Dress to Kill Magazine, Winter 2019 Issue

THE

JEWELLERY SPECIAL INTERVIEW WITH VISIONARY CANADIAN SINGER

ALLIE X THE WINTER

LUXURY ISSUE

$8.99 Display Until February 28th, 2020

LUXURY The Winter

ISSUE

SHAYNA © CHRIS NICHOLLS

The Jewellery Special featuring Top Model Shayna McNeil Lifestyle Jewellery High Jewellery with Messika: An Interview with Designer Valerie Messika / How to Make an Orchid Bloom: Alexandre Beauregard’s Haute Horlogerie / L’aige à deux têtes: How Russia Influenced Chanel’s Jewellery Design

Beauty

Modern Glam: The Best Glam Products / Flawless Fragrances: Luxurious Scents / Ultimate Seduction: Strong and Seductive Makeup / Tomboy Touch: Bold Gender Bending Looks Parisian Chic: 80s Parisian Glam Looks

DTK Introduces its First-Ever Pop-Up Store, Magasin Général: A Space to Discover Canadian Designers / A New Kind of Champagne Pairing: Pairing Krug Champagne with Music / La vie du château: Discover Chef Jérôme Schilling from Château Lafaurie-Peyraguey / Vegan Restaurants: Vegan Restaurants to Discover Across Canada

Music Allie X: Interview with the Avant-Garde Canadian Singer

Business Woman Behind the Wheel: Laura Schwab of Aston Martin

Fashion

Culture Born to Dance: An Interview with Quebecois

Fashion Focus

Design Zébulon Perron: Overview of Montreal Architectural

Fashion Talks

Talks Women in the Luxury Vehicle Industry

Dancer-turned International Star Guillaume Coté

Designer’s Most Recent Work

Inspiration

Fabien Baron: Discover the Iconic Visionary Creative Director’s Work

Do Not Disturb: Looks for a Stylish Hotel Party for One / House of Style: Tableaus of Different Luxury Designers / Melancholia: Melancholic 70s-Inspired Looks

A New Rebellion: Nicolas Ghesquère’s Louis Vuitton 2020 Cruise Collection / Italians Do it Better: Silvia Venturini’s Fendi 2020 Resort Collection

Canada’s Best-Kept Secret: Discover Canadian Designer Victoria Hayes / Fashion for Good: Sustainability Initiatives in Fashion

Travel

Scotland: A New and Trendy Travel Guide for Scotland

Dress ($2,840) GIVENCHY at HOLT RENFREW. Bouton d’or Earrings ($33,100), Necklace ($119,000), Pendant ($48,600), Bracelet ($56,000), and Ring ($22,300) VAN CLEEF AND ARPELS. Photography CHRIS NICHOLLS. Fashion Editor ZEINA ESMAIL at P1M. Assistant Stylist SAMANTHA BEST at P1M. Makeup SABRINA RINALDI at P1M using MAC Cosmetics. Hair KRISTEN KLONTZ using HOT TOOLS at P1M. Post Production LORCA MOORE. Model SHAYNA MCNEIL at MODE MODELS/IMG.

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to WINTER 2019 N° 47

President and Editor-in-Chief: Kathia Cambron C.E.O.: Shervin Shirvani Editorial Director: Sylvain Blais

PRODUCTION

Content Director: Sylvain Blais Editor: Luisa Tarantino English Copy Editor: Luisa Tarantino French Copy Editor: Sylvain-Claude Fillion Proofreader: Dwain Richardson

ART DEPARTMENT

Creative Director: Sylvain Blais Art Director: César Ochoa Graphic Designers: Hagar Moussali, Carolina Ramirez, Robin Westfield On-Set Art Directors: Sylvain Blais, Atelier Vingt-Quatre

FASHION

Fashion Editors: Zeina Esmail, Fritz, Cary Tauben, Randy Smith, Olivia Leblanc, Julia Debartolo, Lucia Perna Fashion Writers: Lauren Walker-Lee, Luisa Tarantino

BEAUTY

Beauty Editors: Nicolas Blanchet, Jen Tioseco, Steven Turpin, Luisa Tarantino Makeup & Hair Artists: Nicolas Blanchet, Lisa Kolmakova, Steven Turpin, Kirsten Klontz, Steeve Daviault, Paco Puerta, Leslie-Ann Thomson, Louis Hechter, Misha Gulati, Kevin Murphy, Kyle Melone, Carolina Dali Nails artists: Tamara Di Lullo, Nicole Kush

LIFESTYLE

Lifestyle Editor: Marie-Ève Venne, Stephane Le Duc

CONTRIBUTORS

Editor-at-Large: Stéphane Le Duc Writers: Carol Besler, Stéphane Le Duc, Rebecca Kahn, Mariam Moussally, Marie-Ève Venne, Luisa Tarantino, Lauren Walker-Lee

PHOTOGRAPHERS

Richard Bernardin, Hadi Mourad, Royal Gilbert, Chris Nicholls, Sylvain Blais, Kane Ocean, William Arcand

WEB

Executive Web Editor: Kathia Cambron Web Editors: Lauren Walker-Lee, Marie-Ève Venne, Luisa Tarantino Art Director: César Ochoa Graphic Designers: Hagar Moussalli, Robin Westfield

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Lucky

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CONTRIBUTORS

Carol Besler

JEWELLERY EDITOR

Carol Besler covers watches and jewellery. For her story on the Hamilton Khaki Pilot Schott NYC, she travelled to the Union, New Jersey, factory of Schott, the inventor of the motorcycle jacket, and discovered the transformative powers of the Perfecto, the rock star of moto jackets.

Olivia LeBlanc

FASHION EDITOR

Olivia’s work is a like diptych piece of art: on one side, she’s behind multiple editorials and advertising campaigns and on the other, she dresses many public figures, some of which show her unshakeable trust. Always looking for the next emerging designer to feature in her work, Olivia likes experimenting with volumes and mixing high-end and more affordable fashion together.

CAROL BESLER OLIVIA LEBLANC

Leslie-Ann Thomson BEAUTY EDITOR

Self-taught, Leslie-Ann Thomson’s understanding of the inextricable link between high fashion and makeup and the creation of synergy between the two has made her one of the most sought-after makeup artists in Canada. Beyond the pages of fashion magazines and heavyweight commercial campaign billboards from brands like Laura Mercier and Aldo to Holt Renfrew and Vichy, Thomson’s work spans artists, celebrities, musicians, and designers alike. The artist never stops; she is a pop-culture fiend, finding inspiration in contemporary art, music, and design.

Royal Gilbert

LESLIE-ANN THOMSON

PHOTOGRAPHER

As a photographer working under a pseudonym worthy of the greatest explorers, Alex is inspired by the unique and atypical people who make the world less drab.

ROYAL GILBERT

MARIE-ÈVE VENNE

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LIFESTYLE EDITOR

Marie-Ève likes to talk —maybe a little bit too much— to others and you can often catch her at some event, sharing all the details of her last trip. She enjoys the finest things in life, especially food and drinks. At Dress to Kill, she is the one writing about the newest musician you need to discover and that trendy bar that makes the best damn cocktails in the city.

Luisa Tarantino

WRITER AND COPY EDITOR

As a new face and editorial contributor and copy editor at Dress to Kill, with a background in communications and marketing, working in the publishing industry is a dream come true for Luisa. A lover of all things art, culture, fashion, and lifestyle, you can find her checking out the latest gigs, cultural events, and tastiest restaurants all over Montreal.

LUISA TARANTINO LAUREN WALKER-LEE

Marie-Ève Venne

Lauren Walker-Lee WRITER

As a lover of aesthetics and a consumer of culture, she found herself pursuing fashion in New York City and London before returning to her hometown of Toronto. With varying fashion industry stints under her belt and the ability to jump between worlds, Lauren connects the dots between styling, editing, and creative consulting for brands and editorial alike. The unrestricted territory of digital allows her to wear many hats and work with eclectic teams and topics outside the lines.

- collectioniris.com -

Editor’s Note ALLIE X © ROYAL GILBERT

©ROYAL GILBERT

Kathia Cambron Editor-in-Chief

De nos jours, je remarque que la plupart d’entre nous ont la tête ailleurs, dans les nuages ! Notre corps lui est bel et bien ici sur terre, mais nous vivons de plus en plus dans notre tête. À l’air des technologies, nos rêveries, nos lectures et pensés ont depuis toujours occupées une part importante de nos vies, par contre l’échange temps passé dans le réel pour celui passé dans le virtuel semble accentuer cette cadence. Moi, je craque toujours à la vue d’un beau sourire et le temps des fêtes est le moment idéal de se rappeler que l’on vit aussi à travers le cœur.

Nous espérons vous en mettre plein la vue avec les talents dont nous vous présentons le travail. Notre aspiration est de vous faire apprécier et découvrir des trésors canadiens tels que l’artiste et chanteuse Allie X, la designer Victoria Hayes de même que tous les artisans que nous avons mis en vedettes au Magasin Général, notre boutique éphémère, ouverte jusqu’au 30 décembre au Quartier Dix30 à Brossard.

De la part de toute l’équipe, nous vous souhaitons une belle période des fêtes!

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BIJOUX

L’aigle à deux têtes

CHANEL

Cet emblème de la Russie impériale est l’un des symboles magnifiant la dernière collection de haute joaillerie de Chanel. Dans les années 1920, au lendemain de la révolution bolchévique, l’influence russe souffle sur la capitale française et atteint Gabrielle Chanel, qui développe une véritable passion amoureuse pour le grand-duc Dimitri Pavlovitch exilé à Paris.

Cette ferveur lui ouvre les portes d’un imaginaire qui influencera peu à peu les codes de la maison.

Par Stéphane Le Duc

BOUCLES D'OREILLES MOTIF RUSSE

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L

’univers de Gabrielle, la femme, est une source d’inspiration intarissable pour les artisans de la maison. Le Paris russe de Chanel s’éloigne des célèbres cabochons pour puiser directement de la splendeur de l’aristocratie tsariste, de son folklore coloré et des célèbres Ballets russes qui ont fait vibrer Paris par leur audace et leur modernité.

"LE PARIS RUSSE DE CHANEL" COLLECTION. ©ZINA DE ROSNAY COLLECTION

Une grande amitié est née de cette rencontre entre les artistes russes et Coco, qui se lie aussi intimement avec le fondateur des Ballets russes Serge de Diaghilev, les danseurs Léonide Massine et Serge Lifar, l’écrivain Boris Kochno et le compositeur Igor Stravinski. Éperdument amoureux de Coco, qui devient sa protectrice, ce dernier exprime sa fascination dans un poème qui lui est dédié.

BROCHE BLÉ MARIA

Aujourd’hui, sous l’égide de Patrice Leguéreau, directeur du studio de création joaillerie depuis une décennie, l’atelier du 18, place Vendôme se surpasse avec cette collection de 63 pièces.

Ces créations uniques mettent en valeur le talent exceptionnel des artisans, qui atteint encore une fois des sommets de perfection. S’inspirant des objets russes de l’appartement de Coco, l’aigle bicéphale se retrouve inclus, pour la première fois, dans cet univers où s’unissent le blé et le camélia. Il exprime symboliquement le souvenir d’une monarchie triomphante, et la richesse de l’art traditionnel du fil se traduit avec finesse dans des broderies byzantines en or blanc, perles et diamants.

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©COLLECTION CHANEL. ALL RIGHTS RESERVED

En référence au folklore et à l’opulence chromatique des Ballets russes, la couleur anime cette collection. L’audace du Sacre du printemps y résonne. Les boucles d’oreilles réinterprètent les motifs et les couleurs des broderies russes traditionnelles. Laquées de rouge vif, la couleur préférée de Gabrielle Chanel, elles sont ponctuées de grenats orange, et de tsavorites, de saphirs bleus et roses, de diamants et de perles.

COLLIER MÉDAILLE SOLAIRE

"LE PARIS RUSSE DE CHANEL" COLLECTION. © CHANEL.

Les bijoux de tête rappellent les kokochniks, ces coiffures traditionnelles russes portées avec la robe droite sans manche appelée sarafane. Dans la collection éponyme garnie de diamants et de perles, on retrouve le motif camélia qui évoque une broderie. Il s’articule avec magie autour d’un spectaculaire diamant rond incolore de 10,18 carats d’une fascinante pureté. Le blé porte-bonheur, objet fétiche de Gabrielle Chanel, symbolise quant à lui cette lointaine Russie qu’elle n’a connue que par les récits de ses amis exilés et les romans de Dostoïevski et de Tolstoï.

Raffinement, intelligence et émotion émanent de cette collection que Gabrielle Chanel elle-même n’aurait pas reniée. Ne disait-elle pas : « Les Russes me fascinent » ?

B'OUCLES D'OREILLES BLÉ GABRIELLE

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BAGUE MÉDAILLE SOLAIRE

BRACELET BLÉ GABRIELLE

BAGUE AIGLE CAMBON

"LE PARIS RUSSE DE CHANEL" COLLECTION. © ALBERT HARLINGUE / ROGER-VIOLLET

© UNIVERSAL HISTORY ARCHIVE. CONTRIBUTOR

COLLIER AIGLE PROTECTEUR

BAGUE ROUBACHKA

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JEWELLERY

High Jewellery with Valerie Messika

Rulebreaker and trendsetter Valerie Messika reinterprets diamond jewellery as an accessible and disruptive object that has the power to instill self-confidence in anyone who wears it. Her Lucky Move collection is made for movement and has a versatility that makes it work for day or night, dressy or casual.

By Carol Besler

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F

rom hip three-finger rings to chic chokers and medallions that serve as lucky charms or talismans, the pieces are designed to be worn alone or mixed and matched. The circle motif is the core element, interpreted in yellow, pink, or white gold, within strong geometric lines, and set with diamonds. Here, Valerie talks about her special connection to diamonds and why Kate Moss, Joan Smalls, and Sylvia Hoeks were the perfect choice as the powerful squad of women representing Messika jewellery in her new campaign.

Your father, Andre Messika, was in the diamond business, so you were exposed to from an early age.

What was it like growing up with diamonds? Valerie Messika: I was definitely exposed to diamonds

early. From around the age of seven, my father used to bring me to his office in Paris when I was younger, and he would give me some parcels of diamonds and ask me to sort them, separating the good ones and the bad ones. He would also come home with big stones and put them on the living room table and say, “Pick your favourites.” I used to touch the diamonds with my skin, not with tweezers, so I connected with them in a unique way, and they gave me an important link to my father.

So, you know how to pick top diamonds. Yes, but it’s not just about learning which diamonds are top

VVS flawless. It’s more about becoming absorbed in the shape and the charm of each individual diamond. Whether it is big, flawless, or pique [cloudy], each one is beautiful in some way. You know, not all women are D flawless, but there are so many beautiful women with charm, and who are very interesting despite any flaws. I compare diamonds to that.

When did you start officially working with your father, and what did you learn from him? I joined him

in early 2000, and spent two or three years travelling with him and learning the business.

He was a self-made man. He was not born into the industry, so he had to struggle a lot to build his business. I learned from that. I studied marketing and communications, so I mixed my vision with his vision for business, and that gave me the confidence to start my own jewellery design company. I noticed a void in the market for a brand that could speak about diamonds in another way — in a less dramatic way. All we heard was “diamonds are forever” and the focus was on bridal or anniversaries. I wanted to treat diamonds like a more everyday luxury. I wanted to bring diamonds closer to fashion and make it something that is not necessarily a gift, but for self-purchase.

What was the inspiration for your Lucky Move collection? The Lucky Move collection is very fashionable. Long pendants and medallions are coming back, and I wanted to reinterpret that trend in a unique way. The round shape is signature to the collection and it’s a versatile motif to work with.

It can be rectangular or oval; it can move. I am inspired by the way Karl Lagerfeld, for example, continued to interpret the tweed jacket, taking one iconic element and creating variations with it.

You chose three very strong women to represent Lucky Move in your new campaign, and dressed them in leather, with strong imagery, including chains. The women are presented as tough and edgy but also very feminine and sexy. What is the message behind this campaign? That’s it exactly. I wanted it to

be glamorous but also accessible, for women to recognize themselves in a certain way.

I also wanted to stay away from the typical luxury image. I keep it in the luxury world, of course, in the sense that Messika is fine jewellery – it is well made, using gold and diamonds, but I don’t want people to be frightened of diamond jewellery. I want them to try it on and have fun with it. The red carpet world is not the real world. The final customer is more diverse than that: classic, fashionable, young, mature. The strength of Messika jewellery is that it is versatile in terms of style and price. It reaches many different categories of women.

Why these women? There are three types of beauty recognized here, like the different facets of a diamond. I think it’s cool to have diversity of femininity. It was complicated to put the campaign together, to choose the right group like a recipe in cooking. Sylvia Hoeks is not famous yet but she will be. She is a bold woman, daring, and a bit androgynous. I thought it would be interesting to mix her with the sexiness and the spectacular physique of Joan Smalls and the iconic style of Kate Moss, who is still cool and sexy and beautiful, and above all a free woman. I wanted to create a trio of girls, a gang that would represent women in their diversity and, whatever their age, embody a type of beauty. They are strong women who breathe their own style into jewellery. They influence diamonds and not the other way around.

The same could be said about Messika jewellery. What is the one piece that you can’t live without? My two bangles, which are named after my two daughters, Noa and Romane [aged 6 and 8]. One of them is set with five diamonds and the other with three diamonds. I never take them off.

Do you bring diamonds home for your girls to play with? No, I don’t bring diamonds back and forth from the office as my father did. But my daughters are very proud of Messika. They get excited when they see our ads on the bus.

What are the three fashion/wardrobe essentials every woman should own? For me, black shoes with high heels, a leather jacket or black suit, and a white shirt. And diamonds, of course.

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JEWELLERY

Love is in the air

VAN CLEEF & ARPELS

THE AÏDA & RADEMÈS WATCH IS INSPIRED BY THE ILL-FATED LOVERS OF THE VERDI OPERA AÏDA. THE DIAL AND CASE POP OUT OF A DRAWER-LIKE CAVITY UNDER THE GEMSET COVER, TOPPED WITH A 5.59-CARAT, CUSHION-CUT BLUE SAPPHIRE FROM MADAGASCAR, FLANKED BY TWO PEAR-SHAPED PURPLE SAPPHIRES TOTALING 1.53 CARATS AND TWO PEAR-SHAPED BLUE SAPPHIRES WEIGHING 4.37 CARATS. THE SCULPTED BRACELET REPRESENTS THE UNDULATING SAND DUNES OF EGYPT SURROUNDING THE NILE, SET WITH BLUE SAPPHIRES, LAPIS LAZULI, WHITE MOTHER-OF-PEARL, AND DIAMONDS. ANOTHER VERSION IN WHITE AND ROSE GOLD IS CENTERED WITH A 5.93-CARAT CUSHION-CUT PINK SAPPHIRE, SURROUNDED BY SMALLER SAPPHIRES, TURQUOISE, LAPIS, AND DIAMONDS.

A new collection of high jewellery watches celebrates the highs and lows of mythical love.

By Carol Besler

H

igh jewellery meets high romance at the Van Cleef & Arpels watchmaking workshops. The Maison’s Mythical Couples collection featuring eight haute joaillerie watches was inspired by legendary lovers from the worlds of mythology, opera, and lore. The watches, priced in the seven-figure range, are set with statement gems, including five, six, and seven carat Burmese and Madagascar sapphires. All are secret-style designs with dials hidden in tiny drawers or under hinged covers, and every surface is set. The theme is love — undying love, unrequited love, illicit love, tragic love.

“We don’t have a marketing approach to product development,” says Van Cleef & Arpels marketing director Jean Bienaymé. “We aren’t targeting a certain age group, or the millionaires or the millennials. We just try to have an idea for the collection, and then we go from there.”

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The result is a dramatically poetic approach to watchmaking that sets the brand apart from its more quotidian competitors. At Van Cleef, high complications have been used to animate kissing couples, fluttering butterflies, and fitting fairies. And unlike other watchmakers, it is actually the brand’s quartz-driven high jewellery watches that hold their value and drive sales. Ladies’ watches set with large gems or rare gems in unique, imaginative designs are in demand at auctions. “We are Van Cleef & Arpels, and we are a high jewellery Maison,” says Bienaymé. “And in the world of high jewelry, everything is a question of detail. We select one stone among many. Our gemstone standards are the highest of any Richemont brand.” Each of the eight Mythical Couples watches has a corresponding story.

AMYTIS & NABUCHODONOSOR

ULYSSE & PÉNÉLOPE

PHILÉMON & BAUCIS

The Amytis & Nabuchodonosor (also spelled Nebuchadnezzar) is inspired by the mythic Hanging Gardens of Babylona, which were a gift from King Nebuchadnezzar to his wife, Amytis. It is set with a 6.75-carat Burmese sapphire with a sugarloaf cut, along with emeralds, turquoise, and diamonds. The hinged cover reveals a diamond-set dial.

The Ulysse & Pénélope model represents the husband and wife characters in Homer’s Odyssey. The curved cover is entirely set with diamonds and sapphires.

The bands of sapphires and diamonds are meant to evoke the waves and white caps of the Aegean Sea, which Ulysses crosses during his mythic voyage.

The Philémon & Baucis watch is inspired by the lovers in Greek mythology who, upon their deaths, are turn into a pair of intertwined trees so they can be together in the afterlife. The hinged cover is set with two pear-shaped emeralds totalling 2.88 carats, along with diamonds, invisibly set sapphires, and emeralds.

TRISTAN & ISEULT

FLORE & ZEPHYR

APHRODITE & ADONIS

The Tristan & Iseult (also spelled Isolde) piece is inspired by the tragic, adulterous romance between the Cornish knight Tristan and the Irish princess Iseult. The showcase gems include a 5.59-carat cushion-cut pink sapphire and a 1.13-carat pear-shaped diamond, surrounded by blue and pink sapphires. A hidden mechanism raises the cover, which is designed as a leaf, revealing a mother-of-pearl dial with the inscription: Ni vous sans moi, ni moi sans vous.

The Flore & Zephyr watch is named after the love story between Flora, the goddess of flowers, and Zephyr, her husband, who represents the west wind. According to the myth, Zephyr wanted to surround his wife with the flowers of eternal spring, represented here by pink and mauve sapphires, pink spinels, and diamonds. The dial, revealed by a rotating mechanism, is paved with pink and mauve sapphires.

The complex Aphrodite and Adonis watch is inspired by the narrative of Aphrodite, goddess of love, and Adonis, her lover who is fatally wounded in a hunting accident.

The goddess’ tears of sorrow drop onto the wound, bringing a delicate anemone into flower. On the bracelet, the bonds of love that unite the protagonists are represented by interlaced diamond-set motifs.

A gradation of blue sapphires echoes Aphrodite’s tears, and appears to make a flower of pink and mauve sapphires bloom, the dial being underneath.

JEWELLERY

How to Make an

ORCHID BLOOM Alexandre Beauregard reveals what it takes to create a work of haute-horlogerie from the ground up.

By Carol Besler As an independent watch brand, Beauregard is the result of a collaboration of artisans who contributed to a final piece that could never have been mass produced. Creating it took patience, passion, and persistence, supplied in abundance by the detail-obsessed, design-focused Alexandre Beauregard.

The Montreal native’s debut timepiece, the Orchid, was nominated last year for a Grand Prix d’Horlogerie de Genève, the Oscars of watchmaking, and has also caught the attention of the industry.

A least one big Swiss brand has asked Alexandre to co-design a special edition using his patented jewelling technique.

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The Orchid stands out among high jewellery watches because it is not dominated by diamonds and because the gems are more sculpted than cut, rising above the watch dial in a rolling landscape of three dimensions. The watches are set with hardstones or opaque gems like turquoise, mother-of-pearl, and onyx that are carved and polished by hand in the shape of flower petals and invisibly set in a uniquely overlapping pattern around a centre tourbillon escapement. The gemstone petals, rather than the tourbillon, are clearly the focus of the watch. In fact, the tourbillon, usually the star of the show when it is used, is all but obscured by a full-cover bridge with windows carved in the shape of the flower petals.

“I fell in love with watches when I was a teenager,” says Alexandre, now 45. “I was carving cases from ebony. I remember buying bracelets in China that were made of titanium. Those were the days before the Internet and I had to order them by fax without even seeing exactly what they looked like,” he laughs. “I had a few regrets.”

His method of sourcing and choice of materials have improved since then and Alexandre has emerged as a master of collaboration, assembling a team of artisans and craftsmen to articulate his design and then watching the magic unfold.

His squad of mostly Swiss suppliers is the culmination of a prolonged and careful sourcing journey through Switzerland’s watchmaking districts. “It took a long time to find the right people,” he says. “You don’t find them right away – some are quite good and others are not so good, and then there are the exceptional ones. It took me four years to find them.”

The white gold cases are made by Fimm, a small firm located in Switzerland’s Jura watchmaking district that has made cases for the likes of Tiffany, Jacob & Co. and Louis Moinet. The movement is made by Telos, a boutique movement maker in La Chaux-de-Fonds that has worked with Harry Winston. The custom straps – colour-matched to the gems – are made by Geneva company Cesar.

The intricate bridges, carved in a floral pattern and finished by hand, were made by Inhotec of Le Locle, a components wiz that has worked with Richard Mille. The gems are set by Sercab, of Geneva, which specializes in invisible setting. The gems are sourced throughout the world.

The gems are cut in Beauregard’s workshop in Montreal, under the watchful eye of Yves SaintPierre, one of the world’s top gem cutters and a man Alexandre calls his “secret weapon.” They met and bonded several years ago over their shared love of gemstones, and together developed a patented technique of carving gems into perfect petals. The gems are invisibly set into a grid system that requires

them to be cut to tolerances of .02 millimeters. Get it wrong by only a fraction of a millimeter and the gem could break during the setting process. Perfecting the proportions became a year-long process of tweaking and experimentation, and ultimately, they had to create their own tools along with their own special mix of cutting powder and a customized ultrasonic machine. As a finishing touch, the crown is sculpted in the shape of a flower bud.

The Orchid was launched in 2018, seven years after Beauregard was founded. It was nominated that year for a GPGH. Beauregard has since made 10 pieces, his production capacity for the year.

They are sold privately to clients at a price of CHF 190,000 (approximately $277,700 CDN). Last week the company launched a second model, the Lilli, a smaller, cocktail version of the Orchid with a choice of stainless steel or gold case, priced at a more accessible 5,900 CHF ($8,624) and 18,000 CHF ($23,300), respectively. The Lilli is no more mass produced than the Orchid, but Beauregard will be able to make a few more pieces – about 200 a year, says Alexandre.

And what about a watch man’s watch? “I am working on one,” he says. “It’s a man’s jewellery watch, also with a central tourbillon, that will be unlike anything you’ve ever seen … but it will be a challenge to make. Six people in the trade so far have told me it’s impossible,” he laughs. “It should be ready in a year.”

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Ring ($1,850) DAVID YURMAN. Pendant ($2,700) DAVID YURMAN.

BRILLIANT

FANTASY Dress to impress with these glittering combinations of high-end fashion and jewellery. Featuring an array of iconic luxury fashion and jewellery houses, Brilliant Fantasy proves there’s no such thing as wearing too many diamonds.

Photographer: Chris Nicholls Fashion Editor: Zeina Esmail

This page: Earrings ($18,500) and Rings (Left to right: ($4,650), Price upon request, ($5,960), Price upon request, ($18,500) MARK LASH. Dress ($1,995) NARCES. Opposite page: Panthère Earrings ($18,000), Étincelle Earrings ($27,900), Bracelet ($13,700), and Rings ($27,200) and ($25,700) CARTIER.

This page: Earrings and Pendants (Price upon request) CHANEL. Pullover (Price upon request) CHANEL. Opposite page: Choker ($51,960) MESSIKA. Bangle ($8,860) MESSIKA.

This Page: Earrings ($5,500), Necklaces ($2,850, $2,350, $5,950, and $5,300) Charm ($1,270), Bracelets (Top to bottom: ($12,000, $5,990, $22,600, $16,600, $2,800, $12,000, and $5,350), and Rings Left to right: ($3,300, $24,500, $7,500, $69,450) MARK LASH. Jumpsuit ($1,245) GRETA CONSTANTINE. Opposite page: Earrings ($17,710), Cuff ($37,400), and Ring ($19,420) MESSIKA. Blouse ($2495) GIVENCHY at HOLT RENFREW. Photographer CHRIS NICHOLLS. Fashion Editor ZEINA ESMAIL at P1M. Makeup Sabrina Rinaldi at P1M using MAC Cosmetics. Hair KRISTEN KLONTZ using HOT TOOLS at P1M. Manicure NICOLE KUSH at P1M. Model SHAYNA MCNEIL at MODE MODELS/IMG. Post Production LORCA MOORE.

FASHION TALKS

VICTORIA HAYES CANADA'S BEST-KEPT SECRET

Victoria Hayes is without a doubt Canada’s best-kept secret. While she has already presented her collections at NYFW for two years now and is the 2019 recipient of the Fashion Group International Rising Star Award for Womenswear, she has still to be introduced to many.

Indeed, Victoria Hayes is a pleasant discovery and with her many impressive credits, she is definitely a designer to look out for.

By Luisa Tarantino Photographer Tereza Janáková

H

ayes officially launched her label in 2016. Since then, she has garnered the attention of big celebrity names and has had the pleasure of dressing stars like Lady Gaga, Cardi B, Ariana Grande, Alicia Keys, and even Madonna for high-profile events and red carpets. This year, the international spotlight was on Hayes as she presented her spring/summer 2020 collection at New York Fashion Week. Her runway debut was closed by none other than Canadian supermodel Coco Rocha, a fan of the brand.

As one of our favourite designers and a designer we believe deserves recognition, Dress to Kill had the pleasure of interviewing Victoria about her runway debut, her inspirations, and what’s next for the young designer.

Your path to fashion has been an interesting one. When did you make the decision to transfer from pre-med to fashion and what was the transition like? What challenges did you face? I made the decision to transfer from

pursuing medicine into fashion in my final year of pre-med studies. I had taken a summer course at Parsons School of Design in New York City and I loved it so much that I decided to apply for a design BFA there instead of applying to law school, which was my original plan post premed. I knew I never wanted to be a doctor or work in a hospital. I was 20 years old when I moved to New York City to attend Parsons.

There have been a ton of challenges related to choosing such a “high risk” career, but I am very fortunate to have been able to take these risks.

I don’t regret my decisions. I think having an introductory background in a completely unrelated field has been an asset to me as a designer.

While you’ve worked with global superstars like Lady Gaga and Madonna, you’re still fairly new on the scene. How would you describe your brand to those who don’t know it?

Our line is made for women who want to be seen and turn heads with their unapologetic fashion choices. We believe in the entertainment value of clothing and the entertainment value inherent in dressing and curating one’s personal style. The line is focused on luxury fabrications, embellishments, colourful prints, and striking silhouettes— with a lot ot suiting (my favourite garment category to design!).

You had your runway debut at this year’s New York Fashion Week, with Coco Rocha closing your show. What was that experience like? The experience was surreal.

It’s something I have always dreamed of doing.

Preparing for a runway show is like planning a wedding alongside finishing an entire collection.

I’m proud of the collection we showcased and it was a huge learning experience to go through all the facets of preparing for a show from venue selection to model casting, music choices, hair & makeup, nails, and styling. In my life, I’ll look back on the experience fondly but I know we worked incredibly hard and were in a state of panic for several weeks before the show in order to pull it off!

Your incredible spring /summer 2020 collection at NYFW drew on your interests growing up, from basketball to ’90s trends. What do you think defines the collection? The collection was inspired by

Space Jam and the fact that I played basketball for several years after seeing the movie as a kid! The choice of inspiration was also largely motivated by the Toronto Raptors winning the NBA Championship in the spring of 2019 — a momentous event for my hometown. This collection is defined by its sport inspired vibe — my first time referencing sports/athletics in my designs. We were able to do our first attempts at tracksuits for instance, while staying true to the cornerstones of the brand: luxe fabrications, bold prints, and embellishments.

What I personally love the most about your designs is that they are so feminine and chic, yet so powerful and subversive. To me, your pieces inspire confidence and self-assurance for today’s modern, kick-ass women. What do you want people to feel when wearing a Victoria Hayes piece? Thank

you! That’s exactly what I want people to feel when they wear my designs — bold and confident! I think the greatest personal contribution you can make as a fashion designer is to assist in ensuring that the people who wear your clothes feel like the best version of themselves. I want to design clothes that allow you to literally become your alter-ego, aspirational self. Also, with regards to designing womenswear in particular, I want women to take up space and not apologize for it or shy away from being powerful. The idea of femininity being modest and demure is antiquated and quite frankly, bores me.

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OUR LINE IS made FOR WOMEN WHO WANT TOBE SEEN AND TURN HEADSWITH THEIR unapologetic FASHION CHOICES.

More generally, what are you biggest sources of inspiration? What gets you excited to start designing a new collection or new pieces? Recently I’ve been

drawing on my adolescence as a source of inspiration. My last two collections have referenced specific times in my young life and “phases” I was in as a teenager. In general, when developing a collection, I find two genres of inspiration to work from: a storytelling — based inspiration, with inherent meaning and significance to me, and accompanying visual inspirations (objects, art, architecture, travel, history.) that help articulate that story. I get excited when I come up with an idea for garments “I can’t wait” to see in front of me.

As 2019 comes close to an end, what would you say you’re most proud of having accomplished this year, and what do you want to accomplish in 2020?

I would say the completion of my first ever NYFW runway show this year would be the stand — out accomplishment for 2019. In 2020, I’d like to work towards living a more balanced lifestyle (laughs). I’m not kidding, but that seems almost impossible in this industry.

What’s next for Victoria Hayes? What should we be looking out for? Hopefully the launch of our costume jewellery/earring line in the near future!

Lastly, we love to celebrate our homegrown talent here at Dress to Kill. What’s your opinion about the Canadian fashion scene? I think the Canadian

fashion scene is growing really fast and that Canadians are incredibly supportive of their homegrown talent! Organizations like CAFA do a great job of promoting Canadian designers and providing a platform to reach a wider audience. My first dreams of being a fashion designer were all born in Toronto!

INSPIRATION

Visionary & Creative Hero

FABIEN BARON

By Mariame Moussally

“The last magazine modernist,” Fabien Baron is one of the most sought-after creative directors in the world.

Searching for the elemental to “minimize maximally,” Baron moves, surprises, and even shocks many with his extremely striking, ultra-modern vision. This monumental body of work can now be seen in all its glory, thanks to Baron’s first career monograph, the magnificent Fabien Baron: Works 1983—2019, released by Phaidon. The French creative director is notorious for not only reimagining the design of Italian Vogue but also Harper’s Bazaar, Vogue Paris and Interview. Fabien Baron also created iconic, unforgettable campaigns, logos and product designs, for Calvin Klein, Issey Miyake, Dior, Burberry, and Giorgio Armani. He also designed celebrated books such as Madonna’s Sex (1992), Kate Moss (2012), and Calvin Klein (2017) and directed films for Gucci, Chloé, and Bottega Veneta. This much-awaited monograph provides a privileged outlook on Baron’s finest work and formidable creative instinct.

The book is available at ca.phaidon.com/store/fashion-culture

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Shirt, Jacket, Belt, and Skirt (Price upon request) LOUIS VUITTON.

REBELLION AN COLLECTION OF POWERFUL, ARCH VISIONS - SUCH IS THE 2020 CRUISE COLLECTION BY LOUIS VUITTON. NICOLAS GHESQUIÈRE PRESENTED OUT-OF-THE BOX SHAPES, STYLING, AND ORNAMENTATION FROM ART DECO EMBROIDERIES TO EIGHTIES-INFLUENCED SILHOUETTES. A REFRESHING TAKE ON TOUGH CHIC.

Photographer: William Arcand Fashion Editor: Fritz

This page: Hat and Cardigan (Price upon request) LOUIS VUITTON. Opposite page:Top, Leather Jacket, Belt, Skirt, and Boots (Price upon request) LOUIS VUITTON.

Shirt, Jacket, Skirt, and Gloves (Price upon request) LOUIS VUITTON. Earrings, Dress, Gloves, and Boots (Price upon request) LOUIS VUITTON. Photographer WILLIAM ARCAND at L’ÉLOI. Fashion Editor FRITZ. Makeup and Hair PACO PUERTAS at FOLIO using MAC COSMETICS and L’OREAL. Model ANNA STEPHENSON at ANOTHER SPECIES AGENCY.

FASHION TALKS TESS WITH LOTTE EXHIBITION AT FASHION FOR GOOD © ALINA KARSIEVA

FASHION FOR GOOD

The story of fashion and sustainability is still being written, and it’s definitely a tricky one. Information, images, reports, videos, and opinions are being thrown our way at lightning speed, and it’s not always landing in the right place, leading to mixed reviews, misunderstandings, and confusion as to what it really means to actively participate in sustainability or what it means to be eco-friendly. By Lauren Walker-Lee

F

ashion is widely known as the second biggest polluter, having a very large and unsavoury carbon footprint. As we know, clothing is being produced at an alarmingly high rate and being discarded just as quickly. To get a sense, 80 billion pieces of clothing are produced worldwide each year and of these, 75% end up in a landfill. Fast fashion and the sheer volume of waste it produces is eye watering, and the truth of what is found in landfills is sadly helping to shift conversations and raise awareness. Our love of fashion is contributing to a vicious cycle. Of the 400 billion square metres of textiles produced, 60 billion square metres end up on the cutting room floor, making it hard for fashion fans to reconcile their passion for self-expression, participation in trends, and their desires and wants. Magnified by social media and celebrity, the fashion calendar itself, and pressure from keeping up with luxury tastemakers have all contributed to the linear make and waste model that is both trickling down as it is trickling up.

Making all of this a little more digestible is the incredible Fashion for Good An Amsterdam-based incubator, accelerator, and technology museum doing exactly what their name implies. On paper, Fashion for Good is a global movement of change makers calling for industry wide collaboration, as well as being a platform for sustainable innovation here to make

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all fashion good. Launched in March 2017 with founding partner C&A Foundation and an open invitation to the entire apparel industry to join, Fashion for Good connects brands, producers, retailers, suppliers, non-profit organizations, innovators, and funders to work together in their shared ambition to make the fashion industry a force for good.

Fashion for Good has evaluated this multi-faceted and complicated problem and is providing solutions to the fashion industry’s wasteful ways and introducing tangible circular new practices. Since there is no one size fits all answer, they have created a robust multipronged approach to implement their mission.

First, there is ‘The Fashion for Good Accelerator’, a 12week program for a group of 10 to 15 start-ups who are driving innovation in sustainability, circularity, and transparency to make all fashion good. Twice a year, Fashion for Good finds the most promising global start-ups to join an intensive three-month program, leading to the discovery of changemakers in sectors such as raw material, dyeing and finishing, manufacturing and retail, end-of-use transparency and traceability.

A few accelerator alumni are the lending platform StyleLend, e-commerce packaging reutilization service Repack, and the app Good on You, who provide ethical ratings for 1000 fashion brands on their impact on people, the planet, and animals. In the new sustainable fabric category, Frumet uses apples to create a leather like material while Orange Fibre manufactures natural fabrics from citrus by-products. The latter you may have heard of from their collaboration with Salvatore Ferragamo and the H&M Conscious Collection.

© ALINA KARSIEVA

Notably, sportswear giant Adidas has partnered with London-based start-up and FFG alumni Stuffstr to launch a new ‘reusing and take back’ initiative. Adidas will take back shoes and garments in any condition purchased in the last five years in exchange for vouchers. Recycling and reusing programs have a direct correlation to the mounting pressure big companies face as consumers hold them accountable for the waste they are generating. Stuffstr then sets out to either repair it, resell it, or break it down and reuse it for brand new products.

Next, their scaling program supports innovative companies that have a market ready product. Through bespoke support, and access to capital companies like Ambercycle and Colourzen, these companies can move to the next growth level. They choose innovative companies needing substantial funds to scale their businesses and make a mark on the fashion industry.

And all of this isn’t just lip service with fancy words and lab experiments. There are tangible results and quantifiable findings. Through their interactive technology museum, Fashion for Good is educating the public with rotating exhibits in which museums goers can join the experience and learn how to take action with practical solutions. It is a space where you can learn how your clothes were made and discover game changing innovations shaping the future of fashion. As conveners of change, they realized that to activate their mission, it is also imperative to inspire at the consumer level.

“By providing the inspiration and information needed to make it possible, we are revolutionizing the fashion industry so that people, companies and the planet can flourish together. Together we are reimagining the way fashion is designed, made, worn and reused.” - Fashion For Good

Our growing awareness and discourse mean the public is asking questions and is interested in finding answers and solutions. It is only fitting that Fashion for Good has created pillars made up of practical information to inspire change. Called "The Five Goods", these pillars are aspects of the industry where we can all learn and take action in our own lives. Good materials, good economy, good energy, good water, and good lives are a framework to measure the sustainability of our products and materials. This not only goes for us as consumers, but also for big brands and corporations to either build into their businesses or retrofit accordingly.

Every part of fashion’s global supply chain is considered and inspired to change. The fashion industry contributes to water pollution, climate change and landfill waste, and threatens the health and safety of those who make the clothes. The Five Goods endeavours to make this practical knowledge widespread and demonstrate that it is possible to create good fashion that is more attractive, accessible, and affordable than the status quo.

Fashion For Good could not be called anything else.

As a true leader in the fashion sustainability space with worldwide reach and influence, it is changing how products are made, consumed, and reused. It continues to write the story with each new incubated start-up, funded market-ready product, and published report or exhibit. As conveners for change, they are crosspollinating the various sectors by connecting the brands, retailers, and funders with the innovative technologies that will change the future. The last bit of the puzzle is consumers. The work of this dynamic one-of-a-kind company can only be fully realized with the help of consumers, and our day-to-day choices of what to wear and what to buy. Our clothing can begin to be the billboard of change and express our values at the same time as they continue to tell our personal stories of style.

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Earrings ($385) MONICA SORDO X NAUSHEEN SHAH. Jumpsuit ($1,950) SALLY LAPOINTE. Shoes (Price upon request) SAINT LAURENT.

Put on your best dress and pop open the bubbly– this euphoric hotel party is for one. Tonight, you’re the VIP guest, so turn the place upside down and look fabulous doing it.

Photographer: Richard Bernardin Fashion Editor: Zeina Esmail

This page: Dress (Price upon request) THE BLONDS. Opposite page: Dress (Price upon request) MARC JACOBS.

This page: Bodysuit (Price upon request) GRETA CONSTATINE. Opposite page: Earrings, Top, and Pants (Price upon request) CHANEL.

This page: Earrings ($385) MONICA SORDO x NAUSHEEN SHAH. Dress ($4,700) FENDI. Bodysuit ($890) FENDI. Boots ($1,890) FENDI. This page: Coat ($1,295) NORMA KAMALI. Nylons WOLFORD. Shoes (Price upon request) SAINT LAURENT. Photography RICHARD BERNARDIN. Fashion Editor ZAINA ESMAIL at P1M. Model SAMANTHA GRADOVILLE at IMG. Makeup CAROLINA DALI at THE WALLGROUP. Hair KYLE MALONE at BRYAN BANTRY. Post-production PATRICIA SINCLAIR. Special thanks to LORRAINE OSPEDALES, ANJU SUNDRANI, and THE MONDRIAN PARK AVENUE.HOTEL.

DESIGN

FOUR SEASONS HOTEL, MONTREAL © OLIVIER BLOUIN

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Zébulon

PERRON

Depuis près de 20 ans, le designer Zébulon Perron sait rassembler les gens. Le Furco, Ibérica, la brasserie Henri, le Marcus Four Seasons et le tout nouveau restaurant de l’hôtel deviennent, dès leur ouverture, des incontournables de la vie sociale et festive de Montréal.

Son secret? Savoir observer, écouter ses clients et aller au-delà des tendances.

Par Stéphane Le Duc Quels sont, pour votre atelier, les plus grands défis qui viennent avec chaque nouveau projet? Il y a les défis de conceptualisation, de conception et aussi les défis personnels. Ce qui est particulier au créneau des bars et des restaurants, c’est que ces projets sont de pures expériences.

Cela implique que nous devons nous renouveler à chaque fois. Il faut surprendre les gens et donc, ne pas se répéter. Nous sommes condamnés à se réinventer.

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FOUR SEASONS HOTEL, MONTREAL © OLIVIER BLOUIN

Avez-vous trouvé très tôt une philosophie ou une éthique dans votre approche de l’aménagement?

Le design comporte plusieurs facettes et à un certain moment, tu dois choisir ton approche. Ce qui m’a toujours intéressé, plus que la forme et l’approche esthétique, ce sont les gens. Comment les gens interagissent? Pourquoi ils socialisent en public? Tout notre moteur créatif est axé sur l’expérience-client. Ça influence la façon dont on va placer le mobilier, gérer la distance entre les gens, comment faire connecter les gens dans une salle. C’est ce que nous appelons l’ergonomie sociale.

Vous venez de terminer un nouveau projet pour l’Hôtel Le Germain de Montréal. Quelle était l’idée pour cet espace? C’est un deuxième projet avec

le Groupe Germain et c’est un privilège de travailler avec une famille devenue

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une référence dans l’industrie hôtelière canadienne. Il y avait déjà une thématique en amorce, qui était celle de l’Expo 67, une période charnière de notre histoire. C’est très riche en termes de design, car c’est une époque où il y avait un grand bouillonnement en architecture, en art visuel et en musique.

Le bâtiment lui-même est un bel exemple de brutalisme. Nous avons voulu montrer le bâtiment à l’état brut en exposant le béton et en enlevant les couches successives.

L’aspect historique et archéologique mérite, selon nous, d’être révélé et mis en valeur.

On voulait créer également un sens du luxe et d’élégance en faisant un jeu de contraste avec les matières en utilisant le velours, le cuir et le marbre. Nous avons voulu créer une alchimie avec tous ces éléments.

FOUR SEASONS HOTEL, MONTREAL © OLIVIER BLOUIN

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La collaboration avec l’hôtel Four Seasons est un projet majeur. C’est une étape importante pour votre firme? Nous étions un choix inhabituel, car

normalement le Four Seasons fait appel à des designers de réputation internationale.

C’est grâce au propriétaire Andrew Lutfy, qui croyait en nous et qui connaissait notre habileté à réaliser des lieux vivants, que nous avons obtenu ce mandat. Au troisième étage, nous avons réalisé un lounge très pur, très aérien avec des teintes pâles, du velours et du cristal pour habiller la grande fenestration. Un luxe jamais ostentatoire, avec beaucoup de retenue et de minimalisme dans l’approche. C’est un espace qui est intéressant été comme hiver car c’est un lieu de rassemblement, un type de ‘social square.’

Vous avez donné congé à votre équipe lors de la grande marche pour le climat de Montréal en présence de Greta Thunberg. C’est une cause importante pour vous? Ce qui m’a éveillé à

cette cause, c’est ma fille de 11 ans. Car même en sachant que les changements climatiques sont devenus un enjeu, je ne m’y attardais pas vraiment, étant trop pris dans le tourbillon du travail. C’est ma fille, un matin, qui m’a dit : « tu sais papa c’est possible que je voie la fin du monde ». Cela m’a donné un choc et j’ai commencé à me renseigner. Le constat est terrifiant. Notre industrie est très polluante et entraîne du gaspillage. Avec le niveau d’urgence actuel, il faut vraiment agir dès maintenant. C’était un événement historique, nous étions très fiers d’y participer.

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IBERICA © DAVID BOYER

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STYLE DE VIE

LA CHAPELLE DE LAFAURIE PEYRAGUEY © HERVÉ LEFEBVRE

La vie du

CHATEAU Il y a plus de 400 ans débutait l’histoire du château LafauriePeyraguey. En terre de Sauternes, la belle endormie renait sous la forme d’un hôtel-restaurant qui a nécessité quatre années de travaux avant de devenir une expérience œnotouristique d’exception. Son jeune chef Jérôme Schilling relève avec virtuosité un imposant défi : créer un lieu incontournable dans la région bordelaise.

Par Stéphane Le Duc

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HÔTEL RESTAURANT LALIQUE CHÂTEAU LAFAURIE PEYRAGUEY © AGISIMOES RETOGUNTLI

Je présume que le pari était loin d’être gagné en ouvrant ce restaurant dans cette région du Sauternais? Le premier défi était de réussir

l’ouverture et de satisfaire le propriétaire Sylvio Denz, qui prenait tous les risques. Le deuxième défi était de persuader les clients de venir chez nous. Car dans le sud de la Gironde, il n’y a jamais eu de projet aussi ambitieux. Sylvio Denz était audacieux de vouloir créer un lieu doté d’un luxe d’une telle ampleur.

Pour vous qui êtes de l’Alsace, cette région était une découverte. De quelle façon avez-vous procédé pour mettre en valeur les produits locaux? Un

an avant l’ouverture, j’ai eu la chance d’y faire les vendanges et j’ai pu bien m’imprégner du travail des vignerons. En participant également à l’assemblage, je n’ai pas goûté à toutes les saveurs du sauternes comme un œnologue, je les ai plutôt analysées comme un cuisinier. Je tentais de ressentir tout ce que je goûtais : kumquat, ananas, ananas rôti, abricot, pêche, nectarine… et j’ai pris des notes. Quand on mélange enfin les différents lots pour réaliser le premier cru, cela m’a appris beaucoup de choses sur ce vin liquoreux qui, au final, n’est pas aussi sucré que l’on dit. On y retrouve beaucoup de notes d’agrumes, de fruits exotiques, de miel et tout cela correspond bien à ma pratique, car il y a toujours eu une touche d’acidité dans ma cuisine.

SUITE DUPLEX HÔTEL RESTAURANT LALIQUE CHÂTEAU LAFAURIE PEYRAGUEY © AGISIMOES RETOGUNTLI

Comment avez-vous élaboré le menu de dégustation? Ce menu Lafau-

rie-Peyraguey, on l’a fait en choisissant un produit principal, par exemple la langoustine, et ensuite le millésime. Puis en fonction de ce que l’on ressent dans le millésime, on l’adapte dans l’assiette avec le produit principal. C’est la démarche pour 80 % de ma carte. Je désire cette relation avec le produit principal et le vin. Pour casser les codes, j’ai expérimenté avec le sauternes en faisant des infusions avec de l’acacia, du sureau et même de la truffe noire pendant 130 jours. Ce qui permet de servir le vin d’une autre façon, car il faut rajeunir cette image du Sauternes. On le connaît dans le monde entier, mais on ne le consomme pas nécessairement à sa juste valeur.

Vous avez également créé un menu végétarien. C’était pour répondre à la demande? Je l’ai fait parce que cela me tient à cœur. Je peux

justement jouer avec le Sauternes dans ce menu. Par exemple, je fais une palette de légumes avec du melon et du Sauternes.

Les légumes c’est hyper important. Ça demande énormément de travail, il faut s’en occuper. Trop souvent, on met en valeur un morceau de poisson ou de viande avec un ou deux légumes. Finalement, les légumes c’est toujours secondaire, ils ne sont jamais assez au-devant de la scène. Souvent, les gens, quand ils reviennent, expérimentent avec ce menu, car il les interpelle. J’ai aussi la chance d’avoir des producteurs locaux qui me fournissent de très beaux légumes.

L’extension du restaurant imaginée par l’architecte Mario Botta s’intègre parfaitement au château. C’est cependant l’art de la table qui permet de vivre une expérience unique. Déjà, la cristallerie Lalique et le service de Christofle impressionnent, mais la porcelaine de Fürstenberg se distingue particulièrement. Je me suis lié d’amitié avec Frédéric Bourque,

qui travaille à la manufacture de porcelaine de Fürstenberg. On n’a plus besoin de se parler. Je lui fais un petit croquis et tout va très vite. Nous avons beaucoup collaboré ensemble, de façon à modifier des pièces spécialement pour le restaurant.

Par exemple, j’ai envoyé des croquis pour sortir des sentiers battus avec la présentation de la bouteille de Sauternes. Nous avons joui d’une collaboration exceptionnelle avec cette grande maison allemande.

Que représente pour vous cette première étoile Michelin, qui est également une première pour la région? C’est une grande fierté pour tout le

monde. Nous sommes partis de rien, dans une région où il ne se passait pas grand-chose. Plusieurs collègues d’Alsace m’ont suivi pour contribuer à ce projet et c’est grâce à eux qu’on a réussi à obtenir cette étoile rapidement.

Que peut-on vous souhaiter pour l’année à venir? Beaucoup de clients, CHEF JÉRÔME SCHILLING © ADRIANA TRIPA

et que l’entreprise soit saine autant en termes d’activité qu’en terme humain! Car sans tous ces gens, nous ne sommes rien.

Ce n’est pas juste un restaurant et un hôtel, c’est toute une famille. Bien sûr on espère une seconde étoile et pourquoi pas, une troisième! Un jour, qui sait… Il faut laisser le temps.

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BEAUTY

TOMBOY TOUCH Redefining beauty ideals is the new beauty rule. Explore your own identity and keep your look effortless and raw with a a fresh clean complexion and bold brows .

Reveal your dark side with smoldering eyes or try an audacious bold lip . Whatever you choice , these gender bending looks are perfect way to express yourself .

Photographer Royal Gilbert Fashion Editor Olivia Leblanc Makeup & Hair Steven Turpin Opposite page: Makeup: Duo Eyeshadow in Tzarine ($40) NARS. Smooth Silk Eye Pencil in black ($40) GIORGIO ARMANI. The Shock Mascara in black ($41) YSL. Light Wonder Foundation ($53) CHARLOTTE TILBURY. Lipstick in Penelope Pink ($42) CHARLOTTE TILBURY. Clothing: Cardigan MARNI at LA MAISON SIMONS. Ring LLY ATELIER.

This page: Makeup: Brow Styler in Dark Brown ($37) DIOR. Light Wonder Foundation ($53) CHARLOTTE TILBURY. Filmstar Bronze and Glow in Light/Medium ($80) CHARLOTTE TILBURY. Concealer CLÉ DE PEAU BEAUTÉ ($95.00). Lipstick CLÉ DE PEAU BEAUTÉ in Crystal star ($80.00).

Clothing: Sweater LEMAIRE at MICHEL BRISSON. Shirt HELMUT LANG at HUDSON’S BAY. Opposite page: Makeup: Light Wonder Foundation ($53) CHARLOTTE TILBURY. Sheer Cheek Duo in 05 Lissome ($104) TOM FORD.Velvet Matte Lip Pencil in Consuming Red ($34) NARS. Clothing: Top COMME DES GARCONS at HOLT RENFREW. Earrings DEUX LIONS at DEUX LIONS. Necklaces TOPMAN at TOPMAN. Photographer ROYAL GILBERT. Fashion Editor OLIVIA LEBLANC. Makeup & Hair STEVEN TURPIN using ORIBE, YSL, ARMANI, NARS, DIOR, CHARLOTTE TILBURY, TOM FORD and CLÉ DE PEAU BEAUTÉ. Model PAMELA chez MONTAGE. Make-up assistant NELLY CHEUNG.

Parisian Chic

CALLING ALL THE YOUNG Kendalls and BELLAS OF THE WORLD – TO BE THE TRENDIEST IN your crew, STEP OUT IN A REIMAGINED SOFT, GLAM 80S PARISIAN LOOK. GET READY for the PAPARAZZI. Photographer Hadi Mourad Fashion Editor Lucia Perna Makeup Nicolas Blanchet Hair Kirsten Klontz

Makeup: See-Quins Glam Glitter Eyeshadow in Star Dust ($28) MARC JACOBS at SEPHORA . O!Mega Bronze Perfect Tan in Tan-Tastic ($49) MARC JACOBS at SEPHORA. O!Mega Glaze All Over Foil Luminizer in Showstopper ($49) MARC JACOBS at SEOPHORA. Lip Pencil in Stripdown ($22) M.A.C at HUDSON’S BAY. Eye Pencil in Coffee ($22) M.A.C at HUDSON’S BAY. Hardwired Eyeshadow in Galapagos ($22) NARS at SEPHORA. Le Marc Lip Crème in Sonic Truth ($32) MARC JACOBS at SEPHORA. Hot Tools Professional Charcoal Infused One Step Blowout ($79) at CHATTERS BEAUTY. Clothing: Silver Dress PACO RABANNE at ARCHIVES TORONTO . Earrings RITA TESOLIN.

This page: Makeup: 3D Black Glitter ($26) M.A.C at HUDSON’S BAY. Fineliner Ultra Skinny Gel Eye Crayon in Code Blue($25) MARC JACOBS at SEPHORA. Highliner Gel Eye Crayon in Blacquer ($25) MARC JACOBS at SEPHORA. Le Marc Lip Crème in Sugar High ($32) MARC JACOBS at SEPHORA. Voluminous Original Mascara in Deep Black. ($10) L’OREAL at HUDSON’S BAY. Supershine Light Moisturizing Cream ($59) ORIBE at HOLT RENFREW. Run-Through Detangling.Primer ($43) ORIBE at HOLT RENFREW. Clothing: Blue Hat LILLIPUT HATS at HOLT RENFREW. White Blouse GIVENCHY. Silver Pants ISABELLE MARRANT. Earring RITA TESOLIN. Opposite page: Makeup: See-Quins Glam Glitter Eyeshadow in Pop Rox ($28) MARC JACOBS at SEPHORA. Le Marc Lip Crème in Core Cora ($32) MARC JACOBS at SEPHORA. Highliner Gel Eye Crayon in Blacquer ($25) MARC JACOBS at SEPHORA. Extra Dimension Foil Eye Shadow in Via Lit. ($26) M.A.C at HUDSON’S BAY. Backstage Face & Body Foundation in3 Warm ($53) DIOR at HUDSON’S BAY. 1/4 Black Gold Curling Iron/Wand ($125) at CHATTERS BEAUTY. Clothing: Black Blazer HELMUT LANG at NORDSTROM. Zebra Coat SMYTHE at NORDSTROM. Earring RITA TESOLIN. Photographer HADI MOURAD. Fashion Editor LUCIA PERNA at JUDY INC. Model ALICE at MIM MODELS. Makeup NICOLAS BLANCHET at FOLIO. Hair KIRSTEN KLONTZ at P1M.

BEAUTY

Ultimate

SEDUCTION A dark yet striking take on strong beauty with a soft and glamorous approach.

Photographer: Kyle Kirkwood Fashion Editor: Julia Debartolo Makeup: Jen Tioseco

Makeup: Light Wonder Foundation CHARLOTTE TILBURY. Creamy Radiant Concealer NARS. Contour Stick KKW BEAUTY. Highland wand CHARLOTTE TILBURY. Cloud Paint in Haze GLOSSIER. Clothing: Top ALEXANDER WANG($952) at NORDSTROM. Gloves NORDSTROM SIGNATURE ($89) at NORDSTROM. Earrings ZARA ($29) at ZARA. Necklace ZARA ($35) at Zara.

Flawless Fragrances

This season, get swept away by intoxicating rich and luxurious scents. Full-bodied and powerful, these opulent perfumes are sure to seduce and dazzle, electrify and excite.

Dior

JOY BY DIOR

By Luisa Tarantino

DESCRIBED AS AN ‘EXPLOSION OF JOY,’ JOY BY DIOR IS A COMPLEX, MULTIFACETED FLORAL PERFUME WITH CREAMY AND WOODY TRACES. VIBRANT, POTENT, AND SENSUAL, THIS PERFUME WILL BOTH ENTRANCE AND DELIGHT YOU. $165

Bulgari

Prada

LA GEMME FALKAR

CANDY NIGHT

INSPIRED BY LUXURIOUS GEMSTONES, PERFUMES FROM LA GEMME COLLECTION WILL MAKE YOU FEEL LIKE A QUEEN. THEIR LA GEMME FALKAR PERFUME IS DEEP, WARM, AND SENSUAL, FEATURING NOTES OF NUTMEG, LEATHER, AND SOMALIAN INCENSE. $310

HEDONISTIC AND BOLD, CANDY NIGHT BLENDS SEDUCTIVE SCENTS LIKE COCOA WITH BRIGHT SCENTS LIKE CITRUS FOR A CONTRASTING, BUT ENTICING PERFUME. $138

Yves Saint Laurent BLACK OPIUM NEON

Givenchy

L’INDERDIT AS AN HOMAGE TO THE ORIGINAL, L’INDERDIT IS BOLD, DARING, AND FEMININE, COMBINING LIGHTER AND DARKER NOTES OF FLOWERS AND PLANTS. $110

Chanel

1957 LES EXCLUSIFS DE CHANEL A TRULY MULTIDIMENSIONAL EAU DE PARFUM, CHANEL’S NEW 1957 PERFUME FEATURES EIGHT WHITE MUSKS, INTERLAYING DEEP WOODY, HONEYED, SPICY AND FLORAL SCENTS. 1957 WILL MAKE YOU FEEL AS CHIC AND POWERFUL AS GABRIELLE HERSELF. $425

MARGIELA’S BY THE FIREPLACE WILL WARM YOU UP FROM THE INSIDE AND MAKE YOU DELICIOUSLY IRRESISTIBLE TO OTHERS. BLENDING SMOKY, SPICY, AND SWEET SCENTS, BY THE FIREPLACE IS A FULL AND RICH PERFUME. $159

Makeup: Light Wonder Foundation CHARLOTTE TILBURY. Creamy Radiant Concealer NARS. Contour Stick KKW BEAUTY. Highland wand CHARLOTTE TILBURY. Cloud Paint in Haze GLOSSIER. Eyes: Black Eye: Kohl Liner PAT MCGRATH. Mothership Palette PAT MCGRATH. Eye Gloss MILK. Lips: Nude 3 Lipstick KKW BEAUTY. Oak Lipliner MAC COSMETICS. Hair: Stay High 18 Gel to Mousse ($26) REDKEN at MAT&MAX. Fashion Work 12 Hairspray ($23) REDKEN at MAT&MAX. Fashion: Earrings ($25) ZARA. Necklace ($40) ZARA. Dress ($760) NANUNSHKA at NORDSTROM.

Modern Glam This season, we’re all about perfecting that glam look. With glowing skin, sparkling cheeks, and a sensual smokey eye, you’ll be ready to transition from day to night and attend any impromptu party you desire.

By Luisa Tarantino

NARS

NARS

DISCO DUST LIPSTICK IN DEBBIE ($41)

IGNITED EYESHADOW PALETTE ($74)

Go bold or go home with Nars’ limited edition holiday collection inspired by Studio 54. With this shimmery Disco Dust Nars lipstick in the decadent shade Debbie, no one will be able to take their eyes off of your sumptuous lips.

If you’re going for a palette that can easily transition from day to night, Nars’ Hyped Palette is perfect. Featuring warm browns and rose shimmers, you can go from work to the bar without a problem.

ESTHEDERM E.V.E SERUM SOURCE ($125)

The best complement to beauty sleep is good skincare. Esthederm’s E.V.E Serum regenerates your skin by tightening and improving the overall texture of your skin.

CHANEL

SULWHASOO HARMONIZEN

REGENERATING CREAM

($826)

Spent all night partying? Korean skincare brand Sulwhasoo’s luxurious Harmonizen Regenerating Cream will have you looking refreshed and youthful the morning after by toning and brightening your skin.

DIOR

CRÉATION ÉCLAT MAGNÉTIQUE ($85)

DIOR SHOW LIQUID MONO IN 540 GOLD TWINKLE ($36)

If we hope there’s one trend that never goes away, it’s a blinding, illustrious highlight. There is no better way to look glam than with shining cheekbones.

Chanel’s exclusive highlight in Metal Peach definitely does the trick.

Want to make your eyes pop? All you need is a little glitter. With one swipe of Dior’s shimmery liquid eyeshadows on your lids, you’ll be the most magnetizing person in the room.

Makeup: Light Wonder Foundation CHARLOTTE TILBURY. Creamy Radiant Concealer NARS. Contour Stick KKW BEAUTY. Highland wand CHARLOTTE TILBURY. Cloud Paint in Haze GLOSSIER. Black Eye Kohl Liner PAT MCGRATH. Mothership Palette PAT. Clothing: Earrings ($25) ZARA at ZARA. Dress ($1226) ALEXANDER WANG at NORDSTROM. Photographer KYLE KIRKWOOD. Assistant Photographer LIZZIE O’DONNELL. Fashion Editor JULIA DEBARTOLO. Assistant stylist FAUSTINA SETIAWAN. Model ALEXA JONES at ELMER OLSEN. Make-up JEN TIOSECO. Hair LISA KOLMAKOVA.

CLAIM YOUR HOUSE IN ALL ITS UNIQUENESS AND GLORY. FEATURING FABULOUS TABLEAUS OF DIFFERENT DESIGNERS, HOUSE OF STYLE CELEBRATES DIVERSITY, YOUTH CULTURE, AND THE ART OF BEING FIERCE. WORK!

POWER HOUSE Photographer Kane Ocean Fashion Editor Cary Tauben

Opposite page: On Emma: Earrings Stylist own. Dress ($2,600) VERSACE at HOLT RENFREW On Muna: Earrings ($115) JENNY BIRD at JENNY BIRD. Blazer VERSACE ($4,100) at HOLT RENFREW. Belt (Vintage) VERSACE. On Emma: Earrings (Price available upon request) CHANEL at CHANEL. Blouse ($1,550) VERSACE at HOLT RENFREW. Leggings ($1,330) VERSACE at HOLT RENFREW. On Bianca: Hat (Price available upon request) HERMÈS at HERMÈS Necklace Vintage Dress ($3,625) VERSACE at HOLT RENFREW.

This page: Jacket, Skirt, and Belt (Price upon request) CHANEL at CHANEL. Opposite page: Model on the left: Earrings ($69) and Dress ($815) ANDREW COIMBRA at ANDREW COIMBRA. Model in the middle: Jumpsuit ($800) ANDREW COIMBRA at ANDREW COIMBRA. Shoes ($911) JIMMY CHOO at JIMMY CHOO. Model on the left: Earrings ($60) ANDREW COIMBRA at ANDREW COIMBRA. Dress ($630) ANDREW COIMBRA at ANDREW COIMBRA. Shoes ($335) MICHAEL KORS at MICHAEL KORS.

This page: Top, Jacket, Jeans, and Boots (Price upon request) MICHAEL KORS at MICHAEL KORS. Opposite page: Both models. Suits (Price upon request) HUGO at HUGO BOSS. Boots ($280) JEFFREY CAMPBELL at JEFFREY CAMPBELL.

This page: All models: Full looks (Price upon request) CHANEL at CHANEL. Opposite page: Model left: Shirt ($540) and Pants ($1,385) COMME DES GARÇONS at HOLT RENFREW. Shoes (Price upon request) HERMÈS at HERMÈS.Bianca: Coat ($2,919) COMME DES GARÇONS at HOLT RENFREW.

TITLE

This page: Model on left. Dress (Price available upon request) MICHAEL KORS at MICHAEL KORS. Model on right: Earrings ($100) JENNY BIRD at JENNY BIRD. Blazer (Price available upon request) MICHAEL KORS at MICHAEL KORS. Oppostie page: On him: Shirt and Suit (Price available upon request) BOSS at HUGO BOSS. On Sophie: Shirt and Suit (Price available upon request) BOSS at HUGO BOSS. On Emma: Shirt and Suit (Price available upon request) BOSS at HUGO BOSS. Photographer KANE OCEAN. Assistant photographer CHANTAL AFRICA. Fashion Editor CARY TAUBEN at THE PROJECT. Models SOPHIE TOUCHET at MONTAGE MODELS, MUNA at MONTAGE MODELS, BIANCA at SPECS, EMMA G at FACES MGMT, LINUS H at FACES MGMT, THOMAS SAULNIER at ANOTHER SPECIES, ADAMS ZIADE at ANOTHER SPECIES, EMMA AUGER at PUBLIC IMAGE MGMT. MAKEUP LESLIE-ANN THOMSON at THE PROJECT using MARC JACOBS BEAUTY and AMOUR PROPRE BEAUTY SKINCARE. Assistant BRIT PHATAL. Hair LOUIS HECHTER using L’OREAL PRO. Hair Assistants EDOUARD MARTIN & LORENZO HECHTER.

Model on left: Top ($1,290), Skirt ($1,390), Bag ($2,650) and Boots ($1,890) FENDI. Model on right: Jacket ($2,100), Skirt ($2,650), Bag ($5,400), and Shoes ($1,190) FENDI.

ITALIANS DO IT BETTER

A delicious, subversive play in contrasts. Silvia Venturini Fendi's masterful take for this Fendi resort collection features classic Fendi themes, touches of masculine and feminine, construction and fluid shapes, and sumptuous materials, resulting in a seductive and subtly provocative allure.

Photographer: Sylvain Blais Fashion Editor: Randy Smith

Model on left: Jacket ($5,700), Trousers ($4,900), and Bag ($2,650) FENDI. Model on right: Jacket ($2,450), Skirt ($1,250), and Bag ($3,250), FENDI.

Model on left: Jacket ($3,290), Skirt ($1,950), Bag ($3,100), and Boots ($1,450) FENDI. Model on right: Jacket ($4,600), Trousers ($1,450), Bag ($2,450), and Boots ($1,250)FENDI.

Model on left: Jacket, Top, Skirt, Rose Gold Baguette ($3,250), Gold Baguette ($3,250), Calligraphie Bag ($2,950), Gold Baguette ($3,250) FENDI. Model on right: JDress ($4,600) and Bag ($3,750) FENDI. Photographer SYLVAIN BLAIS. Assistant photographer CÉSAR OCHOA and GIUSEPPE FABRIZIO CALVINISTI. Fashion editor RANDY SMITH. Model SARA ST. LOUIS at NEXT MODELS and EMILY G at MONTAGE MODELS. Make-up and hair STEEVE DAVIAULT. Hair Assitant ALEXANE RAVARY. Nails TAMARA DI LULO at FOLIO. Location ATWATER COCKTAIL CLUB. Retoucher CÉSAR OCHOA.

CULTURE CULTURE

DANCE BORN TO

GUILLAUME CÔTÉ is one of THOSE ARTISTS WHOSE LIFE COURSE INSPIRES. FIRST,

BY HIS DAZZLING CAREER AS PRINCIPAL DANCER AT THE National Ballet OF CANADA, WHERE HE STARRED IN CLASSICAL ROLES.

© KAROLINA KURAS

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With his international success in the most prestigious ballet companies including Moscow’s mythical Bolshoi Ballet. An innovative choreographer, his talent bloomed to a new high with Frame

by Frame, a tribute to animated film’s pioneer Norman McLaren co-created with Robert Lepage. Crypto, his most recent creation, brings us into a world as disturbing as fascinating.

By Stéphane Le Duc When I read about your life coming from a little town in Lac-Saint-Jean and deciding at a very young age to dance instead of play hockey, I can only think about the character of the famous movie about the dancer Billy Elliot. There were a lot of

similarities in the story of Billy Elliot and my own path but at the same time there are a lot of differences mainly because my family was very supportive of my love for dance. They helped me a lot along the way. I think Billy was also a lot more talented than me. In the movie he is quite phenomenal. I don’t think I was nearly that good at that age. There was no access to ballet in Northern Québec. I imagined this thing of what it could be in my head. I decided I was going to be this kind of performer/rock star. I never put it my mind I would solely be a ballet dancer. But by doing ballet I was put into the stereotype and then there was a lot of bullying and then you question your own love of it. But I believed in it.

GUILLAUME CÔTÉ AND ROBERT LEPAGE WITH MEMBERS FROM PRODUCTION REHEARSING FRAME BY FRAME. © KAROLINA KURAS

HEATHER OGDEN AND GUILLAUME CÔTÉ IN THE SLEEPING BEAUTY. © BRUCE ZINGER

How did you become a choreographer? I studied composition so I always wrote music. Between the age of 14 and 18 I wrote a lot of music for dance. Music was part of my DNA and through composition I was always choreographing, I was always making steps. I think it was always a part of me. I was always fooling around in the studio, grabbing people and doing pieces. But I was struggling to find a way to deliver something new. When you see people like Forsythe and Béjart, they make it so perfect. It’s just until I participated in some choreography workshops that I discovered I had some potential.

You have choreographed a great ballet called Frame

By Frame in collaboration with Robert Lepage. It is an important experience for you. It is certainly one of

the projects that I am the most proud of in my career. Because I feel that standing side by side with Robert Lepage is the biggest honor I’ve ever had. Because I’ve respected and closely worked with Lepage for a long time, we’re now working on our next collaborative project. I do think Norman McLaren is someone to be celebrated in such a way that I don’t think we are able in Canada. Canadians won’t celebrate him the way that he needs to be celebrated. We are too humble and too understated but he should be a hero. He should be a Walt Disney. He is more revolutionary then Disney was in a way.

I hope that the show did him justice. I am very proud because it marries the world of film, the world of theatre and the world of dance.

director Atom Egoyan and trying to find a fable, a fairy tale where I could tell a story and add a lot of layers. He proposed Royce Vavrek won a Pulitzer Prize for an opera named The Angel Bones. I reached out and he was so generous and excited about the idea of using dance. He proposed something that had to do with the Little Mermaid. Something that had to do with conformity. There is conformity in all aspects of society, in beauty, in marriage.

Because the human being is far-removed from reality, Egoyan thought my story can touch all social aspects. I love the idea of mixing theater, multimedia, and literature with the words of Royce Vavrek in ballet.

Do you still enjoy the search of perfection we associate with classical ballet? In classical dance? To be

honest no. I am getting to a point now where my instrument is not as refined as it once was, which is frustrating. But another side of me is starting to realize that imperfections are the most beautiful because we have achieved perfection in some ways. I have seen and danced Swan Lake with Svetlana Zakharova at the Bolshoï. It is perfect, but it is not what I am looking for when I watch something. There was a lack of personality within that perfection. What is interesting is to strive for perfection. www.national.ballet.ca

Can you tell us more about Crypto that was presented at the Festival des Arts de Saint-Sauveur as a world premiere and will be presented in Montréal and in Toronto in April 2020. I was talking with movie

93

OCCASIONALLY, FROM INTERVIEW TO INTERVIEW, YOU END UP MEETING A MUSICIAN THAT PERFECTLY EMBODIES WHAT ART IS ABOUT. MORE THAN A MACHINE CREATING HITS AFTER HITS, THAT PERSON SEEMS TO GIVE 100% OF HERSELF TO EVERY ASPECT OF HER WORK. SUCH IS THE CASE WITH ALLIE X.

By Marie-Ève Venne Photographer: Royal Gilbert Fashion Editor: Randy Smith

Hat Stylist Owned. Top UNTTLD .

Offering to the public a world featuring three distinct alter ego characters and recurring kaleido-scopic visuals, the Toronto artist accompanies her ever-evolving sound with requisite avant-garde visual elements. As a result, she has cultivated a portfolio that establishes her as so much more than a musician.

“

meal or taste from the restaurant and then they radically change from American grill to Caribbean, I understand. But, the nature of being an artist is to explore your own expression and truth and I personally never get upset as an artist when someone goes in a different direction.

You once said during an interview that, with your writing, you are trying to express what you were too shy to express as a teenager. How does it feel to finally be able to let it all out? It feels good.

“

S

ince the release of her single “Catch” in 2014, she has been grabbing the attention of the public and the critic. But it was with Super Sunset in 2018 – a total explosion of synth-pop beats, eerie vocals and mellow lyrics – that she solidified her position in the industry as a complex artist with many layers to explore.

I mean, it’s not really that I was just too shy, but I wasn’t really writing when I was a teenager. I also needed the maturity to actually put it out there and in a way that does justice to my feelings at the time.

I DO FEEL LIKE I FINALLY FOUND MY VOICE IN A MORE DIRECT WAY.

At the occasion of the release of her brandnew album, we took the time to catch up with her between two shows of her European tour.

Hi Allie! I am so happy to talk to you today because I remember the last time we met at Osheaga back in 2016 and how generous you were. Usually, when you meet an artist, they don’t let people in that easily, but you didn’t have that kind of barrier. Thank you.

Yeah, it’s true. Usually if a journalist, you know, has done their research and they ask good questions, I am more likely to enjoy the conversation.

I was listening to “French Laundry” yesterday and I was blown away by the maturity of the song.

Although I’ve been a fan of your music for a while, I feel like you are totally going in a new and exciting direction. Do you feel like you’re more in control of what you’re doing now? Yeah, I do feel like I

finally found my voice in a more direct way.

I kind of boiled down the essence of who I am and what I have to say. And yeah, it feels good. That’s who I am and I’m just fully embracing it. It’s an empowering feeling.

Do you feel like more musicians should just explore as many kinds of music genres as they want without overthinking it or being scared to lose some fans in the process? You should be allowed to explore

as many genres as you want. That’s how I feel. I mean, I understand why people get upset when artists change or when they do something unexpected. Because it’s like, if you eat at the same restaurant every day for your whole life, and you expect a certain

The music I’m doing now is complex enough that it allows for a complex range of emotions and lyrics that maybe you don’t find often in pop songs. As an example, my song “French Laundry” wouldn’t make sense to me with like a four-chord progression and a top 40 radio production. So yeah, it’s like I found this sound and musical expression that allows me to let go of some of these emotions that have been there for a long time but while being in control of the process.

Would you say it’s like you’re allowing yourself to grow up all over again, but this time, while being in control of the narrative? Yeah, I think so.

And I think, on this album, I’ve taken my own experiences and turned them into a fictional kind of story. It’s me, but…I don’t know. You know, it’s how I would describe Cape Cod. It’s like an East Coast setting that’s reminiscent of my childhood, Toronto, but it’s slightly different. That’s what my album is like to me.

And to go back to what you were saying, I think that it allows me to retell the story in a more enjoyable way as well because I get to pick the aesthetic and I get to pick the look of it and I get to put it all in a sort of fantastical setting and incorporate some fashion elements to the mix.

It’s always nice to retell your story when you make the rules.

Hat, Top, Belt, Pants, and Shoes SAINT LAURENT.

This page: Hat Stylist Owned. Top UNTTLD. Pants UNTTLD. Opposite page: Jacket BALMAIN at HOLT RENFREW. Pants UNTTLD. Boots MICHAEL KORS at BROWNS.

Shirt, Suit, and Tie GUCCI at GUCCI. Photography ROYAL GILBERT. Fashion Editor RANDY SMITH at HUMANKIND MANAGEMENT. Makeup Leslie Ann Thomson at THE PROJECT using MARC JACOBS BEAUTY and AMOUR PROPRE BEAUTE SKINCARE. Hair STEVEN TURPIN at MGMT Assistant BRIT PHATAL. Assistant photographer MITCHELL WRITE and EMILY V. GILBERT.

Yeah, but in the end, you can control the creative process, but not the reaction of the people who will listen to your music. Despite that, I am blown away every time I read online comments left by your fans. No matter what you do, it seems like they love you unconditionally. Yeah, I’m

lucky to have really good fans, even if I don’t see myself as such a popular artist. I feel like the fans that I have are so devoted and look so deeply into my work that it’s very satisfying, and that the people that come to my shows are very cool and amazing.

But don’t you think that people are looking too deeply for a meaning in your music without simply enjoying it? I don’t know. It’s sort of like looking at an abstract piece of visual art. And some people say, oh, it’s just a splash of random colors. Like, what does that mean? And someone else will see something very deep and complex in it. And I think that’s just the nature of art. Like even when you’re talking about pop music or anything really like Valley theater or Fine Arts, I think everyone just kind of takes from it.

I put a lot of thought into what I do, and it is usually really layered. Sometimes, when I read an analysis from a fan of my work, it’s actually more complex than what I originally intended.

That doesn’t make it not valid because, like I said, that’s just the nature of art.

I see myself as a visual artist. I’m not actually good at drawing or painting, but I think what I’m good at is curating a whole experience.

I always have strong visions and I’m able to execute them and I’m able to pick the right people to bring things to life. That’s kind of my skill. That’s my strongest suit. But the visual aspect of my work is important to me. People don’t get a full sense of who I am, I guess, and I feel like I really just want people to fully understand who it is that I am. Maybe that’s what drives me to put so much effort into the visual side of things.

I feel like it all circles back to what we were saying earlier, about being in control of your own story. Maybe putting so much effort into the visual aspect of your work is another way to be in control of your narrative. Yeah, and I think I am just a control freak (laughs). You can ask anyone on my team. But I think it’s a strong skill. It just means that I know what I want in life. It’s a good thing.

You’ve been known, since you started in the music industry, for embodying different characters and alter egos. But with your new album, I feel like you are simply showing

the duality inside you. Like, this is who I am, I can be both darkness and light and I am not hiding anymore. It’s all really stripped down. You’re totally right. And this is

the first interviewer that said that because most people keep asking if what you see in my video (for “Fresh Laundry”) are new alter egos and I’m like, no, it’s just me. And yeah, I’ve always explored different themes and this duality that comes with the shadow self and stuff and I think it’s simply me expressing two sides of myself.

I feel like sometimes, people don’t allow artists to be many things at once. They just want to put them in a category. And when you show them more of your personality, they just don’t get it. So maybe that’s why you also must control the visual aspect of your work to help them understand.

And I mean, I know a lot of people that don’t get me but at least I’m doing something that I feel is my truth and that I can stand behind it 100%.

That’s probably the most important thing to me.

I also want to explore the fashion aspect of your work because you have such a strong distinct look. What’s your approach to the whole fashion and dressing up thing?

I just did an interview and they asked me about what my idea of beauty was growing up and stuff. And as a kid, I was always doing stuff, trying just to fit in while trying to feel pretty. And it’s weird because all the things and choices that I would make, like wearing a turquoise eyeliner that I thought was cool, they’d be like, "well, this is weird." And I think at some point, I just started to really embrace that. I just started to embrace that naturally — being an outsider.

When I started going to an art school, that’s when people started applauding me for looking different and I just started to enjoy it. I’ve been always so insecure about my body and so I was always finding creative ways to hide it and that’s something that still is with me to this day with the way I dress my silhouette.

Now, with having to dress for events and shows and photo shoots, I’ve become more and more passionate about discovering designers and playing with materials. I think it happens to a lot of people when they become a public figure. Fashion is just so much a part of it that you become kind of educated and you really start to enjoy it. But to be honest, right now, I’m wearing no makeup, yoga pants, and one of my dad’s huge shirts. I’m not one of those people that that makes an effort every day. But it has to be one or the other.

I think I love to be fully done up or in pajamas basically. Once again, it all comes back to that duality inside me. It’s always going to be a part of me.

ELANCHOLIA 70s

Reminisce on sunny afternoons spent on heavenly Coney Island.

Snap a polaroid in your best vintage inspired outfit and revel in the nostalgia of your vibrant kaleidoscope dreams.

Photographer: Royal Gilbert Fashion Editor: Fritz

This page: Hat, Scarf, Blouse, and Trousers (Price upon request) TOM FORD. Opposite page: Helmet with Visor ($815), Coat ($5,065), Trousers ($4,240), Gloves ($405), Tights ($140) and Sandals ($1,155) GUCCI.

This Page: Earrings ($1,000), Necklaces ($600, $950, $1,100), and Bracelets ($1,125, $1,850, $6,125) DAVID YURMAN. Choker ($1,300) HERMÈS. Tights ($140) GUCCI. Cuff and Shoes (price upon request) CHANEL. Opposite Page: Boa ($105) RUSE. Dress ($1,135) MOTHER OF PEARL.

This Page: Necklace ($2,995), Pocket square (Price upon request) Jacket ($4,645), Trousers ($1,425), shoes ($1,095) SAINT LAURENT. Opposite Page: Earrings, Jacket, Belt, Leggings, Bag, and Bracelet (Prices upon request) CHANEL.

This Page: Boa ($105) RUSE. Dress ($1,135) MOTHER OF PEARL. Belt ($425) VERSACE. Ring ($5,250) DAVID YURMAN. Tights ($140) GUCCI. Shoes (Price upon request) CHANEL. Opposite Page: Earrings (Price upon request) CHANEL. Blouse ($1,380) HOLT RENFREW. Fur Coat ($1,950) AKRIS. Tights ($60) VIVIENNE WESTWOOD. Shoes ($1,625) HERMÈS.

This page: Trench coat ($10,000) FENDI. Tights ($140) GUCCI. Cuffs (Price upon request) CHANEL. Sandals ($1,175) HERMÈS. Opposite Page: Shirt ($820), Dress ($2,590), and Boots ($1,770) PRADA.

This Page: Hat ($95) RUSE. Earrings (Price upon request) CHANEL. Top ($1,295) BALMAIN. Opposite Page: Top ($895), Skirt ($7,495), Belt ($965), Boots ($1,935) and Metal Cuff (Price upon request) SAINT LAURENT. Photographer ROYAL GILBERT. Assistant photographer EMILY V. GILBERT. Fashion Editor FRITZ. Make-up and hair MISHA GULATI using MARC JACOBS BEAUTY and KEVIN MURPHY. Digital PASCAL FRÉCHETTE.

TRAVEL

Travel Guide

SCOTLAND There is more to Scotland than castles and men in kilts playing bagpipes.

Scottish tourism is constantly evolving, with exciting new trends emerging each year, and an economy driven by long–established export products of fresh quality food and spirits. While exploring the country, don’t be afraid to get further off the beaten path and explore more than top attractions. Even if there will never be enough time to discover Scotland, the following places promise to deliver an unforgettable experience.

By Marie-Ève Venne

Glasgow

Grand Central Hotel

Located at Glasgow Central Station, this award-winning four star hotel is set within Glasgow’s shopping district and features a fine restaurant, free WiFi, and 21 meeting rooms for up to 500 guests. The historic building dates back to 1883 and still has many of its original features, including the grand staircase and the magnificent Champagne Central Bar with its domed ceiling and marble floor. This historic hotel has hosted stars including Frank Sinatra and Charlie Chaplin and is even featured in the James Bond book series.

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Buchanan Quarter

As one of the major shopping destinations in Britain, Glasgow is the second largest retail centre in the United Kingdom, second only to London. The new development at the top of Buchanan Street brings an exciting new mix of retail and residential property to Scotland’s premier shopping and leisure destination. With the addition of exciting new retail stores, including H&M, Paperchase, Gap, Fat Face, Skechers, Office and Watches of Switzerland, Buchanan Quarter is a hot spot for shoppers.

The Gannet

Opened in 2013, The Gannet, is a certified must-visit for any foodie travelling to Glasgow. The place even won the Michelin Guide Bib Gourmand Award for quality dining at moderate prices after less than a year of trading. The trendy-chic interior of this floor-to-ceiling glass-fronted restaurant is minimalist with bare stone walls, wooden tables and exposed ventilation pipes. The menus are dictated by the rhythms of the seasons and focus on local ingredients, and the dishes are executed with flair, resulting in thrilling and addictive dishes.

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Edinburgh

Scottish National Gallery of Modern Art

Home to Scotland’s outstanding national collection of modern and contemporary art, The Scottish National Gallery of Modern Art is a must-see venue for modern and contemporary art. Split between two buildings, Modern One and Modern Two, the gallery houses a large collection of Dada and Surrealist art, and a collection of the works of Sir Eduardo Paolozzi. Across the way, the grounds of Modern One are dominated by Charles Jencks’ Landform, a stepped and spiraling mound with reflecting pools. It’s the place to go to admire the work of renowned artists such as Warhol, Dali, Matisse and Picasso.

Panda and Sons

This speakeasy is an absolute must stop for every cocktail lover looking for something exciting to drink on a night out in the city who’s willing to go down the narrow stairs leading to a boozy heaven. Styled with vintage books, gramophones, retro wallpaper and other era-appropriate items (hello phonebooth), Panda and Sons offers an exciting drink menu presented as a storybook, with each chapter being dedicated to a specific spirit. The drinks are served with all manner of elaborate techniques, like smokes or the option to mix your own cocktail using paint tubes of liquor, and they are absolutely delicious. No wonder the place is heavily recommended by people from the bar industry and spirits enthusiasts.

Harvey Nichols

Harvey Nichols, a British institution, is the place to go in Edinburgh for a high-end department store experience.

Come for the British designers, stay for the champagne and sweets in the aptly named Chocolate Lounge. You’ll be able to find a full selection of department store offerings here, plus a decadent food hall and the Forth Floor Restaurant, which has an excellent set menu and views of the city and the Firth of Forth.

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Honeycomb & Co.

Islay

This flourishing cafe located in trendy Bruntsfield offers a fresh and bright interior with mustard-coloured velvet booths and furnishings, scientific structures of honey positioned on the walls, and an impressive goldtopped bar running down a large chunk of the room. Described as a modern eatery, the place has taken its inspiration from around the world to create a curated selection of dishes to delight its customers. As for the food itself, they are serving dishes busting with flavours, such as shakshuka, topped with crispy black pudding from The Store Company and hazelnut dukka.

Port Charlotte Hotel Restaurant

Ardbeg Distillery

Time seems to stop once you step on the ground of Ardbeg distillery, a distillery of one of the most awarded and loved peated whiskies of the last decade, as you take a look at the beautiful surrounding outdoor area while getting ready to sample tasty scotch. As one of the largest distillery complexes on the island, it produces about 1.4 million litres of scotch a year. It seems incredible given the status Ardbeg has now, but this historic distillery was for many years closed down, like most on Islay. It reopened to full production in 1998 and has since gone from strength to strength. Its tour schedule changes with the season, so it’s best to check the website ahead of your trip to see what the distillery is offering.

This restaurant located inside a charming hotel is one of the two restaurants on the whole island that is mentioned in the Michelin Guide.

If you manage to get a table on the seaside on a beautiful sunny evening, you’ll be able to enjoy a breathtaking view while enjoying your meal. The restaurant serve local products - some of the best seafood in Britain, freshly prepared and served in an elegant surrounding, while also offering worldrenowned single malt whiskies.

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LIFESTYLE

A New Kind of Champagne Pairing

Olivier Krug wants you to reconsider how you drink champagne. It’s not even noon on a very cold winter day and I am trying to warm myself the best I can inside a little ice fishing hut while scrolling through a Spotify playlist on the phone I have in hand. It could be a regular winter day in Canada if I hadn’t been surrounded by a bunch of journalists, and that the hut I’m in is actually full of bottles of Krug champagne and the phone I’m looking at belongs to Olivier Krug, the heir of the prestigious champagne house.

By Marie-Ève Venne

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To push things even further, they have developed a unique program: Krug Music Pairings. Each year, the champagne house invites selected musicians to an elaborate tasting of its different products. Inspired by what they taste, these artists create a special playlist available in the Krug App or on krug.com, via Twitter and even Google, using the Krug iD, the six digits printed on the back label of every bottle, revealing its detailed story. Also, the app includes food and music pairing tips as well as serving and storage recommendations. Consumers can also read the latest review of Krug champagnes on the app.

Krug was founded in 1843 by Johann-Joseph Krug, a German immigrant from Mainz on the Rhine who learned his trade at Champagne Jacquesson for nine years before setting up his own champagne house in Reims. It remained in the family’s hands for several generations, with continual father-to-son handovers until until it was bought by the global luxury goods conglomerate Moët Hennessy–Louis Vuitton in 1999. Like most of the companies in the group, Krug retains a degree of autonomy and the house is still headed by Krug family member Olivier Krug, the sixth generation of Krug, who insists on maintaining the house’s reputation and consistent style.

“At Krug, we strongly believe that music can change the way you experience champagne and brings a brand-new perception of degustation.

The process of creating Krug Grande Cuvée is at heart a musical one,” explains Krug as I give him back his phone.

That visionary approach to champagne pairing is why they have two soloists in Krug Clos du Mesnil and Krug Clos d’Ambonnay. The champagne house has long realized that there is a link between sound and taste. They strongly believe that the joy of savouring Krug Champagne while listening to a piece of music, paired to complement the champagne sensations, allows one to directly connect to their emotions.

That innovation shouldn’t come as a surprise knowing that going against the status quo is something that Krug excels at. Traditionally in the champagne industry, the vintage gets the first selection. Krug is one of the rare houses where the blended is given preference over any vintage that may or may not have been made in a given year, resulting in a fullness of flavours and aromas unattainable with the wines of just a single year.

It balances out years that weren’t particularly spectacular due to poor weather conditions with those that wereto ensure that there are never any low-quality champagnes. In other words, they create their own rules to reach excellence.

Later that night, as we are all gathered for dinner, Olivier Krug suddenly stands to speak.

“Before opening the next bottle, we would like to play a song by Grand Soleil, a French electro band. We invite you to pay special attention to the way you taste the champagne before we play the song and to the way you taste it while it is playing.”

As I take my first sip of Krug 2004 Brut, I am prompted to taste subtle citrusy notes and something else that I can’t quite identify. As I pace myself to leave champagne in my glass, the music starts. What follows is a progression of different notes that suddenly hit me: honey, candied fruits, and even more citrus notes. I don’t fully understand what is going on, but all I know is that I never want my glass to end up empty. That is when it hits me. I just experienced what champagne should always be about: a true exaltation of the senses.

And what better combination to reach that state than music paired with what must be the very best champagne possible!

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LIFESTYLE

DTK Introduces its First Ever pop-up store, Magasin Général:

DISCOVERING CANADIAN DESIGNERS A labour of love, Dress to Kill has launched its first ever pop-up shop at Brossard’s Quartier DIX30. With the goal of helping consumers discover local Canadian brands and provide shoppers with a truly unique shopping experience, Le Magasin Général is a pop-up shop like no other.

O

By Luisa Tarantino

pen until December 30th, Le Magasin Général is set to be a premier destination for fashion and accessories, beauty, jewellery, design, homeware, interior design, art, and much more, located in a stylish and festive setting. With a multitude of designers and brands for womenswear, menswear, beauty, and design, there is sure to be a little something for everyone, and definitely a lot to discover.

For the DTK Team, this pop-up shop is an opportunity to promote high-quality, local Canadian and Quebecois brands and

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encourage consumers to support their local brands. For DTK, this pop-up shop is an extension of our mission and values: to promote diversity in all sectors and promote talented, passionate homegrown designers and creatives that we admire.

All the products available at our pop-up shop have been handpicked and carefully curated by us to provide products that are truly exceptional and unique.

Among the many incredible designers available at Le Magasin Général, here are some notable brands to look out for:

Womenswear Kanuk, Iris Setlakwe, Nadya Toto, Nicole Benisti, Denis Gagnon, Landscape, Nicole Benisti, Montage2125, Rad Hourani and UNTLD

Menswear Christopher Bates, Maison Godefroi, BN3TH, Cardinal of Canada, Rad Hourani, Kanuk

Beauty Wise, 7 Deadly Soaps, De Massy perfumes, Amandine Sol Botanicals

Home Éléments de base, Porcelaines Bousquet,

Benedetta Covanti, Maison Yiliy, Maison Tess, Ruby Brown, and lamps from D’armes

Jewellery Mark Lash, Victor Benaderette, Dean Davidson, Caroline Savoie, and Harakiri

Featuring a café with some delicious treats, the beautifully decorated space is innovative and vibrant. The space also allows us to host a series of events and provide our customers with the opportunity to learn more about Canadian creators and designers, all while finding exactly what gifts they might need for the holidays.

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EVENTS

Pop-up Launch Party

A SPARKLING SUCCESS

On Tuesday, November nineteen, Dress to Kill threw a launch party to celebrate the opening of its very first pop-up shop, Le Magasin Général, located at Quartier Dix30’s LeBlok. The event was a success, with a series of celebs and leaders in Canadian and Quebecois fashion and culture in attendance. With the mission of celebrating local designers and creators, DTK’s launch party put the spotlight on our local talent.

Photos by Le Homard Club Photography

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BUSINESS

Woman Behind theWheel

LAURA SCHWAB

At another iteration of Women Who Drive, Aston Martin’s President of the Americas, Laura Schwab, brought together some of the most successful women in Montreal as Decarie Motors announced a bursary to fund the most promising new and young women entrepreneurs. Through the hecticness of such a successful day, Laura was able to set aside a few minutes to talk to DTK about what being a businesswoman really means to her.

By Rebecca Kahn Can you speak more about your experience as a woman in the car industry? I think I sort of fell into the business. I was a

lawyer, and was kind of begging for any job, and I got a job at a little dot-com in California that sold cars online, and then I ended up getting a role at Range Rover. I spent fifteen years there; I really worked my way up from the very bottom. I think along the way, I had my share of missteps, and I struggled to find mentors because when I looked in the corner offices to see a woman there, there weren’t any, so I was like maybe one day I’ll be the general manager. Along the way, I’ve been told I need to smile less and change how I look, and I never did that. I think that the big pivotal moment for me is when I stopped trying to act like the men, and I started acting finally like me. I was so much more comfortable, and I was fortunate enough to work for companies that allowed me to do that.

What should the public know about Aston Martin? I joined the

company in 2015, and we were just embarking upon our second-century plan, and it was really about how to propel ourselves through the next hundred years. Part of the plan is seven new cars in seven years, so we’re right in the middle of that plan right now. We have al-

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ready launched the DB11, the Vintage, the DBS Superleggera – at the end of this year we reveal our first ever SUV, DBX, so we reveal that in December, and then after that we have a mid-engine sportscar, and then we have two fully electric Lagondas coming. What’s been really fun for me is to see how much people love the old cars, especially like everything affiliated with Bond. And then Formula 1 is a huge component of our marketing strategy, and it really validates our mid-engine sportscars that are coming. I think for me to be affiliated with a brand like Aston Martin, you know, we will exist for hundreds of more years, but to know that I will have been part of a smart part of that history is really cool.

How does Aston Martin market to women when its traditionally associated with men? We’ve obviously traditionally been

a company that had a lot of male drivers, but we’ve started to see a shift. It’s been happening over the last few years and I think there’s this impression that female drivers simply want to drive the cars in GT mode. That is definitely not the case. We’ve got some really exceptional women that love the feeling of how they feel when they get inside an Aston Martin. Our ability to market, you know, comes from events like this, and I think what we’ve seen is what really worked is the ability to bring

years ago, we talked about the opportunity to bring together a group of female owners, perhaps bring some of their friends over. We organized a beautiful dinner at the dealership and I don’t think we knew what to expect, but what happened was sort of this magical evening where I got up and told my story of how I sort of worked my way up from the very bottom of the automotive industry to now running the coolest car company on the planet. And almost spontaneously, all these women stood up and started telling their stories, and then they started connecting emotionally, and then they’ve been doing business together over the last few years. We watched the power of creating this network – I never imagined that was going to be the result, and so we said we have to do this every year. Last year, we had another event around F1, and we met a whole other group of women. All of a sudden the group started to expand; this year, we asked people to invite a mentor or someone who inspired them. Again, it sort of took it to a whole other level. I’m so proud of what they’ve done at Decarie, creating the bursary focused on education for women and empowering two women each year who are going to be the recipients of this bursary. We owe it to ourselves to support and take care of each other, and help people fulfill their goals and dreams. This creates a platform for women to come together and celebrate what makes us special. Our voices together are going to be so much louder than just one on its own. women together, to allow them to network, and we can talk about [my role as] a woman running a car company. I just think it gives the whole thing credibility, too, because I drive an Aston Martin every day. [Women] are not timid when they get behind the wheel, I can promise you that.

How do you communicate and market Aston Martin to new generations? When I first joined the company I was sur-

prised actually how young it skewed, because if all they know, they might know the Bond affiliation. I don’t think we over-index to men, women, young, old, I think we cater to a very welcoming environment. We’re a brand that advocates for cultural diversity, gender diversity, age, race — like please come be part of this brand, fall in love with us. Even if you don’t buy an Aston Martin you can be a part of this family, and I think that that’s something that we do that’s unique to what some other brands do in this space.

How has the industry changed over the last few years and how has technology played a part in that? I think technology has

played a huge part in how our customers want to engage with us. These days, the greatest luxury is time.

Because time is important to people, we need to do things on their terms. Our car launches have changed, too. We deliver cars to people’s homes, for we know that space is one of the many luxuries people cherish. We have a cadence to when cars arrive, but just because we have a car launching on a specific date doesn’t mean that's the date that works for someone in their calendar. We needed to change our car delivery system, as not everyone is able to come see us.

Besides, some people want their cars right away. Digital gives you a huge opportunity to engage, as well, and knowing what those preferences look like has been a huge part of our marketing.

Where did the idea for the Women Who Drive movement come from? Has it become everything you hoped it would be? A few

How do you act as a role model and mentor to the other women in your life and in the industry? So, when I joined the company,

there were very few women on our team. About 50% of my executive team is made of women. I’m really excited about this reality. I open the door and say please apply for roles with us. And over the last year, I’ve never necessarily thought of myself as a role model, but then as I talked and told my story, so many people have gravitated to it, so I’ve started mentoring probably 20 to 25 people, men and women. I encourage women to not be intimidated by fields that might have been traditionally dominated by men and let women know that we hire the best at Aston Martin. We definitely ask women to apply for head positions in the car business.

What does being a women bring to your role as a President, that a male president wouldn’t have? Part of the problem

lies in perpetuating stereotypes of women. There’s this impression that women need to be more compassionate. Yes, women probably do bring a slightly different perspective, but that’s why I’m just keen to ensure we create as much diversity amongst our team. The people that buy our cars don’t all look or act the same or feel the same way. Breaking down these stereotypes has been the biggest challenges.

We’re achieving this goal by bringing in as much gender diversity and diversity of thought as possible.

These aspects mean so much to a team.

Do you have any advice for other people on how to deal with sexism and people looking down on you for being a woman in industries that are typically male-centric? You have to be authentic to

yourself. My career started to take off once I stopped trying to mimic others. My recommendation for everyone is to be genuine and true to yourself. Stand up for yourself; stand up for what you believe in. I sometimes think about the things I should have said earlier in my career. But, use your voice – when you have a chance to use it, do so.

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LIFESTYLE

Vegan Restaurants to Discover Across Canada

Montreal

Vegan restaurants are becoming increasingly easy to find as the general public becomes more tuned in to the environmental, health, and ethical benefits of a vegan lifestyle. We scoured the country for the restaurants that are pushing plant-based eating into a new light.

BLOOM SUSHI 368 St. Paul St W.

As the new addition to vegan restaurants in Montreal, Bloom Sushi offers vegan versions of Futomakis, Kamikazes, Dragon Eyes, Homosaki, and Nigiri.

Everything Bloom Sushi offers is designed with the sustainable development and health of our oceans in mind. Indeed, the restaurant uses as little plastic as possible while encouraging local producers. As an accompaniment to vegan sushi, the house serves, for a complete Japanese immersion, a beautiful offer of sakes and Japanese whiskies. Bloom Sushi also features light cocktails, a small selection of wine bottles, and Québec and Japanese beers.

By Marie-Ève Venne

RADIS 361 Bernard St. W.

Radis’ menu, which evolves along with the seasons, is inspired by Italian cuisine and features classics along with inventive dishes like the delectable, melt-in-your-mouth, umami-packed Foie Pas Trop Gras, served with roasted apricot halves, sweet braised onion, and ultra-crunchy toast or the chestnut-stuffed wild mushroom tortellini. You also have the option to feast on homemade pasta and focaccia, along with vegan adaptations on dishes such as fresh mozzarella, made with fresh and organic products.

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HELLO123 5700 Monkland Ave.

This Toronto vegan hot spot just expanded to Montreal, offering lunch, dinner, coffee, cocktails, and other drinks.

The dishes oscillate between comforting and light options, such as a loaded sweet potato, spicy bibimbap, or pulled pineapple sliders, showing that vegan options can also fully embrace the earthy side.

If you get your potato wedges “messy,” they’ll come topped with guacamole, cashew cream, pickled onions, fresh green onions, and a roasted, toasty kind of smoky coconut crumble that will make you forget all about bacon bits.

Toronto

PARKA 424 Queen St. W. ROSALINDA 133 Richmond St. W.

This buzzing vegan restaurant is adorned with fresh foliage, plenty of natural light, and vintage-inspired furniture, making it extra hard for you to not snap a photo of the decor for your Instagram feed.

Go there to eat Mexican vegan treats bursting with flavours that will satisfy the pickiest eater—like the chickpea and beet tostada with pomegranate and sesame or the jackfruit pibil taco (you’d swear it’s pulled pork) with crispy taro root and slaw. Rosalinda is all about showcasing vegetables at their best, without trying to make it look like meat.

Vancouver

Parka Food Co. is a plant-based restaurant with a mission to make eating veggies fun. It’s a casual, unlicensed spot doing up veggie versions of burgers and mac n’ cheese. The space is minimal and open with an emphasis on transparency, most food prep done right out in the open at glassed-off counters. Everything on Parka’s menu is made from scratch, and their staff is friendly. Though their menu has no more than 10 items, everything is truly flavourful and all their ingredients are high quality.

HEIRLOOM 1509 West 12 Avenue

Known for their epic plant-based dishes like Kale Caesar, Brassica Bowl, and the Ninja Bowl, Heirloom is a foodie destination for brunch, lunch, and dinner. The vegan eatery excels in providing beautiful, airy spaces and a mouth-watering menu.

Dishes are full of colour and taste, and portions are refreshingly large.

Favourites include the signature Heirloom Hash with tofu and the Avocado Benedict, all served with mimosas, of course.

ACORN 3995 Main Street

If you’re looking for a special, slightly higher-end dining experience, Acorn is it. Named as the Best Vegan Spot in the World by Big Seven Travel earlier this year, this hot vegan spot serves the best in fine vegetarian and vegan dining, along with craft cocktails, excellent service, and delicious seasonally inspired dishes.

Everything is beautifully presented, and you’ll want to try it all (tip: definitely try the mushroom appetizer).

GIFT GUIDE Dompierre

PETIT PRINCE DISH SET ($36) EACH

Esthederm EAU CELLULAIRE CREAM 50 ML - ($59.00)

Ruby Brown FLOWER POWER CANDLE ($64)

DTK Holiday Gift Guide

TREAT YOURSELF The holidays should be about treating yourself just as much as much

as gifting others. This holiday season, spoil yourself with gifts from this curated selection of locally made products from some of our favourite Canadian creators.

Nicole Benisti

Nars

OIL INFUSED LIP TINT, COLOUR ORGASM ($34)

MONTAIGNE JACKET IN BRUNETTE CREAM - ($3,200)

Benaderette GOLD PLATED CUFF ($1,350)

Salvatore Ferragamo SIGNORINA PERFUME 100 ML- ($130)

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De Longhi Dinamica

COFFEE & ESPRESSO MACHINE ($899)

Maison Tess

LINEN BEDSHEETS ($75-$299 PER ITEM) ALL ITEMS SOLD SEPARATELY.

THE INNOVATIVE ESPRESSO MACHINE THAT EMPOWERS YOU TO HANDCRAFT YOUR ESPRESSO, THE RIGHT WAY.

B® CHANEL S. de R.L. ©CHANEL, Inc. CHANEL ®

www.chanel.com

Vancouver (604) 682-0522

Calgary (403) 232-6240

Toronto Bloor (416) 964-1085

Toronto Flagship (416) 925-2577

Toronto Yorkdale (416) 784-0990

Montreal (514) 842-7318