TORONTO FASHION WEEK UPDATE

With the completion of this Summer’s edition of TOM / Toronto Men’s Fashion Week for Spring/Summer 2017, the buzz is that the same producers are going to take on Toronto Women’s Fashion Week for February 2017. TOM’s Advisory Committee member Roger Gingerich, in the following interview, shares the news! He mentions live streaming among other efforts for the upcoming show. Now, if we could hook Montreal, who just last week announced their intention to put their shows on line, (see previous post, August 17, 2016 CANADIAN FASHION: FASHION WEEK(S)) and Toronto and possibly other Canadian cities together and present as a unified CANADIAN FASHION WEEK, we might garner more international credibility. I know, one step at a time, but I can dream can’t I? Congrats on this past TOM show and Bravo to TOM’s efforts for the future.

GINGERICH 2

https://www.facebook.com/roger.gingerich?fref=ts

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CANADIAN FASHION: FASHION WEEK(S)

Digital Fashion Week Montreal to launch next year

The Canadian Press 07.27.2016 |

MONTREAL — A new fashion week is in the works for Montreal, and it will largely take place online.

Digital Fashion Week Montreal is set to launch in March 2017, with organizers “re-writing the fashion week business model.”

Runway shows will be streamed live to a global audience, but there will also be real-world networking events and other educational initiatives to support Canadian designers.

The showcase was founded by Melanie Trevett, a fashion and retail entrepreneur who recently moved to Montreal from the United Kingdom.

Her new festival comes three years after Montreal Fashion Week merged with the city’s Fashion + Design Festival in 2013.

It also follows the loss of Toronto Fashion Week, which announced earlier this month that it was folding.

“Canadian designers will be empowered with a fashion week that truly belongs to them, one that will take their careers into the future and from which the industry can grow internationally,” according to a release issued Wednesday.

The event has lined up sponsors including Maybelline New York, Redken 5th Avenue New York, and essie.

http://www.calgaryherald.com

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CANADIAN DESIGNERS: MARILYN BROOKS

My friend, the unsinkable MARILYN-BROOKS, seen here in CANADIAN MAGAZINE August 29,1970. Marilyn would go on from there to celebrate some 35 plus years in the CANADIAN FASHION industry before closing up shop. I am sure we will read all about the adventures soon with the release of her book `BEHIND THE SEAMS`. Marilyn has certainly kept busy post-shop-closing with her art and her writing and her travel and her…the list goes on. Never-a-dull-moment for never-a-dull-lady! For more of what she is up to now check out http://www.marilynbrooks.com and don`t forget to click on Marilyn`s name on the right to find many pictures and articles from her past. BRAVO MARILYN and happy `Throw Back Thursday`.

MARILYN BROOKS CANADIAN MAGAZINE AUGUST 29 1970 2 USED IN BLOG AUG 03 2016

MARILYN BROOKS CANADIAN MAGAZINE AUGUST 29 1970 3 USED IN BLOG AUG 03  2016

marlyn brooks

http://www.marilynbrooks.com/

Posted in CANADIAN DESIGNERS, CANADIAN FASHION, CANADIAN FASHION DESIGNERS, JAMES FOWLER | Tagged , , , , | Leave a comment

CANADIAN FASHION: ARC’TERYX

In case you don’t already know this CANADIAN DESIGNER LABEL. And yes, I said designer, and yes, I called it fashion! Reading through this article about the work going on in Arc’teryx’s production studios relates in my mind directly to the video’s currently being shown by Chanel and Dior of the “petit mains” at work in their Haute Couture studios. Surely this is what Andrew Bolton is saying with his latest fashion story at the Metropolitan Museum of Art in NYC “Manus x Machina: Fashion in an Age of Technology”, where, in the website for the exhibition, in the overview, he states “The Costume Institute’s spring 2016 exhibition explores how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.” The fashion world moves forward into the 21st Century and the CANADIANS are there. BRAVO ARC’TERYX!

The following article is from

intelligence arc teryx 09 08 2016

Embodying the Pinnacle | Arc’teryx Veilance

Words: Nguyen Le | Photography: Norihisa Hayashi

Dialogue | Issue 02 | p.026

intelligence arc teryx 09 08 2016 2

If necessity drives adaptation, then evolution must be the result. This is the logic and central focus behind the DNA of Arc’teryx. Formed during the revolutionary boom of the outdoor industry throughout the ‘90s, founders Dave Lane and Jeremy Guard sought inspiration through Archaeopteryx Lithographica – the transitional and now iconic fossil linking prehistoric reptiles to modern birds- crucial in defending Darwin’s theory of evolution. In the case of Arc’teryx, this need for adaption is what drives their design aesthetic and virtually every component from material sourcing to production. In the last 20 years they’ve successfully infiltrated and in some ways dominated the industry with their progressive pursuit for the refinement of form.

Alongside their globally accessible mainline, Arc’teryx produces a special category of tailored outerwear and apparel specifically marketed to city dwellers. Originally named System-A, The Veilance division – now into its 14th season takes full advantage of the performance pedigree that birthed it and reapplies the technologies innovated for extreme outdoor conditions to an urban context. This may come across as superfluous, yet the genre has strongly resonated with a core group of devotees and garnered attention at a fanatic level. I’m curious as to why they would implement this degree of functionality to garments that may never go through the wringer by those who wear them, yet brands like Veilance, ACRONYM® and Nike’s recent ACG revamp have managed to find a lucrative niche in this market.

intelligence arc teryx 09 08 2016 3

In the burgeoning days of mountaineering, climbers scaled ice covered peaks in nothing more than modest layers of wool, silk and cotton- this was standard alpine garb during the early 19th century. At the time, an enthusiasts’ main concern was conserving warmth, even if that meant restricting movement; this was widely accepted as part of a summit’s many challenges. Fast-forward to today, and if you examine any high performance piece of clothing it generally reveals a wealth of attributes where safety, comfort, utility and style converge. It would seem that most, if not all of the demands of outdoor finery had been addressed, which has now motivated brands to focus on tackling the challenges associated with the complexities of urban terrain. Practically speaking though, technical apparel for the city runs the risk of being labelled gimmicky, and maybe even convoluted despite its minimalist aspirations.

The question remains: Is there a need for modular, avalanche resistant and articulated armour to aid us in conquering the activities that consist our daily lives? Or are they simply here as a novelty- to satisfy the void in our never-ending thirst for status and luxury? To better understand this growing fascination in the men’s fashion category, I traveled to the West Coast in hopes of visiting one of the pioneers in “wearable tech”. Located at the foot of Vancouver’s North Shore Mountains, the Arc’teryx corporate office and headquarters lay just minutes away from the Sea–to-Sky² corridor. Home to World Class skiing, climbing and harsh mountainous environments, this unique backdrop serves as the brand’s elite testing grounds, and is a short commute to their massive production facility, engineering department and design center. Their team was gracious enough to grant me access to the campus, where I witnessed the great lengths to which they dedicate toward innovation along with their unconventional approach to sustaining a high level of craftsmanship moving into the future.

intelligence arc teryx 09 08 2016 4

Inside the main compound occupying a modest corner of the reception area is a museum commemorating the brand’s incremental evolution through lacquered plagues and photographs in black and white. PR and Marketing rep Jo Salamon expresses the collective regard employees have in preserving the spirit of Arc’teryx.“ There is an underlying appreciation for the past, though we want to make it clear that our goal is to bring the line into the future. This means taking a modern approach to everything, yet still sustaining ways to resonate with our clientele who have grown to trust the Arc’teryx name.”

Taking into consideration the level of success and notoriety Arc’teryx has acquired within its illustrious timeline, they still don’t possess immunity to the obstacles and risks presented by the current fashion landscape; most notably its strict revolving calendar- which dictates a consumers desire for the latest and greatest. Innovations regarding performance however, are traditionally incremental and require thousands of man-hours in research and development often to no avail. It’s for these reasons that Veilance designs were strategically initiated from the familiar menswear vocabulary of dinner jackets, car coats, military parkas and blazers. In subsequent seasons the line would evolve to offer precision tailored trousers, “next- to- skin” base layers and a small series of hard-goods all of which remain entirely manufactured in Canada.

intelligence arc teryx 09 08 2016 5

Currently, Arc’teryx employs 305 workers at their primary manufacturing facility with skill sets ranging from fabric handling, cutting, pressing, sewing, taping and machine operating. This number is expected to increase by 90% in the coming months as production of Veilance is projected to double by the year 2020. This scale of commitment and investment in the line tells me they’ve found an ace in the hole. Factory Manager Keith Cotman points out to quality standard initiatives that place strict mandates on time values and assembly costs for everything that leaves his facility. The amount of spreadsheets and pie charts his staff is required to reference is dizzying, yet he assures me there’s a premise in all this madness. “There is a right way and a wrong way to make things in respect to what a brand is. Whether we’re building Audis or backpacks, they have to function properly. It’s imperative that the people who work on it recognize the level of perfection it needs to attain. It’s not just rebranding an existing product with a clever name, the understanding of our customer and their expectations is what we’re training our people on. It’s got to be perfect, this is Veilance.”

Recruited by Arc’teryx 18 months prior to our meeting, Keith brings with him nearly four decades of first hand experience in the apparel industry. Having worked in various factories in England and then Sri Lanka he retains extensive knowledge of what works in basic line assembly and the adjustments necessary to implement modular production. “I was brought in here to change the perspective of what modular production could achieve and in turn train the workers to capitalize on the efficiency of this method. Prior to this shift, workers for the most part carried out their tasks independently.” Unlike line production, modules are reliant on a team-orientated scenario where the balance and trade of skill sets among workers is essential. This results in a better understanding of garment construction as a whole where everyone benefits mutually.

intelligence arc teryx 09 08 2016 6

Given the amount of in-house technology engineered to streamline their production, an overwhelming volume of apparel is still handcrafted here. In addition to their tribe of experienced garment workers, Arc’teryx has recently implemented a specialized training department that sources and instructs prospective employees in various skill sets required at the factory. This strategy is in place to ensure a sustainable growth initiative while encouraging a low turnover rate in human resources. Keith affirms that their first employee – recruited to help sew climbing harnesses in 1991 is still on staff and currently works as their main office receptionist. “She should have retired years ago, but insists on staying- she’s a rock star.”

I notice a rolling rack just a few meters ahead, it flaunts a line of impeccable long coats all shrouded in black- a surefire sign of Veilance. Keith points out that 17 of his staff are currently working on an order of GORE-TEX® down jackets with a tight deadline looming. Their goal is to ram out 20 units today while typically it takes seven hours to complete a single jacket from start to finish.

intelligence arc teryx 09 08 2016 7

“Having our own manufacturing facility here allows us to do these kinds of special orders and remain cost effective. We can complete small orders if needed in a short turn around time. An added bonus is we don’t have to deal with minimums, we can produce as much or as little as we please and still hang on to all of our intellectual property. This sets us apart from our competitors and is a testament to the success of an in-house operations mandate.” I’m told that having a factory within close proximity to their design center also ensures that ideas can be tested quickly with prototypes usually making it to the sampling stage within days and up on a mountain for testing by the end of a week. What a time to be alive.

In order to stand out in a climate saturated with design models synonymous with utility and function, Veilance has prioritized its innovations through material sourcing and acute fabric customization. Strong partnerships with textile developers like GORE-TEX® and WINDSTOPPER® facilitate reliable assessments ensuring new materials perform flawlessly to their unique design scheme. Unlike other companies where the production team manages the fabrics, Arc’teryx adopts a method where R&D in materials is bound to the design process; a scenario typically affiliated with automotive engineering. As a result, designers acquire insight on a textile’s potential and how far they can push its boundaries. At the time of my visit, the Veilance team had already been working on their collection for S/S 2018.

Prior to joining this division, lead designer Lars Mckinnon worked as a creative assistant at LEAF; another subsidiary of Arc’teryx- specialized in devising tactical outdoor gear for the law enforcement and armed forces. Along with chief director of design- Takanori Kasuga, the rest of the Veilance unit consists only of a small team of pattern makers, sample sewers and product developers. When asked if this team is expected to grow as a result of future expansion in production he admits a desire to keep the group tightly knit. “It allows everyone involved to become very specialized and adept in their roles. For the past two years we’ve been running this ship as is, it has its share of challenges but don’t get me wrong it’s been a lot of fun too.”

intelligence arc teryx 09 08 2016 8

Along with Jo from PR, Lars and Taka take me on a tour of the design center, which consists of two open concept floors where all fabric development, prototyping and sampling is done. Contrary to my assumptions of it being streamlined and minimal, the design studio is surprisingly cluttered; with loud hammering and echoes of machining noise bouncing off the walls. “I know it’s sort of a mess in here,” Taka admits nervously. “It’s not just illustrations taking place here, people are constantly making and building things. Before we had a specialized trailer, all the testing of our avalanche packs took place in the parking lot, eventually everybody got fed up with the noise.”

We enter a calm corner of the room next to a large window with a dramatic view of the mountains. The weather is mild for this time of year, but it’s expected to rain for the entire 36 hour duration of my stay in Vancouver. I ask Lars about the potential design bias Veilance product possesses in it being conceptualized and tested in this specific geography. “We’re aware of the bias, and we’re working with a forward focused plan to address that. I think we’re really privileged that we have an extensive team who work in sales as well as other facets of the company whom are very opinionated, and we also take into consideration demand and feedback from consumers. Our overall goal is to have solutions for every climate in terms of every condition. However warm, or cool it is, we want to have a solution for that. Due to the fact that we can’t be everywhere and test everywhere we rely on trusted sources.”

Though rather young by the looks of it, Mckinnon has an assured aura about him. His knowledge and understanding of the audience his brand has garnered shows maturity beyond his years. Not only does he have a comprehensive grasp of the history that sums up Arc’teryx, Lars expresses tenacity in carrying Veilance forward without compromise. “I want to be more experimental to be honest, finding new ways to be functional is what I’m always trying to do. Whether it’s for an audience of 200 people or 200,000 the approach is the same, the goal is the same- finding new ways to improve the activities in peoples’ lives. Sometimes innovations and breakthroughs in the mainline transfer really well and work seamlessly in Veilance, but we have to be careful not to make it feel forced. It has to make sense in an urban environment, and stay relevant and functional. That being said, it has to look great too, but aesthetics are meaningless if an overall design doesn’t perform or solve a problem.”

intelligence arc teryx 09 08 2016 9

While the hypothetical urban jungle presents an infinite cache of obstacles and design possibilities, there is still the underlying issue of functionality in excess when everyday apparel is concerned. I’m curious to hear what Mckinnon’s thoughts are on this. “We make a lot of garments that I wouldn’t recommend you do certain outdoor activities in, because there are products available out there that are better suited and designed specifically to be in those conditions. Having said that, the performance you can get out of a Veilance piece is very comparable. I always feel very comfortable knowing that most people will never push their Veilance garment to the limits, even though it embodies the pinnacle in performance. Think about it like this- you might want the best car, best footwear or best watch, you might not use it to the extreme, but there’s a sense of comfort knowing that you could, and I like that a lot.”

When I implied Veilance as being a luxury brand, Lars was reluctant to agree. Though in my short time touring HQ I witnessed parallels in the level of craftsmanship and consideration to detail that easily defines the word. Though it remains uncertain how Veilance will fair entering the volatile future of fashion, a sense of pride can be justified in managing to continually innovate and re-invent without sacrificing ones genealogy. Like Arc’teryx, our inherent need to adapt and evolve stems from a simple desire to improve. Rather than resist change, it should be embraced as it leads to the extinction of lesser ideals within us.

If you ask me now where the true value lies behind a Veilance product, I would say it might not be in its futuristic approach to construction, its extensive understanding of human movement or even its obsessive refinement of performance fabrics. I see value in its ability to go beyond the expectations of what a piece of clothing can achieve, and in turn allowing us to experience and interact with our environments in the most dynamic ways possible.

http://www.intelligencemagazine.com/embodying-the-pinnacle-arcteryx-veilance

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CANADIAN FASHION: WE CAN

I loved reading the Globe’s article (following) about “Performance / Athleisure / Urban Athletic” clothing / fashion. Imagine, an article about Canadian companies that are globally recognized (Lulu Lemon), involve billionaires (Chip Wilson), tread on high fashion’s edgiest websites such as “stylezeitgeist.com, (arc’teryx), and have won recognition from the W.G.S.N. the globally followed fashion forecasting agency from London, England, (RYU – Respect Your Universe). All they needed to add in was Canada Goose, and one might not have to imagine, but actually take hold of the thought, that, CANADIANS CAN. To really push that point, please realize that both Lulu Lemon and Kit and Ace sit well placed along Toronto’s “Mink Mile” along with Chanel and Louis Vuitton, recognize also that Canada Goose has it’s own year round residence in tony “Holt Renfrew” along the same strip, as well as a place in the new Saks Fifth Avenue destination spot in the Eaton’s Center and remember that Canada Goose also sits in Colette (Paris) and Kit and Ace are opening retail in New York. The “Performance / Athleisure / Urban Athletic” categories are of major importance and recieve recognition in the Twenty First Century world of fashion and stand right up there with the other categories. Fashion is not just made in Paris by the French any more. Perhaps these clothes don’t stalk the catwalk, but that world is quickly changing, and recognition today is moving toward real clothes worn by real people as well as those of the designer labelled, as being FASHION.

The world recognizes the work of CANADIANS, especially when it is attached to the great outdoors of which we have in more abundance than almost any other country on the planet and are recognized for, so why not embrace it. Roots has done it for decades, and yes I know both Roots and Canada Goose have major USA investment dollars, but they still carry our CANADIAN message (if there isn’t money enough here then why not find it elsewhere). And yes you might argue that functional clothes are not fashion, but isn’t that what North American fashion has built it’s name on, and been copied globally for, since WWII: can you say sportswear, denim, and t shirts? We have had more than one winner recognized even in Canada in the coat department: Shelley Wickabrod and Bernard McGee of Clotheslines for their famous “Trench”, Linda Lundstrom’s “La Parka” and Hilary Radley’s complete line of coats every season, but we don’t seem to want to realize this is fashion because we actually need to wear them. We constantly moan “Canada has no place in fashion” and that our classic icons such as the Maple Leaf and the Cold Weather and our blankets and our parkas are embarrassments, but that is not quite true, is it? The Hudson’s Bay has many times worked with “fashion designers’ to restyle their famous striped blanket into current best fashion sellers that have been worn and copied internationally and the Maple Leaf emblazoned, red and white coloured fashions for our Canadian Athletes, the work of Dean and Dan Caten for D Squared, have been recognized as among the most outstanding in the Brazilian Olympic Games Parade of Athletes attire.

We do have a place and our iconography is magnificent, it needs no change or shying away from. Others love us for it. So, as we stand up and cheer for Our CANADIAN Athletes, Olympic and otherwise, WE CAN also stand up and cheer for our CANADIAN FASHION players! I AM CANADIAN, and so are you, ice in our veins and all!

athliesure globe and mail 07 08 2016 1

VANCOUVER’S PERFORMANCE UPGRADE

British Columbia’s active lifestyle has spawned two generations of West Coast athleisure labels. Marsha Lederman highlights the brand names to know the next time you’re getting dressed for the gym, brunch or a volleyball game on Copacabana beach

athliesure globe and mail 07 08 2016 2

Posted in CANADIAN CULTURE, CANADIAN DESIGNERS, CANADIAN FASHION, CANADIAN FASHION ICON, JAMES FOWLER, O CANADA, OUR OWN | Tagged , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

GROUP SHOT: FASHION SPRING SUMMER 1996 THEN AND NOW…

WAYNE CLARK FASHION MAGAZINE SPRING SUMMER 1996

WAYNE CLARK
FASHION MAGAZINE
SPRING SUMMER 1996

ALFRED SUNG  FASHION MAGAZINE SPRING SUMMER 1996

ALFRED SUNG
FASHION MAGAZINE
SPRING SUMMER 1996

HILARY RADLEY FASHION MAGAZINE SPRING SUMMER 1996

HILARY RADLEY
FASHION MAGAZINE
SPRING SUMMER 1996

JACQUELINE CONOR FASHION MAGAZINE SPRING SUMMER 1996

JACQUELINE CONOIR
FASHION MAGAZINE
SPRING SUMMER 1996

LIDA BADAY FASHION MAGAZINE SPRING SUMMER 1996

LIDA BADAY
FASHION MAGAZINE
SPRING SUMMER 1996

LOUCAS KLEANTHOUS FASHION MAGAZINE SPRING SUMMER 1996

LOUCAS KLEANTHOUS
FASHION MAGAZINE
SPRING SUMMER 1996

MARISA MINICUCCI FASHION MAGAZINE SPRING SUMMER 1996

MARISA MINICUCCI
FASHION MAGAZINE
SPRING SUMMER 1996

MICHEL DESJARDIN FASHION MAGAZINE SPRING SUMMER 1996

MICHEL DESJARDINS
FASHION MAGAZINE
SPRING SUMMER 1996

RON LEAL FASHION MAGAZINE SPRING SUMMER 1996

RON LEAL
FASHION MAGAZINE
SPRING SUMMER 1996

ROSS MAYER FASHION MAGAZINE SPRING SUMMER 1996

ROSS MAYER
FASHION MAGAZINE
SPRING SUMMER 1996

A decade later…sorry, lost in time, make that 2 decades later…

Wayne Clark is still working his magic. See more of what’s up today @ http://www.wayneclarkdesign.com and check out some of his past hits by clicking on the sidebar to your right…as you can with most of the following!

Alfred Sung, I hear through a mutual friend, is happily retired.

Hilary Radley’s website http://www.hilaryradley.com stops at Fall 2015, but I assume she is still in Montreal, reigning as one of Canada’s Queen’s of Coats…as I can currently find her work at the Hudson’s Bay on line, listed as Hilary Radley New York, and loads of things including handbags, at amazon.com

Jacqueline Conoir designed by RozeMerie Cuevas, has now transitioned into JAC by JC (still with RozeMerie at the helm) and can be found at: http://www.jacbyjc.com/about/

Lida Baday has retired.

Loucas Kleanthous is currently sending shots from his vacation home in the Greek Islands to his Facebook page. He left the Canadian Fashion business many years ago, sadly for us, and I am not sure what he is up to when not on holidays. Undoubtedly something very creative.

Marissa Minicucci shut down her company in 2008, but returned with her daughter Annisa Marciano in 2013 with their line MM, (standing for both their surnames). She has since morphed the label, and “is thrilled to be back on the runway as the lead designer for SØSKEN Studios.”
www.soskenstudios.com

Michel Desjardins’ website stops at Fall 2013. I can find him listed among other Quebec designers in The Cabinet Éphémère at Ogilvy in September 2014 and with his own “pop up shop” still occasionally occurring in his Montreal Atelier.

Ron Leal has retired.

Ross Mayer who as well as designing, has joined the adjunct faculty of the Toronto Film School in the Fashion Design Department, and this I know as I am also there!
http://rossmayer.ca/

Bravo to all…

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FASHION SUPPORT: MONTREAL

Mmode fashion cluster gets rolling; board of directors in place

EVA FRIEDE APRIL 2016 2

EVA FRIEDE APRIL 2016

Well hello! Welcome to my new blog. It’s all about style with substance. As style editor for the Montreal Gazette for more than 15 years, I covered fashion, design, beauty and retail. Look for the same focus here, with insight, a critical eye and humour.

April 20, 2016 by Eva

One year later, we are sitting in another impressive sunlit atrium of another Montreal fashion force.

Again, fashion insiders – designers, manufacturers, executives, teachers and interested parties – are out in the hundreds to try to revive an industry in turmoil.

The occasion is the first annual meeting of the mmode “grappe,” or cluster, a Quebec-government mandated group to brand, build and innovate in the fashion sector.

(There are nine Quebec clusters in all, eight of them in Montreal, in industries from aerospace to health care.)

Four objectives were outlined from the beginning: to build a brand image of Montreal as a fashion city; workforce training; new technology investment and export market development.

On the agenda Tuesday, the election of eight board members, joining 10 voting members already in place as charter members or representing existing industry associations and schools.

This is progress: it took seven years to get the first meeting in place, last May at Aldo headquarters. It took only 11 months to bring the parties together at Dynamite headquarters this week.

In the 11 months, mmode reports progress has already been made:

* Debbie Zakaib has been appointed director general of the grappe. Charismatic and energetic, Zakaib has a background in fashion marketing, has worked in fashion promotion for Quebec, and is active on the contemporary art scene with the Musée d’art contemporain de Montréal. In a white lace top and white trousers, wearing the nude high-heeled pumps that signal fashion and power, Zakaib offered some bon mots from the podium: “Working together will be the magic of the grappe.” And “M (in mmode) is for mobilization, movement and metropolitan.”

EVA FRIEDE APRIL 2016 3
Debbie Zakaib is the new director general of mmode.
Photo: Jean-Michael Seminaro

After she was appointed in December, I asked Zakaib about her biggest challenge, and her response was politic: “One of the challenges, but I think it’s an opportunity, is to work with everybody in the industry,” she said. “It will be a challenge to be able to cover the interests of all the different partners and sectors in a positive way.”

* M is also for money, and funding is in place, with $381,000 from the public sector in each of the next three years, and $269,000 from the industry this year. With member fees, the organization states, the budget will be $600,000 to $800,000 each year for three years.

* Other initiatives already in place: a website and brand image created, fundraising and a job fair.

The mood in the atrium was upbeat on a late sunny afternoon. Spring was in the air, and a networking cocktail was in the wings, following voting, speeches, and a fascinating but speedy presentation by HEC former professor and retail guru Jacques Nantel on e-commerce. He sped through his talk, knowing full well that at 7 p.m. everybody was ready for some sustenance.

The speakers were upbeat, too, naturally. Uniform titan Louis Bibeau of Logistik Unicorp., always jovial, introduced fashion industry “kingpin” Elliot Lifson, vice-chairman of Peerless and president of the Canadian Apparel Federation. Dynamite chief Andrew Lutfy, in jeans and speaking in English, spoke of “change, change, change” and how the online revolution offers opportunities to smaller companies. He also said Dynamite was tripling the number of its design centres – to 60.

“It speaks to the will to want to change things and to want accomplish (things),’’ Lutfy said of the turnout of perhaps 300.

And Manon Gauthier, Montreal executive committee for culture, heritage, design, Espace pour la vie and the status of women, said Mayor Denis Coderre had the industry’s back, and that economic development happens through creativity.
“After so many years,’’ she said, “we’re all here. It’s no small task.”

She also signalled new momentum to be lent to Montreal’s five-year-old Bureau de la mode.

Will this work? Can the process move quickly enough to beat or at least match the pace of change we are now experiencing?

François Roberge, chief of La Vie en Rose, president of the mmode steering committee, and an initiator of the initiative, seems genuine in his motivation. He is putting in the effort so a fashion industry remains for future generations, he always says.

Privately, Roberge hinted there are more and bigger announcements and projects to come.

There is plenty at stake.

In 2012, the Quebec fashion industry employed about 28,000 people and was worth $7.6 billion in sales, according to Statistics Canada. That is down from 40,000 employees in 2004. Export figures are precipitous: in 2004, Quebec exported $1.6 billion worth of goods, more than 90 per cent to the U.S., dropping to $600 million in 2008 and $500 million in 2011.

So here are the new members of the mmode board of directors:

Marilyne Baril (Marigold) and Philippe Dubuc, representing designers.

Barry Bly (Lisette L.) and Serge Zagury (Gildan) repping manufacturers.

Leonard Gorski (Gorski Group) and François Lapierre (Claudelle) for wholesalers.

Danielle Charest (Marie Saint Pierre) and François Roberge (La Vie en Rose) for retailers.

Mmode fashion cluster gets rolling; board of directors in place

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GROUP SHOT: MAYFAIR JULY 1957 / TRAVEL IN WOOL

CANADIAN FASHIONS, perfect at home, abroad, en route
mayfair july 1957 (2) LEFT: LURIE AND SAUNDERS
CENTER: LOUIS SCHRIER
RIGHT: GAINSBOROUGH

mayfair july 1957 (3) UPPER PHOTO / LEFT: DEJA RIGHT
RIGHT: LOUIS SCHRIER
LOWER PHOTO: JACOB CROWLEY

mayfair july 1957 (4) RIGHT: JUNIOR SOPHISTICATES
LOWER LEFT PHOTO/ LEFT: TAUB BROTHERS
RIGHT: HELEN HOWELL FOR LEW SHEDLACK
LOWER RIGHT PHOTO/ LEFT: JACK LIEBMAN
RIGHT: DAVID TAUB AND SON

mayfair july 1957 (5) UPPER RIGHT PHOTO/ SAM SHERKIN
LEFT PHOTO/ NAT GORDON
RIGHT PHOTO/ MYER-KAHAN

mayfair july 1957 (6) UPPER LEFT PHOTO/ HARRY BRODKIN
LOWER LEFT PHOTO/ TAUB BROTHERS
LOWER RIGHT PHOTO/ RIGHT: ?
LEFT: BRODKIN

mayfair july 1957 (7) UPPER LEFT PHOTO/ DAVID TAUB AND SON
UPPER RIGHT PHOTO/ LANSEA
LOWER PHOTO/ JUNIOR SOPHISTICATES

mayfair july 1957 LEFT: AUCKIE SANFT
RIGHT: MAYFAIR GARMENT

Posted in CANADIAN DESIGNERS, CANADIAN FASHION, CANADIAN FASHION DESIGNERS, JAMES FOWLER | Tagged , , , , , , , , , , , , , , , , , , , , | 1 Comment

CANADIAN DESIGNERS: HUGH GARBER

and one thing leads to another…

Through SHELLEY WICKABROD (co-designer -CLOTHESLINES, INC along with late husband BERNARD MAGEE) I met MARIA HOYT (model). While following Maria on Facebook I noticed a comment from HUGH GARBER (designer) which I followed up on with a request to share any of his archive. We chatted back and forth an he said he would courier some things over. I arrived home from dinner on Thursday evening and there was a note from the concierge taped on my letter box, someone had left me a gift bag it said. Wonder who I pondered, too early for my birthday and too late for Christmas…

WOW, WHAT A GIFT, an amazing bundle of original sketches, collection photos, invitations to shows and press clippings from Hugh. Not a gift, in the sense that it goes back to Hugh when I am done, but a gift for sure for the website and for CANADIAN FASHION HISTORY. THANK YOU HUGH GARBER!

There is already a page for HUGH GARBER if you click on the left, and these treasures will join them, but first a look at them here on the blog!

HUGH GARBER STYLE MAGAZINE AUGUST 12 1968 HGA

HUGH GARBER
STYLE MAGAZINE
AUGUST 12 1968
HGA

HUGH GARBER LE SEMAINE DECEMBER 1968 HGA

HUGH GARBER
LE SEMAINE
DECEMBER 1968
HGA

HUGH GARBER MARGO DRESS COMPANY 1968 HGA

HUGH GARBER
MARGO DRESS COMPANY
1968
HGA

HUGH GARBER CA 1969 HGA

HUGH GARBER
CA 1969
HGA

HUGH GARBER WINNIPEG FREE PRESS JANUARY 1969

HUGH GARBER
WINNIPEG FREE PRESS
JANUARY 1969

HUGH GARBER MARGO DRESS COMPANY 1970 HGA

HUGH GARBER
MARGO DRESS COMPANY
1970
HGA

HUGH GARBER MARGO DRESS COMPANY ORIGINAL PHOTO 1970 HGA

HUGH GARBER
MARGO DRESS COMPANY
ORIGINAL PHOTO
1970
HGA

HUGH GARBER MARGO DRESS COMPANY ORIGINAL PHOTO 1970

HUGH GARBER
MARGO DRESS COMPANY
ORIGINAL PHOTO
1970

HUGH GARBER THE GAZETTE APRIL 1971 HGA

HUGH GARBER
THE GAZETTE
APRIL 1971
HGA

HUGH GARBER MONTREAL STAR NOVEMBER 1972 HGA

HUGH GARBER
MONTREAL STAR
NOVEMBER 1972
HGA

HUGH GARBER  TORONTO STAR FEBRUARY 1972 model MARIA HOYT HGA

HUGH GARBER
TORONTO STAR
FEBRUARY 1972
model MARIA HOYT
HGA

HUGH GARBER MONTREAL STAR FEBRUARY 1973 HGA

HUGH GARBER
MONTREAL STAR
FEBRUARY 1973
HGA

HUGH GARBER DESIGNERS ORIGINAL SKETCH AUTUMN 1974 HGA

HUGH GARBER
DESIGNERS ORIGINAL SKETCH
AUTUMN 1974
HGA

HUGH GARBER DESIGNERS ORIGINAL SKETCH WINTER 1974 HGA

HUGH GARBER
DESIGNERS ORIGINAL SKETCH
WINTER 1974
HGA

HUGH GARBER MONTREAL MATIN AUGUST 1974 HGA

HUGH GARBER
MONTREAL MATIN
AUGUST 1974
HGA

HUGH GARBER THE GAZETTE MAY 1974 HGA

HUGH GARBER
THE GAZETTE
MAY 1974
HGA

HUGH GARBER THE GAZETTE OCTOBER 1976 HGA

HUGH GARBER
THE GAZETTE
OCTOBER 1976
HGA

HUGH GARBER 1978 HGA

HUGH GARBER
1978
HGA

HUGH GARBER HE ll  1979 1/2 HGA

HUGH GARBER
HE ll
1979
1/2
HGA

HUGH GARBER HE ll  1979 2/2 HGA

HUGH GARBER
HE ll
1979
2/2
HGA

HUGH GARBER 1980 HGA

HUGH GARBER
1980
HGA

HUGH GARBER CP AIR NEWS MAY 1980 1/3 HGA

HUGH GARBER
CP AIR NEWS
MAY 1980
1/3
HGA

HUGH GARBER CP AIR NEWS MAY 1980 2/3 HGA

HUGH GARBER
CP AIR NEWS
MAY 1980
2/3
HGA

HUGH GARBER CP AIR NEWS MAY 1980 3/3 HGA

HUGH GARBER
CP AIR NEWS
MAY 1980
3/3
HGA

HUGH GARBER GLOBE AND MAIL SEPTEMBER 1980 HGA

HUGH GARBER
GLOBE AND MAIL
SEPTEMBER 1980
HGA

HUGH GARBER HE II FALL 1980 1/2 HGA

HUGH GARBER
HE II
FALL 1980
1/2
HGA

HUGH GARBER HE II FALL 1980 2/2 HGA

HUGH GARBER
HE II
FALL 1980
2/2
HGA

HUGH GARBER GLOBE AND MAIL JUNE 1981 HGA

HUGH GARBER
GLOBE AND MAIL
JUNE 1981
HGA

HUGH GARBER SIMPSONS THE ROOM 1981 1/2 HGA

HUGH GARBER
SIMPSONS THE ROOM
1981
1/2
HGA

HUGH GARBER SIMPSONS THE ROOM 1981 2/2 HGA

HUGH GARBER
SIMPSONS THE ROOM
1981
2/2
HGA

HUGH GARBER EDMONTON JOURNAL APRIL 1982 HGA

HUGH GARBER
EDMONTON JOURNAL
APRIL 1982
HGA

HUGH GARBER FLARE 1982 HGA

HUGH GARBER
FLARE
1982
HGA

HUGH GARBER THE GAZETTE OCTOBER 1982 HGA

HUGH GARBER
THE GAZETTE
OCTOBER 1982
HGA

HUGH GARBER STYLE SEPTEMBER 1983

HUGH GARBER
STYLE
SEPTEMBER 1983

HUGH GARBER  UNIFORMS REGISTERED 1983 1/6 HGA

HUGH GARBER
UNIFORMS REGISTERED
1983
1/6
HGA

HUGH GARBER  UNIFORMS REGISTERED 1983 2/6 HGA

HUGH GARBER
UNIFORMS REGISTERED
1983
2/6
HGA

HUGH GARBER  UNIFORMS REGISTERED 1983 3/6 HGA

HUGH GARBER
UNIFORMS REGISTERED
1983
3/6
HGA

HUGH GARBER  UNIFORMS REGISTERED 1983 4/6 HGA

HUGH GARBER
UNIFORMS REGISTERED
1983
4/6
HGA

HUGH GARBER  UNIFORMS REGISTERED 1983 5/6 HGA

HUGH GARBER
UNIFORMS REGISTERED
1983
5/6
HGA

HUGH GARBER  UNIFORMS REGISTERED 1983 6/6 HGA

HUGH GARBER
UNIFORMS REGISTERED
1983
6/6
HGA

HUGH GARBER THE CANADIAN COLLECTION DESIGNER SHOW WINDSOR ONTARIO 1983 HGA

HUGH GARBER
THE CANADIAN COLLECTION DESIGNER SHOW
WINDSOR ONTARIO
1983
HGA

HUGH GARBER DESIGNERS ORIGINAL SKETCH 2/4 HGA

HUGH GARBER
DESIGNERS ORIGINAL SKETCH
2/4
HGA

HUGH GARBER DESIGNERS ORIGINAL SKETCH 3/4 HGA

HUGH GARBER
DESIGNERS ORIGINAL SKETCH
3/4
HGA

HUGH GARBER DESIGNERS ORIGINAL SKETCH 4/4 HGA

HUGH GARBER
DESIGNERS ORIGINAL SKETCH
4/4
HGA

HUGH GARBER EN ROUTE HGA

HUGH GARBER
EN ROUTE
HGA

HUGH GARBER MARGO OF MONTREAL 1/2 HGA

HUGH GARBER
MARGO OF MONTREAL
1/2
HGA

HUGH GARBER MARGO OF MONTREAL 2/2 HGA

HUGH GARBER
MARGO OF MONTREAL
2/2
HGA

HUGH GARBER photo THE THIRD EYE 1/5 HGA

HUGH GARBER
photo THE THIRD EYE
1/5
HGA

HUGH GARBER photo THE THIRD EYE 2/5 HGA

HUGH GARBER
photo THE THIRD EYE
2/5
HGA

HUGH GARBER photo THE THIRD EYE 3/5 HGA

HUGH GARBER
photo THE THIRD EYE
3/5
HGA

HUGH GARBER photo THE THIRD EYE 4/5 HGA

HUGH GARBER
photo THE THIRD EYE
4/5
HGA

HUGH GARBER photo THE THIRD EYE 5/5 HGA

HUGH GARBER
photo THE THIRD EYE
5/5
HGA

HUGH GARBER SIMPSONS THE ROOM 1/3 HGA

HUGH GARBER
SIMPSONS THE ROOM
1/3
HGA

HUGH GARBER SIMPSONS THE ROOM 2/3 HGA

HUGH GARBER
SIMPSONS THE ROOM
2/3
HGA

HUGH GARBER SIMPSONS THE ROOM 3/3 HGA

HUGH GARBER
SIMPSONS THE ROOM
3/3
HGA

HUGH GARBER TORONTO STAR FEBRUARY 1972 1 OF 3 HGA

HUGH GARBER TORONTO STAR FEBRUARY 1972 2 OF 3 HGA

HUGH GARBER WINNIPEG FREE PRESS JANUARY 1969 1 OF 3 HGA

HUGH GARBER WINNIPEG FREE PRESS JANUARY 1969 2 OF 3 HGA

Posted in CANADIAN DESIGNERS, CANADIAN FASHION | Tagged , , , | 2 Comments

BREAKING NEWS: IMG PULLS THE PLUG

An unusual post for me, I am more of an archivist than a news broadcaster, however, before I can finish even entering the story of CANADIAN FASHION ORGANISATIONS and CANADIAN FASHION SHOWS that I have mentioned in previous posts, and that are being listed in the sidebar as fast as I can do it, there is another chapter closing.

IMG 1

Toronto Fashion Week is no more.

Organizers announced Thursday that they’re pulling the plug on the semi-annual event, citing a lack of local support.

IMG Canada had operated Toronto Fashion Week in collaboration with IMG Fashion since 2012, after taking over from the Fashion Design Council of Canada, a non-profit organization that had owned and produced the event for 13 years.

“We really felt that our Canadian fashion footprint was not generating the local commercial funding that we really required in order for us to continue producing the event to the highest standard that, really, the industry deserves and the designers in Toronto deserve,” said Catherine Bennett, senior vice-president and managing director of IMG Fashion Events & Properties, in an interview with The Canadian Press.

“We’re sad to be moving on, but think it’s the right decision and the right time to make it.”

Bennett said IMG will no longer be involved with the Mercedes-Benz Start Up program for emerging designers, which had a grand-prize package that included a $30,000 bursary and a fully produced runway show in Toronto.

Losing Toronto Fashion Week will impact up-and-coming and newly established designers still trying to carve out their brands, said Susan Langdon, executive of the Toronto Fashion Incubator.

“Showing at Toronto Fashion Week gave them a stamp of credibility and it thrusted them into the media spotlight,” said Langdon, whose non-profit business centre has fostered numerous designers and style entrepreneurs.

“You have …. media from across the country and internationally attend this world-class event, and you have major retail buyers attend.

“If you’re just starting out, would you get that same kind of calibre of audience coming out to your show? Probably not. But because they’re there watching shows back-to-back will they put a little time aside to catch your show? Chances would have been pretty good.”

Toronto Fashion Week was part of a sizable roster of international fashion weeks owned or commercially represented by IMG, including those staged in New York, London, Berlin, Sydney and Tokyo.

Fashion week events are also held in Vancouver, Edmonton and Halifax. But the absence of Canada’s biggest style showcase in Toronto leaves a sizable void on the style calendar, when some of the leading emerging and established labels would unveil collections to buyers, media and consumers.

The end of Toronto’s marquee showcase comes three years after Montreal had its semi-annual event retooled. In 2013, organizers announced plans to merge the winter edition of Montreal Fashion Week with the city’s summer Fashion and Design Festival.

The Toronto event had undergone a mini-makeover earlier this year following the end of a six-season deal with World MasterCard as the title sponsor. It was rebranded with a new website and social media handles prior to the unveiling of fall-winter collections in March.

At the time, organizers said that while they hoped to find additional sponsor support, they didn’t foresee any impact on staging the Toronto event.

Ultimately, the shortfall proved too much to overcome.

“I think in the market in Toronto we just weren’t seeing the local support for the industry that we do see in some other markets,” said Bennett.

She hopes local designers will look to participate in other IMG programs such as DHL Exported. It offers fully produced runway shows for two consecutive seasons, as well as covering the logistics costs of producing the collection and shipping the finished garments to the runway.

Bennett also expressed hope that another group will stage a fashion showcase in Toronto — a sentiment echoed by Canadian fashion editors.

Bernadette Morra, editor-in-chief of Fashion Magazine, said there have already been several incarnations of fashion events in Toronto, including the Festival of Canadian Fashion, and showcases of ready-to-wear collections in hotel ballrooms.

“The fact that IMG — this multinational which was putting a lot of muscle into this — wound up in this situation I think it’s too bad, but I don’t think it means we can’t have a fashion week. We just can’t have a fashion week that IMG envisioned. There’s definitely an appetite from consumers and the industry to have some kind of event.”

Noreen Flanagan, editor-in-chief of Elle Canada, said she’s surprised by the end of Toronto Fashion Week, but added the move isn’t entirely unexpected given the changes being seen in how fashion is promoted and sold.

“Certainly, the Internet and social media have completely disrupted how we approach the business of fashion,” she said.

“Women and men still love fashion and they want to support designers…. But the thing is now they see the clothes and they want to buy it now. So I think the challenge will be — especially for smaller designers — to be able to produce that instant gratification that I think consumers are looking for.”

Follow @lauren_larose on Twitter.

http://www.brandonsun.com/business/breaking-news/img-pulls-plug-on-toronto-fashion-week-385872361.html?thx=y

Posted in CANADIAN DESIGNERS, CANADIAN FASHION, CANADIAN FASHION DESIGNERS, CANADIAN FASHION ORGANISATIONS, CANADIAN FASHION SUPPORT SYSTEM, FASHION DESIGNERS ASSOCIATION OF CANADA, JAMES FOWLER | Tagged , , , , , , , , , | Leave a comment