contemporary brand COS, which enlisted Khan for its Fall/Winter 2021 campaign and runway show. In keeping with the brand’s laidback aesthetic, the collection highlights loosely-fitted, layered styles. In an official release, COS states its latest collection is also crafted toward sustainability and circularity, using repurposed materials and recycled fabrics. Khan’s partnership with the clothing brand makes sense — as they tell me, fashion is a mode for activism, and COS’s relaxed fits represent the space and possibility needed to advance the fashion world in a sustainable direction.

As a non-binary person in the fashion industry — which has historically enforced the gender binary — Khan is helping to break down traditional barriers surrounding clothing. When asked if they ever deal with imposter syndrome, Khan responds, “I decided to step out of the story I was born into and write my own.” Below, FASHION speaks with Janaya Future Khan about the intersection of fashion and activism, dressing as a means for empowerment, and the future of sustainability.

How has your work in fashion connected to your role as an activist?

Fashion is art, and any artistic expression can be activist in nature. The society we live in requires an adherence to a mythical norm that dictates everything from haircuts to clothes to jewelry and shoes. But fashion pushes against the limits of our imagination and invites us to pursue authentic expression that transcends limits and embodies the liminal. Growing up, I never fit in. There were times when it didn’t even feel like my body was my own because I was so policed by the world around me. Fashion provided the creative space to build agency, and agency is about choice. Choice is infectious, and this newfound power informs every aspect of my life, especially activism.

How does COS’s collection align with your personal style?

COS is fluid. Streamlined, elegant and durable. I can be at a protest, in a studio, or on a stage in anything COS makes, and this is perfectly aligned with my personal style.

The COS collection embraces fluidity through draped, layered styles and oversized fits. Do you feel that this type of fluidity in clothing is where the fashion world is headed?

Fashion works in the delicate balance of being in tune with where the world is now and futurists in where the world will be, often acting as the curator of culture and taste along the way. Much like the rest of the world, we are grappling with the tension between creativity and capitalism, glamour and global despair, dreams and dystopia. Fashion will recycle and upcycle material. It will digitize as our lives become more intertwined with technology. We will have to move beyond fast fashion and build accessibility alongside sustainability. Oversized fits and layering are a metaphor for space and possibility, and that is precisely where I see fashion headed. COS is about fluidity, and that word, like the water it implies, is essential.

In your last Sunday Sermon, you spoke about existentialism and cynicism, specifically brought on by climate change. The fashion industry is notorious for its negative environmental impact. How do you think people can partake in fashion while combating this feeling of angst surrounding climate change?

To live in a society such as ours, and to believe in justice or art, is to be in almost perpetual conflict with the capitalist machine that moves us all. As I mentioned previously, upcycled and recycled materials, digitizing fashion, and wedding the worlds of accessibility and sustainability are necessary, and so are having some personal guidelines. What has helped me combat the consumption bug that fuels angst is asking myself questions before I use shopping cart therapy. Will this elevate my wardrobe? Do I see myself wearing this five years from now? Do I already have anything like this? What fits does it currently work with?

Asking questions helps to build intention and joy to push back against the angst. This cannot work alone. We need to work with brands to build better infrastructure and policies around environmental impact, and luckily there are many out there ready to do just that.

What advice do you have for people who are struggling to find clothes that empower them?

Investing time to locate what kind of expression gives you joy is not frivolous. When I stopped thinking of it as simply “clothes” and more as artistic expression, I gave myself permission to explore joy and possibility. It can be hard when you don’t see yourself out there, so look for clues. There will never be the one perfect form of style that speaks to you, because there is only one of you. You’re special. So take the little pieces of the things you like best whenever you are moved and collect them. Before you know it, you’ll have created a work of art uniquely your own. Go into the spaces that scare you. As a non-binary person who is very drawn to masculine expression, I found myself wearing a Dries silver sequined skirt the other day that felt like chainmail. At some point, you let go of the masculine and feminine and instead get to see the whole.

The post Janaya Future Khan and COS Meet at the Intersection of Fashion and Activism appeared first on FASHION Magazine.

Harris is the multi-hyphenate to end all multi-hyphenates. Former Bachelorette, current Love or List It Vancouver host, interior designer, author, Team Jilly founder and content creator, the mom of two can now add three-time Joe Fresh collaborator to her list of accomplishments. And it’s not hard to see why the Canadian brand keeps extending the invitation — Harris’s track record speaks for itself. In both 2019 and 2020, the famous “Jilly Jacket” sold out within 24 hours. “I walk down the street on any given day, and I’ll see somebody wearing one,” Harris says over video chat.

While her first stints with Joe Fresh were reserved to outerwear, this time Jillian Harris wanted more. “I’ve been sort of hounding them for a while to have my own, full collection,” she says with a laugh. “The problem has always been that you have to start these collections two years in advance, and just the way my life works with Love It or List It and the babies and travelling, it was so hard to bring it to life.”

Cut to two and a half years (and a pandemic) later, and Harris has finally done it — a 20-piece fall capsule collection for women and kids including outerwear, sportswear, accessories, footwear and and other staples. Harris discusses the collection — dropping online and in stores October 5 — from a room with the entire assortment on display.

Hence the tears. “​​When I walked in today, I started sobbing. I was like, this is unreal — absolutely unreal,” she says. “I’m so proud of Team Jilly and Joe Fresh, the friendships we’ve made, the trust we’ve built and the confidence that Joe’s team has in me.”

Featuring cozy sweaters, knit dresses and cheetah-print footwear, Harris’s capsule takes most of its inspiration from a few of her favourite past Joe Fresh items. However, her nostalgia is most prominent in the new (and sure to be sold out) “Harris” coat. “I had a jacket really similar to [this new coat] from Joe Fresh from one of the first years that they opened. It’s almost 15 years old, and I still wear it every single winter, and it’s in perfect condition.” Considering Harris’s West Coast roots, this is high praise indeed.

Harris isn’t just recreating the clothing of her past, though. She’s also looking to the future, with an eye toward comfortable and versatile clothing — so much so that she actually halted production on the red “Peggy’’ dress to swap the fabric. “The original material for that dress was a little bit more of a silk,” reveals Harris. “While it was beautiful, I was thinking, if it’s a chilly October night and I’m going out for dinner, I want to look classic and timeless, but I still want to be comfortable. And at the very last minute, I changed it.”

The same dress also comes in brown with white polka dots, sure to be a treat among the ’90s romcom obsessed. Harris notes the “timeless but also high fashion” inspiration behind the dress comes from Julia Roberts’ legendary ensemble in Pretty Woman (post-meeting Richard Gere, of course)

Harris was determined to make her first collection size-inclusive, with all 20 garments available in sizes XS to XXXL. “[Celebrating that] is something that has always been important to me.”

If you needed even more convincing that her third Joe Fresh collaboration is a meaningful one to the designer, she named the majority of the pieces after influential women in her life, such as the “Shay” dress, “Mary” sneaker and “Steph” sweater. “If it weren’t for them, I wouldn’t be where I am today. They’ve supported me, inspired me and coached me, so it just felt natural.”

Just don’t tell them that. “Actually, none of them know,” says Harris. “They’ll find out on launch day.”

The self-proclaimed potty mouth’s sense of humour and ability to wear her heart on her sleeve has become an integral part of Harris’s brand and success. Whether it’s documenting her grey hair journey during lockdown or sharing pics of herself in a diaper after giving birth, fans continually come back to the Canadian influencer because of her vulnerability.

“I want people to come to my platform and laugh, be inspired, smile, learn, unlearn and [embrace their] vulnerability,” Harris says. “I mean, nobody’s perfect. It doesn’t matter how many followers you have or how much education you have — everybody makes mistakes, everybody’s got boogers, everybody farts, and everybody’s imperfect. And I think that what makes people perfect is just embracing those imperfections and not apologizing for them.”

The post Jillian Harris’s New Joe Fresh Collection Is All About Effortless Style appeared first on FASHION Magazine.

Chloe Songer and Stuart Ahlum founded the online sneaker brand in 2018, and have since seen strong demand from the Canadian market — specifically in Vancouver, Toronto, Calgary, Montreal and Edmonton. The founders had hoped to make the brand available in Canada from the start, Songer tells FASHION, but it’s been challenging to figure out the logistics for the brand’s “take back” business model. When customers are done with the shoes, the brand encourages them to return the used footwear. Thousand Fell has a recycling centre in New Jersey (another in Texas is in the works) that collects all of the returned shoes, so they’ve had to figure out how to get Canadian customers’ shoes back to those facilities. For now, that method is by mail.

“When you’re done with your sneaker, you send it back to us — we’ll pay for the recycling, we’ll pay for the shipping — and we’ll shoot you a $20 credit towards your next pair,” says Songer. They call it their “SuperCircle” program — aimed to get consumers familiar with the concept of circularity in the fashion industry.

What is circular fashion, you may ask? Songer says it’s basically the opposite of our current linear economy model, where we “take-make-waste.” With this model, materials are collected, transformed into products, and used until they are discarded — adding to already high levels of waste in the fashion industry. But the circular economy, as its name suggests, aims to generate a lifecycle for products where they aren’t put to waste after their initial purpose is fulfilled. “We see the circular economy as the biggest opportunity for the retail industry in the next decade,” says Songer. Big brands have taken notice of this shift towards environmental consciousness in fashion — with retailers like H&M and Tommy Hilfiger announcing commitments to circularity as well.

It’s estimated that only about 13 percent of footwear textiles can be recycled, with the rest of that going into landfills. But Thousand Fell’s shoes are designed to be taken apart, says Songer. “Seventy percent of the weight of the shoe can go back into new shoes. So the SuperCircle process is to pull products apart, segregate the fabrics, recycle the fabrics and put them back into our new materials for new products,” she says. “The other 30 percent of the shoe is either upcycled, downcycled or industrially composted.”

Thousand Fell’s sleek designs come in slip-on and lace-up options and make for a classic trusted sneaker. The shoes are stain-proof (red wine doesn’t stand a chance), water-resistant and incredibly comfy — the brand reports they’ve been tested to last for 2.4 million steps. Canadians can order them now at ThousandFell.com.

The post Recyclable Sneaker Brand Thousand Fell Comes to Canada appeared first on FASHION Magazine.

Perhaps that’s why she has such an enormous assortment of hats; they allow her to bounce from one personal character to the next with ease. And glamour and intrigue have been part of her life all along. As the daughter of a casino magnate, Ho recalls observing how Hong Kong’s “show business divas moved and how they carried themselves.”

Growing up between the Asian metropolis and Canada, Josie Ho says she truly dived into developing her personal style in her late teens/early 20s during the 1990s. She counts the likes of Madonna, Anita Mui, Courtney Love, Yves Saint Laurent and his muse Betty Catroux as her icons when it comes to dressing.

Late fashion editor Isabella Blow also gets a name-check from Ho, and it’s easy to see why when you consider each woman’s affinity for grand sartorial gestures. Yet despite the high level of chic associated with the cloches, turbans, fedoras and more that occupy much space in her home, Ho’s preference for wearing hats was born from a practical standpoint. “I started wearing them so I wouldn’t have to do my hair,” she says. “And once the hat is on, I feel there is no need for makeup as well. Add some shades to the look and we’re ready to rock!”

While Josie Ho’s eye is drawn to the most sensational examples of millinery throughout history, it’s the humble beret she wore in cadet school that she says is her most memorable. “I was so proud of it,” she recalls. “It was from the 1940s, and I shaped and cared for it myself. I had to put AA batteries inside it to prop it up while I was wearing it.”

Tending to her collection is just as relevant for Ho today. Her hats are arranged as a decor aspect, and her home in Hong Kong includes custom displays.

Ho’s extravagant assortment includes a wealth of vintage headwear, and she counts Los Angeles’s The Way We Wore as a favourite destination. Doris Raymond, the boutique’s owner, says the admiration is mutual. “Of all the customers and clients we have from around the world, Josie Ho is absolutely at the top of our list of favourites because she is a fantastic eclectic dresser,” says Raymond. “Bes-Ben, Jack McConnell, Lilly Daché and Mr. John are some of the statement-hat makers Ms. Ho has worn or responded to.”

In keeping with the intensity of her vestiary flair, Ho says to stay tuned as she continues to make brave choices with her professional projects as well. “Some of my classmates from childhood didn’t understand how and why I became such a bold performer, but that’s what I really am.”

Photography, KIU; Hair, Ben Lee; Makeup, Zing.

The post Inside Josie Ho’s Hat-Filled Wardrobe appeared first on FASHION Magazine.

Toronto-based brand Hidden Lingerie is trying to change that. Featuring an array of bralettes and undies in muted tones, founder Natalie Jones created her company with the hope of “changing the way women who have Crohn’s and colitis feel about their bodies.” Jones has from Crohn’s disease herself and describes how hard it is for women who like her, who suffer uncomfortable and painful inflammatory bowel diseases, to wear traditional intimates. That’s because the tight elastic found on bras and underwear naturally sits around the chest and hips, adding stress on the already sensitive stomach and bowel region.

Crohn’s and colitis are “diseases that inflame the lining of the GI (gastrointestinal) tract and disrupt your body’s ability to digest food, absorb nutrition, and eliminate waste in a healthy manner.” According to Crohn’s and Colitis Canada, symptoms can include abdominal pain and cramping, severe diarrhea, rectal bleeding, bloating, nausea and vomiting. Currently there is no known cure for either but sufferers can take steps to reduce symptoms such as various medications, surgeries, and wearing comfortable clothing that puts less unnecessary pressure on the area.

As you can imagine, bras and underwear have typically been excluded from the “comfortable clothing” list.

With that in mind, FASHION spoke to Jones about Hidden Lingerie, the importance of comfort, and tips anyone can use for their next underwear shopping excursion.

 

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What motivated you to create Hidden Lingerie?

​​I was unexpectedly diagnosed with Crohn’s disease when I was 19, so my early twenties were quite tough as I navigated through trying multiple medications; I even went through a couple of surgeries to remove portions of my intestine. Through that time, I noticed that there weren’t any comfortable undergarments that I could wear all day, and I found myself always coming home from work and immediately changing. I have a background in fashion and I’ve always loved designing and creating, so I was inspired to start making my own bralettes. It started as a hobby, as I used sewing to take my mind off how I was feeling so I first began making them for myself and then for family and friends, and then my basement apartment became my design studio. My goal essentially was to create the perfect undergarments that would make me feel comfortable and confident all day, even when I didn’t feel it.

Of all the garments to make, why lingerie?

Crohn’s disease can cause bloating and extreme abdominal discomfort. When I was going through tough times with my disease, I found myself changing clothes multiple times a day — I never felt quite comfortable in my skin or my clothes. A bra or pair of underwear was the last thing I wanted to wear because it would exacerbate my symptoms as they are often restrictive and tight. I wanted to create a non-wire bralette that seamlessly moves with your body and is soft against the skin so I decided to start making my own. I began to feel more confident in what I was wearing under my clothes and I thought perhaps I could help others feel the same. Lingerie can be very empowering because it isn’t about looking sexy for someone else. Lingerie should be something that women buy and wear for themselves to make them look and feel as good as they deserve.

 

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Where does the name Hidden come from?

Crohn’s disease is often referred to as an invisible illness because those suffering might not look sick to the naked eye. But between the symptoms and the scars, it takes its toll on the body. Sometimes it can just get too much, and it feels impossible to hide. And that’s why I named the brand Hidden — it comes from [Crohn’s or colitis] being an invisible disease and the fact that lingerie hides underneath your clothes.

What makes Hidden products unique?

People with Crohn’s and colitis are always on my mind when I design. Our pieces are delicate and feminine, but they also provide comfort and support — just because something is pretty or sexy doesn’t mean it has to be uncomfortable. Lace against the skin can be itchy, so that’s why we use soft stretch lace on the outside and mesh on the inside. Also, our hook closures at the back are specifically designed, so they don’t dig into you. We really want it to be a second skin so that anyone can wear our products.

Also, on the production side, we use deadstock lace and mesh, as well as organic cotton and rayon, all of which are purchased from Canadian wholesalers. Our pieces are also sewn in small batches in Canada, so we’re supporting the local economy and not creating garment waste.

How did the fitting process affect your designs?

When we started, we reached out to a few people I followed on social media who had Crohn’s or colitis. We sent them products and asked them to tell us how they felt while wearing them. There were some tweaks early in the process. A couple of people I sent pieces to had a stoma bag (a pouch that basically your intestine leaks into so it doesn’t go through your whole bowel), so we adjusted the underwear to fit one and that’s why a lot of our styles are high-waisted. It was important to me that what I created made those people feel as comfortable and confident as I felt in our products because that’s who we were making it for.

What advice would you give to women (with or without Crohn’s or colitis) before they go bra shopping?

I would tell them to remember that comfort is most important but to enjoy the different styles of bralettes that are out there. Use lingeries as a way to celebrate your own femininity and confidence within yourself. It’s about you and no one else!

The post Hidden Lingerie Is Making Intimates More Comfortable for Women with Crohn’s and Colitis appeared first on FASHION Magazine.

Mejuri’s new campaign highlights the brand’s most iconic, and best-selling, collections to date: the Dôme, the Croissant, the Charlotte and the Heirloom. *Does mental tally of how many pieces I own from each collection. Three out of four, you?*

Thanks to designs that are timeless while being anchored in modernity, these pieces are beloved by Mejuri’s online community and have garnered a pretty epic celebrity fanbase, including high-fashion figures like Cara Delevingne and Bella Hadid who have been spotted in the Mejuri pieces. Read on for a look at the collections featured in Mejuri’s fall campaign.

The Dôme

The Dôme ring is the original Mejuri design, and it has inspired 45 different iterations, making it a jewellery staple for any occasion.

The Croissant

Inspired by the Parisian baked good, the Croissant collection’s bold designs have made it the brand’s most popular to date. It now also comes covered in paved diamonds (yes, please!). Below, model and actor Cara Delevingne wears the Large Croissant Dome Hoops.

 

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The Heirloom

The Heirloom collection — Binx’s favourite from Mejuri — is an assortment of statement rings crafted in 14k solid gold featuring gemstones of garnet, honey quartz and London blue topaz. The garnet Heirloom ring has been spotted on street style queen Bella Hadid.

The Charlotte

The Charlotte collection is an homage to another sweet treat: the famous shape of the French Charlotte cake. The design is beloved by many fans, such as Dove Cameron, who is pictured wearing the Charlotte Bold Ring.

 

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Mejuri’s Icons collection is now available to shop online and in its six retail locations.

The post Mejuri’s Fall Campaign Stars Supermodels Christy Turlington and Binx Walton appeared first on FASHION Magazine.

Making the most of it

Since 2016, when he became the youngest winner ever of the prestigious LVMH Special Prize, Canadian creative Vejas Kruszewski has been riding a wave of international attention for his architecturally-off-kilter pieces. For several years, the design phenom ran his eponymous brand out of Paris. Then came COVID-19. Unable to renew his work visa, Kruszewski found himself stuck in Canada initially sans sewing machine but with plenty of time on his hands. “I learned how to knit,” he says. “It was quite an experience and something I normally wouldn’t have had time for. I spent a lot of hours watching The Crown and a National Geographic series called Mars while practising.”

Self-care — but make it fashion

Kruszewski’s pieces may have a complex structure, but they recall laid-back inspirations — “sexy, lazy beach vibes,” as he describes them. “The skirt is in the shape of a towel wrapped around the waist, and the bra is like braided hair,” he says. The contented and ritualistic feelings captured relate to how Kruszewski has approached design this past year. “It feels so good to work with my hands and to share that work with others. That’s what keeps me going.”

Skein graft

Once the prototypes were developed for his knits, Kruszewski sent them to be made at a factory in Italy’s Veneto region in limited quantities. “I started collaborating with this factory in 2020 and am working with one of the sons — it’s a family business,” he notes. “It’s so nice to work with someone of my generation and who has similar sensibilities, which is not so common.” Speaking of uniqueness, Kruszewski explains that the yarn used was “created from recycled post-consumer denim in Prato, Italy — an area long recognized for its textile-recycling knowledge. Old jeans were shredded, and a new fibre, with a unique marled texture, was produced.”

The post The Pandemic, a Pair of Knitting Needles and Old Jeans Gave Life to Knitwear for Vejas Kruszewski appeared first on FASHION Magazine.

Powwows are capital-E events for Indigenous communities, where we gather to eat bison burgers and Indian tacos and shop from artisan-focused markets. And at the centre of it all is movement. Kicking off with a Grand Entry — which is led by elders and military veterans—those present (including kids decked out in mini-sized regalia) assemble in a circular arena to the beat of the host drum; afterwards, monetary prizes are awarded to the best performers in various stylistic categories.

Some people travel from powwow to powwow across North America; when social distancing meant that we could no longer gather in such spaces, the most dazzling part of these events gained presence on social media instead. Stepping, jumping and spinning while alone in homes, in empty fields and parks and on roads, Jones and others have forged a new trail via Instagram Reels, TikTok and dedicated Facebook groups. And their popularity has, naturally, given them the reach to inspire others.

Nikita Kahpeaysewat (@nikitaelyse) appears on the platform in beaded regalia made by her mom, Chuckie Nicotine. The collaboration is a journey that the two have been on together. Kahpeaysewat says the majority of her family are residential school survivors, including her parents; despite Kahpeaysewat’s distance from traditional cultural practices growing up, seeing these performers dressed in their special attire on social media stirred something inside of her and made her want to take her dancing online, too. “When I decided that I wanted to dance, this surprised my parents as they didn’t grow up traditional either,” she says. “Since then, my mom and I have learned how to bead and sew. She has become quite the artist, and I get to inherit these pieces made by her, which I will pass on to my daughters and they will pass on to theirs.”

The most personal part of her collection is her cape, which took six months to complete. It boasts contributions from many family members, including her adopted mother, Tina Whitford, and other matriarchs. Kahpeaysewat’s regalia also includes otter furs that she wears on hair ties; these furs were sent by a family in Idaho because she reminded them of their late daughter. “It brings me peace to know that my dancing has helped others,” she says.

In fact, one of the first things Kahpeaysewat and Nicotine learned upon entering the powwow world is that regalia has a spirit. It is the dancer’s responsibility to take care of that spirit, says Kahpeaysewat, and to take care of others, you must take care of yourself. Teachings also say that your feelings will be transferred onto whatever regalia item you are creating.

For his powwow wardrobe, Jones turned to well-known regalia makers Michelle Reed and Estrella Palomec Mckenna, who created the beadwork on his hoop and fancy dance pieces. Reed, who is from the Lac du Flambeau Band of Ojibwe and lives in Upper Michigan, researched videos of Jones before starting to make his attire, paying attention to his moves and the movement of his regalia. She also looked at photos of the items, such as bustles and accessories like headbands, that he would wear with each outfit.

Also taken into account: fit preference and the ever-important colour choices. For his hoop dancing regalia, for example, Jones wanted to use the colour turquoise to represent the land and the sky (the hue also symbolizes protection) and fire colours like orange, yellow and red because they represent the life that the sun brings.

Reed, a dancer herself, has made regalia for hundreds of people, and, as with all ceremonial outfits, no two looks are the same. She gets to know every client and learns about their clans, their communities and what they want to represent with what they’re wearing; once she has a feel for that, she asks for the creative freedom to make these special pieces.

A recent order for a men’s grass dance ensemble included a yoke, aprons, pants, a shirt, suspenders, moccasins, cuffs, a neckpiece, a headband and side drops — which should give you a sense of what these outfits can involve. Reed also rolls her own cones for jingle dresses. Every time you roll a cone, she notes, you put a prayer inside it. “There are a lot of different ways to make regalia, and I love that people have their own ways of putting that medicine into each piece,” she says. “Many people are taught that how you feel when you’re making these pieces is very important — that they have to put good feelings into each piece.”

Michelle Chubb (@indigenous_ baddie) — a 23-year-old member of the Bunibonibee Cree Nation who documents how she crafts her own regalia for her 400,000+ followers — notes that for the creation of her first jingle dress, she selected a red fabric with gold tones. “Red is the only colour that spirits can see,” she explains.

Chubb says that wearing her jingle dresses makes her feel powerful and like she’s a part of something: “In the city, you feel alone, but when you go to the rez, people look at you differently because you live in the city. In my regalia, I feel at home.” It’s worth noting that the jingle dress dance itself is a healing one, with the sound of the cones bringing prayers up to the creator.

It’s perhaps because of the significance of these outfits that there has been some pushback about featuring and explaining regalia through channels like TikTok. Jones says that he has received many questions from all generations of Indigenous people about whether he and his peers should be highlighting it there; he has also been accused of using his culture for clout. Yet he says he understands where these feelings are coming from. “We have to remember that for a really long time, our dances, songs and ceremonies were outlawed,” says Jones. “There’s a lot of shame that people still hold to this day, and that’s why I think it’s really important to hold your head high and share your good medicine with people — especially with those who are reconnecting with their culture.”

These online appearances have also become a part of how dancers like Jones and Chubb draw attention to urgent issues within Indigenous communities. This past spring, Chubb danced jingle for a video clip that features text describing the purpose of Canada’s residential schools in light of the gruesome uncovering of the remains of 215 children at a residential school site in Kamloops, B.C. Jones put on his hoop dancing regalia to educate his viewers and pay his respects beside a tribute, by Haida artist Tamara Bell, composed of a symbolic 215 shoes placed on the steps of the Vancouver Art Gallery. “We dance for the ones who never made it home,” his TikTok video reads.

Dan Simonds, co-founder of the Facebook group Social Distance Powwow, says that its social media presence has touched everyone from youth to elders, who often thank the group’s founders for bringing powwows into their homes, which, in some instances, are retirement homes. It has saved lives, says Simonds. “Youth have brought a lot of humour and laughter, and that’s what has gotten people through this pandemic,” he explains. “Early on, we got messages that people were considering ending their lives and our page gave them hope and kept them around; the impact of bringing positivity is something that you just can’t measure.”

Jones feels that his posts are healing as well. “When I started doing it, I asked for guidance,” he says. “All my mentors said that it’s a good thing to share, especially in the times we’re living in. We say that to dance is to pray and to pray is to heal. So, having a platform where we can still put on our regalia and dance — it feels good to do that.”

The post Indigenous Regalia Finds a New Audience — and Appreciation — Online appeared first on FASHION Magazine.

Alice+Whittles

 

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“Made to step lightly” is the motto of this innovative, socially and environmentally progressive Toronto brand whose mission is to design a range of stylish, functional footwear that is kind to both the planet and its inhabitants. Working with 90 percent sustainable materials, co-founders Sofi Khwaja and Nicholas Horekens were first inspired by their relief work in North Africa to start a brand that focuses on “quality design, sustainability, comfort and functional integrity.” Perfect for shoppers who are looking to invest in classic shoe styles, Alice+Whittles products are made from “natural fair-trade rubber from sustainably managed forests, reclaimed ocean plastics, recycled PET, and vegan water-based glue.”

Ana + Zac

 

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Ana Gilkerson and Zac Barkhouse are partners in both life and design. Body positive pieces with genderless styling and seasonless colours are the focus of the married couple’s brand which offers a selection of wardrobe staples, from fitted crewnecks and drapey tanks to jumpsuits. The brand measures their success by the degree to which they’re incorporating sustainable practices into their business model, how short their supply chain is, how transparent their sourcing is and how well they integrate ethical manufacturing into every aspect of production. In addition to Ana + Zac, they frequently collaborate with other brands to bring the best of sustainable fashion to their brick-and-mortar and online shops.

Anne Mulaire

 

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Andréanne Mulaire Dandeneau wants women to feel empowered when wearing her made-to-order designs. Her heritage-inspired and eco-conscious brand, honouring Canada’s French, Indigenous and Métis cultures, is made in small batches with natural and organic fabrics. The brand’s Revive Program is a circular model that allows their garments to be either resold, recycled, or upcycled into new Anne Mulaire products. The brand aims to break the mold of fast fashion by adhering to principles of transparency and accountability. As stated on the brand’s website, “wasted fashion is simply bad design, and it is our goal to keep all clothing out of the landfill.”

Hinaani Design

 

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This innovative Inuit-owned brand consists of a team of artists, designers and creators from the Kivalliq region of Nunavut. The line, which includes clothing, hats, scarves and accessories, are made with the intention of promoting awareness of Inuit and Northern culture. Hinaani sources primarily from Canadian suppliers with the goal of reducing their global carbon footprint. The brand aims to share a modern interpretation of designs that reflect the Arctic landscape and Indigenous motifs. They collaborate solely with companies whose manufacturing policies are guaranteed to be ethical and environmentally sound, and who are transparent about their working conditions.

Israella Kobla

 

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British-born Canadian and Ghanian designer Emefa Kuadey combines her love of fashion and former life as a civil engineer into her minimalist and modern line of made-to-order sustainable clothing. The brand adheres to the following five key factors that ensure each item of clothing is constructed with purpose and longevity: minimizing the impact of manufacturing through good pattern design and cutting techniques; donating, re-using or recycling waste and offcuts of fabric; sourcing materials and trims locally; designing functional packaging that customers can re-use and repurpose; and working towards a “digitally-led design development process” which involves creating patterns digitally and investing in 3D software to develop samples that will ultimately create less paper and fabric waste.

Mimi & August

 

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Camille Forcherio and Joao Crisostomo have combined their creative forces in producing a one-of-a-kind made swimwear label that celebrates all shapes and sizes. The pieces are designed and produced locally in Montreal with minimal manufacturing abroad and limited quantities available for purchase. The brand has recently expanded to include ethically made tees, sweatshirts, accessories, stationery, travel cups and zero waste candles. They also offer a vintage market, where gently used items can be sold and purchased from the website.

Nat the Label

 

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Vancouver brand Nat the Label is all about the beauty of simplicity and details. Founder and designer Nathalie Morel’s creativity shines in the dresses, tops, tote bags and selection of foulards she designs in calming colours inspired by nature. Not only is her line of effortlessly stylish items handmade in small batches in her home studio, but they also have a conscience. To date, Nathalie has designed two sets of charitable T-shirts, with a percentage of the proceeds donated to local organizations such as BC Community Alliance, Rainbow Refugee and Spirit North.

Olann Handmade Knits

 

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This isn’t your mother’s wool sweater. On the windy west coast of Vancouver Island, Emily Mabel Scholes Williaume handmakes classic knits inspired by her time living in Ireland. As described on the Olann website, “The story begins on stitch one but doesn’t end on the last stitch…and continues with the opened box, the first wear, the last wear, the passing down to someone new.” The designer has cultivated a loyal clientele by producing a high quality line of small-batch knitwear using environmentally conscious materials such as Irish tweeds, mohair, Canadian wools and merino, and natural dye.

Peau De Loup

 

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Co-founders and self-labelled tomboys Adelle Renaud and Erin McLeod created Peau De Loup as a stylish and androgynous collection of basics that can be worn by anyone and is for everyone. Known for their classic button-down shirt, this Vancouver label offers up a range of timeless pieces using “only the best available fabrics — limited-edition, one-time-only roll ends of fabric leftover from other companies’ production.” This upcycling process allows the brand to create garments with almost zero waste as no new fabrics or harmful dyes are used, and small runs of each design prevent excess inventory from ending up in a landfill.

Sophie Grace

 

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Founder and designer Emma May doesn’t want you to give up comfort and style in the name of sustainability. Her workwear-focused brand Sophie Grace prides itself on producing timeless styles that evolve as you do, which translates to small runs of its collections in an effort to avoid overproduction and waste. Environmentalism and ethical production are at the core of Sophia Grace as 70 percent of its garments are produced in Vancouver. Be sure to check out the charitable line of tees created by the brand that gives back to organizations such as the YWCA Calgary, Momentum.org, the Marine Mammal Rescue Centre and the Downtown Eastside Women’s Centre.

The post 10 Canadian Fashion Labels Doing Small Batch, Slow Fashion appeared first on FASHION Magazine.

Allbirds’s first line of performance apparel, which was designed for all kinds of workouts and rolls out today with six different styles including bike shorts and a cropped tank, uses Allbirds’s low-carbon and naturally thermoregulating, moisture-wicking, odour-reducing blend of Eucalyptus Tree fibre + Merino Wool.

And with the IPCC’s recent report on climate change painting a particularly grim picture of the next 30 years of climate crisis, the environmentally-minded, carbon-conscious collection couldn’t come at a better time.

According to Allbirds, the fabric widely relied upon by the athletic industry — polyester — “runs on enough oil to power 47,000 cruise ships, and spews 700 million tons of carbon (70 million football fields) into the atmosphere on an annual basis.” It also lives permanently on our ocean floors, with polyester producing 14 million tons of microplastics that break down into tiny particles, but will never fully dissipate. Despite this, the fabric is used in 55 percent of all clothing due to its low production costs — and that includes a whole lot of workout gear.

Now, after two years of trials, over 70 iterations and thousands of hours of testing to ensure it met industry benchmarks for breathability, sweat-wicking, quick-drying, and comfort stretch to ensure nothing was compromised in terms of performance or low-carbon impact, Allbirds’s activewear collection has launched. A particular standout is the Natural Legging whose lightweight jersey material was shown in trials to be twice as breathable as top synthetic styles on the market; plus, the leggings *and* bike shorts offer that elusive mid-level of support that makes you feel contained without suffocating. I’m also partial to the Run Short despite not being an actual runner — the breezy silhouette is perfect paired with sneakers and a muscle tee for a day of errands.

It’s also the first fitness collection ever to label its pieces with their carbon numbers. Transparency: we love to see it.

Shop the full Allbirds activewear collection, with styles for men and women and sizes ranging from XS to XXXL, below. Visit allbirds.ca to check out the full colour ranges.

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Women’s Natural Run Tank

Women's Natural Run Tank

($60, Allbirds)

Buy Now

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Women’s Natural Legging

Women's Natural Legging

($140, Allbirds)

Buy Now

3/7

Women’s Natural Bike Short

Women's Natural Bike Short

($90, Allbirds)

Buy Now

4/7

Women’s Natural Run Form Tank

Women's Natural Run Form Tank

($90, Allbirds)

Buy Now

5/7

Women’s Natural Run Short

Women's Natural Run Short

($90, Allbirds)

Buy Now

6/7

Men’s Natural Run Tee

Men's Natural Run Tee

($75, Allbirds)

Buy Now

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Men’s Natural Run Short

Men's Natural Run Short

($90, Allbirds)

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The post Sustainable Trailblazer Allbirds Just Launched Its First Activewear Collection appeared first on FASHION Magazine.

Besides caped crusaders and obvious Robin Hood references, pantyhose is gaining popularity as a unisex accessory. Enter the new line Threads for Men, a collection of Italian-made hosiery, designed by Toronto-based Threads to fit male anatomy better and end the stigma surrounding men in tights.

 

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Founder Xenia Chen started conceptualizing the idea after learning through Facebook ads that 50 percent (yes, you read that right) of their existing customer base identified as male, with ages ranging from 20 to 75.

“I thought these guys must be buying them for their wives or their girlfriends or moms,” shares Chen on our call. “I soon realized that these men were actually just buying for themselves.” 

As Chen and her team began diving deeper into research, unexpected groups emerged.

“We have a lot of customers who do drag, so they’re more open about it. And then there’s another group that is more secretive, wearing [hosiery] for comfort and warmth. We actually have a review on our website of this guy who works out in the bushes — where there are many bugs and mosquitoes — and he says that he wears tights because it prevents insects from biting him.”

Function versus fashion has been at the heart of the tight-aissance since the 13th century. Initially worn by men during Medieval times (and later abandoned for trousers around the 1800s), early leggings were constructed from woven stockings joined together with a cod-piece, a pouch that protected men’s crotches. While there are many theories behind the invention of tights — for additional warmth, to protect men’s skin while riding horseback, and/or to cover their legs as tunics got shorter — the intended purpose was one of practicality.

 

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For Canadian drag superstar Tynomi Banks, hosiery serves a pragmatic purpose: giving her shape and adding to the overall transformation. Wearing six (!) pairs of pantyhose at one time, Banks says tights are the key to “melting” everything together by hiding pad lines, further cinching her waist, and covering leg hair. “It’s like the skeleton or the blueprint before you build the house,” Banks says with a laugh on our call.

A seasoned queen, it took her until Canada’s Drag Race to consistently wear hosiery and padding, as many of her costumes required it. While Banks says both “really elevate the look,” when I ask her what it feels like to wear so many layers, she describes it as a sensation of “​​blood loss” and like being in “a coma.”

“Drag is uncomfortable. We look fabulous, and we love it, but it is uncomfortable. [Wearing those tights and pads] you feel like a couch. Why don’t you just call Leons and buy us? I could be your couch!”

The obsession with compression isn’t just popular amongst drag queens. Balancing the fine line between hosiery and leggings — the difference is in the thickness and material — athletes have been crucial to rebranding and recoding men in tights as “masculine.” The shift was immediate as NBA all-stars like LeBron James could be seen wearing them on and off the court, often under their b-ball shorts, citing better circulation and warmth as the reason for adoption. Under Armour, Nike and Adidas quickly followed suit, marketing tights as “compression” garments, and men’s athleisure — tights included — flourished.

 

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Influencer and creator Christian Thompson of @christianconfidential started wearing athletic tights in high school, as running was a big part of his adolescence. Always around the track and with a background in modelling, seeing men in tights “never felt weird.”

“When you look at your favourite superheroes, they’re all wearing tights. Men in tights have been around forever, and you saw them on actors in the theatre or sports. So to me, it’s not even new. It just feels like it’s been there [all along].”

It wasn’t until Thompson started experimenting more with fashion that he considered adding pantyhose to his repertoire. However, he understands that for many men, it can seem daunting.

“​​For the everyday guy, I would say that there is [a stigma attached to wearing tights]. And I understand. It’s been very hard for men — we’re just starting to allow them to embrace taking care of themselves and [the thought that] they want to look good. We still have a long way to go, but the more we see it in fashion, on TV or just people wearing them in general, I think that will help alleviate the stigma,” says Thompson.

Threads for Men was founded for that exact purpose: to fight toxic masculinity and provide a safe space for men to express themselves.

 

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“For decades, men have been expected to dress a certain way, and with [this new line], we saw an opportunity to break gender barriers we’ve set in the past as a society,” said Chen in a press release.

At the core of this barrier is the public’s issue with gender binaries within fashion. Genders have been segregated physically, with men’s and women’s collections on opposite sides of stores, and mentally, with masculinity and dresses being deemed mutually exclusive, almost since the beginning of retail. Gender-fluid fashion has had many ups and downs in the 20th century. Just as WWII saw women wearing pants and adopting more “masculine” silhouettes, the 1950s ushered in a time of rigid gender stereotyping. Then the 1960’s came and disrupted the entire fashion system with the help of YSL’s infamous Le Smoking suit (the first woman’s suit ever to be designed by a man) and David Bowie‘s androgynous style. More recently though, gender-fluid fashion has come back with a vengeance. Think: Alessandro Michele’s first menswear collection for Gucci in 2015, Billie Porter wearing a Christian Siriano ballgown at the 2019 Oscars and pretty much Lil Nas X’s entire wardrobe.

Despite WWD reporting 56 percent of Gen Z consumers have shopped in both male and female sections of the store, older generations haven’t been as quick to adopt this new perspective.

“The number of emails we get from men that are like ‘this has been my secret for 40, 50 years, and the only person who knows is my wife’ is crazy,” Chen comments on our call. “[I hope these men] feel because a brand is speaking to them and accepting them, they can finally accept themselves. We’re all about listening to our customers and making sure that people will feel included.”

 

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For Banks, tights make her feel strong. “​​There is a power in putting on tights. It should be fluid, and it doesn’t matter what gender has it on. I feel sexy. I feel empowered.”

She recognizes this isn’t the case for everyone. Despite not wearing them out of drag, Banks encourages those nervous to wear tights outside to adopt a “mind your own damn business” mentality.

“I think people are doing it behind closed doors because they’re afraid of what other people would think. [Drag and Drag Race has helped] open those doors a lot more because the show promotes self-love and openness. Do you feel amazing and sexy and happy [wearing tights]? Then who am I to shame you?”

The post Is Men’s Hosiery the Future of Gender-Fluid Fashion? appeared first on FASHION Magazine.

Favourite things about this region

“Variety. There’s something for everyone. Forests, mountains and the Gulf of St. Lawrence as well as an abundance of culinary stops — plus friendly residents to guide you along the way. We followed Route des Montagnes and Route des Baleines for the amazing views.”

Notable places to nosh

“Quebec is known for its terroir products (products made of raw materials particular to the region), so check out the following: Le Rond Point, in Baie-Saint-Paul, for a delicious upscale burger made with local ingredients; Cantine Armande, in Chuteaux-Outardes, for traditional casse croûte (my girlfriend, Anais, and I lived the casse-croûte and picnic life for 12 days!); La P’tite Cochonne, an artisanal bakery in Grandes-Bergeronnes that creates little pizzas perfect for a picnic; Kiboikoi, a charming café in les escoumins that has an outdoor space overlooking the water and live music at night; Plage de Haldimand, where you’ll find Café des Artistes and La Cantina Latinogaspésienne, which serves up delicious tacos; and Pub Pit Caribou, where you can order snacks like pickled trout and smoked bacon — rustic, delicious and fun! A great vibe and great tunes.”

Where to shop

“We stopped at a tiny secondhand shop called Boutique Rock n’ Coll et Friperie Sativa in Matane (it has lots of leather — I found a cute bucket hat there!); Les Savons de L’Atelier, a soap shop in Tadoussac; Atelier à Barachois, near Percé (artist Margot Mérette decorated this property — which doubles as her workshop/studio — in a fun way; when you visit, she will recommend her favourite places to 3explore); Herbamiel, in Sacré-Coeur-du-Saguenay, near Tadoussac, for honey products; Épicerie-Boucherie R. St-Gelais, a fine grocery in Matane with specialties including pastries, cheese, jams and marinades (it’s hard to leave without wanting to buy the entire store).”

Where to take in the scenery

“Route 132 is incredible, especially toward the north, when you’re approaching Forillon National Park. Take it slow, and stop whenever and wherever you can to take pictures — seeing Percé Rock at sunrise is an experience. Portneuf-sur-Mer has a beautiful sandy beach — untouched, serene and wild. A great stop for a picnic and pictures.”

What to bring

“Warm clothes (even when you’re in the sun, it can get cold with the wind coming off the St. Lawrence), hiking shoes and a picnic blanket, cutlery and basket (so you can have a snack when the scenery inspires a stop).”

Favourite places to explore in the Gaspé peninsula

“Mont Albert for a strenuous hike; Cap Bon Ami in Forillon National Park for a great view and an easier climb; L’Île-Bonaventure-et-du-Rocher-Percé National Park for gannet watching; and Cap Aventure, a small campground that organizes kayaking excursions to see seals. Booking in advance is key for all activities, ferries, campgrounds and national parks. Day passes for parks sell out quickly. Rivière Bonaventure, with its clear waters, is a beautiful spot where you can go kayaking, swimming or tubing. Also, Mont-du-Lac-des-Cygnes and Acropole-des-Draveurs, in Charlevoix, for hiking, offer stunning views.”

How to get there

The Toyota Sienna has a range of exterior lighting options, independent climate control and Safety Connect and Service Connect features.

What to pack

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Columbia

Men's SH/FT™ Aurora OutDry™ Shoe

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Ikea

Sommardröm Backpack Rattan

($30, Ikea)

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Kotn

Terry Hoodie

($80, Kotn)

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The post What to Do, See and Eat in Eastern Quebec appeared first on FASHION Magazine.

As we slowly make our re-entry into (hopefully) post-pandemic life, a new form of power dressing has emerged: activewear. Gone are the days of relying on shoulder pads and pinstripes to channel your inner boss lady — comfort-driven dressing has become a work-from-home staple (thanks, Zoom calls!) and an unexpected source of empowerment.

The most recent addition to the activewear category is Knix Active, an assortment of workout-ready gear from Knix that includes their iconic leakproof technology (hello, period-ready leggings and biker shorts!). And the Canadian brand that started with intimates has partnered with a bona fide fashion world powerhouse to launch the 30-piece collection: supermodel, entrepreneur and mother Ashley Graham. As Knix’s first global ambassador, the activist will now be the face of campaigns, collaborate on future collections, and participate in brand initiatives such as the Life After Birth Project, which highlights birthing people’s postpartum journeys.

While technological innovations in fabrics, cooler silhouettes (hi, matching sets!) and the ever-popular athleisure trend have contributed to activewear’s popularity, the body-positivity movement has been fundamental to its success. As brands like Ivy Park, Savage x Fenty and Girlfriend Collective began embracing real bodies, the effect on social media was instantaneous. Many women who had often felt excluded from the athletic narrative were not only being included, but celebrated. This inclusive ethos has been embraced by Knix since its inception.

And although it’s the label’s first full collection of activewear, founder and CEO Joanna Griffiths says it’s something she’s always wanted to explore, testing the waters with the wildly popular Catalyst sports bra.

“When I first started Knix, we had the idea to launch with leakproof underwear. One of the main reasons people needed this product was for when they were active, so I always knew that Knix and active were kind of synonymous with one another,” says Griffiths over Zoom. “And then we made our sports bra, which was two years in the making, and the design brief was literally, ‘when people see this sports bra, I want them to feel like they’ve had that Nokia phone and they’ve just seen the iPhone for the first time.’ We wanted to change the game, and then we did.”

Graham credits that very sports bra for making her a Knix fan for life and motivating her to become an investor in the brand.

“I’ve been a customer for a couple of years now, and it all started with the high impact Catalyst sports bra [that Griffiths mentioned]. I purchased it — it was #notpaid — and it just literally contained my boobs so well! It didn’t give me a uni-boob or quad-boob — it was super easy to put on and also take off,” Graham says with a smile over video chat. “So I posted it [on social media], then Joanna and I started talking on DM. We quickly realized how much we actually had in common and how we want to change the industry. So that’s really where it all began. Plus, I love Canadians!”

It might come as no great surprise that Graham’s previous experiences shopping for size-inclusive activewear have been less than ideal. While the body positivity movement has gained traction in recent years, many brands still cater to a minimal size range.

“I think being a curvier woman, in general, makes it really difficult to find clothes that fit you the way that you want to appear,” says Graham, citing she’s often “on the hunt” for apparel that fits her body type.

For Griffiths, it was never even a question that Knix Active would be size-inclusive. The debut collection, which includes Go with the Flow ️ leggings and shorts, seamless bras, and high-rise bike shorts, is available in sizes XS to XXXXL and is designed to fit bra sizes 28-44 and cups A to H.

And Griffiths says they’re just getting started when it comes to size inclusivity. “I’ll be honest with you — we still have work to do. I always say, the expansion of our size range is never done, and we’re constantly adding new sizes,” admits Griffiths. “But I think it’s so important for this specifically because [activewear] is a category that has historically been very fatphobic. We needed to have an appropriate size range so that we were signalling from the very beginning that this is a place where everyone is welcome.”

Motherhood was one of the many ways Griffiths and Graham bonded. Graham was an investor during a round of funding when the Knix founder, who was pregnant with twins at the time, made a rule that any potential financier who commented negatively on her pregnancy would be ruled out. How’s that for empowering? Graham herself recently took to Instagram to share the news of her second pregnancy. However, it was during her first pregnancy that her relationship with the brand began.

 

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“I became pregnant soon after [discovering Knix], and it was a brand that could grow with me as I got bigger and bigger. And then it also was a brand that sustained me through postpartum. To me, that was really comforting because when you’re putting on clothes, you’re making a conscious effort every morning, whatever emotion you’re going through. When you’re pregnant, your emotions are out of this world all over the place, and there was a comfort in Knix — not just physically, but emotionally,” says Graham.

That sentiment is echoed in Knix’s core mandate (“designed to make you feel more comfortable in your own skin”) and can be seen throughout the entire activewear collection. From lightweight material built with four-way stretch to bonded inner seams that prevent chafing, it’s impossible to miss the care that has gone into designing Knix Active’s pieces.

“I always say that [most intimates] were designed to be worn for five minutes and then have someone take them off you. And you know, there’s a time and a space for that a hundred percent. But then there are also the products that you want to wear for 15 hours and be comfortable in to live your life. [Women] wear all these different hats, and I think the category hasn’t always acknowledged that,” says Griffiths.

As two women who wear many different hats themselves — Graham has her own podcast, models and is raising her son Isaac with another baby on the way; Griffiths is a CEO and mom of three — they agree there is power in comfort. Yes, comfort within the clothes you wear but by extension, comfort in being true to yourself.

 

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“What’s most important is that everybody needs to be their most authentic self. This brand is exactly that — an authentic collection of who we are, and hopefully, that’s exactly how you will feel [when you wear it],” says Graham. “You don’t have to be an athlete to wear this activewear line. You don’t have to be a mother. You don’t even have to like moving. It’s really, truly made for everybody and every type of person at any stage of your life.”

While authenticity and empowerment are easy to preach, activewear brands often have trouble putting those sentiments into action. With a complicated history of toxic weight loss, dieting practices, and fat-shaming, the male gaze has plagued this category for years, as both the media and brands perpetrated the myth that women’s bodies weren’t their own but something to be commented on. A topic that Griffiths could discuss endlessly, the phrase “Because you’re not doing it for anyone but yourself” was a constant source of inspiration for the new launch.

“You shouldn’t be doing anything for anybody except for yourself,” Graham says. “I can say that if I’m not doing something for myself, I’m not going to be a better mother for my son. But I think that you can pour so much into all the facets around you, but until you really take care of yourself, that’s where you prosper and [find] happiness.”

For Griffiths, it wasn’t until she discovered that outlook that Knix Active truly came to life.

“There was just this shift for me a couple of years ago where I started exercising again and for the first time in my life, and I was working out because I just wanted to feel stronger. I wanted to have more energy, and it had nothing to do with the number on a scale. It had nothing to do with impressing somebody or fitting into that dress and all of the reasons I used to work out before. It was the first time that I was doing it just for myself, and that was such an empowered feeling. And it made me enjoy it so much more because it wasn’t like this calories in, calories out kind of message. We’ve been programmed to think [those things], and so like Ashley said, we have to come to a place where we’re doing it for ourselves.”

The post Knix Launches Ashley Graham-Approved Activewear appeared first on FASHION Magazine.

Favourite things about this spot

“Time disappears. You’re brought back to being a kid and spending days at the beach eating ice cream sundaes, building sandcastles and begging not to go home.”

Notable places to nosh

“Pom Pom, in Thornbury, is a fun and friendly ice cream spot. Casero taco bus, in Sauble Beach, is a must visit. the Milk Maid, in Owen Sound, is known for its gourmet cheese and provisions — it’s a one-stop shop for all grazing-board necessities. Heydays at the June Motel has reinvented coastal classics and a groovy vibe. It’s perfect for gathering, sipping and soaking up summer.”

Where to shop

“The Patch is an iconic second-hand-clothing and -accessories store on the main strip in Sauble Beach. It’s got everything from trousers and overalls to jackets, tanks, hats and sunglasses. Grit & Grace is a women’s fashion boutique where you’ll find beautiful and classic pieces.”

Local brand to check out

“Bishop Botanicals is a line of plant-based skincare products created by a mother-daughter duo. It’s right in the heart of downtown Collingwood.”

Best place for coffee

“The Wellness Refinery. Minutes from the main beach, it has tasty snacks, smoothies and specialty coffees. It also has vegan and paleo options, and it’s all gluten-free!”

Hikes, adventures and restaurants off the main route

“Bruce Trail is well known by avid hikers because it’s 900 kilometres long. Get a little taste of nature’s finest on connected trails like Hoggs Falls (Flesherton) and Inglis Falls (Owen Sound) or at a tourist hot spot like Devil’s Monument (Dyer’s Bay). The hike is short, and the views are absolutely gorgeous. Make your way down the stairs to the rocky beach and turquoise waters. The best picnic spot is Meaford Harbour, with its prime view of Georgian Bay. Grab takeout from one of the main-street restaurants (Gio & Fran’s, The Kitchen or The Leeky Canoe) and enjoy eating by the famous breakwall.”

Best place for souvenirs

“Grandma Lambe’s is a family-owned and -operated fruit stand in Meaford that offers a variety of homemade jams and baked goods. It’s been around for nearly 80 years, and they bake over 35,000 pies a year.”

How to get there

Bring — and come back with — more stuff thanks to the Ford Mustang Mach-E’s front trunk.

What to pack

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Canon

EOS 6D Mark II

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Vans

Slip-on

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Routine

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The post What to Do, See and Eat in Sauble Beach, Ontario appeared first on FASHION Magazine.

Callingbull has been to hell and back, but she is living proof that trauma can be overcome. She speaks with confidence and heart, often sharing her message with a cocked eyebrow, even if tears are falling. She has no fear of vulnerability or of saying exactly what’s on her mind, even if it sets non-Indigenous people off. “I’m not speaking against Canadians; I’m speaking for Indigenous people,” she declares via Zoom from Florida, where she is staying with her fiancé, Wacey Rabbit, who plays centre for the Jacksonville Icemen hockey team. “A lot of Canadians don’t want to hear the truth, but truth is our power.”

When Callingbull was five years old, she and her mother left their home in Enoch Cree Nation in Alberta for Maskwacis (formerly known as Hobbema) to live with her mother’s boyfriend. He had a “charming persona” that covered up the terrible things he did to people, describes Callingbull. The abuse started soon after the move. Her mother didn’t know about it because he threatened to kill Callingbull, or her mother, if she said anything. He told her that nobody would ever love or appreciate her (“anything to break me”), and she believed it.

It would be five years before she and her mother escaped.

Callingbull was 10 years old when she had to testify in court; for the first time, she was forced to go into detail about what had happened to her. She remembers hearing her abuser and his family laughing while she testified; when she got off the stand, humiliated, she told herself that she would never speak out again.

She felt a pull to numb the pain with drugs and alcohol, but her kokum, Charlotte Callingbull, who had also been abused, urged her granddaughter to stay on the “red road” rather than put toxins in her body. In Indigenous communities, the red road is a path to wellness fostered by our connection to traditional ways of living, ceremony, all of our relations and Mother Earth. In Cree, the word for this is minopimatisiwin, or “the good life.” “That’s our strength,” emphasizes Callingbull. She also found healing in the sweat lodge, where she could cry and pray in safety, and by coming to an intimate understanding of intergenerational trauma.

When the remains of 215 Indigenous children, some as young as three, were found near the former site of Kamloops Indian Residential School, Callingbull’s family phoned to tell her that her moshom (grandfather) couldn’t stand to watch the news. George Callingbull had never been outspoken about what had happened to him, and it was like having old wounds reopened.

George attended St. Albert Youville residential school in Edmonton from 1944 to 1948, its last year of operation. The National Centre for Truth and Reconciliation uncovered the names of 46 children who had died at the Catholic-run institution. Countless other victims are unknown. George arrived at St. Albert only speaking Cree, and this was met with a violent reaction. “They threw boiling water on him,” causing burns all over his body, says Callingbull.

Charlotte, who passed away in 2006, attended Ermineskin Indian Residential School from 1953 to 1962. Ermineskin was one of the largest residential schools in Canada. It was overcrowded, tuberculosis was widespread and there were other horrors, such as the physical and sexual abuse Charlotte endured. “She watched children starve and get put in cages,” says Callingbull, adding that her grandmother told her that a priest would impregnate young girls and then dispose of their babies.

George turned to substance abuse to mask the pain. One night, he was lying in a ditch on the side of the road when he realized that this was not who he, as an Indigenous person, was. Together, Callingbull’s grandparents turned their lives around. He became a medicine man and she a medicine woman, helping anybody who came to them.

Many Indigenous people have yet to break the cycle of harm, including Callingbull’s own abuser. He was abused by his parents, who experienced the same while attending residential school. “Everything they did to his parents, his parents did to him and then he did to me,” she says. It’s one of the reasons Callingbull doesn’t talk about residential schools as if they’re a thing of the past — the impacts of a system that only ended in 1996 are still felt today. When she’s told to “get over it” on social media, a phrase Indigenous people hear ad nauseam, she asks how that can be possible when Indigenous people are broken — and still breaking.

But Callingbull wants to make it clear that while the residential school system was designed to kill the Indian in the child, despite the staggering loss of thousands of children and the trauma that has reverberated through the generations, the government and church did not succeed.

How did that little girl, who had once vowed to stay silent, become somebody who could speak to a packed Scotiabank Saddledome in Calgary for WE Day? Or to thousands of students and faculty members at Harvard University?

Callingbull was 14 when she found her voice again. Her infant sister, Ambee, had passed away from trisomy-18, a rare chromosomal disorder. She learned that it was cathartic to talk about what she was going through. That led to her volunteering at the children’s hospital in Edmonton, which, in turn, led to a position as a youth representative. She gained strength as she shared her story more and more and began to work with kids in the foster care system who were living through their own trauma. They would tell her how glad they were that they weren’t alone. That was when she realized how powerful her voice was and how inexorably that power was linked to truth.

She put her voice to good use again in 2015, when she became the first Canadian, and first Indigenous person, to win the title of Mrs. Universe. She entered the contest even though at the time she’d considered retiring from beauty pageants. Two things motivated her: The pageant’s focus was on raising awareness and funds for domestic abuse survivors and their children — something that is near to her heart. She also knew that a federal election was coming up and was well aware that the media wouldn’t listen to what she had to say unless she did something significant.

Sure enough, after becoming Mrs. Universe, Callingbull had the media in the palm of her hand. In one of her first interviews, she addressed Missing and Murdered Indigenous Women and Girls, the foster care system, access to clean drinking water, land stewardship and environmental protection, how Indigenous people were treated like terrorists for fighting for their land and how the Stephen Harper government had failed Indigenous people. Callingbull hopes that the recent heartbreaking discoveries on several former residential school sites serve as a turning point for Canada. “It wasn’t just a system that was trying to civilize us; it was genocide, and people need to accept that,” she states.

Callingbull sees the path to reconciliation as a long-term process that requires healing to occur in First Nations communities, through spiritual and cultural programming; colonial systems to provide equitable treatment to Indigenous people; and Canadians to educate themselves so they understand the truth of this country’s past and present. “Doing this work honours the children,” she says. “It says a great deal about Canada — that it took the loss of so many children for people to listen. But now that they’re listening, we need to keep telling our stories.”

Callingbull’s moshom told her not to stop, and she has no plans to, tirelessly speaking out because she knows that others can’t. She manages the stress by keeping her mind and body healthy through ceremony and physical fitness — she can frequently be seen doing squats or poolside planks on Instagram and TikTok. Also shared: the video of her fiancé kneeling behind a treadmill with a little jewellery box, ready to pop the question when she hopped off. He, too, is in the business of breaking glass ceilings. Rabbit, who is from the Kainai First Nation, was the first Blackfoot to be drafted by the NHL.

While packing for her move to Enoch Cree Nation ahead of her September wedding, Callingbull took the opportunity to make some donations to a local women’s shelter. She sees the victims of domestic violence, like herself, as survivors. When she and her mother finally escaped the abuse they’d been trapped in for so long, they were turned away from a shelter because it had no room — she doesn’t want that to happen to anybody else.

Callingbull’s long-term vision is to create her own foundation and start her own shelters, beginning with one in her community. She wants to provide a safe space for women and children and offer them a second chance at life, because she knows what it’s like to get that chance: “I may not be a medicine woman, but I can still help people heal.”

Photography by GABOR JURINA. Styling by LUCREZIA MANCINI. Creative direction by GEORGE ANTONOPOULOS. Hair by GIANLUCA MANDELLI FOR CREATIVE MANAGEMENT. Makeup by COLLEEN STONE FOR CREATIVE MANAGEMENT. Producer: AKIHIRO KANAYA FOR FIRST OPTION PRODUCTIONS. Post-production: PATTY WATTEYNE. Fashion assistants: SOFIA DAGUANO, PATRICIO GAUDELLI.

The post Ashley Callingbull on Turning Pain Into Power appeared first on FASHION Magazine.