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STAND Our Fall Edit
The Best Boots & Coats
Hailey baldwin I feel there’s something about Christianity that makes people very touchy.
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Contents October 2017
AlwAys in fAshion
20 22 24 26
List We cherry-
Letter from the editor Behind the scenes Contributors Readers’ letters
List Shop the season’s best shoe styles, from velvet and floral to faux fur and slouchy.
ON tHe cOver Photograpy by Richard Bernardin, styling by Zeina Esmail, creative direction by Brittany Eccles. Hailey Baldwin wears a jacket, $2,105, skirt, $890, and boots, $2,450, Off-White. Earrings, $630, Jennifer Fisher. Ring, $390, Sylvio Giardina. Hair, DJ Quintero for Statement Artists. Makeup, Carolina Dali for The Wall Group. Manicure, Riwako Kobayashi/Le Vernis Chanel. Fashion assistant, Stefany Mohebban.
News The choker gets an elevated update from Arme De L’Amour; tuck into a book with the John + Jenn x Indigo reading blanket; Pink Tartan’s flagship is set to showcase all-Canadian fashion; on-the-rise line Monse pays homage to HBC’s iconic stripes. 34
Beauty We asked three of Canada’s brightest design stars to create an outfit based on hair colour from the Garnier Nutrisse Ultra Color collection. 40
Sustainable The fashion industry is the world’s second largest polluter. Has our appetite for style reached its tipping point?
52 Trend Ripped jeans, frayed edges and loose strings give insight into a collective coming undone.
32 14 F A S H I O N | OctOber 2017
List Not a single
strand in sight. These are not your grandmother’s pearls.
photography: Baldwin By richard Bernardin (Styling, Zeina eSmail) Jacket, $1,140, top, $630, Skirt, $480, and corSet, $445, tiBi. ShoeS, $1,460, gianvito roSSi. necklace, $660, and ring, $255, Sylvio giardina. pearl earringS, $4,900, david yurman.
pick 20 coats from the season’s top six outerwear trends.
Contents October 2017
Skin Sensitive skin is becoming the new normal. We investigate why everyone is so reactive these days. 68
The Simple Life
Hair With shampoo sales peaking and clean hair all over the runways, lathering up is suddenly on trend.
Health A writer with a
family history of breast cancer tackles prevention in a new way.
88 Health Why we’re now loud and proud when talking about our vaginas.
Photography by Arkan Zakharov.
Fix At long last,
Rihanna launches Fenty Beauty; Eos lip balm goes clear; honey is suddenly everywhere in skincare. 98 The Mood Claire Cameron on October and the impending winter.
Feature Say hello to the new generation of celebrities. They might be a little familiar. 100
96 Index Award season has begun. Here are the most prestige picks this month.
Feature A wave of comics are standing up for people who aren’t usually given a voice.
110 Cover Hailey Baldwin isn’t your standard It Girl. Photography by Richard Bernardin.
I Fall to Pieces
Photography by Dean Isidro.
FASHION x Neutrogena Discover how
to find the perfect pair of jeans and the perfect skincare routine.
16 F A S H I O N | OctOber 2017
Sub-Saharan Africa has the highest dropout rates of girls in the world. Lotte Davis’s One Girl Can charity works to change that.
The Stay A mansion in rural Ireland is transformed into a grand country escape.
and a gold mine of second-hand clothes in Nashville.
Buy It Where to buy everything in this issue.
Patriot Love When the three siblings behind Triarchy learned how much water their line was wasting, they did something about it. 154
Destination Truc Nguyen finds a thriving design community
photography: bottom left by brent goldsmith. top right by arkan Zakharov (styling by Juliana schiavinatto) dress, $3,790, alexander mcQueen. poncho, $1,585, libertine. hat, $80, public school. hat (on alpaca), price upon reQuest, simons.
Skincare Water is the very first ingredient in most beauty products, but many brands are now shutting off the tap.
editor-in-chief noreen flanagan creative director brittany eccles executive editor jacquelyn francis fashion editor-at-large zeina esmail contributing editor george antonopoulos fashion market editor caitlan moneta associate fashion editor eliza grossman features editor greg hudson beauty director lesa hannah associate beauty editor souzan michael health and copy editor emilie dingfeld assistant editor/research d’loraine miranda associate designer nicole livey western editor joy pecknold staff photographer carlo mendoza
director, digital women’s group steven kawalit creative director, digital matthew warland editorial interns jacob newnham, lerisha spence, karina yaceyko contributors caitlin agnew, richard bernardin, alexandra breen, sarah casselman, mishal cazmi, madelyn chung, shawna cohen, leeanne colley, lindsay cooper, malina corpadean, lynn crosbie, erin dunlop, eva friede, caroline gault, brent goldsmith, vanessa heins, liza herz, gabor jurina, evan kaminsky, grace lee, javier lovera, meghan mckenna, kari molvar, lorca moore, chris nicholls, susie sheffman, olivia stren, stephanie thompson, natasha v., arkan zakharov director of production maria mendes production manager caroline potter production coordinator alexandra egan prepress coordinator kathleen fregillana
vice-president & group publisher jacqueline loch general manager, advertising sales kelly whitelock senior national account managers deidre marinelli, susan mulvihill director, retail advertising sales sandy sternthal retail account manager sue freeman senior sales coordinator sandra dasilva national account manager, interactive susey harmer montreal eastern general manager bettina magliocco national account & retail sales manager suzie carrier sales coordinators christine elvidge (on leave), cassandra lavoie vancouver retail sales & national account manager sandra beaton 604-736-5586 ext. 213, 866-727-5586 director, integrated client solutions nevien azzam director, digital sheldon sawchuk project managers asmahan garrib, ada tat digital designers jennifer abela-froese, scott rankin web administrator ian jackson web manager adam campbell digital manager damion nurse sales project coordinator ethan kates sales project designer glenn pritchard newsstand/consumer marketing director annie gabrielian consumer marketing director rui costa consumer marketing assistant amanda graham credit manager carmen greene collection specialist patricia tsoporis controller dora brenndorfer accountant maryanne foti accounts payable specialist ruth muirhead payroll manager helia aiello human resources & payroll coordinator lisa alli office services supervisor glenn cullen office services garfield stoddard administrative assistant carol bieler i.t. senior manager jp timmerman i.t. manager eagle huang st. joseph communications, media Group chairman tony gagliano president douglas kelly general manager & v.p. finance karl percy v.p. consumer marketing & production darlene storey v.p. strategic development duncan clark v.p. research clarence poirier marketing director jessika j. fink director of events and experiential carrie gillis marketing & communications associate drydon chow events associate krista gagliano marketing design associate glenn pritchard production designer jonathan wong marketing & communications interns gabrielle boucinha, celia mcconnell fashion magazine 111 queen st. e., suite 320, toronto, on m 5c 1 s2 phone 416-364-3333 fax 416-594-3374 montreal office 1155 boulevard robert-bourassa, suite 1301 , montreal, qc h 3b 3a7 phone 514-284-2552 fax 514-284-4492 vancouver office 510 – 1755 west broadway, vancouver, bc v6j 4 s 5 phone 604-736-5586 fax 604-736-3465 fashion magazine october 2017 · volume 52 issue 9 · printing: st. joseph printing · date of issue: september 2017 · subscription inquiries: 800-757-3977
fashion magazine annual subscription price: $15.95 plus hst (10 issues, published february, march, april, may, summer, august, september, october, november and winter). single copies: $4.99. united states, one year: $22.95. all other countries: $27.95. to change your subscription address, please send your new and old addresses to: subscription department, fashion magazine, p.o. box 825, stn. main, markham, on l 3p 8c8, at least six weeks in advance. the publisher accepts no responsibility for advertiser claims, or unsolicited manuscripts, transparencies or other materials. no part of this magazine may be reproduced in any form without written permission of the publishers. copyright 2017 st. joseph media inc. all rights reserved. we acknowledge the financial support of the government of canada. circulation audited by alliance for audited media. publications mail agreement no. 42494512. return undeliverable canadian addresses to p.o. box 825, stn. main, markham, on l 3p 8c8. fashion magazine is distributed by coast to coast newsstand services limited. issn 1496-578 x. through partners in growth®, fashion magazine is helping st. joseph communications, media group and scouts canada replenish the environment. a seedling will be planted on behalf of every ton of paper used in the printing of this magazine.
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Colour my world
It was an honour to work with Garnier and the inaugural fellows from The Suzanne Rogers Fashion Institute on the Garnier Nutrisse Ultra Color challenge. Turn to page 40 to meet Canada’s next fashion stars.
20 F A S H I O N | OctOber 2017
ashion quarrels between a mother and her daughter are a rite of passage. The dialogue typically involves the mom saying “You’re wearing that?” followed by “You’re NOT wearing that!” How we dress is one of the most visible ways we embrace our identity and emancipate ourselves from our parents. In my own case, my first fashion feud involved a handmade Cowichan sweater that I found on the street in the small Alberta town where I grew up. At the time, I wasn’t aware of the rich history of these sweaters, which were made by Coast Salish knitters. (And this was years before culturally appropriated Cowichan lookalikes hit the market.) I just knew that I was drawn to the geometric patterns and the grey, black and white colour scheme. That it was oversized, bulky and worn made it even more appealing. I was also attempting to learn to knit (badly—my scarves took on pyramidal rather than linear shapes) and was fascinated at both the perfection and imperfections I could see in the work. I also imagined the care that went into creating this piece. In my mind, each stitch was imbued with love from the knitter, and I had to honour that. My mother saw things differently. To her—quite understandably—this was a tattered, worn and badly fitting used sweater that wasn’t appropriate for her 13-yearold daughter to wear to school—or anywhere. Once that line was drawn, I was all the more intent on wearing (saving!) this sweater, but I
had to be covert. I would hide it in the garage and sneak it on before heading off to school. This continued for some weeks, until my mother found it and tossed it in the garbage. I retrieved it and tearfully explained that it was wrong to throw away something that someone had made. I strangely felt a powerful guardianship over this woollen cardigan. Protecting it emboldened me. I think that scenario—where she’d find it and toss it and I’d retrieve it— played out a few times, until one day the sweater was gone. I don’t remember if there was a grand showdown; I think I just moved on to another phase in my style evolution—let’s call it my “pre-Madonna messy-chic period.” I’d forgotten about that Cowichan sweater— and what it meant to me—until I read “Ground Breaking” (page 46), our special package on sustainability that was edited by executive editor Jacquelyn Francis. It is sobering to read that the fashion industry is now the world’s second-largest polluter after oil and that, at last count, the apparel industry accounts for 10 per cent of global carbon emissions. It is equally shocking to learn that Americans throw away about 32 kilograms of clothing per person every year, which overwhelmingly goes into landfill. In Canada, it’s estimated that 85 per cent of discarded clothes end up in landfills. Francis writes in her piece that it’s easy to be overwhelmed, but she and the other writers outline some practical strategies for having a more sustainable approach to fashion. Reading these stories—and recalling how I felt about that Cowichan sweater—reminded me to be aware of how I consume fashion and how important it is to cherish the things we wear. Instead of reduce, reuse and recycle, it has become too easy to toss, replace and move on. P.S. As a footnote to my sweater saga, my mother—perhaps as a peace offering—knitted me a blue-and-white Norwegian-inspired ski sweater. Like the Cowichan, each stitch was layered with love, and the sweater remains in my closet to this day.
NoreeN FlaNagaN, editor-iN-cHieF fOllOw me On t wit ter and instagram @nOreen_flanagan
photography: noreen flanagan by erin reynolds; group shot by Javier lovera. Jacket, $3,490, alexandre vauthier.
We caught up with Hailey Baldwin in the Big Apple for a shoot with major #views.
Get tHe look
Feel like you’re on top of the world with glossy smoky eyes and slicked hair.
YveS SAINt lAureNt tatouaGe couture ($42) in “nude emblem”
göt2b Glam Force SculptinG Gel ($8)
22 F A S H I O N | october 2017
Shop the Shoot Channel Baldwin’s menswear look in checks and plaids with feminine cuts.
keNNetH cOle $225
photography: runway by getty
lAurA MercIer caviar Stick eye colour mat te ($35 ) in “tuxedo”
FENDI THE RUNWAY STARTS AT SAKS
CF Toronto Eaton Centre 176 Yonge Street CF Toronto Sherway Gardens 25 The West Mall
Hailey Baldwin “A year ago, I wouldn’t have thought that I’d be doing what I’m doing now. I can’t plan things ever. Things change so quickly.” tHe SOcIAl lIFe
110 brIttANy eccleS
@briteccles FASHION’s creative director travelled back to her roots in Prince Edward County for “The Simple Life” (page 120). Fun fact: “Three of the shots were taken at the house I grew up in.” #thanksmom
24 F A S H I O N | OctOber 2017
@djquintero This NYCbased hairstylist—whose clients include Lily Collins and Katie Holmes— created the slicked-back look sported by cover star Hailey Baldwin (“Hailey-Lujah,” page 110).
@brionycwsmith Smith profiled the feminist standups who are currently invigorating our nation’s comedy scene (“Laughing Matters,” page 106). She also reported on why the V-word is no longer taboo in “The Vagina Dialogue” (page 88).
@joypecknold Our western editor travelled to Africa for “The Power of One” (page 142); she also wrote about the abundance of loose threads seen on the runways in “Come Undone” (page 52).
photography: main by richard bernardin (Styling, Zeina eSmail) Jacket, $1,140, and top, $630, tibi. necklace, $660, Sylvio giardina.
Our favourite ’grams of our October cover star
Letters Reader of the Month
Your September issue is spot-on! I felt exhilarated after reading your comprehensive issue on the topic of truth and authenticity. Your selection of articles and the people you chose to portray speak volumes on this important issue. But you have also woven this topic into the fashion industry, which is threatened on a daily basis by falsehoods (“Counter Moves”). As Kristin Stewart said (“Pure Esprit”), “Authenticity is about being true to that feeling....” —Kathy Grbac
reAdy tO LeAN IN The “Back-to-School Special (kind of)” article was very validating. Most people feel that the final days of summer are the end of fun, but I have always perceived it as a time to think ahead. September resolutions have more of a “lean in” approach to change. And where do I begin with “September: Not Quite Fall”? Grace O’Connell captured the spirit of the month so eloquently and poignantly that
Kathy Grbac won a Kérastase prize pack (ker AStASe.cA) valued at $605. We’ll give away another great prize next month, but you have to write in to win: email@example.com.
26 F A S H I O N | OctOber 2017
tears welled up in my eyes as I read it. I am also now officially addicted to Serial. Thanks, Mishal Cazmi, for introducing me to the wonderful world of podcasts in “Aural Support.” —Patricia Rego
SpeAk eASy So many articles in your August issue resonated with me, but especially “Headstrong.” I’ve always had trouble speaking up for myself; it has caused so many problems in my life and relationships. Growing up in a small town in Northern Ontario with all of its biases, racism and lack of understanding for @skelletina anyone “different” was difficult. I am just now beginning to assert myself. Having also lived my entire life with anxiety and depression, I t WeetS really appreciated this well-written article. —Chris H. “@lorde @FashionCanada This is literally your best photo shoot ever i’m not kidding, i was stunned for a good 2 hours” —@blueflickerbeat “@FashionCanada I’ve never bought a fashion magazine before but i saw Lorde on the cover and just had to.” —@katross_22
photography: magazine and products by carlo mendoza
WeLcOme tO tHe cLUB I was so excited when I subscribed to your magazine. When the first issue [August 2017] arrived, I eagerly read it cover to cover! I was thrilled with the entertaining, informative and thought-provoking articles. Thanks for bringing some excitement and glamour into my life. —Carly Lange
regrAm Handle it: @FasHioncanada
Vancouver Calgary Edmonton Toronto Montreal holtrenfrew.com
editor: jacquelyn fr ancis
fa s h i o n
photography by carlo mendoza; shoes, $2,685, roger vivier.
d e c o d i n g
t h e
w o r l d
s t y l e
Fixate on fashion that feels good. Whether thatâ€™s a pair of dreamy feathered flats or sustainably sourced sunnies, fill your fall wardrobe with pieces you canâ€™t wait to wear. fashionmagazine.com
october 2017 | F A S H I O N
fashionlIST asos $80 ito nv gi a s si ro , 0 6 0 $2
This style was an instant star from the second it debuted at Saint Laurent. rt an ua m st eitz 0 w 1, 0 0 $
t i $ 8 8 bi 0
ste mcc ll a $ 8 4 artn 0 ey
Step Right Up
zar a $70
dre x an ale man bir 0 $88
With so many fun styles to choose from, you’re bound to find a new footwear fave this fall.
m an ol o bl ah ni k $1 ,2 60
stu wei art $ 9 5 0 tzman
The mid-calf height and slim silhouette gives a leg-lengthening effect.
l IN R A E
By Caitlan Moneta
30 F a s h i o n | OctOber 2017
Seriously. Give it a try and you’ll never go back to your basic black booties.
j o n at simk h h a n $ 1 ,9 0 0 a i
jim Cho m y $2,0 o 50
t aa r ur be zz em ua pt aq e Se 0 t h 1 ,1 5 $
Over-the-knee boots get an update this season with coloured velvet. Call it spring $50
Co $ 3 5 aCh 0
Cozy and comfortable, shearling is ideal for tricky transitional weather.
Garden-fresh flowers are a surefire way to beat the winter blahs.
ia n C h r is t u t in loubo $ 1 ,2 9 5
C mar 0 $43 C a in
ann tay lor $26 0
Keep toes toasty when the mercury drops with a generous dose of the fluffy stuff.
on st y hn rph o j mu & 60 $2
sore $350 l
k enn Col e e th $235
proenz sChoul a $ 1,16 0 e r
lo e f f le r r a n d a ll $ 50 0
s te ka 80 3 $
Silver is the metallic of the moment. Wear yours with denim for a subtle flash with every step.
october 2017 | f a s h i o n
fashionLIST mulberry $1,175 AdeAm $1,400
lIzzIe FOrtuNAtO $295
kAte SpAde $160
32 â€ƒF A S H I O N | october 2017
delFINA delettrez $1,190
Pearls, adorning everything from boots to bags to jeans to jewellery, will round out your wardrobe this season. fashionmagazine.com
photography: runway by imaxtree
BEE BOLD IN GOLD T H E N E W B I R K S B E E C H I C Â® C O L L EC T I O N
editor: jacquely n f r a ncis
Canadian brands JOHN + JeNN and INdIgO know exactly what Canadians want: more excuses to stay inside during the winter. Well, our wish has been granted. Jennifer Wells and John Muscat, the designers behind Toronto-based knitwear and outerwear brand John + Jenn, have teamed up with the country’s book behemoth to create an exclusive, limited-edition, perfectly cozy reading wrap in celebration of the fifth anniversary of their diffusion line this fall. Part blanket, part oversized sweater, the wrap is available in four colours (three pastel shades and black). The John + Jenn x Indigo collaboration can be found at indigo.ca and in 30 Indigo stores across the country during the holidays as part of Indigo’s lifestyle offerings. —Lindsay Tapscott
34 F A S H I O N | october 2017
photography: pink tartan by dean isidro
rake may get credit for pushing Canadian fashion into the limelight, but after 15 years pINk tArtAN ’s Kim Newport-Mimran isn’t starting at the bottom. This fall, her Toronto flagship in Yorkville will carry Canadian-designed pieces exclusively, alongside her now locally produced Pink Tartan line. “It just happened organically,” says Newport-Mimran of the switch. “Working and travelling so much, I wasn’t spending enough time doing the creative part of the business, which I love.” Tapping both emerging and established brands, Newport-Mimran is curating a list of luxury collaborators. “It’s going to be a Canadian destination showcasing Canadian chic,” she says. Among the chosen ones are Brunswick and Co., which dreamed up pink fur clutches; Freed, which designed customized slick black parkas with fun-fur patch pockets; and Jenny Bird, who designed oversized circular cufflinks to pair with the shop’s well-known shirting. FASHION’s award-winning stylists got in on the action, too. “I did the perfect pants with Zeina [Esmail], the trench with George [Antonopoulos] and the perfect parka with Susie [Sheffman],” says Newport-Mimran. Each of their pieces will debut this September at fashion week. “You need to keep moving forward or you’ll die in fashion,” she says. With this new challenge, she may just give “Champagne Papi” a run for his money. —Caitlan Moneta
IT WAS TIME FOR A MAKEOVER. W e’V e r e D e S I G N e D FAS H I O N’S B eAuty AWAr D S For more inFormation on HoW to enter tHiS Year’S FirSt-eVer JUrieD ComPetition, ViSit FASHIONmAGAzINe.cOm/2017BeAutyAWArDS.
fashionnews Tokens of Love If the combined celebrity following of jewellery line Arme De L’AmOur (French for “Weapon of Love”) and ready-to-wear designer SALLy L APOINte is any indication—their clientele includes Rihanna, Kate Moss, Gigi Hadid, Kendall Jenner, Michelle Obama and Kristen Stewart—their debut jewellery collab, which launches on Net-a-Porter.com this month, will be highly coveted. For Resort 2018, LaPointe and Arme De L’Amour designer Ivana Berendika, who are long-time fans of each other’s work, put their talents together to give the classic ’90s choker a sophisticated spin. The resultant small capsule includes five chokers in gold with black leather that are strong, simple and seriously statement making. Perfect for style-setters like Jenner and Hadid, who were early adopters of the ubiquitous trend that is due for an elevated update. —L.T.
GiGi hadid and Kendall jenner rocK the choKer looK.
Graphic stripes are a mONSe mainstay. Since launching their red-hot collection in 2016, the design duo of Laura Kim and Fernando Garcia have established shirting stripes and bold slashes of colour as house hallmarks. The New York-based line also nabbed the Swarovski Award for Emerging Talent at the CFDA Fashion Awards earlier this year. Suffice it to say we were pleasantly surprised when our #stripespotting eyes spied a Hudson’s Bayinspired blanket coat for the label’s Resort 2018. “Monse is a strong believer in stripes and primary colours,” says Kim. “These elements are part of our DNA, which is why a collaboration with Hudson’s Bay Company for this coat was an obvious choice.” With Monse’s skilled assembly, the iconic wool blanket has taken on a decidedly modern and sophisticated life. “The easy shape and boldness of the volume felt right for Resort,” says Garcia. “It’s the throwon coat for those early fall nights.” When the colourful topper arrives at HBC, we’ll be first in line. —C.M.
36 F A S H I O N | october 2017
photography: hadid and jenner by getty
editor: caitl an mone ta
Baby, It’s Cold Outside
ISAbel mAr ANt
Stand out from the crowd in a colourful coat.
A brand new coat makes bracing for the freezing temps a little less painful.
weekeNd mAx mArA $1,020 clOSed $805
StellA mccArtNey $1,695
This ’70s signature is revamped, thanks to patent leather and biker details.
38 F A S H I O N | october 2017
These luxurious toppers would look at home on the ski hill or a city street.
photography: runway by imaxtree
Styles that cinch at the waist add feminine flair to a masculine pattern.
Always a classic, spots make an impact in longer lengths this season. jOe FreSH $90
mIu mIu $3,685
le cHÃ‚teAu $150
mArc cAIN $800 AdAm lIppeS $2,015
mulberry $2,070 tOpSHOp $145
mArc cAIN $720
tIger OF SwedeN $500
Stell A mccArtNe y
dOlce & gAbbANA
club mONAcO $530
Embrace the boxy silhouette of a voluminous faux fur.
october 2017 | F A S H I O N
fashionbeauty FASHION X GARNIER X SRFI
Colour Theory THE CHALLENGE
Quentin Tecumseh Collier is one of three design Fellows from The Suzanne Rogers Fashion Institute (SRFI) who participated in the Nutrisse Ultra Color Challenge with FASHION and Garnier. Each designer was assigned a colour from the Garnier Nutrisse Ultra Color line that had to be incorporated into his or her design. Tecumseh Collier’s hue was 462 Tempting Raspberry.
40 F A S H I O N | october 2017
Make an unforgettable and colourful style statement with your fashion and your hair.
Photography by Javier Lovera By Isabel B. Slone Styling by George Antonopoulos
THE PRODIGY If Quentin Tecumseh Collier could be described in one word,
it would be “precocious.” The boy wonder first began staging fashion shows in the sixth grade, and by high school he had graduated to designing two collections a year. His interest in fashion stems from an early love of playing dress-up. “I basically grew up in drag,” he says with a laugh. Tecumseh Collier also studied ballet but turned to fashion after three members of his extended family passed away when he was 11 years old. “After that, I switched gears and focused all of my energy on making clothes and making women beautiful,” he says. Fashion was also an escape for a boy who never felt like he fit in. “It became an outlet for me to be who I wanted to be,” he recalls. “I found it so liberating that I just devoted my entire adolescence to it.” In 2015, the 20-year-old designer, who was born in Kamloops, B.C., enrolled in Ryerson University’s Fashion Design program. Tecumseh Collier says that he now focuses on quality versus quantity. “Rather than designing an entire collection, I focus my time on making one thing beautifully,” he says. For the Ultra Color Challenge, he wanted to capture the emotion that the colour red evokes. “Red hair is a very public affirmation of identity,” he explains. “It’s transformation.” The heart is also central to his design, as it reflects the hate, the anger and the love that are essential experiences in life. Tecumseh Collier adds that his designs mirror his own life. In this case, the heart represents the fact that he’s madly in love. “It’s been an experience,” he says, smiling. “First love, 20 years old, life changing. Yeah, the heart is a very robust and tender thing. I’m slowly learning that.”
Maude Perreault often spent her free time after school dressing up for photo shoots with her friends, but she was surprised when an acquaintance encouraged her to be a model. The 20-yearold Montrealer visited Ema Models when she was 18 and was signed within five minutes of walking through the door. A week later, she was shooting campaigns for Simons. Perreault had never dyed her hair before the Garnier Ultra Color Challenge, but she’s loving the assertive confidence that red hair brings to her look. Now she’s ready to pair the look with allblack outfits—just like Jennifer Garner’s revenge-bent superspy character, Sydney Bristow, in Alias. “It’s cool because I never would have done it myself,” she says. For BTS and how-to videos, go to fashionmagazine.com/ ultracolorchallenge.
Get tHe LooK RED THE GARnIER HAIR ExPERT “Red
Garnier Nutrisse Ultra Color 462 Tempting Raspberry
hair makes an amazing statement,” says Roger Medina, Garnier’s hair expert. “It’s not for anyone who wants to be a wallflower, though, because you’re going to be the centre of attention!” If you’re considering going red (or any other colour), here are Medina’s top tips: 1. Perform a patch test on your skin up to 48 hours before dyeing your hair to ensure you’re not sensitive to the product. 2. Apply the conditioner that comes in the box to your hairline so it acts as a barrier between the dye and the skin on your forehead. 3. Don’t apply colour to the roots first. The heat from your internal body temperature will process the dye more quickly and you’ll end up with brighter roots.
october 2017 | F A S H I O N
FAsHion x GArniEr x srFi
THE modErnisT Stephanie Moscall-Varey didn’t grow up wanting
to draw patterns and drape fabrics; she wanted to be a genetic scientist. The 24-year-old designer from Port Dover, Ont., had her eureka moment when she was lying in a hospital bed recovering from meningitis during her last year of high school. “Instead of spending time in a lab, I knew I wanted to do something I was truly passionate about,” she says. True to her word, Moscall-Varey enrolled in Ryerson University’s Fashion Design program and graduated in 2015. In 2016, she was tapped by Vancouver Fashion Week to produce a collection while holding down a full-time job as a technical designer at the Abercrombie & Fitch HQ in Columbus, Ohio. “I worked all day and then went home and worked until one in the morning,” she recalls. “I calculated that I spent the same amount of time at Abercrombie that I did on my collection.” The result was a delicate womenswear collection featuring organic lines and botanical patterns rooted in the geography of Canada. Winging it wasn’t an option for Moscall-Varey, who brings a scientific rigour to her design process. In 2015, she created a dress for the Italian Contemporary Film Festival design competition that was inspired by the “La Colita” dance in the film The Great Beauty. Before creating the dress, whose silhouette was highlighted by the dance steps, she learned the dance and videotaped herself performing it so she understood how the dress needed to move. “I set goals that could be considered unrealistic,” she says with a laugh. “But I’m always determined to accomplish them.” Her next big goal: working for McQueen!
Anne-Claire Sauret went into modelling because she wanted to have an envyinducing lifestyle that involved glamour, adventure and some travel. She sent her photos out to various agencies and was eventually signed by modelling agent Chantale Nadeau. In the one year she’s been working, the 20-yearold Montreal-based model has sported five different hairstyles. Going from brown to blond for the Nutrisse Ultra Color Challenge didn’t faze her. With her short, spiky ’do, Sauret feels like “a badass” and resembles a platinum version of The Girl with the Dragon Tattoo. Now when she looks in the mirror, Sauret sees “a person who accepts who she is and isn’t afraid to do bold things.”
For BTS and how-to videos, go to fashionmagazine.com/ ultracolorchallenge.
GET THE LOOK BLond THE GArniEr HAir ExpErT
Garnier Nutrisse Ultra Color DB Intense Bleach
42 F A S H I O N | OcTObEr 2017
“Blond hair—especially when you have a pixie cut, like Sauret— always conveys a cool-girl vibe,” says Roger Medina, Garnier’s hair expert. “It’s so chic and so powerful.” If you’re considering going blond, here are more of Medina’s top tips: 1. If you’re lightening your hair, don’t shampoo it for at least 24 hours beforehand as your natural oils will block any irritants from reaching your scalp. 2. Colour your hair in a roomtemperature environment. If it’s too air conditioned, your hair may not process the colour evenly. 3. Using purple shampoo once or twice a week will revive the brightness and tonality.
Stephanie Moscall-Varey wanted her bleach blond-inspired outfit to resemble grass undulating in the wind, so she nailed fabric samples to a tree in her parentsâ€™ backyard before deciding she liked the breezy movement of the 101-centimetrelong fringe best. Moscall-Varey, who is also passionate about science, wanted the fringe to resemble the movement of cells.
october 2017 | F A S H I O N
fashionbeauty FASHION X GARNIER X SRFI THE CHALLENGE
“My piece for Garnier is a coming-of-age story,” says Alexandra Armata. “It has elements that are iconic to a specific time in your life when you’re transitioning from being seen as a girl to being seen as a woman.” Armata incorporated sequins (as a nod to a prom dress: “a cheesy but quintessential eveningwear fabric”), a deconstructed leather jacket (“It reminded me of my first moto jacket, which made me feel like a badass”) and a bra top (“Women wear bras and girls don’t!”) into her design.
44 F A S H I O N | october 2017
THE maximalisT Alexandra Armata was always interested in art,
but after she saw Savage Beauty, the Alexander McQueen design retrospective at the Metropolitan Museum of Art in 2011, she knew fashion was her mission. Before she and her father drove to New York to visit the exhibit, she read about it and memorized all of the details about the pieces. “At the end of the show, my father said, ‘You should definitely study fashion,’” recalls the 24-year-old designer, who was born in Scarborough, Ont. “I think that was the biggest moment because it felt like I had my parents’ permission, which was important to me.” Armata graduated from Ryerson University’s Fashion Design program in 2016 and was nominated for an award in the Fashion Design Student category at the Canadian Arts & Fashion Awards. She was also a finalist in New Zealand’s iD Emerging Designer competition, and she has worked as a contract designer for Vejas Kruszewski, the Canadian wunderkind who won the prestigious—and lucrative—LVMH Prize last year. When she worked with Kruszewski, Armata helped create the wardrobe for Drake’s Summer Sixteen tour. Her handiwork has graced the superstar Canadian rapper and, by association, come in close contact with Rihanna. Armata spied a photo taken of Drake grinding on Rihanna while wearing Vejas denim. She couldn’t believe it. “Rihanna’s ass touched the jeans I made,” she says. “It’s amazing.” Though her approach to design is thoughtful and intellectual, Armata sometimes finds that her best work comes when she improvises. “As much as there’s that understructure and there’s a sketch and it’s planned, I want a part of the design to be spontaneous,” she says.
On her 13th birthday, Abigail Pew was enjoying brunch with her family at the Dundas Street Grille in Toronto when a photographer suggested to her parents that she be a model. Pew did eventually sign up with an agency, and she is now a working model. For this assignment, Pew says she was a little nervous about going violet but loved her new colour as soon as she saw it. “It’s kind of punk rock,” she says with a smile. Pew resembles a modern Edgar Allan Poe-esque heroine, and the hue isn’t too far of a departure from her raven locks. Now that she has experienced an offbeat hair colour, she says she is more open to adventurous shades.
For BTS and how-to videos, go to fashionmagazine.com/ ultracolorchallenge.
GET THE LOOK ViOlET
Garnier Nutrisse Ultra Color 326 Deepest Violet
THE GarniEr Hair ExpErT
“Violet hair is beautiful yet impactful,” says Roger Medina, Garnier’s hair expert. “It complements almost every skin tone.” If you’re considering going violet, or any other colour, here are more of Medina’s top tips: 1. Before colouring, place a towel on the surface you’ll be working over. Have wet wipes nearby in case you spill anything. 2. Leave your hair down while the colour is processing. If you put it in a bun, the dye will pool and you will end up with uneven colour. 3. Use a wide-tooth comb to spread the dye evenly in your hair. 4. Rinse your hair with cool water. This closes the cuticle, locks in the colour and adds shine.
OcTObEr 2017 | F A S H I O N
Ground Breaking photography by Stephanie rauSSer / trunk archive
Sorry if the topic of fashion and sustainability overwhelms you. The time to do something is now. By Jacquelyn Francis
ears ago I had to clear 30 years of junk from my parents’ home while prepping their property for my wedding. We loaded a friend’s truck and headed to the garbage transfer station. As we drove into the dimly lit hangar, I felt like we had entered an ominous scene from Mad Max. We stood on the truck and literally threw garbage into the air to the sound of heavy-duty loaders crushing and pushing waste into piles that would eventually be moved to the real landfill. It was apocalyptic. I was reminded of this eerie scene when I watched Stella McCartney’s Winter 2017 campaign video that featured models wandering through a landfill. Her collection, which is vegetarian, is also half comprised of sustainable materials. “The idea we had with this campaign was to portray who we want to be,” McCartney said in interviews. “Our man-made constructed environments are disconnected and unaware of other life and the planet, which is why there is waste.” »
october 2017 | F A S H I O N
vetements’ deadstock window installation at saks FiF th avenue in new york
Vetements also raised the issue of sustainability and overproduction in a windows installation it did with Saks Fifth Avenue this summer. The display—a large pile of donated clothing and overstock merchandise—appeared in the flagship store on July 21. On August 10, all the accumulated pieces were donated to RewearABLE, a clothing recycling company that provides sustainable employment for adults with developmental disabilities. “Garbage is what most brands produce today,” Vetements said in a post on its Instagram feed. “Mountains of stock are buried in outlet stores and stockrooms and have little chance of finding anyone who will want to pay for them. Overproduction is a • Re ad clothing l abels huge problem that the indusFabric blends can be a try tries to hide as it chases menace to recycling efforts. after fake numbers and Even 100 per cent polyester reports of constant growth.” is easier to recycle. McCartney’s prescient • buy oRganic cot ton campaign and Vetements’ Conventionally produced politically charged installacotton is responsible for tion are sobering reminders 24 per cent of the global of the “fast facts” associated sales of insecticide. with fashion. According to • look foR natuR al fibRes, like The Economist, global clothing ethically farmed alpaca and production doubled between mohair and organic linen. 2000 and 2014 as production cycles grew faster in tandem • in teRms of synthetic fibRes, with plunging labour costs try bamboo/viscose, Tencel, recycled polyester (rPet overseas and an abundance of means it came from plastic cheaper materials. bottles) and recycled nylon. In the 1960s, the average American household • Recycle e veRy thing Socks, spent over 10 per cent of towels and sheets can go to its income on clothing and Value Village to be shredded shoes, which worked out to for use by other industries. And all H&M locations allow about 25 garments each year. you to drop off clothing of And most of those pieces any brand in any condition were made in America. But for recycling. move into the 2010s and the picture changes dramatically. • Rent Dot-com darling
When you shop…
Rent the Runway is experimenting with sameday delivery in New York.
48 f a s h i o n | october 2017
The average household spends less than 3.5 per cent of its budget on clothes, which works out to—wait for it—70 pieces of clothing a year. Only 2 per cent of those clothes are made in America. The fashion industry is now the world’s second largest polluter after oil, and, at last count, the apparel industry accounted for 10 per cent of global carbon emissions. It’s hard to measure fashion’s footprint, but consider these three points alone: 1. Nearly 70 million barrels of oil are used each year to make polyester, which is now the most commonly used fibre in clothing. 2. Cheap synthetic fibres also emit gases like N2O (nitrous oxide), which is 300 times more damaging than CO2. 3. Americans throw away about 32 kilograms of clothing per person every year, the majority of which ends up in landfills. In Canada, it’s estimated that 85 per cent of discarded clothes end up there as well. When I met with Kelly Drennan, founding executive director of Fashion Takes Action (FFA), I admitted to feeling uncertain of what I could do. “We’re trying to remove the overwhelming aspect,” she says of FTA, the country’s only non-profit currently focusing on fashion sustainability. The group hosts the World Ethical Apparel Roundtable (WEAR) to showcase new promising developments. This month it will give a $50,000 Design Forward prize to a designer who combines style and sustainability. And FTA leads in-school education programs through the My Clothes, My World workshop. In these sessions, participants discuss labour rights, consumerism and environmental degradation. The students are asked to consider where their clothes come from, how they are made and whether they need all the pieces they own. FTA also has them turn an old T-shirt into a bag so they can explore the idea of repurposing. “Behaviour changes are really hard when you’re an adult,” says Drennan. “We’re programmed to shop. If we can convince youth in a fun way, we can talk about climate change through fashion. We can talk about social justice through fashion.”
Start with what you already own.
When 30-year-old Lee Vosburgh, who’s based in Guelph, Ont., started her fashion blog, Style Bee (@LeeVosburgh), she zeroed in on maximizing her existing wardrobe. Consider trying her “10 x 10 Challenge,” which advises people to select 10 wardrobe pieces, come up with 10 outfits and rotate them accordingly over 10 days. “When you can see what you have to work with, you’re much less likely to feel like you don’t have anything to wear or you need something new,” she says. Here are her tips for building your most sustainable wardrobe yet:
photography: SakS FiFth avenue window by Michael roSS
Do you have a problem? We can help.
By Nancy Ripton
hat is it about fashion that makes some of us fill our closets with clothing that will rarely, if ever, see the light of day? Turns out you may be high on dopamine, the pleasure hormone our bodies release when we’re anticipating a reward. “The dopamine rush you get from shopping is similar to the rush you get from gambling,” says Cinder Smith, a Calgary-based psychologist. The only potential downer to a dopamine hit is the price tag. Research published in Neuron found that excessive prices activate parts of the brain that can halt or curb your desire to buy. Alternatively, if you feel like you’re getting a deal, activity in that same area decreases, reducing your barriers to buying. “Stores have certain ‘discount’ triggers to up the level of anticipation and trigger a stronger dopamine response,” says Dr. Susan Weinschenk, chief behavioral scientist at The Team W and an adjunct professor at the University of Wisconsin. Special deals and store events can make you feel a sense of urgency that will lead you to take action and buy an item simply because it seems like a bargain. There are a number of tactics that stores use to encourage spending. One is anchoring. “Whatever number you see first sets a framework for all other numbers,” says Weinschenk. For example, a sign that offers 75 per cent off or deals 365 days a year anchor your mind to 75 or 365. “You’ll compare a shirt at $26 to the higher number that you subconsciously saw when you walked in the door. It will make you feel like you are getting a deal.” Bracketing is another technique used to trigger dopamine and offset the downer that comes with sticker shock. Items such as jeans will be priced at a series of low, medium and high amounts. “People tend to go for the middle price,” says Weinschenk. The tactic can trick you into spending a bit more but still leave you feeling the same high you’d feel if you’d got a huge deal.
Start Where you are right noW: “Don’t add anything, and don’t get rid of anything,” says Vosburgh. Try things on and wear them out somewhere to really figure out what works and what doesn’t, and repeat the process for 30 days. That way you’re less likely to overlook pieces you actually want to keep. Purge your cloSet reSPonSibly: Once you’re ready to part with some clothes, think about selling them so they don’t end up in a landfill. Vosburgh recommends
downloading apps like Depop and TheRealReal or taking items to local consignment stores that will pay you 40 per cent of the sale proceeds. remember that Sharing iS caring: Try turning your monthly book club into a little clothing swap as a fun way to change things up, says Vosburgh. Anything left over can be donated directly to organizations like The Salvation Army or Dress for Success. rePair to re-Wear: According to Vosburgh, tailoring clothes
that aren’t quite working can instantly transform them into custom pieces designed to fit your body. “It’s a great way to give new life to an old piece that might otherwise just sit on a shelf,” she says. ShoP local: “It often means a higher price point,” says Vosburgh, “but you’re investing in an artist and their work and the time and effort that they put into it.” coSt Per We ar: Vosburgh recommends investing in the best quality
shopping Cessation teChniques
Avoid shopping when you are overly emotional, because you will have less control over your body’s dopamine response. Plus, if you are stressed out, you will have excess cortisol, which clouds the frontal lobe of the brain. “This can translate into mindless shopping,” says Smith.
There are two different parts of the brain that impact shopping: value-directed and habit. The latter leads to mindless spending. “Check in with yourself and ask value-directed questions before and during shopping to turn off the habit part of your brain,” says Weinschenk. Ask yourself “Does this go with anything in my closet?” or “How many white shirts do I already have?”
Write a self-story detailing what you care about, and make sure that your purchases reflect your values. “If you state that you are someone who cares about quality over price, it will drive your behaviour,” says Weinschenk.
pieces you can afford because they will stand the test of time and be easier to repair. “With lots of fastfashion items, once they fall apart, there’s no way to salvage them,” she says. cre ate a Short WiSh liSt: “When you’re tempted to impulse shop, you can refer to the list and remember what you’re really interested in and saving up for,” recommends Vosburgh. She also suggests capping your list at 10 items at any given time. —Carly Ostroff
october 2017 | F a S h i o n
Industry Slow Down
Three lines taking a more measured approach to their collections.
50 F A S H I O N | october 2017
photography: peggy Sue by Che roSaleS
Travel can be a life-altering experience. Edmonton-based sisters Kendall and Justine Barber know this especially well. The two were travelling in Indonesia when they had a custom-footwear experience in Bali that inspired them to start Poppy Barley, a made-to-measure-boots operation, in 2012. A shortage of formal design training didn’t keep this direct-to-consumer brand from becoming a cult favourite. Fans loved the fit of the leather boots and the comfort of the designed-in-Canada shoes. The customizable boots are still offered, but the two have expanded their line to deliver ready-to-wear footwear collections as well as handbags, small leather goods and men’s shoes. This year, the brand had retail pop-ups in Toronto, Saskatoon and Calgary and a shop-in-shop in Vancouver’s Gastown neighbourhood. It also opened its first stand-alone boutique at Edmonton’s Southgate Centre. Gone are the days of selling shoes from its office. All of Poppy Barley’s designs are handcrafted at four small locally owned factories in León, Mexico, and the sisters have prioritized a commitment to ethical manufacturing. Inspired by the efforts of outdoor apparel businesses such as MEC and Patagonia, Poppy Barley created its first annual sustainability report in April. “It will really push us in the direction of improving our social and environmental impact every year,” says Justine. “If you’re actually setting goals, tracking goals and then being transparent about both the goals and the results, I think it sets your company down the right path.” Beyond making sure that factory workers receive a living wage (about six times the regional minimum) and benefits, such as sick leave and health care, there are other published goals: enforcing water cleaning and proper chemical-waste disposal procedures for tanneries and using packaging that is reusable or made from recycled materials. Setting those targets has meant paying more for materials and being reluctant to try new, untested factories. But the sisters take this in stride. “It’s something that’s important to us and [something] that we think is really the future of fashion,” says Justine. —Truc Nguyen
The Pioneer In three short years, Peggy Sue Deaven-Smiltnieks has become a darling of the sustainable fashion movement in Canada with her small-scale, hands-on approach to design. It wasn’t always like this for the American-born designer. In 2009, she worked in New York in supply chain management and product development, designing lines for various big box retailers. There she learned about industry-standard global supply chains, which focus on maximizing efficiencies, cutting costs and expediting timelines. While attending seasonal textile trade shows, she noticed there weren’t many North American companies. The reason? Smaller North American fabrication businesses were not developed enough to go to these trade shows and connect with established design houses. “It was apparent that even if a consumer wanted to buy quality pieces that were traceable and sustainable, there were incredibly limited options,” says Deaven-Smiltnieks, who is now based in Milton, Ont. “A lot of them weren’t from North American supply chains.” So, in 2014, post-recession, when she started conceiving her own line, she hand-picked North American producers and built her own supply chain. Today, her Canadian-made Peggy Sue Collection is composed entirely of North American-produced fibres. Skirts,
Next Gen Scrolling through Fellow Earthlings’ (@fellowearthlings) Instagram feed gives new meaning to the hashtag #goals. You’ll see husband and wife Chris and Sydney Seggie’s light-filled workshop by the sea, their lovingly handmade sunglasses (the company’s raison d’être) and cameos by
Prime Minister Justin Trudeau, who posed with the couple’s infant son, Louis. Even fashion designer Anna Sui—with whom they’ve worked on special projects—regularly comments. Not too shabby for a little company (as in just four employees) based in Guernsey Cove, PEI. Originally from the East Coast, the couple returned home after work stints in London and Hong Kong. PEI proved perfect for Fellow Earthlings’ HQ. This isn’t the first time that the island
coats and jackets in upcycled woven denim, organic cotton or 100 per cent local alpaca and wool overturn this prevailing idea that sustainable fashion isn’t sexy. All of the denim used has been diverted from Ontario landfills, and there is zero waste—even denim leftovers from other garments are blended into white wool yarn for sweaters. One may wonder how such an ethical and sustainable company could possibly stay afloat. Deaven-Smiltnieks says it’s as simple as “cutting the fluff.” Rather than mass production that creates waste, everything is produced in small batches while more expensive pieces are made-to-measure upon order. Following the 2016 U.S. presidential election results, Deaven-Smiltnieks remembers being especially crushed. “I was at a total loss as to how fashion could bring anything positive into this bleak chasm,” she says. In response, she made the most egalitarian garment she could think of: a T-shirt. On her website, you learn that the logo tees with slogans like “Fashion CAN Support People + Planet” begin at the Texas Organic Cotton Marketing Cooperative and end with assembly in Mississauga, Ont. That helps to explain the $125 sticker while giving credit to the producers. “It’s so important to hold up these people and their incredible skills and say ‘Do you like this textile? This is the farmer who toiled day in and day out to grow this exemplary fibre.’” —Karina Yaceyko
has supported eyewear manufacturing. In fact, in the 1980s, the Tannereye factory crafted frames for big-name brands like Ray-Ban and Ralph Lauren. The Seggies were able to tap into this forgotten past by learning long-lost skills (Chris apprenticed with a 55-year industry veteran) and by repurposing old equipment in their modern workshop. Speaking of their workshop: It’s right next door to the farmhouse they live in with their three children. “Our commute is only a few steps,” Sydney jokes. But a car-free commute isn’t the only way the couple is keeping their footprint small. The frames at Fellow Earthlings are made of acetate (a type of bioplastic), the cases are organic cotton and the boxes are also mailers, so the “packaging has purpose,” says Sydney. Their newest frames, the “Stained Glasses,” are made
completely from scrap material. “We are excited for these to be a shining example of our commitment to sustainability and also creativity,” she says. It’s this type of innovation that caught the attention of Alexandra Weston, Holt Renfrew’s director of brand and creative strategy, who invited Fellow Earthlings to join the H Project Uncrate Canada collection earlier this year. For now, most orders are made online, and the four-week turnaround is just enough time to make you wonder if they’ll ever arrive. But, as they say, good things come to those who wait. —Nicole Keen
october 2017 | F A S H I O N
Loose threads and frayed hemlines seem to mirror our perfectly imperfect world.
By Joy Pecknold
oco Chanel once said that fashion isn’t something that exists in dresses alone. “Fashion is in the sky, in the street; fashion has to do with ideas, the way we live, what is happening.” So, what social, cultural and political influences is fashion reflecting this fall? Karl Lagerfeld’s space-themed presentation for Chanel—complete with a rocket—seems to suggest that we ought to grab our tweed and get the hell off Earth. But where Lagerfeld proposes escape, other designers seem to be grappling with the state of
52 F a s H i o n | october 2017
things—namely a palpable feeling that the world is hanging by a thread. Twine was strewn across garments at Maison Margiela; long threads hung from leather coats, folkloric frocks and clutches at Alexander McQueen; and there was a parade of patchwork sweaters trailing tufts of yarn as well as a number of raw hems at Acne Studios. My dismal news feed may have coloured my spin on strings being a harbinger of a restive mood, but not all that dangles necessarily spells despair. Acne’s Jonny Johansson said his dangling tufts were inspired by the hand puppets that artist Paul Klee made for his own son. In this instance, the errant threads evoke a homespun and well-loved touch. The starting point for Sarah Burton’s collection for McQueen was a clootie well, a Celtic ritual where cloths dipped in a water source inhabited by spirits would be used to wash stricken parts of the body and then tied to nearby trees. The expectation was that when the rag disintegrated, one would experience relief. For Margiela, John Galliano spliced in all kinds of American iconography—from the silhouette of the Statue of Liberty’s crown to patched quilts—with an underlying message that reflected America’s history as being welcoming and open. Maison Margiela is no stranger to deconstruction. Responding to the opulence of the ’80s, Martin Margiela, Rei Kawakubo and others revealed what lies beneath, including zippers, linings and raw hems that are at once designing and undesigning. These deconstructive details now routinely resurface. Karin Veit, creative director for German label Marc Cain, says the frayed denim pieces from spring were carried over into knits for fall because “razor-frayed edges add just the right amount of imperfection to a look.” Los Angeles-based designer Raquel Allegra launched her eponymous line in 2003 with shredded tees, and while she expanded the collection eight years ago, raw hems are a seasonal mainstay. She traces her love of loose threads to a self-sufficient youth spent shopping solely at thrift stores. “I have such a connection with vintage, and when it’s worn the way I like it to be worn, the hems have fallen out and there are holes,” she says. “It doesn’t matter what shape it’s in; if it’s perfect in every other way, you want to wear it. That’s really my starting point—wanting to recreate that.” For her fall collection, which features unravelled sweaters, unfinished hems and extra-long dangling ties, Allegra drew from the 1973 Japanese erotic anime film Belladonna of Sadness. Inspired by Jules Michelet’s 1862 book, La Sorcière, the film tells the story of a peasant woman who seeks revenge after being assaulted by the village lord. The colour palette, as well as some silhouettes and deconstructed edges, was taken from the film. Allegra said she related to the protagonist in an indirect way. “I was actually going through my own breakup of a very long, painful relationship, and I had started to completely lose myself,” she says. A trip to Costa Rica combining yoga and bareback work with horses helped her find herself again. “All of this kind of happened at the same time, so there are a lot of layers.” Looking at these collections, it dawned on me that I’ve never owned as many frayed, imperfect pieces as I do right now. Within the past year, I’ve cut the pristine hems off more than a few T-shirts and pairs of jeans—that is, if they didn’t already come that way. I hadn’t considered why before, but I’m starting to see a thread. I’d share what it is, but I think it’s best left dangling.
photography: allegra and mcqueen by imaxtree; margiela by getty; fabric by istock
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54 F A S H I O N | october 2017
By Caitlin Agnew
or her What I Like exhibition at South London’s Now Gallery last winter, English fashion designer Molly Goddard invited visitors to pull up a chair, grab a needle and thread and embroider a design onto oversized versions of her colourful tulle dresses. For almost four months, the communal art installation—lovingly covered in handstitched hearts, flowers and messages—was an honest collaboration that Goddard described as “a living thing changing daily.” In today’s increasingly detached climate of instant gratification, where everything from new clothes to intimate relationships is just a smartphone tap away, time-consuming detailing like embroidery and cross-stitch—X-shaped stitches tiled in raster-like patterns—brings a calm to garments. The handicraft was spotted on the Fall 2017 runways at Gucci, Altuzarra and Temperley London, and Toronto-born, New York-based designer Tanya Taylor added a mix of hand-stitched and machine-embroidered bird and floral designs to her striped blouses and ruffled dresses. “Cross-stitch adds colour, texture and meaning,” she explains. “It represents how I want every piece to feel like a collector’s item.” An element of storytelling is what attracted an unexpected fan base of hip-hop artists, says Chicago-based cross-stitch artist Emma McKee. Growing up in St. Louis, Mo., McKee had no interest in her family’s tradition of cross-stitch, which, at the time, was commonly associated with the benign floral designs hanging on the walls at her granny’s house. “It seemed to me to be something that polite women did when they had to keep themselves occupied,” says McKee, 31. In 2012, she finally started stitching as a way to reconnect with her mother and ended up falling in love with its calming and meditative aspects. It wasn’t long before she was making her own contemporary designs inspired by the artists and musicians she’d gotten to know in Chicago. Since then, she has made embroidery pieces for jackets and sweaters worn by Chance the Rapper, Kendrick Lamar, Jazz Cartier and more. When asked why she thinks her work resonates with men who work in an industry better known for macho bravado than contemplative crafts, McKee says the appeal of crossstitch lies in the time and care required for its creation. “You look at cross-stitch versus machine embroidery and you can see how much time went into it. It’s impossible to ignore,” she says. “Time is the only thing we can truly give of ourselves because it’s the one thing we can’t get back.”
photography by james cochrane and imaxtree
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e’re living in a world of loud fashion right now,” says Simon Holloway, creative director at Agnona, an Italian luxury fashion house. The English-born Holloway is holding a cup of tea in his hand as sun drifts through the label’s bright, modern and massive showroom in Milan. “My vision of what’s editorial is probably a lot more calm and subtle,” he says. With tea in hand, Holloway invites me to look at the Resort 2018 collection. I’m drawn to a camel hair parka in navy blue with a detachable lining—until I spot a pretty poplin dress on which, he explains, a needle-punching technique was used to create a wool stripe around the perimeter of the skirt. For Fall 2017, Holloway included cocoon coats in alpaca and cashmere, knit maxi-dresses cinched at the waist and, somewhat surprisingly, a denim skirt styled with a rust-coloured shearling vest. “It’s amazing to see people take elevated pieces and dress them up and down at will,” he says. Agnona is sophisticated Italian sportswear at its contemporary best. Since joining the company in 2016, Holloway has put Agnona, the little sister of Ermenegildo Zegna (the world’s largest menswear brand), on the fashion media’s radar. When Francesco Ilorini Mo launched the line in 1953, it was mostly a brand used to showcase textiles that he created in his fabric mill located in the foothills of the Biellese Alps, just 90 minutes outside of Milan. His cashmere, alpaca and camel hair attracted couturiers Christian Dior, Balmain, Givenchy and Pierre Cardin in the 1960s. “Back then, these were incredibly rare fabrics,” says Holloway. “Even today, something like alpaca isn’t really a mainstream fibre.” But when couture gave way to ready-to-wear in the 1970s, Agnona expanded into fashion design. Holloway picks up his iPad and shows me some vintage Agnona ads of models walking through the mountains of Afghanistan in head-to-toe maxi-coats. “They’ve got their heads wrapped in cashmere turbans, and there’s a herd of cashmere goats walking amongst them—it’s insane,” he says with a laugh. “This was an advertorial for placement in Italian Vogue.” Holloway worked at Jimmy Choo and Tod’s, so his knowledge of design and fashion history is encyclopedic yet deferential. It’s a refreshing outlook to have in an industry that seems intent on finding someone new to reinvent the old. That unique perspective gives him insight into his customer. “She’s definitely a woman rather than a girl,” he says. “She has a kind of timelessness about her. She wants clothes that are classically based but have a certain expression that feels modern.” The next day I head to the Agnona mill, which is located in Trivero. En route, we pass through a postcard-perfect Italian countryside that is thick with cornfields. When I look out
58 F A S H I O N | october 2017
By Jacquelyn Francis
Agnona brings a soft and timelessly classic touch to womenswear.
agnona creative director simon holloway
the rear window of the car, I can practically see steam rising off Milan. It’s late June, and daytime temperatures are already in the 30s. When we enter a series of tunnels, my ears start to pop and I realize we are ascending into the foothills of the Alps. Upon arrival at Casa Zegna, a gate opens and we enter grounds that house the Zegna family’s original home as well as a modernist visitor centre. The estate is also surrounded by Oasi Zegna, a 100-square-kilometre nature reserve that is open year-round to the public. In the early part of the 20th century, the Zegna family planted more than half a million conifers plus hundreds of rhododendrons and hydrangeas. There I meet with Agnona’s full-time archivist, who takes me into a 73-square-metre space that has an entire wall lined with attractive tin boxes stacked on a bookshelf. These boxes contain the original swatches and campaigns that Holloway had shown me the day before. At the adjacent mill, there are workers who transform massive spools of thick, unruly yarn into cloth to be used for future Agnona collections. The mill recycles its water and is an energy-positive provider, which means it creates more power than it uses and puts the excess back into the grid. Machines do much of the work, but one of the final steps— the mending process—is still done by hand, and the fabrics are carefully inspected three times for any imperfections. “Louis Vuitton has the trunk; Ferragamo, the shoes,” says Holloway. “The thing that differentiates Agnona is the prowess in textiles. There are very few born in textiles.” (Agnona is available exclusively at Holt Renfrew.)
THE BOOK FOR MEN Fall/Winter 2017 Edition
Available on newsstands or preview and order at
Chanel sparks a romance on the high seas with its latest high jewellery collection. By Noreen Flanagan
clockwise, from bot tom lef t: the Flying cloud; Precious float earrings with diamonds, laPis lazulis and Pearls; sailor tat too diamond and saPPhire ring; sailor tat too bracelet with diamonds; and sParkling lines necklace with diamonds.
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photography: Courtesy of Chanel
hen someone who routinely has rarefied experiences was decorated with sails and ringed with security men in stylish is jazzed about an evening you’ve both just shared, black suits. I kept thinking that it was the perfect scene for a you know it was special. It’s the day after the European movie about a jewellery heist starring Jason Statham. launch of Chanel’s latest high jewellery collection, The next day, Grangié tells me that the biggest challenge Flying Cloud, and Frédéric Grangié, the president of watches was arranging security for the multimillion-euro collection. and fine jewellery, is both elated and relieved. “The dinner that “When we first started talking about this one year ago, most we had here last night at La Pausa may never happen again,” people said it was going to be impossible and the insurance says Grangié as we enjoy a cool drink on the grounds of Coco company was really upset with this idea—and when I say Chanel’s recently restored home in Roquebrune-Cap-Martin, really upset, I mean really upset,” he says with a laugh. an area in the French Riviera near Monaco. “Last night was a But Grangié isn’t one to be denied. It was kismet that the once-in-a-lifetime experience for 108 people.” collection would be shown at La Pausa. The company had It’s not that people will never tour Chanel’s home again, purchased the property two years ago, at the same time the but Grangié notes that it’s highly unlikely they’ll ever dine theme for the collection had been determined. “The idea alfresco under a custom-built canopy inspired by the sails of originated from a picture of Gabrielle Chanel on the Flying the Flying Cloud, which was the yacht owned by Chanel’s Cloud,” he recalls. “It inspired our design studio because we lover, the second Duke of Westminster, and the inspiration had never explored this period in her life. It became obvious for the collection. The evening was indeed unforgettably that we should bring the collection to the South of France to exquisite. It began with a seaside drive through Monaco to a place where Gabrielle was probably the happiest.” reach La Pausa, the hillside villa that Chanel built in 1929. The nautical theme in the Flying Cloud collection is reflected At the gates to the single-lane driveway, we were met by two in the rings, bracelets and necklaces that have lifebuoys in white serious-looking men wearing earpieces. They checked our gold, lapis lazuli, diamonds and cultured pearls. There are sailorcredentials and our trunk before we were granted entrance. inspired sapphire stripes on brooches and cuffs, as well as sailor When we walked into the foyer of this monastic and minimal tattoo rings. My favourite is the Sparkling Lines white gold home, I was immediately drawn to the stone staircase, which necklace made from 49 round-cut diamonds and 2,823 brilliantwas inspired by the Aubazine abbey where Chanel spent cut diamonds. “Oh, that one is gone,” Grangié tells me, adding much of her childhood. A silhouette of Chanel was projected that most of the collection has already been sold mainly to onto the wall, echoing the famous portraits of her on the steps. women who purchased the pieces for themselves. These stylish, After the requisite selfie moment, I made my way into the well-heeled women would agree with Chanel’s observation that adjacent rooms, where the collection was on display. Each room “luxury is a necessity that starts where necessity stops.”
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photography by getty
Washing your hair isn’t just an excuse to skip out on Friday night plans; it’s a full-on trend, with clean manes dominating many of this season’s runways.
october 2017 | F A S H I O N
by souzan mIchael
c the bot tle design references the iconic 128.54-carat yellow tiffany diamond as well as the lucida engagement ring. its multiple facets are meant to illuminate the blue-tinted juice.
Customization at its finest, GI v eNcH y’s Blush Noir Révélateur ($43) and L IpS tIck QueeN’s Black Lace Rabbit Cream Blush ($33) appear black but go on sheer, reacting to your skin’s pH upon application and giving you a personalized shade, from soft berry to deep plum.
Tiffany & Co. releases its latest covetable sparkler.
hatting with perfumer Daniela Andrier is the fragrance equivalent of a science geek speaking with Stephen Hawking. Like the author of A Brief History of Time, Andrier has a poetic fascination with time— especially the role fragrance plays in marking it. “I do consider perfumery a magical messenger between the unconscious and the conscious and between the past and the now,” she explains at the launch of tIFFA N y & cO. ( from $120), the iconic jewellery house’s first new scent in 15 years. “It’s not a messenger of nostalgia; it’s a messenger of a time capsule that allows us to situate ourselves between yesterday, today and tomorrow. Fragrance has that power.” Marking those memories, moments and promises has always been the romantic fantasy one associates with Tiffany. Those joyful occasions are what Andrier tried to capture in the floral musk. She describes the process of creating a fragrance as mysterious, adding that it comes out of her like a song you’d sing when you’re unafraid that someone will judge your voice. “What comes to you is the result of the substance of your vital energy—your love for life. These moments are magical, and they’re very poetic.” The opening note to her Tiffany & Co. “song” is vert de mandarine, but the heart of the fragrance is iris. Andrier chose it because she’s “obsessed” with it and because it has long been associated with Tiffany, appearing in the house’s famous illustrations and on lamps, stained glass windows and jewellery, according to Melvyn Kirtley, Tiffany’s chief gemologist. “Wearing a fragrance, like one wears a piece of jewellery, is a very ritualistic part of your day,” he says. —Noreen Flanagan
In the clear
64 F A S H I O N | october 2017
photography: products by carlo Mendoza
The world’s most recognizable lip balm is trying to stay one step ahead of its imitators. A wax-free formula, eOS Crystal Lip Balm ($8) is completely transparent but still super-hydrating with its blend of shea butter, aloe vera and avocado and coconut oils. It’s also mesmerizing to look at.
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aunched by five Toronto-based women, VOIr HAIrcAre ( from $32) merges the worlds of art and hair with packaging that features handpainted images that were created on canvas before being digitally rendered as a label. Named after nature and the elements, the four products (an oil, a mask, a styling foam and a dry shampoo, whose name is a nod to the Patrick Swayze song “She’s Like the Wind” from Dirty Dancing) are made with plant oils and beg for a flat lay.
Honey is suddenly enjoying a moment in the beauty spotlight, being incorporated into all kinds of skincare, from oils to moisturizers. FArmAcy Honey Drop Lightweight Moisturizer ($58) is made with propolis (a combo of bee saliva and wax), royal jelly and antioxidant-rich Echinacea GreenEnvy honey, which is made by bees on the brand’s farm in upstate New York.
Guerl AIN Abeille Royale Youth Watery Oil (from $65) is enriched with Ouessant honey, which is sourced on the French island of the same name, and royal jelly— both known for their reparative power and ability to soothe and illuminate tired skin.
Rihanna knows how to keep her super-fans on the edge of their seats. From the three-year wait for her last album, Anti, to sold-out collaborations with Puma, being a RiRi fan involves a lot of waiting around. So the anticipation and excitement for FeNt y Be Aut y, the singer’s makeup line, which was announced back in 2015, has been palpable. Now the time has finally come, and, somewhat surprisingly, the line’s first order of business is not bold colours but concealers and foundations. “Ever since I saw foundation on my skin, it was like I could never look at my skin without [it] again,” she says. The extensive collection, housed in all-white packaging, includes items that are magnetic, so they click together as a unit in your makeup bag. And blotting powders and papers were non-negotiables for Rihanna, who, it turns out, hates being shiny.
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FeNty BeAuty pro Filt’r soF t mat te longwear Foundation ($42)
photography: products by carlo Mendoza; rihanna by getty; bees and honey by istock
VAlmONt L’Elixir des Glaciers Masque Majestueux ($550) combines honey, propolis and royal jelly— all sourced in Switzerland.
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photography: main by andrew bettles / trunk archive; products by carlo mendoza
Sensitive skin is becoming the new normal. We investigate the reasons why. By Caitlin Agnew
68 â€ƒF A S H I O N | october 2017
n her 1994 hit “Insensitive,” Canadian In addition to artificial chemicals, some “natural” singer Jann Arden laments being on ingredients can cause sensitivities, says Villafranco, Pai AvOcAdO the receiving end of a cruel breakup. adding that many people assume that if it’s plant& JOJOBA hydrAtinG “How do you numb your skin, after based, it’s safe and good for the skin. “That’s just dAy creAm the warmest touch?” she asks, searchnot always true,” she says, citing high concentra($60) ing for ways to avoid getting burned tions of essential oils and certain botanical extracts in her next romantic relationship. As like Japanese honeysuckle and citrus as common sappy as it is real, the song is a poetic natural causes of skin irritation. reminder of the subjective nature of Some irritants, such as air, are impossible to avoid. sensitivity—something that applies as “Regardless of your background, ethnicity, line much to the skin as it does to matters of the heart. of work or habits, you are exposed to air; if you’re Sensitive skin is a self-reported condition defined living, you’re exposed to air,” says Charmaine Cooper, Lancôme AdvAnced by uncomfortable symptoms like tightness, dryness, education manager at Dermalogica Canada. EnvironGénifique itching, burning and, in some cases, redness. “In a mental debris (pollen and dust), pollution (smog, car SenSitive word, your skin hurts,” says Véronique Delvigne, exhaust and smoke) and particulate matter (minus($99) scientific director at Lancôme. The French comcule airborne particles made of metals, carbons and pany recently coined the term “chrono-sensitivity” other compounds) can lead to bouts of sensitivity by to describe temporary outbreaks of sensitive skin causing inflammation and dehydration—so can the symptoms that hit multiple times throughout the sun and even the sunscreens created to protect skin year and last from a few days to several weeks. It’s from UV rays. Cooper recommends incorporating something that more and more people are experiproducts into your routine with ingredients geared DeRmaLOgica encing, as having sensitive skin becomes the new toward shielding the skin against pollution, such as StreSS pOSinormal. “We used to say a couple of years ago that activated charcoal, which helps absorb toxins that tive eye lif t ($90) 50 per cent of women were declaring that they had are already in pores, and niacinamide, a.k.a. vitamin sensitive skin,” says Delvigne. Today, this figure B3, which has been shown to counteract the effects has reached 91 per cent in some countries. of pollution by boosting skin’s barrier and providing antioxidants that fight damaging free radicals. To For many, this could be due to awareness. Google searches for skincare are at an all-time high in Canada, shield against UV rays, Rivers recommends the daily more than doubling since January 2014, which use of mineral-based sun protection, which doesn’t could mean that the general population is becoming irritate the skin like its chemical counterparts can. more knowledgeable about skincare. In a K-beautyIt’s not only what’s on your skin but also what’s influenced era, where many routines involve as going into your mouth that can cause flare-ups. Inflammatory foods and ingredients (sugar, alcohol many as 13 steps both morning and night, this increased dermal awareness can be a double-edged LieRac rOSiand trans and saturated fats) can lead to inflammation sword. “The more potential irritants your skin is lOGie redneSS in the skin cells, which can manifest in a variety of cOrrectiOn exposed to, the lower its threshold for irritation neutrAlizinG ways, ranging from itching and redness to chronic becomes over time and the harder it is to pinpoint creAm ($40) conditions such as rosacea, eczema and psoriasis. what is irritating it,” says Sarah Villafranco, who Another common cause of sensitivity-related redness is founded skincare line Osmia Organics when she emotional distress. “The same membrane that covers couldn’t find a cure for her perioral dermatitis, an nerve endings in our brain is also found in our skin,” itchy rash that affects the skin around the mouth. says Cooper. “That’s why we sometimes get flushing, While the root cause of sensitivity isn’t always blushing, itching and allergies when we’re emotionally RiveRsOL clear-cut, Villafranco says there are several common stressed.” One of the easiest ways to reduce stress is liGht weiGht ingredients that are known to be harsh, many of Spf 30 tinted to put down your cellphone, which may be another SunScreen which are found in traditional soap. She was able to potential cause of sensitivity. While research is in ($39) treat her issue with Osmia’s Black Clay Facial Soap, its early stages, blue light rays emitted from screens which is a sulfate-free blend of olive butter and Ausappear to play a role in macular degeneration—the tralian black clay. “Something like [bar] soap is going deterioration of the part of the retina responsible for to literally wash away the fats on your skin,” explains vision—tipping off skincare product developers that Dr. Jason Rivers, a Vancouver-based dermatologist. it may also be a factor in dermal health. The epidermis acts as a barrier to maintain moisture Skin is our armour against the world, and when (lipids and water) to keep out pollutants, dirt and threats against it are coming from all sides, it seems debris. “A compromised skin barrier is the first step there’s really only one way to stave off unwanted toward developing symptoms of sensitivity,” he says. reactions. “You want to try to avoid those situations Rivers advises his patients with sensitive skin to where the triggering agent is causing the issue,” steer clear of products with high concentrations says Rivers. Like sage songstress Arden suggests, learning how to be insensitive is a process. Audit of powerful active ingredients, like retinoids and Osmia OrGAnicS your products for sensitizing ingredients, protect salicylic acid as well as chemical sunscreens and BlAck clAy formaldehyde-releasing agents like DMDM hydanyour skin from internal and external irritants and fAciAl SOAp ($31) toin, which is an antimicrobial agent and preservative. take some time to chill out.
Tapping Out hile visiting Austin, Texas, recently, I spotted a beauty brand I hadn’t seen before, called Stop the Water While Using Me! The German body-care line, which includes everything from shampoo to toothpaste, wears the heart of its mission—to conserve a non-renewable resource—on its recyclable sleeve. Its name cheekily calls out one of the First World’s collective bad habits: leaving the faucet flowing when turning it off could save countless litres of water. The fact that I stumbled upon this brand in a state where droughts are a constant concern isn’t lost on me. Water and grooming go hand in hand, but the amount of H2O we use while lathering up in the shower or brushing our teeth at the sink is only one part of the story. There’s also the water in our cosmetics. Just scan the back of most skincare products—foundation and mascara, too—and you’ll see it’s usually the first ingredient mentioned, accounting for 70 to 80 per cent of the formula. “Water is a wonderful, universal solvent,” says cosmetics chemist Ni’Kita Wilson to explain why it’s so widely used. “It allows us to put water-soluble ingredients into a formula and helps cut the greasiness and heaviness of some ingredients.” Without it, says Wilson, achieving a “nice, elegant emulsion,” like in a creamy moisturizer or lightweight serum, isn’t possible. Water also helps cosmetics companies cut costs, she adds, because it’s less expensive than alternatives like essential oils.
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But according to a report from trend forecasting agency WGSN titled Spotting the Beauty Trends and Markets in 2020, the tide may be turning as awareness grows about different water crises around the globe, including one right here in Canada: the boil-water advisories on many of our First Nations reserves. “Water remains a key area of concern, particularly across Asia, where China’s second most threatening environmental issue continues to be water shortage,” says Theresa Yee, senior beauty editor at WGSN. As a result, “beauty brands are starting to look at processes and ingredients that ensure products limit their dependence on water.” Often ahead of the curve in formula innovation, South Korean beauty brands like Whamisa, May Coop, The Lotus and Frudia already feature anhydrous products in their lineups, though they’re not necessarily created with the environment in mind. Removing water from the equation frees up space for more botanicals and essential oils, which appeals to ever more discerning consumers with sky-high expectations. “Instead of the base being water, a potent action-packed sap or extract is the top ingredient,” explains Alicia Yoon, founder of Peach & Lily. “This can help deliver higher performance and better results.” Deciem’s clinical-inspired range The Ordinary features a guide on its website to let customers know whether a product they are browsing is free of things like silicones or water. For instance, its Vitamin C Suspension 23% + HA Spheres 2% comprises L-ascorbic acid, “which remains completely stable due to the absence of water,” says the brand. »
photography by travis rathbone / trunk archive
Water is the number one ingredient in many beauty products. But, as Sarah Daniel reports, the tide may be turning.
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3 1. LuSH Mouthwash tabs ($10) in “crèMe de Menthe.” 2. VApOur essence restorative night treatMent ($112). 3. MAI cOuture skincare blot ting paper ($13). 4. MAyA cHIA the super blend ($133). 5. GrAydON superfood Mask + scrub ($39). 6. decIeM the ordinary vitaMin c suspension 23% + ha spheres 2% ($6).
72 F A S H I O N | october 2017
eaving H2O out of the mix offers other benefits, too. While we aspire to gulp down eight glasses of water a day, applying it topically can actually dry out skin; when water is absent, there is no longer a breeding ground for micro-organisms, which means the product will have a longer shelf life without the need to add harsh preservatives like parabens, explains Krysia Boinis, cofounder of Vapour Organic Beauty, an entirely-water-free line that uses oils like camellia seed and organic beeswax instead. There is also the convenience factor. Consider Mai Couture, created by makeup artist Mai Tran, whose biodegradable blotting papers are infused with everything from foundation (just press a sheet on skin and the pigment transfers to the complexion) to dry versions of ingredients normally reserved for traditional skincare, like blemish-fighting salicylic acid and anti-aging rosehip oil. Then there’s French apothecary brand L’Officine Universelle Buly, whose water-activated Kami soap sheets are much chicer than a pump of hand sanitizer. Creating a water-free product can also mean addressing another environmental issue that’s just as important as water conservation: plastics and excess packaging, like pump dispensers. Lush was a pioneer in this respect, when it started making massage and shampoo bars in the early ’90s. It has since expanded its line to include everything from solid hand masks to mouthwash. It has also paved the way for brands like New Zealand’s Ethique, a solids-only range featuring 30 different types of bars—including an anti-aging bar made with cupuacu butter and coconut oil and even a self-tanning bar—that are so concentrated they last up to six times longer than their liquid counterparts. Still, as Wilson points out, creating a formulation without water isn’t straightforward. It means finding different ways to ferry ingredients into skin. And it also requires consumer education to get people comfortable with using and applying products with an unconventional format and consistency. That’s why we’ll start to see more innovative textures and new delivery methods, says Belinda Carli, director of the Institute of Personal Care Science, who cites freeze-dried ingredients and “moisturizer or serum concentrates to be mixed with water before application” as things we may see in the future. In the meantime, trailblazers like Nannette De Gaspé are already making waves in the industry. Her dry masks harness biomimetic technology to “imprint” ingredients like marine extracts and peptides onto fabric, which, when massaged, releases them into skin. Boinis says she embraces the challenge of formulating without water and attributes Vapour Organic Beauty’s success so far to the fact that she and her partner don’t have chemistry degrees. “When you have a traditional formulating perspective, it limits your options for what kinds of creative solutions you’re going to come up with,” she says. And for her, there was never any alternative. “We are located in Taos, New Mexico, and water is very precious here in the desert, so it felt very ecologically irresponsible to make products that are 70 per cent water,” she says. And what we’re giving up in H2O we’re gaining in other areas. “There are just so many wins when you remove water from the formula.”
photography by Carlo Mendoza
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F R E E
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r AlpH l AureN
ISAbel mAr ANt
he night before Ralph Lauren’s Fall 2017 fashion show, the models had important plans: They were shampooing their hair. They did so at the request of Redken global creative director Guido Palau, who led the backstage team and turned clean hair—and the airy texture and soft shine that comes after a good lathering session—into a complete style that stood on its own. The radically simple look anchored the season, with well-washed hair sweeping the runways at Christian Dior, Isabel Marant, Coach and Chloé, sending a message that clean hair has never seemed quite so chic. Perhaps the urge to suds up—and put one’s arsenal of styling aids on hold—stems from our current obsession with detoxifying and purifying every part of our being. “When your hair feels light and fresh, so do you,” explains Jorge Joao, international Redken artist. Washing your hair is no longer just one step in an overall routine—it’s the only step for some. “Clean hair can be a style in and of itself,” contends Howard McLaren, celebrity stylist and co-founder of R+Co, who says the wash-and-go look appeals to women who would rather not deal with heavy products or who have realized that dry shampoo can only take them so far. “Though it can have a ‘cleansing’ effect, the only way to truly clean your hair is to wash it,” he explains. “If used extensively, dry shampoo can create a buildup on the scalp.” As French hairstylist
Christophe Robin puts it, “You can’t live on dry shampoo!” So, it’s no wonder “real shampoo” sales are booming in Canada. They have risen consistently over the past five years, reaching $337 million in 2016, according to market research company Mintel. Natural and organic formulas have been fuelling much of the demand. (So-called “herbal” shampoos are the fastest growing segment of the market.) “Consumers are more aware than ever, and they know what they don’t want in their beauty products,” says Robin. On the no-thanks list: silicones (“they have a tendency to suffocate the scalp and make your hair fall flat and your scalp oily,” cautions Robin), parabens, synthetic chemicals and punishing cleansing agents that can strip the hair. “Until recently, shampoos could be too aggressive due to the use of harsh sulfates,” notes McLaren. Now, in the millennial era of total transparency, “clients are driving the standards for what ingredients they don’t want to see in their products,” he says. This uprising has paved the way for next-level “smart” shampoos that tap into natural actives and uniquely different textures to clean your hair in never-seen-before ways. Redken’s Clean Maniac Micellar Clean-Touch Shampoo, for example, is infused with micellar technology (normally found in skin cleansers and makeup removers) for a first-to-market hair care innovation that gently lifts impurities from the surface. “Most shampoos clean by removing all of the oils in the hair and on the scalp,” says Joao. “The micellar molecule encases all the »
photography: Models by JaMes CoChrane; ralph lauren by getty; bubbles and foaM by IstoCk
CHlOé ISAbel mAr ANt
ISAbel mAr ANt
By Kari Molvar
With shampoo sales reaching peak levels and freshly washed hair dominating the runways, the latest trend is all about lathering up.
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beautyhair dirt and unwanted oils in your hair and removes them while making sure to leave behind your natural oils.” When poured from the bottle, it feels more watery than your typical shampoo but still lathers up— just enough. Or, consider IGK’s Smoke & Mirrors Conditioning Cleansing Oil; the melting formula is a riff on face cleansers and gets rid of excess grease with a blend of coconut and sweet almond oils. (Plus, it functions as a shampoo and conditioner in one.)
R+c0 analog cleansing foam conditioner ($35 )
Redken clean maniac micellar clean-touch shampoo ($21)
igk smoke & mirrors conditioning cleansing oil ($35 )
photography by Carlo Mendoza
ome concepts break the mould with shape-shifting formats. When dampened and rubbed on your scalp, Robin’s new Hydrating Shampoo Bar transforms from a solid to a foam state, sealing in moisture with aloe vera, castor oil and glycerine. The novel creation is handmade using cold saponification—a preservative-free soapmaking method that maintains the integrity of the ingredients and produces a high-quality, nourishing lather. “Your hair needs a few washes to adapt because, unlike classic shampoos, which are waterbased, this is oil-based,” explains Robin, who suggests using the concentrated bar two to three times a week and following it with his Hydrating Leave-In Mist. “The hair is going to feel crisp when you’re rinsing it out,” he says of the bar, which “ultimately gives texture to the hair and makes it stronger in the long term.” When your hair looks on point post-shampoo, there’s little need to apply anything else. That’s the view of McLaren, whose R+Co shampoos come with built-in styling benefits. The Analog Cleansing Foam Conditioner contains shine-enhancing nettle leaf and strengthening horsetail extract, while the Cactus Texturizing Shampoo bulks up strands with diatomaceous earth to add grip and body without the need to break out the mousse or beach sprays. “Being able to use ingredients in shampoos and conditioners that have traditionally only been used in styling products is a really cool advancement,” says McLaren. The end result, he adds, “sets the pace for the rest of your style.” Still, even the most out-of-this-world shampoo should only be used a few times a week. “I’m not for washing the hair every day,” says Robin. “Stretching it out for a few days is better for your hair,” agrees Joao. “Let your natural oils accumulate a little bit—this is how your hair and scalp get some of their nutrition.” And no matter the type of shampoo, use the right technique: Focus on the scalp rather than the ends, and, as you rub, “don’t scratch your hair with your nails,” pleads Robin. “Gently massage—trust me, it does the work!” And give your hair a good, thorough soaking to finish. “Rinse really well!” says Robin. “We never rinse enough!” As for the advice to rinse and repeat? Nah. “Back in the ’70s, some guy coined the phrase and the trend was squeaky-clean hair,” says McLaren. Times have changed. “When you are using a great shampoo, you just need to wash once,” he says. Now, it’s one and done—and out the door.
chRistophe Robin hydrating shampoo bar ($26)
october 2017 | F A s h i o n
Risk Management A strong family history of breast cancer made one writer get serious about preventive measures.
he “big C” runs in my family. Both my parents passed away at 60 from the disease (my mother from breast cancer and my father from a lung sarcoma), and my only aunt is a breast cancer survivor. While my mom and aunt hadn’t been tested for BRCA1 or BRCA2 gene mutations—which are responsible for about 25 per cent of all hereditary cancers—and I don’t carry the mutation, it’s fair to say that I’m at a genetically elevated risk. Being a health writer has turned me into a bit of a hypochondriac regarding all ailments, and breast cancer has always topped my list of concerns. However, it took losing a 34-yearold friend last year to Stage 4 breast cancer to bring to light how the disease can strike at any age. At 43, I decided it was time to start being more proactive about my health instead of just worrying about getting a diagnosis. To do this, I combined my personal research with advice from my medical doctors. My first stop was to revisit thermography, which I tried four years ago on the advice of my OB/GYN, who said that, given my history, it was a safe additional screening procedure to complement my biannual mammograms and ultrasounds. I was worried about relying on mammograms alone, as they don’t always catch breast cancer early enough and sometimes, as was the case with my mother and friend, even miss it completely. (Very dense breast tissue can make it hard to see tumours.) Thermography uses a digital infrared scanner to look for heat or inflammation near the surface of the skin, as it’s thought that fast-growing cells, such as cancer cells, create more heat than normal cells. Excess heat will give your breasts a ranking between TH1 (lowest risk) and TH5 (highest risk) and could help you assess your breast cancer risk. Doctors also look for symmetry between the breasts. Even at a TH2 level, if the heat mapping between the breasts is unilateral, it warrants a visit to your doctor, where you can ask for a breast exam, mammogram and/or ultrasound—regardless of your age. Now, inflammation doesn’t necessarily mean cancer; it simply means an increase in probability. Another limitation of
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the test is that it costs about $250 per session, whereas mammograms and ultrasounds are covered by government insurance. A 2008 study published in The American Journal of Surgery found that high-resolution digital infrared imaging is a safe and practical addition to clinical breast exams and mammography, especially for women with dense breast tissue. Dr. Alexander Mostovoy, author of Breast Cancer Is a Preventable Disease, also sees thermography as a valuable tool. “If your thermography report comes back saying you are at an elevated risk, speak with a health care provider to lower your risk while preventive measures are still highly effective,” he says. Preventive measures could include eating properly and exercising to improve your immune function. Research shows that between 30 and 40 per cent of cancers can be linked to diet, which has an impact on us not only through the chemicals and macronutrients we consume but also by causing obesity, which is another cancer risk factor. And, according to a 2014 article in Nutrition Journal, the overconsumption of refined sugars, artificial sweeteners, salt, saturated fats, gluten and genetically modified foods impairs the body’s immune system and increases inflammation, both of which increase the risk for the disease. In addition to eating well and exercising to reduce one’s cancer risk, there’s another often overlooked factor: emotional, physical and environmental stress. “In this day and age, many of us have some degree of cortisol dysregulation,” says Kristy Prouse, MD, FRCS(C), OB/GYN and chief medical officer at the Institute for Hormonal Health in Oakville, Ont. This means that cortisol— our stress hormone—levels can be elevated at the wrong times of the day and too low at others, which can compromise immunity and impact many other hormones. “Estrogen dominance is one of the risk factors for breast cancer,” says Prouse. After my uneven thermography results (both breasts were TH2, but the pattern of inflammation was different), I decided to get my hormones tested. It came back that I was estrogen-dominant and my progesterone was »
photography by getty
By Nancy Ripton
A N E P I C A D V E N T U R E T H AT ’ S F U L L O F F L AV O U R !
C O - S TA R R I N G
CRANBERRY © 2017 Ocean Spray International, Inc.
IN JUICE AISLES NOW
AN OCEAN SPRAY PICTURE/CRANBERRY/PINEAPPLE/“CRAN-PINEAPPLE TM COCKTAIL” BASED ON THE LIFE STORY A CRANBERRY AND A PINEAPPLE / PRODUCED BY MOTHER NATURE EDITED BY A BUNCH OF FARMERS / DIRECTED BY GOOD TASTE
M U L B E R RY
T H E
C E N T R E
S T Y L E
beautyhealth extremely low. When it comes to hormones, progesterone is the “mother hormone” at the top of the chain. “When progesterone is depleted, hormones downstream from it may also deplete,” says Prouse, adding that symptoms of estrogen dominance include heavy periods, breast tenderness, PMS, fibroids and endometriosis, among others. I decided to look into bioidentical hormone therapy on the recommendation of my OB/GYN to help balance out my estrogen-to-progesterone ratio. Unlike synthetic hormones, bioidentical hormones have the same molecular structure as those found in the body. Research published in Postgraduate Medicine found that bioidentical progesterone plays a protective role in breast health. “For instance, bioidentical progesterone has been shown in many studies to decrease breast cell proliferation,” says Prouse, “whereas the synthetic form of the hormone, progestin, has been shown to increase breast cell proliferation.” Prouse has been taking bioidentical progesterone for the past five years. “I have an extensive family history of breast and ovarian cancers and a natural tendency toward estrogen dominance,” says the 47-year-old. “My body is in better balance now than it was in my early 40s.” Seeing how out of balance my hormones were was a wake-up call. As women, we juggle so many different things, and it’s easy to fall into a stressed and sleep-deprived state and let our diet slip to something that’s far from perfect. For me, I realized that a lot of my late-afternoon fatigue was due to my hormone imbalance, and since taking steps to correct that, I have felt a huge energy boost and am sleeping better and waking less through the night. I started on a supplement regimen aimed at supporting my adrenal glands, cleaned up my diet and focused on yoga as a means to handle stress. I also started visiting an osteopath regularly. While I was prescribed a bioidentical progesterone cream, I have yet to try it. The other methods seem to be working, and my doctor suggested that I retest my hormones to see how they’ve changed before using my original prescription. While there are no guarantees in cancer prevention, I feel empowered to be taking positive steps toward better health.
VAN CLEEF & ARPELS
LINKS OF LONDON
ANItA CAre bra ($110); breast forms (from $190 each )
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This bra might look just as pretty as any others in the lingerie department, but it has many hidden benefits. By Anita, which was founded in 1886 in Dresden, Germany, the Care line not only accommodates a wide range of full or partial breast forms but also has special features, like a higher cut around the arms to cover any scar tissue. From post-op compression bras to dainty day bras to athletic sports bras, Anita Care offers TLC during treatment, recovery and beyond. Consider this your bosom buddy.
october 2017 | F A S H I O N
photography by carlo mendoza
Even if you don’t opt for breast reconstruction post-mastectomy, you can still feel like your old self.
Y O R K D A L E . C O M
Get Your Glow On
HERO SKINcARE PRODUcT rapid wrinkle repair regenerating creaM ($33) froM neutrogena delivers accelerated retinol sa into the skin, sMoothing the appearance of fine lines.
Discovering your go-to skincare routine is like finding the perfect pair of jeans. Photography by Brent Goldsmith Styling by Eliza Grossman
TIP: Match your boyfriend jeans with a borrowedfroM-the-boys plaid blazer and a striped shirt with on-trend super-long sleeves.
Jacket, $215, Banana Republic. Turtleneck, $50, Uniqlo. Shirt, $960, Maison Margiela at Holt Renfrew. Pants, $360, Paige. TIP: add a lit tle street st yle to this sophisticated look with gently distressed boyfriend jeans.
AGING SKIN When Toronto-based Andy La Magna isn’t modelling, she’s teaching yoga and Pilates. She says she approaches her skincare routine with the same discipline she does her classes. “I first noticed fine lines on my forehead and around my eyes in selfies,” she says. “I thought, ‘Whoa, what’s that?’” La Magna says she moisturizes religiously using products that contain active ingredients, like retinol, as well as products that contain hyaluronic acid. She’s also never without sunscreen, as she leads an active lifestyle outdoors—one that often involves wearing the perfect jeans. “Jeans make me feel relaxed and comfortable in my own skin,” she says.
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Jacket, $140, Levi’s. Top, $15, and earrings, $15, H&M. Skirt, $295, Pink Tartan x Preloved.
TIP: PoP and Pin the collar for a neW, st ylish take on the classic denim jacket.
HERO skincaRE PRODUcT hydro boost gel cream ($20) from neutrogena is light Weight and locks in moisture all day.
TIP: let your jacket do all the talking. but ton it uP and Pair it With a simPle White tee.
TIP: Playful Patches give a simPle jean skirt a Whimsical and customized touch.
TRANSITION SKIN Theresa Cann knows all too well how seasonal transitions affect her skin. In 2011, she moved from Jamaica to Toronto, and the first cold blast of winter left her skin feeling dry and super-sensitive. “I don’t think I’ll ever get used to the weather,” she laughs. “But I’ve learned how to take care of my skin. At first I used astringents, but that only made things worse and I started to have breakouts until I realized that, for me, it’s all about using super-hydrating gel creams.” Ironically, she had the same struggle with jeans. “I gave up on jeans because I couldn’t find the right fit,” she says. “Then I tried on a pair of high-waisted bell bottoms. I love anything from the ’70s.” Now she’s dancin’ all night to “Blame It on the Boogie” by The Jacksons.
october 2017 | F A S H I O N
beautyFASHIONxNEUTROGENA Top, $60, overalls, $70, and rings, from $7, H&M. Shoes, $695, Aquazzura at The September. Hair and makeup, Susana Hong for P1M.ca. Hair and makeup assistant, Rosanna Villani for P1M.ca.
HERO SKINCARE PROduCT the light theraPy acne mask ($46) from neutrogena uses blue light to kill acnecausing bacteria and red light to reduce inflammation.
TIP: mix a lit tle boho into this traditional country look with a swee t eyele t ruffle toP. TIP: overalls aren’t just for kids—or farm folk. look for a st yle that’s slim and croPPed.
TIP: Put away your sneakers and sliP on some daint y mary janes, or Pair embellished flats with modern Pearl rings.
ACNE-PRONE SKIN Claudia Ricard was 12 years old when she first started having issues with acne. Six years later, her skin is much better. “I use gentle cleansers and moisturize in the morning and at night,” she explains. “I also try to drink two litres of water a day and try not to eat too much chocolate!” The Trois-Rivières-based model has only been working for five months, but she’s determined to walk the Victoria’s Secret runway and live in New York City one day. She enjoys wearing high fashions for shoots, but “off duty” it’s all about her denim jacket and overalls. “When I was scouted, I was actually watching a runway show and the agent saw me in the crowd. I’d always wanted to be a model, but I never thought it was possible. This is a dream.”
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“Finding the right skincare product for your skin type is essential for better-looking skin, and it will make everything else you use look better, too,” says Kirk Brierley, beauty expert and Cityline contributor with Neutrogena. Join us on September 14 for a Facebook live chat with Brierley.
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NeutrogeNa rAPid wrinKLe rePAir moisturizer sPf 30 ($30)
NeutrogeNa hydrAting wiPes ($9) NeutrogeNa rAPid cLeAr stubborn Acne sPot treAtment ($10)
NeutrogeNa rAPid wrinKLe rePAir eye creAm ($30)
NeutrogeNa hydro boost hydrAting eXfoLiAtor ($11)
NeutrogeNa PinK grAPefruit oiL-free Acne moisturizer ($10)
NeutrogeNa hydro boost hydrAting serum ($20) NeutrogeNa mAKeuP removing night cALming wiPes ($9)
SmaShbox L.A. Lights PALet te ($40) in “mALibu berry”
SmaShbox brow tech to go ($32) in “brunet te”
NeutrogeNa PinK grAPefruit oiL-free Acne wAsh fAciAL cLeAnser ($10)
SmaShbox be LegendAry LiPsticK ($25 ) in “infrAred mAt te” SmaShbox fuLL eXPosure mAscArA ($28) in “Jet bLAcK”
SmaShbox LimitLess Liquid Liner ($29) in “Je t bLAcK”
SmaShbox ALwAys on Liquid LiPsticK ($28) in “in demAnd”
october 2017 | F A S H I O N
photography by hans gissinger / trunk archive
The Vagina Dialogue The conversation is changing. What was once taboo is now cocktail party-approved. By Briony Smith
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t was 2003, and I was a young pup of 20 thrilled to be invited to join two slightly older editors from the university newspaper for dinner. That night, our conversation flitted over the usual topics: school politics, music we liked.... But I almost choked on my penne when one of them casually mentioned her vibrator. The other chimed in, laughing, with a joke about her tools. I still remember the visceral jolt I felt at these women openly admitting to something so private. To me, this small moment felt like an act of great bravery. Such honesty helped inspire me to start speaking up more about my body and sexual proclivities—and to buy my own vibrator. (Almost a decade and a half later, we are still together.) For the past 14 years, I’ve felt like I was one of the few women willing to talk about these things, but now it’s finally the norm to discuss our vaginas, debate the merits of different sex toys or period panties and celebrate the return of the bush—even during dinner party chit-chat. It turns out that vaginas are like fashion trends: They always come back in style. Psychologist and psychology professor Laurie Mintz, 57, just published Becoming Cliterate: Why Orgasm Equality Matters and How to Get It, in which she reminisces about coming of age in the pro-vag ’70s—the era when “women were getting together in groups and looking at their vulvas,” she says. “We have this cultural cycle of things rising to the top and being buried again, especially concerning women’s sex uality. During the sex-positive feminist revolution, everyone knew about the clitoris. When I got back into [the sex field in recent years], I looked around and was like ‘Holy shit! Where has all this knowledge gone? These young women don’t know about themselves. They’re not having orgasms; they’re not talking about [sex].’” So why has the veil on the vagina been lifted again? Mintz attributes it to the resurgence of the women’s movement in general—the one positive outcome of the Donald Trump era. “It is in reaction to this more conservative, anti-women atmosphere that change and liberation happen,” she says. Women
are saying: ‘Oh, no, no, no, you’re not gonna silence my voice. You’re not gonna silence my sexuality. I am powerful.’ And that includes pussy power.” Our punanis now have more purchasing power, too—and companies want to capitalize on that. “The market is starting to realize that women are interested in taking control of their sexual and vaginal health,” says Laura Schubert, CEO and co-founder of Fur, the maker of Fur Oil, a product that was marketed initially for pubic hair but works on all kinds of hair. The 34-year-old’s experience with body hair has changed over her lifetime; as a gymnast growing up, she felt pressure to groom year-round. In recent years, however, she has felt “a big shift, from Sex and the City to Girls, in terms of pop culture references to body hair, which has promoted a wider acceptance of variation in grooming,” she says. “Women are becoming more comfortable discussing pubic hair nowadays, perhaps with the rise of social media as a filter-less platform for conversation.” After years of our staying silent about our monthlies, they have also become a hot topic. Torontobased comedian and actress Sandra Battaglini, 46, remembers growing up in a less “flow-friendly” time. “Italians wouldn’t tell you to use a tampon because tampons are for sluts,” she says, laughing. “My mother wore cloth at night—like in the old country.” Now, there are many more options, including menstrual cups as well as organic tampons, pads and liners from Lola and Jessica Alba’s The Honest Company. Remember the photo of runner Kiran Gandhi bleeding through her tights that went viral in 2015? She became the poster girl for the increasingly popular practice of free bleeding, where you forgo tampons and pads and drip straight into specially designed ultra-absorbent underwear instead. Most encouragingly, the companies leading the fast-growing period panties market—including Thinx and Canadian brands Knixwear and Luna—are run by women. Not all of these new products are good for our junk, however. An American chiropractor was criticized online this past winter for securing a patent on »
OctOber 2017 | F A S H I O N
the V lISt
The celebs and moments that have turned the tide when it comes to talking about our lady parts. JANuAry 2015: Gwyneth Paltrow touts her yoni steams (later debunked as hooey).
NOvember 2016: On the red carpet, Chrissy Teigen accidentally flashes a little fanny but owns it, tweeting “Apologies to anyone harmed mentally or physically by my hooha.”
AprIl 2016: Jennifer Lawrence confesses to choosing her Golden Globes look based on roominess for her period bod.
FebruAry 2017: Lena Dunham proudly flaunts a full bush in the Girls finalseason premiere.
FebruAry 2017: The trailer for Amy Schumer’s new stand-up special features two jokes about what her box smells and tastes like.
90 F A S H I O N | october 2017
the Mensez Feminine Lipstick, a labiasealing glue stick that allegedly tacks the lips together to retain menstrual blood. (The glue dissolves when you urinate or wash with soap.) Even more disturbing was his response to an angry social media commenter: “You as a woman should have come up with a better solution than diapers and plugs, but you didn’t. Reason being that women are focused on and distracted by their period 25 per cent of the time, making them far less productive than they could be. Women tend to be far more creative than men, but their periods…stifle them and play with their heads.”
ther items being peddled play on our deep-seated body shame—that our genitals are smelly or loose—and can be harmful. “The diet industry has been making money off women’s insecurities for years, and now it’s moved to our vaginas as well,” says Mintz. There’s labiaplasty (altering the folds of the labia) and laser vaginaltightening procedures (promoted by the Kardashian clan) in addition to a growing demand for jade eggs to “strengthen” your yoni (even though Gwyneth Paltrow’s Goop came under fire this year from health professionals for selling them). “Stop!” cries Mintz. “You don’t need a bionic vagina—and you could hurt yourself.” Simple Kegel exercises are far more effective, since they involve releasing the muscle as well as clenching it, and are less dangerous. (The porous jade stone could encourage bacterial growth, leading to infections, or the egg could get stuck. Retrieving it could lead to a scratched vaginal wall and more infection.) Feminine wipes, which claim to keep your vagina’s pH in balance, tend to be heavily scented and are also messing with a good thing. Dr. Fay Weisberg, director of the Fem Renew Clinic in Toronto and assistant professor at the University of Toronto’s department of obstetrics and gynecology, says she’s seeing more patients with vaginal irritation stemming from wipes. “It’s getting out of control,” she says. “Your body has its own way of taking care of itself, so anything that changes the pH from what it should be
is going to be harmful, causing other problems and irritation.” These wipes are no different from the douches that were popular in the ’70s and ’80s, Weisberg adds. “They should fall by the wayside, too.” And then there is the most fun pro-v advancement: Women are making better vibrators. Just like Jane Fonda and Lily Tomlin on Grace and Frankie during season 3 (2017), more women are designing them. In 2013, British sex shop mega-chain Ann Summers built a TV show around real women designing sex toys, while Ti Chang of San Francisco company Crave produced the minimalist Vesper vibrator, which can be worn as a necklace. Industrial designer Carolina Formoso oversaw the creation of the more affordable—but still beautiful— LiveSexy line for Jimmyjane. Among the most innovative of the pack, however, is Dame Products, which crowdfunded over $1.2 million for its pretty Eva and Fin vibrators. (Even the names are cute.) What does all this buzzy femtech have in common? They’re not shaped like a penis. Now, women are creating the clitcentric vibrators of their dreams in the shapes and sizes they actually want—not the form that many male designers just assume we want—which can lead to better sexual health overall. “Many women have their first orgasm with a clitoral vibrator,” says Mintz. “This is because these vibrators provide the type of targeted, specific clitoral stimulation a great number of women need for intense pleasure and orgasm. Research shows that women who use such vibrators have easier and more frequent orgasms, both alone and with partners.” And, even better, more orgasms can lead to improved general health, she adds, pointing out that orgasms decrease stress, promote more restful sleep and even alleviate pain. These sex toys don’t just give great Os: Since the vagina taboo is BFFs with the female-pleasure taboo, getting rid of one can help eliminate the other. “In terms of gender politics, it all comes down to the regulation of our sexuality and our sex,” says Alex Fine, 29, CEO and co-founder of Dame Products. “Female pleasure and truly owning the fact that we have genitalia is kind of core. I don’t think we will ever [have gender equality] until we all truly acknowledge our bodies.”
photography by getty; paltrow from @gwynethpaltrow; girls by hbo/mark schafer
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editor: greg hudson
c u lt u r e i d e a s,
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d o e r s
a n d
t h i n k e r s
Serena Ryder finds utopia. By Samantha Edwards
erena Ryder was only eight years old when she first performed onstage. It was at a legion hall in Millbrook, Ont. (population: 1,632). She basically hasn’t stopped performing since, whether she’s practising new songs at small clubs or singing for sold-out crowds. So it’s not surprising when she breaks into song during our interview. Twice. Over the years, Ryder has steadily been making a name for herself as Canada’s next big pop export. She released her first album in 1999 and won the Juno Award for New Artist of the Year in 2008. But as her career was taking off, she suffered a months-long, stay-in-bed-all-day bout of depression. Thanks to a good therapist, antidepressants and falling in love, she emerged from her darkest period stronger than ever. The result was her breakout album, Harmony, and its quadruple-platinum single, “Stompa,” a rallying cry about getting up, allowing music to heal your soul and, yes, stomping your feet. Ryder’s new album, Utopia, keeps that feeling going with groovy romps like “Electric Love” and slow-burner ballads that recall her early career, when she was just a small-town Ontario girl with an acoustic guitar and a killer voice. This fall, the 34-year-old embarks on her headlining crosscountry tour. She might not stop at any legion halls, but she’ll still feel right at home. »
october 2017 | F A S H I O N
cultureiNTERViEW It was so Important to me because what made my struggle the hardest was thinking that I was the only person going through this. It’s been five years since the release of Harmony. What have you been up to? “I ended up touring Harmony for four years, and the crowds kept getting bigger and bigger. For me, a musician who’s been doing this since I was, like, eight years old, it was an amazing and humbling experience. I loved every minute of it, but, by the end, I needed a break. At the time, I was also going through a breakup, so I was thinking: ‘What am I going to do? Where have I always wanted to live?’ I’ve always loved the ocean, so I moved to California, near Venice Beach.”
and who seemingly has their shit together has gone through depression, it’s worth it. If I can do it, then anybody can go through it. There was no way I could have kept my mouth shut.” Is songwriting therapeutic for you? “Absolutely. It’s the way I’m able to express my inexpressible emotions and feelings.” I’ve always been envious of creative types who can find a catharsis in playing music, writing or making art. I find eating chips and watching Netflix therapeutic. [Laughs] “Dude, I find that therapeutic, too. But there’s also joy in hearing or experiencing art. I get so much joy from listening to a beautiful song or watching a movie that just gives you all the feels.”
You recorded Harmony in a small cedar-clad studio in Toronto dubbed “the cottage,” so I was surprised you moved to Los Angeles—it’s such a contrast. I remember thinking at the time, “Where did that come from?” And it was during a breakup? “That was a huge part of it. And it was Do you remember the first song or musician that you listened to where also the ending of an album cycle, which is not necessarily like a you thought “Oh, my God, this is everything”? “Leonard Cohen was breakup, because you know you’ll perform those songs again, but gigantic for me. He put all my crazy emotions into words and it’s the end of something that was once new. I knew the next step wove them into a perfect ocean of music. I remember being in my was to make another record, but first I needed to do a little living. bedroom as a 12- or 13-year-old, candles lit and lights dimmed, I feel like a lot of artists feel pressured to release something right and listening to ‘Suzanne’ on vinyl over and over again.” away. In L.A., I spent a lot of time [hanging out] by the ocean and For an aspiring musician, one of the advantages of growing up in a big riding my bicycle around Venice Beach. I felt like I was in a Jim city is being exposed to different types of music and things like record Morrison song; I was just taking in everything—the sights, the stores and festivals. What are the perks of growing up in a small town? sounds and the people—and then I started overflowing and I was “I didn’t know the reality outside where I was, so my imagination like ‘I need to start writing—now!’ I had so much to say, and I felt was gigantic. I grew up thinking that the outside world was this like all of my emotions had exploded.” place I might never see and that there were people and cultures I heard you had nearly 100 songs for the new record that you then I might never see. What I was aware of was based on movies, whittled down to 12. Did it feel like you were killing your babies? “Oh, television and MuchMusic. I always felt like something was going no, it didn’t. There’s a life to those other songs—just because to explode out of me. When I first started writing and creating my other people aren’t hearing them doesn’t mean they don’t exist.” own music, that was my outlet. Music and art are so important for children, especially in their formative years, because there are all You have performed with Melissa Etheridge and recorded a duet together, of these emotions swimming and circling around [them]. In small “Broken Heart Sun,” and now the two of you are really good friends. How towns, if you don’t know where to put that energy, it can end up did you meet? “I wrote that song, and the producer showed it to in really bad places.” Melissa and she loved it. She ended up singing [her parts] in L.A. The song was on the radio and I still hadn’t met her. We met in What do you love about touring? “ The shows—performing and 2011—and you know when you meet someone and you’re like ‘I seeing the audience’s faces. The best part is when the album has feel like I’ve known you my entire life’? That’s what happened. been out for a little while and people start learning the words We looked at each other and were like ‘Hey, soul sister, how’s and singing them back to you.” it going?’ It’s funny because for my entire life people have been It’s interesting that you say you look at people’s faces when you’re comparing me to her. We bonded instantly.” performing, because when I’m in an audience, I always think I just look While you were doing press for Harmony, you talked openly about like a blur. “It’s hilarious because I feel like so many audience your struggle with depression. You could have just released the album members don’t realize that I can see them. Sometimes I have without that context and nobody would have known the difference. Why to say ‘Hey, guys, this isn’t a TV show. I can see you looking was it important for you to talk about it? “It was so important to me at me, so if you want to smile or wave, I’ll wave back. Let’s because what made my struggle the hardest was thinking that do this together!’ Audience members are kind of shy, like ‘Oh, I was the only person going through this. If it’s going to help she doesn’t know I’m here.’ You’re the reason I’m here! Of even one person to know that someone who is a semi-celebrity course I know you exist.”
94 F A S H I O N | october 2017
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The “Prestigiest” Picks of the Prestigiest Month
ctober is when Hollywood cools it with the superhero sequels and releases important films it hopes will win some golden statues. The publishing world, which is gearing up for the upcoming holiday season, also tends to release its award hopefuls around now. And while TV stopped paying attention to seasons around the time cable started making all the good shows, they still have sweeps season this month. The point is: October is the start of prestige season. In its own way, it’s just as predictable as summer blockbuster season except replace explosions with silent yearning. And while there are signs that this is changing—Dunkirk was certainly a prestige picture even though it was released in July—old habits are hard to break. Here are the picks to enjoy during this prestige season.
Definition: A piece of prestige pop culture that lives longer than it should. The following television shows are postige—we didn’t even know they were still on.
t he bl a ck l is t James Spader might be the king of postige.
P r e s t ige P oin t s: Oscar winners Jennifer Lawrence and Javier Bardem team up with director Darren Aronofsky (who directed prestige faves Black Swan and The Wrestler) to tell the spooky story of an unravelling relationship. Any film with punctuation right in the title has got to be fancy (Mamma Mia! notwithstanding).
Curb Your Enthusiasm
P r e s t ige P oin t s: After six years, Larry David returns as, well, Larry David to fill the void of critically lauded cringe comedy that grows in our hearts whenever Veep isn’t around. It’s a good reminder that comedies can be prestige, too, as long as they are on cable and don’t involve catchphrases.
Blade Runner 2049 P r e s t ige P oin t s: Normally a sequel to a sci-fi classic wouldn’t be considered prestige, but you add Ryan Gosling, Robin Wright, Harrison Ford, director Denis Villeneuve (Arrival) and a blessing by Ridley Scott to the equation and you’ve got a genre picture with intelligence and depth. It’s a prestige mix that even Jared Leto can’t mess up.
Reckless Daughter: A Portrait of Joni Mitchell by David Yaffe P r e s t ige P oin t s: Until a critical reappraisal of Shania Twain’s oeuvre appears, Joni Mitchell is Canada’s most prestige musician. She’s as influential as she is mercurial. Any biography of her demands attention.
once uP on a t iMe Much like the song “Let It Go,” the more times something is repeated, the less thrilling it is. Case in point: seeing Disney villains interact with real people over and over again. This show is on its seventh season.
t he de bu t of t he Mon t h
The Beaches, Late Show
Rock ’n’ roll might not be dead, but it could use a pick-me-up. Consider The Beaches—four girlfriends from Toronto—the perfect antidote. They offer hooky riffs, honest lyrics and just enough edge to get you moving. This is how rock sounds now, and it’s great.
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photography: the beaches via @thebeachesband
M a d a M s e cr e ta r y There seems to be a new show about an important political woman every season. Who knew this one would last more than a season?
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EvEry month has a mood ,
a feeling, some combination of memories, moments and nostalgia. You know it—you feel it—even if you’ve never really thought about it. To help encapsulate the moods of the months, we’re asking novelists to take on the calendar and evoke the feelings of each season through fiction, memoir or some mix of the two. Claire Cameron’s latest novel is The Last Neanderthal.
Before the long night of winter. pulled my thin coat tighter against the nip already in the autumn air as I walked along a narrow London road to meet a friend at The Old Truman Brewery. It’s not far from the streets that Jack the Ripper once haunted, but I was not worried. It was still early—just after 6 p.m. A month before, I had walked this way at the same time in daylight. But with October’s early nightfall, the entrance to the underpass was now completely black. The darkness caught me by surprise. I hadn’t thought to change my route. I didn’t want to let the dread of the long winter nights get the better of me. Not this early in the year. So I forged ahead. Click, click, click. My L.K. Bennett heels—a symbol of both my style and paycheque at the time—had seemed like a good idea when I left the office. Now, the strike of each heel echoed as I walked into the tunnel. A few steps in, I thought I saw something move. The shape was vague at first but then became clearer. A man. He stood, leaning with his back against the cold bricks. He stared straight ahead, but it was hard to say at what. There was nothing else except the narrow road, the brick tunnel and me. I almost turned, but the passage was short. He didn’t seem to be paying attention to me, but I didn’t want to run, lest I’d look like prey.
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Though I had been living in London for three years, the early nightfall still caught me by surprise. In Canada, I had to cope with the cold of winter. In London, it was a matter of enduring the lack of daylight. We often talk about change in the spring, but it’s fall that comes with a dramatic swipe. As high as the British summer sun can climb, the descent into winter is like a cliff. In October, sunlight slips so easily through one’s fingers. And the long night is drawn-out suspense—toes curled at the edge, darkness cupped in hands, eyes struggling to adjust—with the endless night of winter still ahead. I picked up my pace to get through the underpass. Click, click, click. My heels counted each step on the cement. He was now only a few feet ahead, a plume of cold breath. I held mine as I walked. Fear slowed things down in my mind, but my body kept pace. The next heel struck and clicked. I could no longer see the man out of the corner of my eye, but I heard a deep thud. At first I thought it was the sound of my heart, but soon it came again. A man’s shoe hitting the sidewalk behind me. Click, click, thud. His foot landed close to my heel. October is when the sun shrinks back, the dark stretches out and the mind instinctively turns to the long months ahead. I’ve come to learn that the accompanying dread might have a purpose. The one who fears the dark is more likely to change her route. Click, click, thud. Winter took one step for my two.
illustration by adam hale
By Claire Cameron
The Rise of the Celebrity Spawn
gap’s “generatiOn gap” campaign featured rumer willis, cOcO gOrdOn mOOre and chelsea t yler.
100 F A S H I O N | OctOber 2017
lOurDeS leON fashionmagazine.com
f you stepped into a Gap store earlier this year, you might’ve felt a twinge of déjà vu: Its ad campaign featured 16 models showcasing classic garments, solidifying the brand’s reputation as a staple label of the ’90s. The clothes themselves—pleated shorts and oversized denim jackets that Blossom would have worn—were familiar, sure. But there was something about the models themselves. Steven Tyler’s gigantic smile, Demi Moore’s cheekbones and Kim Gordon’s heavy gaze were all there, only on faces decades younger. Who were these people messing around on skateboards and shuffling from side to side while singing an a cappella cover of Color Me Badd’s “All 4 Love”? Were they famous? Should they be? The answer to the first question is easy enough: They were Chelsea Tyler, Rumer Willis and Coco Gordon Moore, examples of the large trend of second-generation celebs appearing seemingly everywhere in fashion culture lately. If that sounds like an exaggeration, try this little test: Pick a ’90s icon at random, see if they have a family and ask Google if their kids have walked a runway, starred in an ad campaign or appeared on a magazine cover lately. (Hello, our cover girl, Hailey!) Madonna? Her daughter Lourdes Leon appeared in a Stella McCartney fragrance launch this past spring. Cindy Crawford? Her daughter, Kaia Gerber, is the face of Daisy Marc Jacobs. Then there’s Pamela Anderson’s son Dylan Jagger Lee, who has been repping for Saint Laurent as of late, and Myles O’Neal (yes, Shaq’s son), who most recently walked for Dolce & Gabbana’s men’s line. How you answer the last two questions, however, depends on where you’re coming from and probably says a lot about what fame means »
By Chantal Braganza
k AIA gerber
Dyl AN JAgger lee
Hollywood’s latest crop of A-list offspring proves that success runs in the fame-ily.
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102 F A S H I O N | OctOber 2017
in the era of “Generation Celebrity Spawn” (so dubbed by The New York Times). If you grew up listening to Aerosmith and Sonic Youth and remember the time Hollywood lost its collective mind when Demi Moore shaved her head for 1997’s G.I. Jane, the stars of that “Generation Gap” ad may seem in triguing because of who their parents are — and possibly because this isn’t the first time the brand has turned to famous progeny to sell its clothes. In 1989, writer Joan Didion and her daughter, Quintana Roo Dunne, appeared in a Gap print ad wearing matching black turtlenecks, and two years later, Diana Ross did the same with daughter Tracee Ellis Ross in classic white tank tops. Those of you born after G.I. Jane, during the time when Moore was most famous for marrying Ashton Kutcher, might instead see young stars who, through constant streams of updates and images, seem more open about the minutiae of their daily lives and are if not necessarily more relatable (let’s not pretend Sofia Richie’s perfectly highlighted Insta isn’t an aspirational follow) at least more reachable. In both cases, Gap likely saw an opportunity to run a concept as old as Hollywood itself through the reliably profitable nostalgia machine.
ver time, the role of celebr it y ch i ld ren in pop culture has changed. For decades, if famous family ties weren’t notable for some kind of drama (remember Drew Barrymore’s long estrangement from her parents after a stint in rehab at age 13...or Joan Crawford’s coat hanger scene in Mommie Dearest?), then they were for the obvious attempts made to obscure their existence entirely. Think Emilio Estevez forgoing the Sheen stage name in an attempt to forge a film career on his own merit and Angelina Jolie making her stage name a legal reality in 2002 because, well, she hated her dad. (Of course, a simple name change doesn’t a struggle make; both actors clearly benefited from their parents’ careers and the doors they opened for them.) Then came the famous-for-their-firstname celebrity babies of the mid-aughts and, with them, an entirely new framework for the “famous family.” When Tom Cruise and Katie Holmes’s daughter, Suri, appeared
for the first time on Vanity Fair’s October 2006 cover, sales spiked by 60 per cent. And People magazine reportedly bought the first photos of Angelina Jolie and Brad Pitt’s first child, Shiloh, for $4.1 million that same year and shelled out a whopping $14 million two years later when the twins were born. These days, clothing and makeup sales seem to be preferred over photos, with celebrity parents looping their young in on the biz. At the beginning of this year, Jay Z and Beyoncé applied to trademark Blue Ivy Carter’s name for a beauty line, and North West modelled the first collection of the childrenswear line that her parents, Kanye West and Kim Kardashian West, launched last spring. The celebrity children taking over the runways today may be quite a bit older than the A-list-toddler set, but at least some of the roots of their popularity come from the same place: the family performance as part of their public persona. While the stories we love to tell ourselves about what “having it all” looks like haven’t changed a whole lot over the years— fame, fortune, a spouse and kids—somewhere between those first family Gap ads of the late ’80s and now, the “and kids” part of that equation became vital in appraising celebrityness: It’s all three of the Willis sisters, in a show of solidarity, going public about their respective sobriety anniversaries in the same week this past July; it’s the Beckham siblings constantly posting selfies with their mom and dad; it’s Cindy Crawford’s son, Presley Gerber, publishing glamorous portraits of his sister, Kaia, as part of a photography project. How can we dismiss the famous as vapid and unworthy of our time and attention if they— like us—have rich, meaningful family lives? It might sound cynical to label all these public displays of family a performance (even the most skeptical of pop culture nerds would be hard pressed to resist Beyoncé’s documentation of her pregnancy with Sir and Rumi Carter, the announcement of which broke Instagram records), but at least a part of them is. Choices to share information like this with the world aren’t made on a whim, and branding strategists are already co-opting the idea of family values into a type of language that’s more often used to describe royal orders of succession or heritage handbag brands. When the Daily Mail covered Burberry’s recent track record of hiring young celebrity children to front ad campaigns, young stars like Romeo »
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104 F A S H I O N | OctOber 2017
Beckham and Iris Law were described by Karinna Nobbs, digital fashion strategy expert, as having an “authentic pedigree, which differentiates them from models or bloggers.” Talk like this makes it hard not to see this new crop of young adults building careers in fashion and entertainment as being famous precisely and only because of their parents’ illustrious CVs, no matter how camerafriendly their gaze is or how talented they are. While “having a pedigree” is one pretty ridiculous way to talk about any human being, famous or not, the idea that lineage inherently makes the kids of celebrities better suited to sell clothes is perhaps the most honest acknowledgement of what’s going on here, at least on the part of the agencies and brands booking them. For the same reasons Hollywood thinks remaking and franchising every blockbuster movie already known to the medium is a great idea (we’re on, what, our 10th Spider-Man film in as many years now?), fashion brands reboot existing genetic property with the belief that an already cultivated audience is likely to want more of the same. So at what point is there a difference a talent for making money off sharing details between celebrating the nebulous concept about her life and has put in the work to build of “family values” and straight-up nepotism? that into a multimillion-dollar empire of apps, When the eldest Beckham sibling, Brooklyn, cosmetics brands, clothing lines and more. was assigned to shoot Burberry’s spring camFor another, the more banal aspects of the paign last year, veteran photographers very generational fame wave seem to be reachpublicly grumbled at the idea of a relatively ing their logical conclusion sooner rather inexperienced 16-year-old landing such a than later: This is the premise of a new plum job. Then there’s the knotty issue of Lifetime reality series—often the last stop the homogeneous environments that this on the relevancy train—where the sons and focus on ancestry ends up preserving. If the daughters of D-list stars like Steven Seagal fashion industry has a diversity problem that and Oscar De La Hoya chase after modelling we’ve only recently started to acknowledge, gigs, complain about their fame-tinged childbig labels actively seeking out the children hoods and drop such profound truth bombs as of a generation of celebrities that, let’s be “It’s not easy being a model, is it?” And who knows? Perhaps some members real, present as mostly white isn’t doing much to address the issue. of Generation Celebrity Spawn may surprise In an interview about the aforementioned us by doing more with this revived obsession highly lauded Gap ad for classic garments, with heritage than simply being seen and Rumer Willis told The New York Times: helping to sell designer products. (After all, “Regardless of what we do in life, every it’s not as if Hollywood royalty hasn’t brought article starts with ‘Daughter of’… You can us great work in the past. Carrie Fisher was fight that or accept and appreciate it.” As once just a celebrity child, though it seems spectators, perhaps we can do both. For one odd to say so.) A year after his inaugural thing, fame may beget fame, but it doesn’t Burberry campaign assignment, Brooklyn always guarantee its permanence. How- Beckham enrolled in a photography program ever you feel about Kim Kardashian West’s in New York and published an anthology personality or politics, there’s a reason why of photographs with Penguin this summer Forbes magazine named her a media mogul called What I See. The book’s most recurring on its cover last summer. She has developed theme? His family.
How can we dismiss the famous as vapid and unworthy of our time and attention if tHey—like us—have rich, meaningful family lives?
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culturefeature ilana Glazer and abbi JacObsOn have been dubbed “FemininJas” FOr their Funny and selF-eFFacinG perFOrmances in Broad City.
Comedy used to be a boys’ club, but who’s getting the last laugh now?
t’s Friday night, and Toronto’s Bad Dog Theatre is filling up. It’s a diverse crowd: A middle-aged By Briony mixed-race couple make their way to the front, a gaggle of loud white ladies settles into the back section and a crew of bespectacled andro twentysomethings take over the entire middle row. Finally, the lights dim and a banging Bollywood track starts up; host Nelu Handa sashays onstage in a colourful print tunic, doing a few goofy Indian dance moves. The Torontobased comedian grabs the mic. “Me wearing this outfit and dancing like this?” she says. “You’re probably all ‘Ohhhhhhh, this is gonna be an ethnic night. What did I step into?’” And so opens Yas Kween, a monthly comedy showcase featuring women of colour finding the funny in topics like arranged marriage, Islamophobia, racialized violence and clashes with immigrant parents. The laconic, hijab-clad Hoodo Hersi takes to the stage. Her sarcasm-infused anecdotes are verbal eye rolls at a society that is often unsure of what to do with Muslim women. After a bit about why she would still choose to be black despite how “top-notch” it is to be white, the Toronto-based comedian slowly scans the audience and says: “I see some of you guys don’t want to laugh too loud at that joke. You feel like you’re at a Klan rally or something.” Next up is the gregarious Aisha Brown, with her wide smile
106 F A S H I O N | OctOber 2017
and halo of curls. The Torontobased comedian details the travails of her boyfriend begging her to experience that whitest of traditions: a visit to the cottage. Smith “Next summer, we’ll try my cultural traditions,” she grins. “So I’m going to take him to the States and he’ll get shot by a cop.” The coltish Nour Hadidi, who sports thick-framed glasses and comes to Toronto by way of Jordan, follows her. Her earnest, innocent energy belies a wit that slices to the bone when she gleefully threatens to reclaim all the Middle Eastern items—hummus, yoga— that give white girls a personality. “Sorry, Ashley!” she chirps. Comedy has long been the domain of pasty bros, but that’s changing. On the international stage, we have Ali Wong tackling miscarriage and Asian stereotypes, Tig Notaro joking about her breast cancer and Maria Bamford doing material about having bipolar disorder and OCD. On television, Ilana Glazer and Abbi Jacobson showcase two highly horny women getting theirs in Broad City and Leslie Jones uses the Saturday Night Live “Weekend Update” chair as her pulpit to decry the state of dating when you’re a black woman. The one thing that unifies this diverse crew is a staunch refusal to play it safe: They are determined to celebrate rather than sublimate their otherhood and make utterly hilarious the experiences that set them apart as outspoken feminists, women of colour, »
culturefeature So she asked, “How many women are getting specials this year?” “And he literally said to me, in 2001, ‘Dawn, maybe comeDy is just a guy thing.’” persons with disabilities and mental illness, and queer and nonbinary people. In Canada, their counterparts can be found at Yas Kween or one of the other many women-run shows that have become wildly popular. SHADE at the Rivoli showcases female and queer comedians and comics of colour monthly, while LGBTQ shows like Queer and Present Danger, Church Street Comedy and The Merry Janes of Comedy sell out on the reg. Women Rant at Bad Dog Theatre Company was put together to “create a positive space for us to get pissed off”: Ladies do five-minute vents about whatever is enraging them most, from cultural appropriation and street harassment to the word “needy” and being a single mother; at some shows, a token straight white dude is hired to sit off to the side of the stage and the performers are encouraged to heckle him. The Crimson Wave, which started off as a podcast about periods, is now a weekly standup show at Comedy Bar that is “feminist-friendly and LGBTQpositive and features zero cOmedians aisha brOwn (right) and chantel marOstica
rape jokes.” Bechdel Tested is a series of screenings at The Revue theatre of lady-powered movies like Obvious Child and Pretty in Pink with commentary afterwards, and Drunk Feminist Films at The Royal Cinema involves comics taking down nostalgic throwbacks like She’s All That in real time. More diverse showcases are popping up across the country as well. In Winnipeg, Indigenous comedian Elissa Kixen and writer and comedian Dione Haynes, who goes by xhe and is of Caribbean descent, put on the monthly WOKE Comedy Hour featuring Indigenous women, women of colour and nonbinary people of colour. Vancouver has the weekly QueerProv improv night at XY and The Lady Show, a monthly event that bills itself as “the comedy show that puts the ‘joy’ in ‘feminist killjoy.’” Crazy Bitches is a monthly variety show for femmeidentifying folks to perform standup, along with drag and music, in Montreal. And, on Canadian TV, women-created comedies like the CBC’s Baroness von Sketch Show and Workin’ Moms and City’s Second Jen are getting critical raves and even renewals.
THE STRUGGLE IS REAL Things haven’t always been so inclusive. Dawn Whitwell is a queer elder stateswoman of Canadian comedy: She has performed at Just for Laughs (JFL) and JFL42 and now hosts her own weekly show, Dawn Patrol, often featuring LGBTQ comics and comedians of colour. The Toronto-based comedian also writes for the Baroness von Sketch Show and has taught hundreds of women standup through her business, Comedy Girl, since 2008. She remembers that back in 2001, work for female comedians was scarce, especially in Canada, since the industry is so small. “There might have been one job for one woman on television,” she says. “And that one woman wasn’t in a hurry to mentor anyone because that’s mentoring someone to take that one job.” Back then, one of the only gigs in town was Comedy Now, a half-hour showcase on The Comedy Network and CTV. Whitwell called up the male producer and told him that she wanted to do a special. He laughed. So she asked, “How many women are getting specials this year?” “And he literally said to me, in 2001, ‘Dawn, maybe comedy is just a guy thing.’” Whitwell eventually got a Comedy Now special—10 years later. “Being a woman and being queer in comedy is hard,” says Chantel Marostica, a Winnipeg-born non-binary queer comedian »
OctOber 2017 | F A S H I O N
culturefeature who uses the pronoun they. Marostica has appeared at Just for Laughs and on the CBC radio comedy show The Debaters and now produces the touring showcase Queer and Present Danger out of Toronto. “When I was [coming up] in Winnipeg, there were two other women doing standup, so it felt like we were against one another,” they remember. So they set out for Toronto, but they encountered discrimination. People would come up to Marostica and tell them “It’s good you don’t talk about being a woman during your show” or “Thank you for not talking about being gay.” Marostica was pissed. “So I started embracing it,” they recall. “We should be able to talk about our lives without it being ‘a gay show’ or ‘too feminist.’” It’s simple, says Brown: The majority of Canada is white and the majority of people doing comedy are men, therefore male comedians are the majority. “It’s always going to be more of a struggle to convince people that your voice is necessary.” She tours the country with Yuk Yuks and is one of only a few black women to get a JFL taping in Canada. Still, audience members will come up to her after a show to tell her “I don’t normally like female comics, but that was fantastic!” A week after I saw Brown perform at Yas Kween, she opened at The Danforth Music Hall in Toronto for Michael Che, co-host of SNL’s “ Weekend Update.” He’s a comic who doesn’t shy away from race, politics and gender. Che’s views are complex, and while he’s mostly progressive, he’s gotten some backlash for his jokes from his left-leaning fans. You’d think his crowd would share a huge overlap with Brown’s, but when she told the boyfriend-shot-by-a-cop bit, which had gone over relatively well at Yas Kween, it was met with a slight groan. Brown wondered if the joke would have gotten more laughs if she were a man or if she had smiled. “If I tell that joke without a smile, people take it as militant,” she says. “I feel like I probably laugh 80 per cent more than I actually feel like it, just to make people more comfortable with what I’m saying.” Making it as a non-male comedian requires resilience. Google “Women are not funny” and you’ll bring up Christopher Hitchens’ famous misogynistic screed in Vanity Fair amid articles and Reddit threads titled “Why aren’t female comedians funny?” or “Why are women not as funny as men?” For those spewing such animus online and in person at comedy clubs, the industry’s growing diversity must appear like affirmative action run amok. Marvel Studios head Kevin Feige once said: “Comedy is a meritocracy. If you are funny, you are there. If you are not, you are out.” Ergo, men are funnier, based on their predominance in the scene. And it’s true: Comedy is a meritocracy—in that bland, universal jokes that appeal to the white male majority are granted the most merit because they offend white men the least. Male audiences are more rattled than amused by some women comedians because the funniest jokes come from issues we care about the most, like sexual assault or body image. Men react to these jokes with horror or disdain or a tossed-off “meh.” And that shrug translates into less stage time for diverse comics. If they do manage to break through, they use every second at the mic to tweak their material, because for every 10 open mics a man gets, they will get one.
108 F A S H I O N | OctOber 2017
cOmedians dawn whit well (right) and nelu handa
WHO RUN THE WORLD Men’s supremacy in the comedy world, however, is waning. Networks, studios and bookers have realized there is an audience clamouring for movies, shows and standup nights from women of colour, queer and non-binary people, loudmouth feminists and persons with disabilities. In August, a woman was crowned the winner of JFL’s prestigious Homegrown Comedy competition for the first time in 19 years. Well, two women: Montreal’s D.J. Mausner shared the honour with Toronto’s Courtney Gilmour. Gilmour, born without forearms or a right leg, performs standup with her mic strapped jauntily to her upper arm; she also triumphed at JFL’s pitch competition, where the show she cocreated, Diversity League: Social Justice Division, was green-lit for development with CBC Digital Originals. Yas Queen’s Handa is able to make a living doing comedy full-time, writing for Baroness von Sketch Show and Workin’ Moms, teaching improv classes to people of colour and acting as a diversity consultant for comedy organizations. “Now, we can go into those audition rooms and feel more confident because we’re representing something that casting agents are looking for: diversity.” Canada’s booming immigrant population is also nurturing a new generation of funny women. “As more people come here and have kids, and their kids juggle their parents’ racial, cultural and religious identities and what it means to be Canadian, they create more art,” says Hersi, who has contributed to VICE, Essence and Hello Giggles and is herself the daughter of immigrants from Djibouti and Somalia, while Handa is Indian and Brown’s family hails from Jamaica. “And then, with time, you’ll start to see more diversity in the arts.” Sixteen years after she was told that comedy was just a guy thing, Whitwell accepted, alongside her six female co-writers, the 2017 Canadian Screen Award for Best Writing in a Variety or Sketch Comedy Program or Series for her work on the Baroness von Sketch Show. “I’ve been thinking,” she says, “about
ry LL e n c e
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how it would have been to be starting out in a scene like this, because—” There is a long pause on the line. “Oh, man. I’m gonna cry.” And she does, weeping as she describes how young women thanked her after the ceremony. Producing Queer and Present Danger and performing in the LGBTQ show Church Street Comedy, Marostica has also found the comrades and collaboration they sought so long ago in Winnipeg. “Comedy is a boys’ club, but it can also be a girls’ club or a persons’ club,” they say.
f 27 y e a r s o
In Career Suicide live at JFL42, comedian Chris Gethard said doing a comedy show is like being at church: The bond between FRCSC FACS Board Certified Facial Plastic Surgeon story teller and listeners is sacred. Marostica felt this union when they did a one-person show in Winnipeg about their mood disorder and coming out. Afterwards, people kept telling Marostica how thankful they were to learn they weren’t the only person who was gay in the Prairies and how they had tried to kill themselves, too. Now, 4 1 6 . 9 2 6 . 8 1 2 2 | tO r O n tO Marostica jokes about being non-binary and their plans to get top surgery. “When we diversify our shows, we make room for people who feel marginalized,” they say. ® I felt this alchemy at the Crimson Wave. The week I attended the show at Comedy Bar, Toronto-based hosts Jess Beaulieu andDrTarshis_SEPT_2015_1_3.indd 1 2017-01-18 Natalie Norman were taping an album of period jokes. Women and men were packed in tight, listening to six women—and one slam poetry duo—joking about their monthlies. “People complain about female comics doing period jokes, so we thought we’d leeean in,” said Beaulieu. “You’re est 1982 famous!” Natalie bellowed into Jess’s crotch. How much can you say about periods? A lot. Specializing in Fitting Wild-eyed queer Toronto-based comedian Ashley Moffat shared the story of how her Bras & Undergarments single father gave her $60 each month in lieu of any other guidance. Norman spilled Preteen to Full-Figure about losing her virginity mid-period on a pullout couch at age 27 and about how “So Sizes AA-N, 28-56 much blood!” is the last thing you want to hear post-coitus. When I left, my stomach hurt and my face ached from smiling. It is 5867 Leslie St. the closest I’ll ever get to religious ecstasy. Toronto, Ontario M2H 1J8 That’s the power of laughter. It can even Monday - Saturday 10am - 5pm make converts of the skeptical, the cruel and the prejudiced. Hersi tells me how she 416-497-2350 recently performed in a comedy show themed firstname.lastname@example.org around peace in Israel/Palestine. Afterwards, braboutique.com an elderly Jewish woman came up to her. “I just wanted to let you know that when you first got up there, I was uncomfortable,” she @legsplusbraboutique said. “And then you made me laugh.”
Lorne M. Tarshis MD
An exp ert in cr eAtin g n At Ur AL b eAU t y
october 2017 | F A S H I O N
culturecover Jacket, $2,105, skirt, $890, and boots, $2,450, Off-White. Earrings, $630, Jennifer Fisher. Ring, $390, Sylvio Giardina.
hailey-lujah The soon-to-be supermodel draws stares— and followers—everywhere she goes. But she’s not wild about all the attention. By Greg Hudson Photography by Richard Bernardin Styling by Zeina Esmail Creative direction by Brittany Eccles
F r om w he r e w e a r e , we can see the stacked blocks of the Brooklyn skyline, romantic and rust coloured in the afternoon sun. A constant stream of helicopters land and take off like dragonflies on a helipad that extends into the East River. There are boats, too, peeling the surface of the water, briefly exposing the whitewater fruit underneath. This is a good spot to snap a selfie, eat lunch or idle away a coffee break. Only, today it seems the coffee breakers are paying attention to something besides the view. Hailey Baldwin—hair slicked back, wearing a skirt and jacket by Off-White and looking by turns defiant, powerful and sultry—is getting her picture taken and interrupting their moment of reprieve. The contrast between this and the ordinary activity of the ordinary people feels surreal. It’s a New York moment: absurd and charged with celebrity. Some of the bystanders don’t quite seem to know how to handle the strangeness. Behind the photographer and the small crew, three women in their 50s or 60s have stopped to gawk. In their sensible shorts and hiking shoes (all the better to tackle the urban jungle!), they start grotesquely mirroring Baldwin’s poses. To them, this is a laugh riot, like they can’t believe how loony this fashion thing is. Baldwin is taking two energetic, bounding steps forward, stopping, walking back and then repeating, like a
human gif. It is then that she notices her imitators. She calls one of the photo team over and asks if someone can ask the women to move on. They leave without drama. “I never want to be a bitch,” Baldwin says to no one in particular, “but they were making me feel uncomfortable.” This reminds me (because I am a normal human who isn’t a model and am therefore not always empathetic to the plight of professionally beautiful people) that what Baldwin is doing right now is her job. I imagine two random men passing behind my cubicle, stopping to watch me type and then, in exaggerated pantomime, copying my typical workplace behaviour, bugging out their eyes, reading pretend emails, arms outstretched like zombies mashing invisible keyboards. That would make me feel uncomfortable, too. Baldwin just wants to do her job. For someone who has more than 10 million Instagram followers and quite literally makes her living by being looked at, Baldwin doesn’t seem too fond of attention. When it’s time for our interview, she has changed back into her civilian clothes: black track pants, an oversized sweatshirt and chunky heels. Her hair is pulled back into the simple ponytail worn by every celebrity in every celebrity profile. She’s moving constantly: hugging the hairstylist, packing her suitcase, figuring out her flight to L.A. that evening. If I didn’t know better, I’d think she was intentionally avoiding talking to me. »
Dress, price upon request, Dsquared2.
I’m timid and goofy. Once you get to know me, you’ll see I’m clumsy, but I think it’s funny. Some girls really know that they’re pretty, and they act like it. Which is fine.
This page: Dress, $5,690, scarf, $495, and tights, $200, Tom Ford. Opposite page: Dress, $3,925, Zimmermann. Shoes, $955, Charlotte Olympia.
culturecover Only, I don’t know better. Once she finally sits down, she tells me she isn’t sure if she should talk to me. Recently, she had a frustrating experience with another magazine. A writer projected a narrative on her time with Baldwin that wasn’t exactly true, and Baldwin didn’t appreciate it. After some reassurance and a peek at the questions in my notebook, she agrees to answer some of them. The only question she takes issue with is the one about being an influencer. She hates that term. That’s not what she is. She’s a model. And I gather (while, obviously, being wary of projection) that her wariness isn’t just about having been burned by another writer. She simply doesn’t feel entirely comfortable with the idea that being interviewed and talking about her life should be an essential part of her job. She has millions of followers, but cultivating an audience isn’t her goal. Like anyone in her position, she wants to try her hand at acting and hosting, but right now she’s a model. So far, she’s done pretty well. On the runway, she’s walked for many A-list designers, such as Elie Saab, Dolce & Gabbana and Tommy Hilfiger. And she’s also graced the covers of Marie Claire, Harper’s Bazaar (Australia) and Maxim—which named her the sexiest woman alive in its June/July 2017 issue. But modelling wasn’t always Baldwin’s plan. She had a very normal, suburban childhood. It was laid-back, even though her father is actor Stephen Baldwin and there are pictures of her on red carpets as a girl. “That was always a reality,” she says. “But because of the way my parents raised my sister and me, that was always separate—that was Dad’s work life. When we were home, we were just home, hanging out.” (If you’re confused about the middle-aged Baldwins, Stephen is Alec’s youngest brother—the Trump-supporting, religious one who was in The Usual Suspects.) For her part, Baldwin planned on being a ballerina, until she was injured and turned to modelling instead. “A year ago, I wouldn’t have thought that I’d be doing what I’m doing now,” she says. “I can’t plan things ever. Things change so quickly.” This, actually, brings up another reason why Baldwin may be so wary of interviews. Even though she’s friendly, engaged and relatively open as we chat, I sense she’s worried that talking about being a model makes her sound vain. “I’m still kind of shy about that,” she says. “I’m timid and goofy. Once you get to know me, you’ll see I’m clumsy, but I think it’s funny. Some girls really know that they’re pretty, and they act like it. Which is fine.” But that’s not Baldwin’s style, which seems incongruous with her 10 million plus Instagram followers. However, those 10 million followers aren’t always supportive. “It adds a lot of layers of insecurity,” she says. “You’re being told on a much larger scale that you’re not pretty, you’re not this, you’re not that. Basically, it adds a lot of layers of bullying.” And while she’s better now at ignoring the trolls, focusing instead on her positive fans, the online critiques can be insidious. “Even if you aren’t conscious of it, it does make your mind spin a little bit,” she explains. “You think about what they’re saying, and you wonder if they’re right. ‘If they think this and are noticing this, then obviously
there must be something that’s making them think that.’ There can be 10 positive comments and [only] two negative ones, but you’re going to focus on the ones that are picking at a bone that is sensitive for you.”
Baldwin credits her faith with helping her keep things in perspective. She attends Hillsong Church—“the church where people wear Saint Laurent and [there are] cool hipster pastors,” she jokes. (Justin Bieber also attends, among other tattooed and behatted millennials in New York.) “They’re very geared toward young people and making it applicable to everyday life, which I think is where people get a little confused in church, because it can be hard to relate to something so old school,” she explains. Where a lot of people will post Brené Brown on their Twitter and Instagram, Baldwin posts tiny devotionals and prayers about her desire for God to show her how to use her talents for a purpose greater than herself. Baldwin’s faith is the kind that extends beyond awards-show shout-outs and/or crucifix tattoos. It likely goes without saying, but this is not typical behaviour for someone in Baldwin’s position. Imagine Kate Moss in the ’90s preaching the Good News Bible. (I can’t either.) “I don’t think anybody should be afraid to represent or talk about it, even though I feel there’s something about Christianity that makes people very touchy,” she says. “Definitely, at times—even now—it’s hard for me. Which is why, now in my 20s, I try to surround myself with people who believe the same thing I do—who follow it and are open to it—because it’s too hard to constantly get people to understand what I do if they just aren’t interested in it.”
Baldwin represents the millennial contradiction: She’s comfortable sharing her life online—but in a curated, controlled way. It’s called “sharing” for a reason. She’s not giving every aspect away. The line between who she seems to be and who she really is is porous and thin, but it’s still a line. “I have my own morals and standards, which are different from other people’s,” she says. “Alone time is really important when you do this because every time you’re working, you’re around a lot of different energies. It weighs a lot on you. That’s why I like coming home to New York and being able to be myself for a couple of days. You know how fun it is to do errands? I’m never home, so I’m like ‘I have to go buy sheets—that’s awesome!’ And then I just sit at home and watch the Food Network.” It’s a cliché and, frankly, disingenuous at this point to claim that a professionally beautiful person who is followed by millions of normal people is herself normal. Baldwin isn’t normal—whatever that means. She comes from a famous, loving and, sure, sometimes embarrassing family. She is deeply religious and wants to start her own family at a relatively young age in an industry that encourages neither. Her features, which she admits she had to grow into, now seem unfair. No, Baldwin isn’t normal. But somehow she’s still just like us.
Jacket, $1,260, and belt, $450, Isabel Marant. Choker, $450, Jennifer Fisher. Necklace, Baldwinâ€™s own. Hair, DJ Quintero for Statement Artists. Makeup, Carolina Dali for The Wall Group. Manicure, Riwako Kobayashi/Le Vernis Chanel. Fashion assistant, Stefany Mohebban.
PhotograPhy by arkan Zakharov (Styling, Juliana Schiavinatto). DreSS (on toP), $18,365, valentino. DreSS (on bottom), $3,790, anD earring, $1,520 for a Pair, alexanDer mcQueen. hat, $80, Public School.
Mismatched and torn apart, this seasonâ€™s looks are all about breaking the rules.
OctOber 2017 | F A S H I O N
Dress (on top), $18,365, Valentino. Dress (on bottom), $3,790, and earring, $1,520 for the pair, Alexander McQueen. Hat, $80, Public School.
the simple life Pluck the last of the wildflowers, take your turn on the trampoline and dress with an unfussy attitude. After all, nothing says â€œeffortless styleâ€? like a baseball cap and a ballgown. Photography by Arkan Zakharov Styling by Juliana Schiavinatto Creative direction by Brittany Eccles
This page: Top, $1,350, dress, $3,350, and scarf, $790, Missoni. Shoes, $1,740, Valentino. Belt, $1,000, and bag, $1,000, Gucci. Socks, stylistâ€™s own. Opposite page: Top, $2,090, dress, $1,135, and skirt, $1,260, Calvin Klein 205W39NYC.
This page: Jacket, $6,480, dress, $6,735, boots, $1,860, and earring, $1,520 for the pair, Alexander McQueen. Opposite page: Top, $475, Public School. T-shirt, $95, Mikhael Kale. Bra, $990, pants, $1,240, shoes, price upon request, and hat, $1,520, Prada.
This page: T-Shirt, $95, Mikhael Kale. Dress (on top), $6,610, Sonia Rykiel. Dress (on bottom), $3,790, Alexander McQueen. Boots, $205, Hunter. Hat, $30, Volcom at Simons. Scarf, $1,240, Prada. Socks, stylist’s own. Opposite page: Shawl, $1,770, Alejandra Alonso Rojas. Dress, $1,295, Mikhael Kale. Shoes, price upon request, Public School. Hat, $685, Coach. Socks, stylist’s own.
This page: Sweater, $980, jacket, $915, shoes, $340, and hat, $685, Coach. Pants, $2,255, Etro. Socks, stylistâ€™s own.
This page: Jacket, $4,305, skirt, $2,510, shoes, $2,015, belt, $1,000, and bag, $1,520, Gucci. Socks, $20, No Fun Press. Opposite page: Top, $25, No Fun Press. Pants, $4,080, Sacai. Shoes, $700, Stuart Weitzman. Earring, $1,520 for the pair, Alexander McQueen. Hair and makeup, Susana Hong for P1M.ca/Chanel. Fashion assistant, Cherry Wang. Model, Aria, Dulcedo Management. Shot on location at Shed-Chetwyn Farms.
I fall to pIeces These are not forgotten threads or missed stitches. Fallâ€™s most fearless looks are made to split at the seams. Photography by Dean Isidro Styling by George Antonopoulos
This page: Top, $885, Proenza Schouler, and skirt, $1,325, Moschino, at The Room. Boots, $180, Aldo. Gloves, $320, Wing & Weft Gloves. Opposite page: Vest, $275, COS. Shorts, $200, Christopher Lowman. Cape, price upon request, Rivini. Gloves, $320, Wing & Weft Gloves. Boots, stylistâ€™s own.
This page: Coat, $1,010, and belt, $320, 3.1 Phillip Lim. Glove, $125, Wing & Weft Gloves. Opposite page: Jacket, $2,400, top, $1,135, and skirt, $1,585, Calvin Klein 205W39NYC.
This page: Jacket, $895, and pants, $395, Pink Tartan. Gloves, $160, Wing & Weft Gloves. Opposite page: Coat, price upon request, Chalayan. Boots, $180, Aldo. Earring, price upon request, Jenny Bird.
This page: Dress, $3,105, shoes, $1,150, top bracelet, $490, bottom bracelet, $880, and bag, $1,450, Proenza Schouler. Opposite page: Top, $1,120, skirt, $1,605, boots, $2,715, belt, $1,605, and bag, $1,960, Balenciaga.
This page: Jacket, $4,295, and top, $995, Moschino at The Room. Boots, $180, Aldo. Opposite page: Top, $615, and pants, $880, Piankov. Shoes, $325, United Nude. Necklace, $40, COS. Socks, stylistâ€™s own. Hair, Nicolas Eldin for Art Department/ Philip Kingsley. Makeup, Kajsa Svanberg for Art Department/Chanel. Fashion assistant, Andrea Mehefko. Model, Zuzanna Bijoch, Next Management.
editor: jacquelyn fr ancis
EXplorE e x p e r i e n c e,
t r a v e l,
t a s t e,
d i s c o v e r
The power of one One Girl Can helps young women stay in school in subSaharan Africa. Joy pecknold travels there to learn more.
photography by rose muthama
n the drive out of Nairobi’s Jomo Kenyatta International Airport around midnight, I see groups of hyenas, wildebeests and zebras scattered along the medians. They’re statues, but in the darkness they seem almost real. Most tourists come to Kenya for safaris, but I’ll be following Lotte Davis, co-founder of Vancouver-based AG Hair, on one of her visits to learn about the five schools and 193 students she supports through her charity, One Girl Can. After a brief nap, I catch another flight with Davis to Masinga, a small rural village 150 kilometres northeast of Nairobi. When we land, we drive along dirt roads that are best suited for off-road vehicles and pass cattle emaciated by a third straight year of drought. At the Masinga Girls Secondary School, we are greeted by hundreds of students singing in Swahili: “Our visitors are glittering from their foot to their head.” They surround us and put tinsel garlands around our necks. I’d take another 20-hour flight just to hear that song again. As assiduous as they come, 66-year-old Davis has mastered the art of condensing a couple of days’ work into half a day. Before lunch, she’s already met with the headmistress and new scholarship students, checked on building projects and conducted a 2.5hour workshop about confidence and career planning. That’s when the girls learn her reason for being here. Davis was born in South Africa and grew up in the midst of apartheid, witnessing segregation, discrimination and violence. “I think I have an innate sensitivity »
OctOber 2017 | F A S H I O N
in rUral KenYa, clean Water can Mean a 90-MinUte HiKe tO anD frOM tHe Well (abOve); OUr WelcOMe at tHe Masinga scHOOl
to injustice,” she says. “I remember being four or five years old and listening to how some people were spoken to and treated differently.” She immigrated to Canada in the ’60s and built a $30-million professional hair company with her husband but knew she wanted to do something that would empower girls, especially in Africa. Seeing her two daughters leave home was the tipping point. “One day, I went down [to their rooms] and there was nothing left, and I wept uncontrollably. I thought, ‘The best thing I’ve done in my life is over.’ That was the day I started looking for organizations in Africa.” In 2008, she returned to her home continent to get involved with girls’ education. Today, because of extreme poverty, poor government funding and gender disparity, sub-Saharan Africa has the highest dropout rates of girls in the world.
while the rest of us are merely burdened by the scorching pre-noonday sun. Davis decides on the spot that Rehema will be One Girl Can’s latest beneficiary. Growing up in the more prosperous capital isn’t necessarily any easier. In Nairobi, we visit Kibera, the largest urban slum in Africa, where about 250,000 people live within 2.5 square kilometres. Electricity is sparse and sanitation nonexistent, and “you smell Kibera before you see it,” Davis forewarns. The Kibera school project is special to Davis, in part because of 18-year-old Rahma, a student she met here eight years ago. When they are reunited, I see the effect they’ve had on each other. In Rahma’s presence, Davis is the softest I’ve seen her. Rahma is striving for a different life. She wants to get out of the slum, earn her own money and then come back to help Kibera. “The minute I saw her, I knew there was something so special about her,” says Davis. “There was a determination in her eyes.” The next day at Nembu, a secondary school 40 minutes ack in Nairobi, we outside the slum that has taken in three girls from catch a morning Kibera, I think of Rahma when I read the principal’s flight for Malindi placard: “Where a girl is born is not her destiny.” to visit Ganze Girls To get to the fifth school, we fly to northern Uganda Secondary School. and drive between the Atanga Girls Secondary Here, One Girl Can’s latest School and Gulu, where we’re staying. The temperaproject is building two science ture hovers between 43°C and 46°C, yet women walk labs—without them, the girls the red dusty road carrying both babies and water who dream of becoming doctors jugs. We meet 21-year-old Akera, a lab assistant at wouldn’t have a chance. There St. Mary’s Hospital Lacor. She’s unflaggingly cheerwe meet 17-year-old student ful and tells us that when she was studying for her Rehema. She’s a B student and training certificate, she used to dodge the university excelling at math but is freregistrar for months because she couldn’t pay the quently sent home because her fees. One Girl Can heard about her and stepped in, family can’t afford to pay the and she is immensely grateful. She joins us for our school’s fees. Her father lives last supper wearing a vibrant dress and matching in another city and contributes head scarf. She reveals that her father lives in town $12 a week of his carpenter’s but has no interest in having a relationship with her. salary to his family of nine; her And, with tears in her eyes, she recounts the time mother makes $12 a week at the her aunt’s husband tried to force himself on her. The market and collects firewood for meal ends, and Akera gets up to leave. After hugging the school to help defray fees. me, she takes the scarf off and places it in my hands. “I can’t take this,” I reason. “It matches your dress!” One girl can The Kenyan government only She insists, and I accept, my eyes welling up. recipients supplies teachers and some textaKera anD books; secondary-school tuition I think about that sign: “Where a girl is born is raHMa (belOW) can cost $500 a year per child. not her destiny.” Davis believes this, too. “These When Rehema is not in school, girls are fiercely determined, and I’m fiercely she has to fetch water twice a day for her family. We determined to help them,” she says. “My job is to follow her on the 90-minute return trip to the nearest give Rahma and Akera and the thousands of other water source. On the way back, she makes balancing girls like them the chance to achieve the same goals a full 18-kilogram jerry can on her head look easy, we have for our own daughters.”
SHOp AG Hair gives 10 cents from every litre of product sold and 50 cents from each Firewall spray sold to the Women Leading Change Foundation.
144 F A S H I O N | OctOber 2017
SpONSOr You can support an individual university student directly by going online and donating: onegirlcan.com/ sponsor-a-girl-university.
BuIld Contribute to facilities at the Masinga and Ganze schools, including classrooms, dormitories and washrooms: onegirlcan.com/ build-a-school.
photography: africa images, far left, by Joy pecknold
OPPENâ€™S Fashion Specialist for Sizes 12-26
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A graciously restored Irish mansion delivers oldworld warmth and contemporary luxury. By Alison McGill
146 F A S H I O N | OctOber 2017
t’s a crisp spring morning when I arrive at Ballyfin Demesne. From the moment I pull up to the estate’s grand gates and long, winding driveway, I feel instantly swept away from the bustle of modern life and ensconced in a bygone era of tradition, romance and luxury. I spy hares and pheasants as well as miles of lush greenery and springtime bluebells. Then I see the incredible main house. Located in County Laois, 90 minutes from Dublin, Ballyfin is a grand Irish Regency mansion built as a residence in 1820 by the Coote family. The house was sold in 1928 to the Patrician Brothers, a Catholic teaching order that operated a school there for more than 70 years. In 2002, Chicago couple Fred and Kay Krehbiel bought the property and spent the better part of a decade restoring it with the help of over 100 craftspeople. The glass conservatory required the most work because it was a wreck of broken glass, rust and overgrown vegetation. So it was dismantled and each piece numbered, tagged and shipped to England for repair. In addition, the school gymnasium and auditorium were demolished and a 150-metre-long tunnel running from the stables to the basement was installed so that delivery trucks could go about their business without harming the grounds or disturbing the guests. The Krehbiels’ attention to detail paid off. Every lookout from the house is cinematic. There’s a dramatic cantilevered staircase overlooking a reception area lined with ancestral portraits of the Cootes. It leads to the staterooms, all of which are incredibly grand yet wonderfully intimate. The Gold Drawing Room is the perfect place to take afternoon tea
ballyfin Demesne: the 19th-century mansiOnturneDluxury-hOtel is surrOunDeD by 248 hectares Of lush irish cOuntrysiDe.
while marvelling at the intricate gilded plasterwork and the lavish chandelier that once hung in the Paris mansion of the Queen of Naples, sister to Napoleon I. Guest rooms and suites are designed to reflect the spirit of the original house, and many of the rooms feature ornate furnishings and fixtures from the Coote era. My retreat—The Maryborough Room—is one of the dreamiest. It’s situated at the front of the house, on the southeast corner, and boasts spectacular views. The grounds of Ballyfin cover 248 hectares, which you can explore by foot, golf cart, bicycle or horse and carriage. During my three-day stay, I use all of the above means to explore the estate, which remains home to hidden waterfalls, a grotto, a medieval-style tower and walled gardens. (I even lost a shoe in the mud one day during my property wander, only to have it gallantly retrieved by head butler Lionel, as if I were the heroine in a Jane Austen novel.) Many of the 88 staff who work here are local residents (a few are former students of the school), and they are adept at making Ballyfin feel like your own house. I discover that dinner is a grand affair. Over cocktails, I’m presented with the menu to consider the daily selections. (Most of the food is produced on the property or sourced locally.) I sample the best of everything on the eight-course tasting menu, which concludes with cheese. The cheese trolley is trundled tableside so I can select my cheese flights and accompaniments. This traditional experience feels very indulgent and distinctly Downton-esque. Ballyfin impresses with not only its majesty and grandeur but also its incredible heart. And, well, I can’t lie: It’s my second time here, and I’m currently plotting a third visit.
Some travel to Nashville for the music. Stylist Truc Nguyen goes for the thrill of the hunt at the Unclaimed Baggage Center.
t all started with a pair of Givenchy rubber slides. In the winter, my best friend messaged me a photo of the black logo sandals, asking if I wanted to buy them for $99 U.S. She was shopping at the Unclaimed Baggage Center in Scottsboro, Ala., where the in-season shoes were being sold for less than a third of the retail price. I agonized for a few minutes and then passed on the purchase (they were one size too big), but the possibility of a designer steal put the wheels in motion for my pilgrimage to the baggage depot just two hours outside Nashville. That’s not to say Nashville itself wouldn’t have been enough. Yes, live music is still the big draw, but at least some of the record-breaking 13.9 million visitors to the city in 2016 ventured beyond the honky-tonks and the Grand Ole Opry to eat Mexican paletas in 12South or try on Queen Bey-approved jackets in East Nashville. Dev and Rachel’s first date in season one of Master of None aside, Nashville’s hot reputation has been helped by the TV show of the same name as well as buzzy articles in The New
148 F A S H I O N | OctOber 2017
York Times, Business of Fashion The southern hospitality and Vogue. Fashion friends at the five-star HermItAge have raved about vintage stores HOtel includes fresh like Local Honey and Pre to lemonade and warm Post Modern, but it was the cookies in the lobby each calibre and variety of Nashville’s afternoon and an extensive pillow selection in your independent boutiques that I room, while the newly found most impressive. I could opened KImptON AertSON have spent entire afternoons HOtel in Midtown is perusing the delicate jewellery decorated with art pieces, at Consider the Wldflwrs, the including an Anne Lindberg spectacular sundries at White’s thread installation and Mercantile and the elegant potone-of-a-kind Hatch Show tery and furnishings at Wilder. Print assemblages. The sense of camaraderie and supportive relationships among the many creative types and entrepreneurs was palpable. At Poppy & Monroe, a salon and wellness shop in Germantown, you can get a mani with local product Aila polish and walk out with a Ceri Hoover leather bag; both brands have devoted hometown followings. “Last night, I went to Porter Flea [at Skyway Studios in East Nashville],” says designer and Project Runway alum Amanda Valentine during a studio visit. “When those markets with a lot of local designers happen, I love to do my shopping for the season. Every day, I could be wearing something made by someone I know—that’s pretty cool.” But I also wanted some designer souvenirs and found that the best shopping happens at United Apparel Liquidators, a Nashville-based chain that Racked calls a best-kept secret for bargain-hunting fashionistas. Half of the southern chain’s six locations are in Nashville’s metropolitan area, and I spent hours happily trying on everything I could—from lacy Rodarte gowns to Creatures of the Wind shoes—my heart »
photography: Nashville skyliNe by getty; kiMptoN aertsoN by kiMptoN aertsoN
Beyond the Music
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Southern Charm A simple slip dress and a pair of wear-with-everything boots will take you from the change room to the country music concert without missing a beat.
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AllSAINTS $300 BrAve $120
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From the cash- or chequeonly mAS TAcOS POr FAvOr (get a deep-fried avocado taco and an iced coffee with horchata) to a full steak dinner at OAk STe AkHOuSe (think deliciously complex vegetable sides and many ingredients sourced from local farms), there’s a vibrant and broad food scene. Try HeNrIeT TA red for brunch, and grab drinks at the tiny, iconic BlueBIrd cAFe — if you can get tickets for a performance.
mIcHAel mIcHAel kOrS $300
uNITed APPArel lIquIdATOrS cHeekwOOd
A new Shania Twain exhibit continues at the cOuNTry muSIc HAll OF FAme, while Visions from Above: The Life and Work of William Edmondson opens this month at cHeek wOOd. The late Edmondson was the first African-American artist to have a solo exhibition at the MoMA.
PoPPy & Monroe by blu SanderS; Henrietta red by andrew tHoMaS lee; ConSider tHe wldflwrS by KelSey CHerry; united aPParel liquidatorS by @SHoPual; CHeeKwood by CHeeKwood.
beating at the thrill of the hunt and the promise of multiple markdowns. I left (very reluctantly) with only Bobo Choses shorts for my daughter and a handful of $5 Edith A. Miller knits. On the last day of my trip, I finally made my way to the 3,700-square-metre Unclaimed Baggage Center, which offers the contents of lost luggage at 20 to 80 per cent off suggested retail prices and attracts almost a million visitors a year. “We are different from any other retailer in the country,” says the centre’s Brenda O. Cantrell. “It’s an escape. It’s a curiosity. It’s a bargain hunt. We’re not a ‘have to shop’ store; we’re a ‘want to shop’ store.” HeNrIeTTA red Reportedly the only such concept store in the United States, it got its start in 1970 when founder Doyle Owens bought a truck full of unclaimed bags from a Washington, D.C., friend who worked at the Trailways bus company. The centre now has agreements with major airlines, who send their unclaimed freight cargo and suitcases—following a 90-day waiting period—in bulk to Scottsboro to be sorted for sale, donated to charity or disposed of. About a third of all the merchandise that arrives is diverted to the centre’s “Reclaimed for Good” program, which shares it with organizations like the Salvation Army and Medical Mission Aid. I spotted everything from sunglasses (starting at $5 and with a limit of three pairs per customer) to fishing equipment and electronics on the sales floor, but the most luxurious looks are kept behind a counter near the main entrance: Fendi bags and Cartier watches are mixed in with thousands of pieces of vintage and costume jewellery. While I was slightly disappointed with the prices (a gently used Fendi bag was still $1,000), they are generally comparable to what you might expect at an outlet mall or other off-price retailers. In the end, I did leave with one purchase: a pair of Vince leather slides in my size for $8.29. Mission accomplished.
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he three Canadian siblings behind Triarchy Denim were horrified to learn that it takes more than 6,814 litres to grow the cotton needed to make a single pair of jeans (and that doesn’t include the water used during manufacturing). In 2016, Adam, Ania and Mark Taubenfligel hit the pause button on their five-year business and started to research new approaches. “Unless we could find a way to make a difference through the brand, we were going to scrap the whole thing,” says Adam, the creative director. Earlier this year, after finding a factory in Mexico City that recycles 85 per cent of the water used in the manufacturing process, they relaunched their line. They also started making jeans that are 47 per cent Tencel. Tencel comes from the eucalyptus tree, which takes 85 per cent less water to grow than massproduced cotton does. “Nobody actually knows how much water they’re wearing when they put on a pair of jeans,” says Adam. The Fringe jacket (above) is from the Triarchy/ Atelier Denim collection and is made from vintage denim. “This allows us to remake pieces with amazing vintage washes without having to use water to wash down new materials,” he explains. “We use recycled water for Triarchy production and no water in the production of the Atelier pieces. So this jacket may rain in fringe, but not in water.” —Jacquelyn Francis
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Published on Sep 11, 2017