ELLE Canada - Summer 2024

THE ULTIMATE

GUIDE

KARINE

AUTHENTICALLY HERSELF VANASSE

UNFORGETTABLE TASTE FOR YOUR ME-TIME

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JUNE/JULY/AUGUST 2024

COVER STORIES

31 STYLE Our summer shopping guide is here to help you navigate the season.

78 CELEBRITY Karine Vanasse is finding her freedom. BY CAMILLE CARDIN-GOYER

STYLE & FASHION

24 STYLE Reinventing the white dress. BY MONICA AINLEY

27 STYLE Selfish Swimwear is making women feel good. BY ERICA NGAO

28 STYLE The history of Birkenstock. BY MAROUCHKA FRANJULIEN

88 FASHION Dior’s fall 2024 collection is sensual and strong.

94 FASHION Chanel’s Patrimoine is living history. BY JOANNA FOX

BEAUTY & WELLNESS

56 BEAUTY The best French-beauty secrets. BY KATHERINE LALANCETTE

62 BEAUTY How to be safe in the sun. BY OLIVIA STREN

64 BEAUTY Three new sunscreen brands are putting the fun back into protection. BY LESA HANNAH

66 BEAUTY The top hairstyles, cuts and colours for summer. BY JOANIE PIETRACUPA

72 HEALTH The future of fertility treatments. BY CAITLIN KENNY

75 SHOPPING Sizzling red and chill blue.

Rapper and singer Tierra Whack continues to push

McLachlan muses on 30 years in the industry and her summer tour.

WENDY KAUR

TRAVEL Discover the magic of Morocco, from the medinas to the mountains. BY CHLOE BERGE

100 TRAVEL Where to shop and what to do in Paris this summer. BY TRUC NGUYEN

102 ART The McCord Stewart Museum has two veryfashion-forward shows on display. BY ROBB JAMIESON

FOOD Dairy-free strawberry tiramisu for the win. BY MARGAUX VERDIER

ASTROLOGY A guide to what’s in store for you this season.

ON THE COVER

Karine Vanasse is wearing a bra top and jeans by Dion Lee and a necklace by Rabanne (at SSENSE).

Max Abadian Creative director Olivia Leblanc Stylist Patrick Vimbor Makeup artist LeslieAnn Thomson (The Project) Hairstylist David D’Amours (Kérastase) Manicurist Natalia Aracena (Ongles Natalia)

Loga Stylist’s assistant Joseph Schaffner Production assistants Eloïse Lemay and

PUBLISHER SOPHIE BANFORD

EDITOR-IN-CHIEF JOANNA FOX

BEAUTY DIRECTORS THÉO DUPUIS-CARBONNEAU (INTERIM), KATHERINE LALANCETTE (ON LEAVE)

ART DIRECTORS ANNE-SOPHIE PERREAULT (INTERIM), SAMANTHA PUTH (ON LEAVE)

GRAPHIC DESIGNER LAURENCE FONTAINE

EDITORIAL COORDINATOR CLAUDIA GUY

DIGITAL DIRECTOR CYNTHIA QUELLET

DIGITAL CONTENT MANAGER MELISSA FEJTEK

CONTRIBUTORS

MONICA AINLEY, MACA ATENCIO, CHLOE BERGE, CAMILLE CARDIN-GOYER, DUGGAN CAYER, GABRIELLE LISA COLLARD, VANESSA DL, JANE FIELDING, MAROUCHKA FRANJULIEN, CONNOR GAREL, LIZ GUBER, LESA HANNAH, ROBB JAMIESON, PATRICIA KAROUNOS, WENDY KAUR, CAITLIN KENNY, OLIVIA LEBLANC, PÉNÉLOPE LEMAY, ERICA NGAO, TRUC NGUYEN, JOANIE PIETRACUPA, CIARA RICKARD, OLIVIA STREN, EVE THOMAS, MARGAUX VERDIER

TO REACH EDITORIAL: editors@ko-media.ca

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ADVERTISING SALES

VICE-PRESIDENT, STRATEGY, GROWTH & PARTNERSHIPS EMMANUELLE GIASSON, egiasson@ko-media.ca DIRECTOR, CONTENT & STRATEGIC PARTNERSHIPS ALEXANDRA PAPINEAU, apapineau@ko-media.ca STRATEGIST, CONTENT & STRATEGIC PARTNERSHIPS NOÉMIE QUILLERÉ, nquillere@ko-media.ca

NATIONAL SALES DIRECTOR (TORONTO) MARCELLE WALLACE, mwallace@ko-media.ca

NATIONAL SALES DIRECTOR (TORONTO) MARNI ARMOUR, marmour@ko-media.ca SALES DIRECTOR SANDRINE DAHAN, sdahan@ko-media.ca NATIONAL SALES DIRECTOR MARIÈVE LEMAY, mlemay@ko-media.ca NATIONAL SALES DIRECTOR NATALIA TAVARES, ntavares@ko-media.ca

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PRESIDENT LOUIS MORISSETTE

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SPECIAL PROJECTS MANAGER CLAUDIA TREMBLAY

MARKETING & DISTRIBUTION COORDINATOR ALEXANDRA TOBON

SPECIAL PROJECTS MANAGER CHANTAL DURAND

FINANCIAL CONTROLLER RACHEL BOURDAGES ACCOUNTING TECHNICIAN PAULINA RODRIGUEZ

BILLING KATHERINE BLANCHETTE

EXECUTIVE ASSISTANT MÉLISSANDRE LURETTE

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SYNDICATION & EDITORIAL COORDINATOR FOR USA & NORTH AMERICA MONIQUE BONIOL

COPYRIGHTS MANAGER KENZA ALLAL

DATABASE MANAGER PASCAL IACONO

DIGITAL & GRAPHIC DESIGN DIRECTOR MARINE LE BRIS

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THE NEW INTENSITY

In Praise of Print

SINCE ITS INCEPTION, ELLE Canada has been a reliable resource for a caring and growing community of readers who like to be in the know about trends in a wide range of fields. EC, as we call it, is more than just a magazine. In the thousands of pages we’ve published, we have shared inspiring stories and different points of view, tackled sensitive and political subjects and participated in major social debates. And we’ve done all this with the aim of not only being a source of inspiration but also helping make sense of the world around us—and perhaps even making it better.

Our mission to celebrate diversity, encourage dialogue, inform people and share all that is beautiful and joyful is particularly topical now as an unprecedented media crisis looms large in our industry. It’s only natural to wonder about the future of magazines. In an era when many have been predicting (for quite some time already) the imminent end of print publications, I want to extol the merits of having

multiple platforms. Of course, our digital magazine and website are not going anywhere, but we’re now aware of the detrimental effects of prolonged screen time on our physical and mental health. For me, print magazines, newspapers and books are a lifeline.

To open a magazine is to treat yourself to a moment of disconnection. It’s about participating in an immersive experience in which the content is dictated not by an algorithm that spies on your search history but by curious, intelligent and experienced journalists. In this space, there are no pop-ups, no digital distractions and no notifications that reduce your ability to focus. It’s an opportunity to quietly flip through stories, articles and photos that are carefully selected by a dedicated editorial team whose mission is to offer you a moment of relaxation, fun and reflection.

All this is to say that we cannot thank you enough for your continued support. Here’s to many more issues to come!

Sophie Banford , publisher @sophiebanford

The bucket hat continues to reign, so why not opt for a bold, playful print?

BUCKET HAT, GANNI ($135, GANNI.COM)

There’s no better summer basic than a pair of baggy jeans, especially when they’re paired with a casual white tank.

JOSIE TANK TOP, THE FRANKIE SHOP ($118, THEFRANKIESHOP.COM)

THE BAGGY JEAN, UNCLE STUDIOS ($366, UNCLEXSTUDIOS.COM)

Nothing helps motivate me to hit the pavement like a cute new matching set.

MOVEMENT BRA AND TIGHTS, ON ($80 AND $170, ON.COM)

WARM

This handy tote adds a pop of colour for pool days, market runs and picnics in the park.

MINDY BAG, LAMARQUE ($120, LAMARQUECOLLECTION.COM)

WELCOME

Along with long, lazy summer days come patio living, weekend road trips, a more relaxed attitude and serious vacay vibes. Here are some of editor-inchief JOANNA FOX ’s top picks for embracing the sunnier season.

These are hands down the best sports socks I’ve ever worn—and they also look really cool.

UNISEX HALF-CREW THROWBACK SOCKS, ALO ($39, ALOYOGA.COM)

Elevate any look with these statement earrings.

IGBAYA EARRINGS, ADÉ ($68, ADESTUDIO.CA)

To fully unplug, trade in your smartphone for an old-school watch to keep track of time—and nothing else.

SWAN OCEAN WATCH, SWATCH ($95, SWATCH.COM)

These have long been my go-to sandals for warmer days, and I never fail to get compliments on them.

SANDALIAS, BEATRICE VALENZUELA ($419, BEATRICEVALENZUELA.COM)

This versatile vacation dress is sure to turn heads.

ALICE DRESS, MARA HOFFMAN ($615, MARAHOFFMAN.COM)

June/July/August

What’s on the ELLE editors’ radar right now.

LA DOLCE VITA

The COS spring/summer 2024 mainline and Atelier collections were presented this past spring in Rome at the Italian capital’s historic Corsie Sistine. On the runway, fluidity reigned supreme, with drapey fabrics, big volume, off-the-shoulder tops and sheer elements that highlighted the loose, unstructured silhouettes—and it was all in a palette of neutrals punctuated by pops of red. Among the more detailed Atelier pieces, the statement looks showcased hand-pleating, sliced leather, hand-painted finishes and fishtail skirts. Overall, the brand continues to offer its clients comfortable, wearable pieces that demonstrate a strong point of view and an elevated street style. COS.COM

DYNAMIC DUO

Mischievous, enchanting and unabashedly sexy: That’s how one could describe JEAN PAUL GAULTIER’s new fragrance pair, Scandal Absolu. The fresh additions to the Scandal franchise revolve around chestnut, mirabelle plum and sandalwood for him and fig, tuberose and sandalwood for her. “This fragrance embodies a strong presence—a woman who commands attention. You feel her, she fills the room [and she is] utterly confident,” explains perfumer Daphné Bugey, the nose behind the feminine scent. “Jean Paul Gaultier has always celebrated all forms of beauty, transcending norms and conventions.” Whether worn solo or together, these new scents promise to leave behind a trail of wild sensuality wherever they go.

Club Class

The CAFA-award-winning Montreal design studio JJJJound has once again teamed up with Reebok to launch an elevated version of the iconic Club C 85 tennis shoe. “This time around, the team wanted to create a suede version of the Club C that feels timeless and applicable for the next decade,” says Justin Saunders, the brand’s founder, in a press release. The sneakers are available in three colourways with desaturated tones inspired by dusty stonework, machinecut marble, coastal sands and winter snowscapes, the idea being that they’ll integrate seamlessly into any wardrobe. REEBOK.CA

JEAN PAUL GAULTIER SCANDAL ABSOLU EAU

GOTH-GIRL-MOVIE SUMMER

This summer brings darker viewing options for the moody types who love both Gothic poetry and some serious ass-kicking. Furiosa:AMad MaxSaga (out May 24) takes audiences back to the post-apocalyptic world where gasoline is gold and armoured jalopies rule. This film is a prequel to MadMax:FuryRoad,now widely regarded as an action-movie masterpiece. Anya Taylor-Joy stars as the titular character, Furiosa, who’s trying to get home through the desert wasteland as two warlords battle it out for dominance. AQuietPlace:DayOne(out June 28) is a prequel to the first two movies, both created and directed by John Krasinski, about alien monsters that hunt via sound. This instalment was co-written by Krasinski and directed by Michael Sarnoski (Pig), stars the brilliant Lupita Nyong’o (BlackPanther:Wakanda Forever) and Joseph Quinn (StrangerThings) and shows us how this silent nightmare began. And finally TheCrow , which flies into theatres on August 23, is a remake of the 1994 movie of the same name, whose soundtrack dominated many a mid-’90s dimly lit teenage bedroom. Creepy yet hot Bill Skarsgård stars as the back-from-the-dead superhero avenging the murder of his lover, played by FKA Twigs.

Get Curly

It’s time to let your waves, curls and coils live freely, thanks to AVEDA’s be curly advanced collection, which relies on vegan peptides derived from plant proteins to give bounce and health to hair. “The hydrolysis process breaks down these proteins into small, potent peptide components, whose diminutive size facilitates penetration into the hair, delivering unparalleled strengthening benefits,” explains Christine Hall, vice-president of R&D at Aveda. The collection—which is made up of seven products, including a co-wash, a curl enhancer and a mask—is for wavy, curly and coily hair types from 2A to 4C, and it took more than four years of research and consultations in salons around the world to develop it. The result? Cutting-edge vegan hair care that strengthens and hydrates the hair fibre while taming frizz and adding shine and definition to curls. FROM $47, AVEDA.CA

EAST COAST STYLE

Nunatsiavut Inuk artist JESSICA BROWN was working in Toronto and taking in the city’s fashion scene when she realized there was an opportunity to bring a similar idea back home to St. John’s. Alongside filmmaker Roger Maunder, photographer Dave Howells and communications expert Tera McDonald, Brown will launch St. John’s Fashion Week (SJFW) this summer (August 7 to 11). Hosted by filmmaker, activist and artist Sarain Fox, the event will highlight both Indigenous and local designers and businesses, like Lesley Hampton, Melanie Jacqueline and Always in Vogue, and emerging talents, such as Stitched by April, and it has partnered with Indigenous-owned beauty brand Cheekbone Beauty. “Balancing representation is vital to me, as our team strongly values inclusion,” says Brown. “Personally, not seeing myself represented while I was growing up fuelled my desire to make a difference. To showcase Indigenous fashion, SJFW will spotlight Indigenous designers, infuse Indigenous themes and elements into the fashion shows and offer a platform to empower Indigenous creators in the industry.”

STJOHNSFASHION.COM

LIFE’S A PICNIC

UNIQLO’s latest collaboration with Finnish lifestyle-design house Marimekko welcomes the summer season with big, bold open arms. The limited-edition collection, titled Joyful Summer Picnic, showcases six iconic Marimekko prints— including archival ones from the 1950s through to the 1970s—that are sure to spark joy with their graphic patterns and abstract designs in bright, cheerful colours. Choose from items such as dresses, T-shirts, skirts, bucket hats, slip-on shoes and, of course, the TikTokviral Round Mini Shoulder Bag to add a fresh update to your warmweather wardrobe. UNIQLO.COM

MELANIE JACQUELINE

Ready-to-Wear

Two new Toronto openings to take note of.

Canada’s first LOEWE store recently opened its doors in the city’s Yorkdale Shopping Centre, offering men’s and women’s ready-towear collections as well as accessories, eyewear, jewellery, perfume, candles and more. In a space inspired by the Spanish brand’s Casa Loewe retail concept, these luxury products are intentionally interspersed with pieces of art and furniture, evoking the look and feel of the home of a collector. In the elegant and eclectic store, you’ll find Berlin club chairs and Utrecht armchairs, a Noguchi paper lamp and artworks by international artists, such as British painter Eliot Hodgkin and German photographer Jochen Lempert—all displayed alongside fashion must-haves, like the now iconic Loewe Puzzle bag. LOEWE.COM

Over on Bloor Street West, SAINT LAURENT ’s new store reflects the brand’s elevated take on modern luxury. Behind the 1970s-inspired concrete facade, shoppers can discover the French house’s collection of women’s and men’s ready-to-wear and accessories as well as unique furniture, including a Carlo Scarpa sofa, a pair of Carl Gustaf Hiort af Ornäs armchairs, Osvaldo Borsani side tables and two tall sculptures by Canadian artist David Armstrong Six. YSL.COM

OFFBEAT

Award-winning Canadian-born British writer

RACHEL CUSK , who’s known for her visionary writing style, will delight her fans this summer with a new novel, Parade, out on June 18. The story delves into the world of an artist named G who lives multiple lives, genders and identities, digging deep into what it really feels like to exist.

LOEWE

SAINT LAURENT

WHITE DRESS REDUX

This summer’s colour-free frocks are a far cry from their demure origins.

By MONICA AINLEY

HIGH SUMMER. REBIRTH. ROMANCE. WEALTH. PURITY. FEMININE VIRTUE. For better or for worse, the white dress has embodied much symbolism through the ages. However, the spring/summer 2024 runways presented new spins on this timeless piece, with designers casting aside dusty old references and instead using the classic look as a tabula rasa for expression—proof that white dresses needn’t be reserved for places of worship or even town halls. There’s one for practically every taste category, body type and occasion this summer—except for, perhaps, someone else’s wedding.

One of the earliest accounts of a bride wearing white is referenced in The Babylonian Marriage Market, a painting by 19th-century British artist Edwin Long. The artwork, which is based on Herodotus’ writings about ancient Babylon, depicts a group of young women who’ve been gathered up, shined like apples and dressed in white robes and are being auctioned off to the highest bidder. Mary, Queen of Scots—arguably as ill-fated as her Babylonian predecessors—was among the first high-profile brides to wear a white dress when she wed her first husband, Francis, Dauphin of France, in 1558. Sadly, Francis died of an ear infection less than two years later, which was only the beginning of Mary’s bad luck. White-dress-wearers find themselves in

ALTHOUGH THE WHITE DRESS HAS BEEN STANDARD BRIDALWEAR SINCE VICTORIAN TIMES, THE FILM, FASHION AND MUSIC INDUSTRIES HAVE BEEN WORKING OVERTIME TO TURN THE ASSOCIATED PURITY TROPE ON ITS HEAD.

unfortunate circumstances in fiction too. The Lady of Shalott, Alfred Tennyson’s 1833 ballad, sees its passive subject locked in a tower, “lying robed in snowy white / That loosely flew from left to right / the leaves upon her falling light” as she endures a mysterious curse that prevents her from looking directly at the outside world. When she accidentally does so, she ends up drifting down a river, singing sadly, until she dies.

The iconic white dress’ fortunes began to turn when Queen Victoria chose to wear one for her wedding to Prince Albert, the beginning of what would be a long-standing and by all accounts loving union. Their 1840 nuptials served to solidify the puffy white gown’s status as not only a recognizable bridal costume but also a symbol of Victorian modesty and an indicator of the bride’s family’s wealth given the hefty laundry bill that would come with cleaning it later. Rumour has it that even Queen Victoria later had her wedding gown repurposed for regular use.

Although the white dress has been standard bridalwear since Victorian times, the film, fashion and music industries have been working overtime to turn the associated purity trope on its head. From Grace Kelly’s alluring gown in To Catch a Thief to Marilyn Monroe’s iconic halter dress in The Seven Year Itch to Sharon Stone’s seductive number in Basic Instinct—not to mention Björk’s brilliantly eccentric swan dress at the 2001 Oscars and Beyoncé’s daringly sheer Michael Costello gown at the 2014 Grammys—white dresses have come to represent something altogether different from the silent young woman being given away in puffed sleeves and a face-covering veil.

Indeed, what’s truly new about the current trend is the impressive diversity of the spring/summer 2024 offering, from ladylike numbers to elegant yogawear to structured pieces to downright outré bare-all statements. Take cult Irish designer Simone Rocha’s guest couture collection for Jean Paul Gaultier titled The Wedding. Rocha approached the nuptial theme with confidence, irony and a hint of humour, giving girlie tropes a more hardened, eccentric edge and mixing neatly

tied ribbons and gravity-defying layers of tulle with cone busts that resemble horns, dishevelled corsetry and punkish bejewelled belts cinched purposefully at both bust and waist. For Rocha, the white dress with its bells and whistles appears to be about harnessing feminine power rather than letting oneself drown in it.

Louise Trotter, Carven’s new creative director, showed a snappy short white dress in an hourglass shape that paid tribute to the style codes of the house’s founder, Marie-Louise Carven. Its timeless nipped-in waist and powerful shoulders counterbalance its leg-baring length and open back, perfect for catching a cool breeze on a hot summer’s eve.

Frivolous whites sauntered through Chanel’s spring couture collection too, taking cues from classic and modern dance codes, with tulle and gauze over off-white ballet tights and leotard undergarments boldly grounded by black heels. All the best bits could be summed up by the show’s head-to-toe-white opening look, worn by a grinning, gliding Margaret Qualley. The actor set the tone for a playful show of tutu-like dresses and the fun layering-over-leotard look from earlier seasons that’s now playing out in street style.

Meanwhile, overt sexiness was juxtaposed with traditional bridal fabrics at Coperni, Dolce & Gabbana and Jacquemus, all of which showed transparent lace and silk dresses with undergarments and slips on full display—including garters that were visible enough to make your great-aunt fall off her pew. Gucci, meanwhile, approached body-baring whites with micro-dresses that do not ask the wearer to choose between exposing legs, arms or chest. Similar super-short numbers were seen at Hermès and Isabel Marant—thrilling choices for a badass bride, to be sure, but also tempting options for making an entrance at any high-summer shindig.

Designers’ visions for a new generation of white dresses are setting a different tone for summer and its many events. But the attitude of the wearer—be they a bride, a punk princess, a skin-baring badass or a daring dancer—will be the icing on the cake with one of this season’s statement-making options.

SELFISH SWIMWEAR

This

Montreal-based brand is changing

the industry—and how women perceive themselves—one perfectly fitting swimsuit at a time.

By ERICA NGAO

AS A TALLER WOMAN , Naomie Caron has long had trouble finding clothes that fit. That source of frustration led to her studying fashion in Montreal. “I thought, ‘Why not create it myself?’” she says. Caron grew up in a business-savvy family— her mother is a serial entrepreneur—and she spent a few years after graduation figuring out her calling. “Fashion design is a competition,” she says. “There are a lot of people and noise, so it can be hard to find yourself in all of that.”

Caron’s inspiration came when a client requested a madeto-measure swimsuit. “I asked around and learned that it was actually an issue to find a well-made, sustainable and ethical swimsuit that’s also flattering,” she says. Not long ago, most swimsuits were also sold as complete sets. “Our bodies have so many different shapes—your top could be a [size] large and your bottom could be a small or vice versa,” says Caron. “I realized that the industry was built in this very rigid form and mostly by men who see [women] in this Barbie shape.”

After teaching herself the ins and outs of swimwear design and pattern-making, Caron founded Selfish Swimwear in 2018. Each piece is made right in the city’s Little Italy neighbourhood workshop using high-quality recycled-fibre Italian nylon. With the goal of having the swimsuits last at least five years, the brand also offers in-house repair services and alterations. To complement the beloved core collection of styles and prints this summer, Caron is developing a ready-to-wear collection of loungewear and beachwear items that are “comfortable and easy and feel fresh.”

INNER CONFIDENCE

“I want our customers to see themselves as beautiful and stop telling themselves that they can’t do this or they can’t wear that because of their age or size. They’re [creating] their own boundaries, because nobody [else] sees that—[other people] only see the confidence and love they give themselves. In 2024, we can’t continue making things just to make things. We need to provide value and bring something that will help society change or become better. It comes back to listening to [my] customers.”

ME

TIME

Since opening the store last fall, Caron has helped more than 200 customers find their perfect fit. For her, the product isn’t the main focus but an add-on to the true mission of the brand: to change the perception that women have of their body. The shopping experience can be deeply personal and emotional. (“Sometimes I feel like a therapist,” she says.) She hopes that Selfish will eventually become a place where people feel safe and empowered and can explore their relationship with their body. “Some people come into the store crying, and then they leave with a smile,” says Caron. “That feels really good.”

“I want to show that Selfish isn’t just a swimsuit brand—it’s a way of thinking. When you hear the word ‘selfish,’ it’s about thinking about yourself first and thinking about the love that you should give yourself. Sometimes it’s good to be selfish. For example, my clients are usually parents; with their focus on children and family responsibilities, they lose themselves. It’s healthier to stay in that mindset of ‘me’ and take care of your mental health.”

BODY POSITIVITY

“At the end of the day, what I’ve realized is that with the society we were brought up in, how we, as women, see ourselves physically affects everything we do in life: how we choose our career and how we choose our partners and our friends and everything around us. I think about the statistics of how many women go through bulimia and anorexia at a young age because of the [belief] that we should be a certain body type. It’s about changing that and stopping all that nonsense.”

NAOMIE CARON

HAPPY FEET

The much-loved German shoe giant BIRKENSTOCK has been celebrating comfort for 250 years.

By MAROUCHKA FRANJULIEN

ONE WOMAN’S STYLE FAUX PAS IS ANOTHER WOMAN’S favourite piece, and any look worth its salt in fashion should elicit strong opinions—or at least vigorous debate. Think Juicy Couture track suits from the early aughts, exposed thongs, Crocs, capris and, spotted on the fall/winter 2024/2025 runway, Balenciaga’s velvet athleisure pants. Years back, Birkenstock sandals left no one indifferent. Today, however, the German shoemaker has gen Zs, their parents, luxury labels, influencers and granola-crunching yoga devotees alike all on the same sandal-loving page.

Birkenstocks were designed to provide comfort first and foremost—podal well-being, as it were—as well as unwavering arch support, but all it took was a handful of celebrities and designers showing theirs off to get the rest of us on board. And that’s how the fan favourite “Boston” and “Arizona” styles went from gracing only hippie, backpacker and German-tourist feet to becoming an integral component of the fashionista’s arsenal.

The mainstream fervour hit such a pitch that Birkenstocks even played a pivotal role in Greta Gerwig’s summer blockbuster Barbie when a pair of suede Arizonas became a metaphor for the titular character’s transformation from stiletto-wearing doll to modern real-world woman. Although most brands would have killed for the tiniest spot in the film, this was pure plot, not product placement.

Propelled by jaw-dropping growth in recent years, Birkenstock is famous for not going heavy on marketing—it simply doesn’t need to. Its pride and joy, and what makes the goods continue to be popular across cultures, is an orthopaedic insole that was designed over a century ago. Once your tootsies get a taste, it seems, there’s no going back.

To understand why the Birkenstock brand is so successful today, we need to go back a couple of centuries to Johann Adam Birkenstock—a “vassal and cobbler,” according to 1774 church records, from a tiny hamlet in the heart of Germany. Not much is known about this footwear-making ancestor except

that his profession was most likely an inherited one, as was the custom. Over a century later, his great-grandson Konrad Birkenstock would go on to custom-design a cobbler’s last—the mould used in shoemaking—and in 1902 fashioned the world’s first contoured insole to support the natural curve of the foot. Given that his contemporaries didn’t make a distinction between the left and right foot—on top of producing a product that was both flat and hard—the innovation made some serious waves. Konrad did not rest on his laurels, however: By 1903, he had crafted a latex-and-cork midsole that he lovingly named “Fußbett” (footbed), an orthopaedic solution that doctors and foot specialists would begin prescribing as early as the 1930s.

The first Birkenstock sandal, the “Madrid,” appeared in the 1960s. Swimming against the tide of ’60s fashion, the minimalist one-strap sandals were a flop before folks could flip, as is the Birkenstock way: Longevity trumps trendiness. No one knew this better than Margot Fraser, a German entrepreneur based in Santa Cruz, Calif., who discovered Madrids on a trip to the motherland in 1966 and decided to share her find back home. Most of her American clients qualified the sandals as unattractive, leading to an understandable rejection by shoe retailers. Fraser didn’t give up, though, and began marketing the footwear to the kind of natural-food stores hippies would frequent—hence the granola association that stuck with the Birkenstock brand long after the peace-and-love movement had subsided.

The fashion industry was quite late to the scene. In the 1990s, minimalist style was enjoying a bump, and Birkenstocks, with their clean, simple lines, dovetailed perfectly with the moment. The German sandals soon found their way onto the feet of

Kate Moss, into the pages of The Face magazine and onto Perry Ellis’ 1993 spring/summer catwalk. The fashion show was a major moment: Marc Jacobs, who was designing for the label at the time, had just pulled off his famous grunge collection. A decade later, Birkenstock launched a collab with model Heidi Klum, winning over celebs from Gwyneth Paltrow to Ewan McGregor, before eventually being eclipsed by newer trends.

Then Phoebe Philo—via Celine’s spring/summer 2013 collection—showed off a two-strap Arizonas-inspired mink sandal that fashionistas would lovingly rename “furkenstocks.”

The Birkenstock brand had nothing to do with it but reaped all the furkenstock-fever benefits, including fresh collabs, such as the one with Rick Owens in 2018. Riding on that success, Birkenstock dropped its 1774 collection a year later and teamed up with both niche brands and luxury giants, including Valentino, Proenza Schouler, Dior and Manolo Blahnik.

In 2020, when COVID-19 lockdowns forced most of us to stay inside, style was all about cozy materials and clothing that was conducive to cocooning. Naturally, people turned to Birkenstocks for comfort, and the brand didn’t need to lift a finger. Arizonas (preferably shearling lined) became everyone’s go-to, while the Boston—a supple-leather clog first sold in 1976—enjoyed renewed interest thanks to trendsetters and celebs, including Kendall Jenner, Kaia Gerber, Zoë Kravitz and Gigi Hadid.

With skyrocketing sales, the family brand found a new owner in LVMH in 2021 before (underwhelmingly) going public last October. Although the company is now in the hands of billionaire Bernard Arnault, its feet are firmly planted on the ground and its mantra remains unaltered: comfort, health and iconic styles that stand the test of time.

IIN GOOD COMPANY

We shine a light on Canadian vision care leader IRIS, and its new campaign which focuses on the people who make their business successful.

RIS WAS STARTED IN BAIE-COMEAU, QUE., in 1990 and is now the largest network of optometrists, opticians and ophthalmologists in Canada. It became a leader in vision care—in terms of eyewear, eye exams and surgical vision correction—through its strong, distinct and unifying values: an individual and family-centred vision for eye care as well as high-quality personalized products and services.

IRIS, IT’S THEM!

By launching their new “IRIS, It’s Me” campaign to celebrate its 35th anniversary, the local company hopes more than ever to shine a spotlight on the people behind its success and to show gratitude to all of its team members. The 15 ambassadors photographed for the campaign are IRIS employees who embody the company’s values through their engagement and inspiring careers.

“For years, we’ve been playing with the idea of showcasing our team members in our ad campaigns,” says Melanie Hajjar, Vice-President of marketing and communications. “It’s not easy

to stand out in Canada’s relatively saturated eyewear market. At IRIS, our greatest strengths are not just our family- and people-focused culture, warmth, attentiveness and passion but also our employees, who have more than 15, 20 or even 25 years of experience with us—a rarity in today’s job market. It seemed logical to put our employees at the centre of ‘IRIS, It’s Me.’”

AN EYE FOR TRENDS

When it comes to frames—whether for vision or sun protection—the company keeps up with the latest trends season after season: aviator, square, round, panthos, cat-eye and geometric shapes in fashionable brands such as Tom Ford, Carrera and Ray-Ban. Its catalogue is brimming with popular stylish products. “And it’s not just our glasses that follow trends; the technologies we use, from lenses to coatings, follow them too,” says Hajjar. It’s all the more reason to visit one of the 150 IRIS locations in Canada.

For more information about IRIS or the company’s “IRIS, It’s Me” campaign, visit iris.ca

MARIE-STELLA, OPTOMETRIST ASSISTANT, IRIS GATINEAU, WEARING

TOM FORD GLASSES

We’ve put together everything you’ll need to take on the hot months ahead with style and confidence.

SWIM SMART

Here’s what to know before buying your next bathing suit.

By TRUC NGUYEN

YOU MIGHT HAVE HEARD THAT THE TEXTILE INDUSTRY is the biggest source of marine-microplastic pollution—it’s responsible for about 35 percent of the plastic microfibres that enter the ocean. Your swimwear, unfortunately, is a main culprit since the vast majority of swimsuits are made with materials such as elastane, nylon and polyester—all of which can shed microplastics during washing—because these synthetics offer key improvements over natural fibres.

“Historically, swimsuits were made of wool and cotton,” says Anika Kozlowski, an assistant professor of fashion design, ethics and sustainability at Toronto Metropolitan University. “When wet, those materials become saggy, don’t really hug the body and get really, really heavy.” Latex yarn was first incorporated into swimwear in the 1930s, and by the 1960s, it was common to see bikinis and Speedos made with nylon and elastane. Today, thanks to synthetic fibres and the addition of stretch, swimwear is lighter and more colourfast and conforms better to the body. But while there are rising concerns about microplastics, experts say that there are not yet any comparable alternatives. “Right now, it’s really difficult because there’s just not a perfect solution out there,” says Kozlowski. “You’re not going to get away from having elastane in any kind of swimwear.” Even styles

NATASHA TONIĆ ($270, NATASHATONIC.COM)

NIKA ($215, UNIKASWIMWEAR.COM) REFORMATION (TOP, $148, AND BOTTOMS, $128, THEREFORMATION.COM)

STELLA MCCARTNEY (TOP, $205, AND BOTTOMS, $180, STELLAMCCARTNEY.COM)

featuring natural or plant-based materials will still include some percentage of synthetic fibres in the fabric blend. Still, for the sustainably minded shopper, there are ways to minimize the impact of one’s swimwear: Look for styles made with eco-friendly materials, support brands that are committed to sustainable and ethical practices and take proper care of your suits so they last for years to come.

There are many swimwear brands opting for lower-impact materials such as recycled polyester and recycled nylon, “which have the same performance properties as those made from virgin raw materials,” says Kate Hobson-Lloyd, fashion-ratings manager at Good on You, an app that rates fashion brands based on how sustainable and ethical they are. Recycled polyester is typically made from post-consumer plastic bottles, and Econyl, a popular regenerated nylon, is made from discarded fishing nets, old carpets and textile waste. More recently, some brands have started to introduce swimwear made with biobased synthetics, which are derived from materials like castor oil instead of petroleum. While being less resource-intensive to produce, these alternative materials are still far from ideal. “Fabrics made from recycled synthetics will still shed polluting and harmful microfibres in the same way as those made from virgin synthetics,” says Hobson-Lloyd. Plus, like virgin synthetics, they are also not biodegradable.

Hobson-Lloyd suggests supporting sustainable swimwear brands that go beyond just using recycled materials. “This can include things like offering long-lasting and timeless products, manufacturing locally and using materials sourced from close by, using renewable energy in direct operations and supply chains, minimizing offcuts and recycling waste from manufacturing processes,” she says. Toronto-based Ūnika, for example, has been using an Italian fabric made from regenerated nylon yarn derived from ocean waste since the brand’s inception in 2017—before it became an industry standard. “Back then, recycled fabrics weren’t really a thing,” says founder Betsy

Campos. “I chose to use sustainable fabrics from the get-go just based on fabric research and fabric science.”

Not only are the premium fabrics Campos uses made with ocean waste but they are also resistant to stains and offer SPF protection and great moisture wicking. “I have clients who have suits from the first year of my business that are still in mint condition,” says Campos. In addition to being made from recycled materials, Ūnika pieces are produced to order in-house. “It costs so much more, but having full control over production is priceless because I’m not overproducing and I’m not stuck with deadstock.”

If you’re concerned about microplastic pollution, start by handwashing your swimwear or laundering it in a washing bag to reduce fibre-shedding. Caring for your swimsuits properly will not only make them last longer but also help minimize their environmental impact. Naomie Caron, designer and founder of Selfish Swimwear in Montreal, suggests rinsing your bathing suits well after every wear. “Once you’ve been in the pool or the sea, there are all these aggressors that are going to stay in the bathing suit,” she says. “The chlorine, the salt water, the sweat, the creams you put on—when they dry, that will break [down] the fibre with time.”

Wash your suits in cold water—ideally not with rough garments like jeans, which can scratch the material—and don’t put them in the dryer or let them dry in the sun. With synthetics, heat can impact features like stretchiness or fade the colour. Ultimately, because even the more sustainable swimwear options are still imperfect, “having a product that lasts is really the most important,” says Caron.

You may not be able to get away from synthetic fibres just yet, but the good news is that these days it’s easier than ever to find styles—from both independent labels and larger brands—that are made with care using recycled materials. “If it’s made really well and you’re going to have it for a really, really long time, then that’s an okay option,” says Kozlowski.

ECO MODE

Summer’s

MARA HOFFMAN ($560, MARAHOFFMAN.COM)

TROPIC

EURO BOUND

HIT LIST

We asked some of the most style-savvy Canadian women we know to share their current shopping obsessions.

By LIZ GUBER

CONTENT CREATOR SASHA MEI , stylist Aliecia Brissett and designer Dorian Who reveal the trends they’re embracing, the references they’re channelling and, crucially, the pieces they’re eyeing this season that will help them nail their dream summer looks.

THE CONTENT CREATOR: SASHA MEI

Sasha Mei is a writer, content creator and semi-professional dinner-party thrower via her recently launched hosting platform, Yu & Mei. So it’s no surprise that this multi-hyphenate’s style references are as varied as her resumé. “I’m simultaneously and contradictorily inspired by the following: the Southern Gothic aesthetic channelled in films like Sofia Coppola’s The Virgin Suicides and Peter Weir’s Picnic at Hanging Rock and how effortlessly gorgeous ’90s Angelina Jolie and Monica Bellucci were.” To nail this nostalgic balance between various 20th-century references, Mei plans to incorporate pieces with periodinspired silhouettes (like a crisp cotton dress with a basque waist) as well as restrained and minimally embellished accessories, like a pair of baby-blue ballet flats and a woven leather tote. Some organic, surrealist-feeling jewellery—like a hammered silver ring by Spanish brand Simuero—rounds it all out. The item at the very top of Mei’s wish list? A maxiskirt that lets her play with proportions. “I am a long-skirt girl,” she says. “While [wearing them means] my leg tan suffers, they’re so much breezier and more practical in hot weather. Plus, they always make you look put together—not to mention taller!” And while Mei says she’s not one to readily follow runway trends, she is inspired by this season’s re-emergence of balletcore and mermaidcore. “I’m a former dancer, so balletcore is just normal dressing for me,” she says.

SASHA MEI

THE STYLIST: ALIECIA BRISSETT

“Remember Naomi Campbell in the 1994 and 1995 Chanel shows? All the midriff-baring, all the colour—that’s my summer-style inspiration,” says Aliecia Brissett, an editorial and wardrobe stylist who tends to favour clean lines and a sleek pair of trousers. As for a modern reference? Brissett is taking cues from glam Milanese brand The Attico. “I love how [it mixes] maximalist pieces with simple ones.” Cases in point: dramatically oversized cargo pants paired with a sports bra or a show-stopping fringed cocktail dress with a trench coat and jolts of cool metallics. For Brissett, it’s that tension between more detailed interesting pieces and everyday basics that makes for a good outfit.

It’s not surprising that as a professional working behind the scenes to create beautiful fashion, Brissett often defaults to wearing black. “But this season, I want to challenge myself to bring my favourite colours—orange and pink—into my wardrobe,” she says, adding that when it comes to styling, she’s nixing lots of layers (“Even just looking at that automatically makes me feel hot!”) in favour of singular pieces that pack a lot of “oomph,” like a pair of dramatic earrings that speak for themselves. “Who doesn’t want to wear art?” she muses. Speaking of art and drama, Jacquemus is another one of Brissett’s go-to labels. “Its latest collection is called Les Sculptures, which definitely sounds like the theme of my life!” she says with a laugh.

THE DESIGNER: DORIAN WHO

Dorian Who is a street-style darling, a content creator and the designer behind her eponymous genderless-streetwear brand (for which she picked up a CAFA award in the Emerging Talent category last year). Her style is maximalist, surreal and ever evolving. Who favours materials with unusual textures like latex and tapestry and experimental accessories like larger-than-life collars, visor sunglasses and stompy platform shoes. Her cult following has been built on a strong sense of individualism. “I’m not one to just follow trends blindly,” she says.

Still, there are a few runway looks that have caught Who’s eye this season. “We’re seeing the comeback of the cone bra,” she says, noting that Alexander McQueen, Jean Paul Gaultier and Dilara Findikoglu have all helped usher the iconic piece back into the spotlight. Who also lists burgundy as her colour of the season, name-checking Gucci, Hermès and Rick Owens for reviving the traditionally autumnal hue for spring/summer. The final piece in Who’s fantastical fashion puzzle is a pair of relaxed shorts. “They will be everywhere this summer,” she predicts. “I love how you can rock them with sneakers or boots for a laidback vibe.”

DORIAN WHO

STYLE THE TREND

The season’s best SKIRTS are a diaphanous dream. Here are three runway-inspired ways to go sheer this

DAY

NIGHT

WEEKEND

FIT for ALL

Stay cool by the pool with swimwear pieces and accessories that are size-inclusive—and super stylish.

By GABRIELLE LISA COLLARD

IF YOU’RE LIKE ME and live in a larger body, the return of warm weather comes with its fair share of anxieties: Will I find a swimsuit that fits me and feels good? Will I hide my left or right butt cheek with this tiny towel, which would barely fit around my thigh? Everyone deserves to be comfortable in the summer and feel like a million bucks, which is why I’ve rounded up some swimwear and accessories that are designed for a wide range of body types.

VILLA FRESCA

Founded a few months ago by Gabi Gregg, one of the industry’s most influential designers, content creators and bloggers (who launched her GabiFresh blog in 2008), Villa Fresca was the next logical step for a woman who

popularized the plus-size two-piece, affectionately nicknamed the “fatkini,” in 2012. Bright colours, sexy, daring cuts and glamorous details are featured in this collection, which is offered in sizes 4 to 30/32 and designed for those who embrace their curves and make no apologies. VILLAFRESCA.CO

FREE LABEL

Based on the West Coast, Free Label is a favourite among fans of slow fashion, multi-functional pieces and soft, comfy bralettes. It uses sustainable fabrics, many of which are woven in Toronto especially for the brand. Its 2024 swimwear capsule collection, featuring two multi-fit pieces in red and navy, comes in sizes XS to 5X. FREELABEL.COM

BOHÈME X BETH RICHARDS

Bohème is, without a doubt, one of the Canadian slow-fashion brands that make me swoon the most. All the choices that founder Sarah Shabacon makes— from soothing colours to impossibly soft fabrics to oversized silhouettes with long, slouchy sleeves—absolutely delight me. Pieces in the brand’s 2024 swimwear collection, a collaboration with designer Beth Richards, are made from Econyl regenerated nylon, come in sizes XS to 4X and include a one-piece, one style of bottoms and two styles of tops. BOHEMEGOODS.COM

ZALESKA

Jewellery is one of those things that many take for granted, but anyone who deviates from the standard sizing has trouble finding it. Canadian jeweller Zaleska addresses this gap in the market by specializing in inclusive jewellery, with rings ranging in size from 4 to 15 and custom-length necklace chains at no extra charge. In addition to its regular collection, which is available in silver or gold vermeil, Zaleska also offers madeto-order fine jewellery. ZALESKA.CA

SOL KYST

Sol Kyst would have been the answer to my prayers when I was a chubbyfaced ’90s tween who dreamed of wearing the same shades as her idols but couldn’t find a single pair that didn’t make her look like a potato trying too hard to seem cool. Offering three frame sizes—Mini, Midi and Wide—this

Canadian label brings style within reach of many more people. I recently bought the Hangover model and finally got to experience the thrill of running errands with the blasé look of an incognito celebrity, black sunglasses covering half of my face.

SOLKYST.CA

ODDBIRD CO.

There’s nothing more depressing than getting out of the pool—or, worse, the ocean—and having to awkwardly cover yourself with a towel that doesn’t fit around your body. If you’re a plus-size person, you know what I’m talking about. For a few years now, I’ve been swearing by Oddbird Co.’s Turkish-cotton towels. They are not only gorgeous and of the highest quality but also easily wrap around my size 26/4X hips with room to spare. ODDBIRDCO.COM

NATURALIZER

Since there aren’t as many options for wide feet as one would hope, why not go for an everyday style and prioritize comfort? These sandals—which are simple and practical and come in a wider fit—are as pretty as they are comfortable and can be paired with dresses, jeans or shorts. NATURALIZER.CA

APRIL CORNELL

This Canadian company—which is based in Montreal—has been my go-to for summer hats (and, occasionally, superflowery home linens) for the past few years. As a 40-year-old writer living in the country, I own several raffia hats from April Cornell, as they’re pretty, affordable and adjustable and they withstand the test of time wonderfully. APRILCORNELL.CA

Laufey

The

Grammy-winning

musician is making contemporary jazz cool.

By PATRICIA KAROUNOS

ICELANDIC-CHINESE MUSICIAN LAUFEY (pronounced “lay-vay”) is only 25 years old, but when you hear her sing, her soft, romantic timbre immediately transports you to another era. Acoustically, she evokes the greats of a bygone jazz era, but lyrically, her songs take on a decidedly modern and relatable gen-Z edge. It’s this singular winning combo that has earned the L.A.-based artist critical acclaim and growing mainstream success. Her enchanting second LP, 2023’s Bewitched, was the biggest jazz debut in Spotify history, placing her at number two globally on the streamer’s charts, and it won her the Grammy for Best Traditional Pop Vocal Album. That album was such a hit that she recently released an extended version, called Bewitched: The Goddess Edition; Oscar-nominated Past Lives filmmaker Celine Song directed the video for its lead song. There’s a clear sense that this is only just the beginning for Laufey. She’s currently on a tour, which has her stopping at various cities across Canada and will include performances at the Montreal International Jazz Festival and Lollapalooza.

“With the kind of music I make, [selling out tours] felt very unlikely—I was never thinking about it too much,” she says backstage at her second San Francisco show. “But I definitely wasn’t expecting the size of the crowds. It’s such a surreal feeling. A large portion of my audience is younger—audiences that would primarily listen to pop music otherwise—so the fact that they’re coming to my concerts is really special. It shows how versatile this new generation is when it comes to music.”

EXPRESS YOURSELF “Jazz music is all about performance, right? At least, to me, it’s about the freedom of performance, the different inflections you do in the moment and the improvisations. Jazz music is best consumed in person, so to get onstage and present [that style] of song alongside the other songs I have in my repertoire is very special.”

STUDY TIME “My mother is a violinist, and my grandparents—her parents—were a violinist and a pianist, [respectively]. Classical music was very much a part of my life growing up, and it was always playing in the house. And music was almost like another class in school. Every day, I’d come home and do an hour of piano and cello. No kid loves practising that much, but when I turned 13 or 14 and I’d been playing for quite a while, I realized that music was something I loved on its own. It became a social thing—I’d play in an orchestra, and I had friends in the music world—and I found a new appreciation for it. The final layer was when I started writing my own music. Then I was like, ‘This is something I really love.’”

NO LIMITATIONS “I think [young audiences are more open to jazz] because of the internet. There’s so much access to music, so there’s much more openness to it. Young people don’t necessarily only listen to what’s on the radio. They enjoy finding songs that seem off the beaten path, and there are so many micro-communities [in which people] bond over certain genres. And with streaming, there’s access to this entire catalogue of music. Back in the day, if you wanted to listen to an old jazz record or classical music, you’d have to pay quite a high price to access it. Now you can listen to it at the click of a button.”

EXPANDING HORIZONS “My music is a derivative of jazz. I love jazz and studied it growing up, but I would never claim that [my music is] the truest form of the genre. I would say I take a lot of inspiration from jazz and I borrow a lot of principles from it and classical music. Both of those genres are rigid, and I’ve broken so many rules—I don’t improvise the way a lot of jazz musicians do, and a lot of the chord progressions I use don’t technically make sense. But I think it’s really important that you learn the rules before you break them so that you’re a bit more informed and have a better foundation. My hope is that my music is kind of like a gateway drug for people [that will get them] listening to jazz.”

THE END OF WENDY

WALTER SCOTT on his latest comic book, millennials, moving home and an artist’s role in the revolution.

By EVE THOMAS

WENDY IS A HOT MESS, and that’s why we love her. So what happens when the beloved Canadian art-world antihero cleans up her act? A decade ago, Walter Scott’s first Wendy comic book, Wendy, was published. Readers instantly connected with the character’s partygirl persona, multi-page hangovers and relentless insecurities as she navigated the streets of Montreal. Some situations are particular to the time and place, while others remain painfully relatable, like smiling your way through a frenemy’s success or texting a crush and then being left on read.

In Scott’s fourth Wendy book, The Wendy Award (out July 9 from Drawn & Quarterly), we witness Wendy’s latest—and perhaps last—rock bottom, beginning with a twist no one saw coming: a global pandemic. What follows is a story that is as caustic, clever and relatable as ever but takes a deeper look at adulthood, community and the trappings of fame. It also features the ongoing adventures of other Wendy characters (and facets of Scott’s identity), like Screamo, who’s still stumbling into questionable hookups, and Winona, who’s navigating friendship with a fellow Indigenous artist. (Scott is Mohawk and grew up in Kahnawá:ke Mohawk Territory, outside of Montreal.) Scott likens it to a post-apocalyptic tale, with Wendy picking up the pieces of her life and forging her future—just as he shifts his real-life focus to his multidisciplinary-arts practice from his studio in Montreal’s Darling Foundry.

YOU CHOSE TO WORK THE PANDEMIC INTO THIS BOOK. DID THOSE EARLY DAYS MAKE YOU RE-EVALUATE THE ROLE OF AN ARTIST? “Every time we’re faced with the horrors of the world, we question the value of art. Then we stop questioning and continue to make art, and then something else terrible happens and we question the value of art again. I think that one thing that will never change is us questioning.”

DO YOU FEEL PRESSURED TO PROVIDE ANSWERS TO THE BIG ISSUES? “Art is an act of continual unfolding, and the best kind of work is open-ended. To ask an artist to answer a question for you is [like] asking them to not be an artist at all.”

WENDY IS A MILLENNIAL, AND SHE DOESN’T ALWAYS MESH WITH GEN Z. IS THIS GENERATIONAL DIVIDE UNAVOIDABLE? “It’s never the generation; it’s always young people. Because when you’re young, you’re obsessed with figuring out where you stand in relation to everyone around you. Who’s on my team? Who’s not? You’re going to be completely staunch about some things because of this anxiety, and people confuse that with politics. Gen Z is going to get old, and gen Alpha is going to become the new bogeyman of moralizing.”

WENDY IS A COMIC-BOOK CHARACTER WHO HAS HER OWN CELEBRATED META COMIC, WANDA, BUT SHE’S STILL UNHAPPY. DOES THIS MEAN THAT FAME DOESN’T EQUAL FULFILLMENT?

“I used to think that if you make art and it gets popular, maybe your life gets better. But with [the success of] Wanda, Wendy feels even more alienated from the people in her life, so in a way she has written herself out of her own relationships. I don’t want to make her or myself out to be a martyr, though. Anytime you put something out into the world, you make yourself vulnerable, so you’re going to get some stuff taken away from you and you’re going to get some stuff that you didn’t have before.”

WENDY’S ATTEMPTS TO GET SOBER FEEL VERY OF THE MOMENT. WAS THAT DELIBERATE? “We’re so used to Wendy in three different modes: wanting to party, partying or hungover. I don’t think the book is about alcohol as much as [it is about] what alcohol represents, including Wendy’s ability to take care of herself. Her friends have kids and careers, and she’s realizing that the kind of life she has lived is maybe not serving her anymore. We’re watching someone get pulled, kicking and screaming, into the future.”

SO IS THIS THE LAST WE’LL SEE OF WENDY? “I personally am ready to move on with my life in a lot of different ways—art, writing. So it’s time for me and Wendy to say goodbye and live our separate lives. But I do think she could make a reappearance, say, 10 years from now, when she’s, like, a tired adjunct professor at an art school.”

TOTAL BABE

PAMELA ADLON ’s film directorial debut is a hilarious and touching look at women, motherhood and friendship.

By JOANNA FOX

WHEN PAMELA ADLON APPEARS ON MY SCREEN, she’s dressed casually in a T-shirt and leggings and sitting comfortably on a sofa in her Los Angeles home. The talented American writer, actor and director looks exactly as I imagined she would: extremely fucking cool.

Most people know Adlon for her award-winning FX show Better Things, a dramedy about Sam (Adlon), an actor and tell-itlike-it-is, very-rock-’n’-roll divorced single mother raising three daughters in L.A. Loosely based on the 57-year-old’s own life (she turns 58 this July), it is a funny, real, raw and emotional portrait of womanhood at its various stages that ran for five poignant seasons (2016 to 2022). Adlon directed almost all of the episodes—a rarity in Hollywood when the show started—and has been a groundbreaking leader when it comes to projects by and about women. “I didn’t think I was going to [direct] all of it,” she says. “It just evolved, and FX was so behind me as a filmmaker that they went all in. Besides my show, that’s the greatest gift they gave me: supporting this aging woman and really putting their backs behind me. It was an extraordinary thing to do—and it worked.”

That’s why when Adlon was approached to direct Babes, a film co-written by Broad City alums Ilana Glazer and Josh Rabinowitz, she was thrilled to step behind the camera for a movie for the first time. The New York-set comedy is centred around the relationship between two best friends (played by Glazer and comedian Michelle Buteau) who are growing apart as they enter different phases of life. Dawn (Buteau) is married and living in a Brooklyn brownstone with two young children, while Eden (Glazer) resides in a loft in Queens and unexpectedly gets pregnant from a one-night stand. It’s touching, raunchy, laughout-loud funny and doesn’t sugar-coat pregnancy, motherhood or the struggle to maintain close friendships through turbulent times. The best part of Babes, though, is how Adlon captured the dynamic between Dawn and Eden, whose friendship and banter feel very real. “[Glazer and Buteau] are extraordinarily gifted at being on the fly,” says Adlon. “They have this gift for timing and listening. And they’re both kind of geniuses when it comes to going through every scenario. All you can ask for [as a director] is for your two leads to feed off each other that well, so it just was a little bit of lightning in a bottle.”

The film, which premiered at this year’s SXSW festival and hit theatres in May, feels like it was a natural next step for Adlon, who has proven her innate ability to represent realistic women and their relationships. It’s something she first started doing as an actor in TV shows such as the ’80s cult-hit The Facts of Life and the Showtime dramedy Californication, alongside David Duchovny, as well as in movies, including the Pete Davidson film The King of Staten Island, and she credits her acting experience with helping her become a better director. “[As actors], we want guidance, we want a sounding board, we want to be given little tools,” she says. “We want somebody to be watching us and listening to us and then come up with ideas for us. [As a director], it’s really about being thoughtful. It definitely is an added muscle for an actor to direct. It’s very special [and] an important extra piece.”

For Adlon, directing is about a lot more than just being there for her actors. It’s also about supporting the next generation of women who want to make a difference in every part of the industry. “For me, it’s the mentoring—you have to do it,” she says. “I take it as seriously as [any aspect of the job], along with promoting people, especially women, especially queer people—that whole diaspora of crew and actors. It’s a big gift to be a boss and be able to fight for a historic credit or give somebody their first producing credit.”

With these motivations in mind, Adlon created her own production company, Slam Book, around 2019 so she could begin developing projects herself. And the SAG-AFTRA strike, which put Hollywood on hold for 118 days, gave her a certain clarity; she began to ask herself what exactly she wanted to do moving forward. “For me, this time was really about putting my head down and focusing on creating so that the things I [did next would be] mine, [things] that I’m really passionate about, because when I have a strong feeling about something, I know it’ll be a home run. So I have to follow that [instinct].”

For now, Adlon just wants to be a positive force in the industry and collaborate with good people on good projects. “I just don’t want to work with assholes,” she says. “You never know who you’re gonna end up in bed with. It’s all about working with people I like and trust. That’s just the greatest thing. It’s a gift.”

GOING for GOLD

Meet seven remarkable women who hope to represent Canada this summer at the Paris Olympic and Paralympic games.

By EMILY TAMFO

FOR MOST ATHLETES, THE OLYMPICS IS A PIPE DREAM; it’s a level of competition so elusive that it takes years of dedication to reach, surely surpassing Malcolm Gladwell’s famous “10,000 hours of practice” rule. But for these seven Team Canada members, it’s within reach. They have managed to endure years of sacrifice, physical pain and self-doubt to become the absolute best in the country at their sport and hope to be among those who will represent Canada this summer in Paris.

MÉLANIE LABELLE

SAINT-HUBERT, QUE. – WHEELCHAIR RUGBY

Mélanie Labelle was 30 years old when her life changed forever. In 2016, while the lifelong athlete was rehearsing an aerial manoeuvre for a dance performance at the Canadian Swing Championship, she fell and sustained a catastrophic injury to her spinal cord. As she came to terms with the realities of her new life, her rehab specialists introduced her to the world of wheelchair rugby through the local team, the Montreal Machines. “All of the instincts were there; I just didn’t know my body,” she says, recalling her first experiences with the sport. “It was a bit tedious, but I [realized] that I could have fun and that I wasn’t so fragile. I told myself ‘As long as I get better and as long as it’s a positive change for me and I become a better person, I’m gonna keep doing it.’” Just eight years later, her knack for the sport is taking her to the Paris 2024 Paralympics as the only woman on Canada’s co-ed wheelchair-rugby team.

Labelle also has her sights set on reimagining the future of parasports (sports played by those with physical or intellectual disabilities) as a whole. As an analyst during the 2020 Paralympic Games in Tokyo, she saw first-hand the differences between media coverage of the Olympic Games versus that of the Paralympic Games. She believes that if given their deserved exposure and supplemented with understanding about disability, parasports have the potential to give audiences the same thrill as any other sport. “Sport has to be a spectacle,” she says. “It has to be something that people look at and feel the nail-biter emotions [about], but they have to understand what they’re looking at. So with parasports, there’s the disability that you have to be able to talk more about, and then there’s the sport itself.” Inspired by great Canadian Paralympians Erika Schmutz (wheelchair rugby) and Chantal Petitclerc (wheelchair racing),

Labelle has turned a traumatic experience into a career on the world stage while also forging a unique path forward for women in both Olympic and Paralympic sports.

JUSTINA DI STASIO

BURNABY, B.C.

– WRESTLING

As a wrestler, it took years for Justina Di Stasio to appreciate her body—the very body that would make her a gold (2019) and silver (2015) PanAm Games medallist and an Olympian in Paris this year. In the 2000s, a time when images of “skinny, girlie” bodies dominated, five-foot-six Di Stasio grappled with feeling like she was larger than others. It was only when she got to the world stage that she saw the beauty in her strength. “When I went to my first Junior World [Championships], I got knocked out super early, but I sat in the stands and watched [Natalia Vorobieva] from Russia wrestle in the final. That was the first time I’d seen a body type like mine—big shoulders, little hips, muscly and tall. I saw this big, strong body and was like, ‘Wow, I fit in here.’ That was the moment I [realized I] wanted to be that good.”

Today, as 31-year-old Di Stasio preps for her first—and perhaps only—Olympics, she’s ready to embrace the experience. As the first woman Olympian from her band, Norway House Cree Nation in Manitoba, she has used her opportunities as an athlete to give youth from her community better access to sport. “You don’t generally walk into a room and have a ton of Indigenous people around you, so I had to find resources,” she says. “Now that I have all these ideas, I try to make sure that the kids know where to get [what they need] too.” Her commitment to youth has seamlessly transitioned into teaching, and she has found that lessons she learned from wrestling come into her role as an educator and vice versa. “When you play a sport, you want to be number one all the time,” she says. “But that hasn’t been my career, so I have to learn how to be my best. I feel like I’ve grown in [my] approach to wrestling through teaching, so [it has] really helped quite a lot.”

AURÉLIE RIVARD

SAINT-JEAN-SUR-RICHELIEU, QUE. – PARALYMPIC SWIMMING Imposter syndrome almost got the best of Aurélie Rivard. Swimming professionally wasn’t even a thought for her when

a local coach scouted her while she was working as a lifeguard at a local pool. Even after she made the national Paralympic team at 13 (she was born with an underdeveloped left hand), the reality of her talent still hadn’t set in. It was only a few years later, on the plane home from London after she had won a silver medal at the 2012 Paralympic Games, that her mindset changed. “Looking back, [I realize that] I deserved my place on that team, but I didn’t know it at the time,” she says. “My goal was to go to London to prove that I could do great things. I didn’t want to be seen as the little disabled girl; I wanted to be the girl who went to the Games. I loved the whole thing. And I was like, ‘I want to do this again.’”

Growing up, Rivard felt isolated by her disability. “I started having panic attacks out of nowhere, and it took me a while to realize why,” she says. “My only goal when I was younger was to fit in, and I couldn’t. And I had a twin sister with two hands. I was like, ‘Why me?’ I was so uncomfortable with myself that [my hand] was an easy target.” In reality, though, nobody was making fun of Rivard’s hand; she was just fixating on what she thought other people saw. As she continued training, she was able to channel her anxious energy and build a strong foundation of self-esteem.

As the 28-year-old prepares for her fourth Paralympics, she’s looking forward to the return of spectatorship, something that was missing from the Tokyo Games. “I’m excited to go back to the Games and really appreciate the privilege that I have to compete at that level,” she says. “My goal is to really be in the moment.” Rivard is now Canada’s most decorated female swimmer at the Para Swimming Worlds and has 10 Paralympic medals (five of which are gold) to her name.

TIFFANY LEUNG TORONTO – BREAKDANCING

The moment Tiffany Leung saw a breakdancer doing footwork—the intricate, stylistic steps between the showier tricks of breakdancing—she was hooked. It was frosh week at Queen’s University in 2013, and the former competitive gymnast had just joined an urban-choreography class for fun. “Growing up in Hong Kong, I thought breaking was just windmills and airflares—which, to me, was a watered-down version of gymnastics. But when I saw footwork, I was like, ‘This is the most unique thing ever.’ And then I got a bit obsessed.” Leung spent the rest of her undergraduate experience going from the library to breakdancing practice.

AURÉLIE RIVARD

JUSTINA DI STASIO

MÉLANIE LABELLE

In 2020, breakdancing officially became an Olympic event, a testament to the advanced athleticism involved in this style of dance. However, unlike with most Olympic sports, breakdancers don’t typically have support staff to help them. Instead, Leung has been using her skills as a senior consultant focusing on AI—her day job—to ramp up her practice for the games. “I ‘consult’ my breaking because we don’t have coaches,” she says. “It’s stressful because I have to improve at an accelerated rate. I’ve had 10 years to get to this level. How do I spend the next six months improving more? I make PowerPoints, [develop] 30-, 60- and 90-day plans and break down my strategy, my priorities, my objectives and the tasks that I need to get done. I feel very blessed that I have that consulting background [as it has enabled me] to coach myself.” It’s that determination that Leung hopes will earn her a place in the first cohort of breakdancers to ever compete in the Olympics.

ALANNAH YIP

VANCOUVER – CLIMBING

Alannah Yip was destined to represent Canada. If it weren’t enough that the 30-year-old was the first Canadian woman to compete in climbing at the Olympic level (at the 2020 Games, when the sport made its debut), her paternal ancestors are pioneers in Canadian history—she’s a descendant of Won Alexander Cumyow, a social-justice activist and the first recorded Chinese-Canadian person born in this country ever It makes sense, then, that in addition to becoming a world-class athlete, Yip has used her platform to bring light to a condition impacting the climbing and broader athletic communities: relative energy deficiency in sport (RED-S). As defined by Athletics Canada, “RED-S is a collection of clinical symptoms resulting from insufficient energy intake relative to the athlete’s training load.” Similar to the consequences of an

BRANDIE WILKERSON

ALANNAH YIP

TIFFANY LEUNG

SKYLAR PARK

“MORE THAN EVER, I’M WALKING OUT ONTO THOSE MATS SAYING ‘THIS IS ME—TAKE IT OR LEAVE IT.’ AND THAT FEELS GOOD.”

– ALANNAH YIP

eating disorder in people who menstruate, this lack of energy often impacts the reproductive system as the body redirects estrogen to maintain healthy bone density, which can lead to hair loss, weight loss, osteoporosis and period cessation. “Climbing has always had this really strange, unhealthy relationship with body weight,” says Yip. “You’re fighting gravity, so it’s inherently advantageous to be at a lower body weight. But the ways people try to get there are really unhealthy. Our sport often focuses on the weight-loss issue rather than getting stronger.” As part of her commitment to making change, she’s using her newly elected role as a member of the Athletes’ Commission of the International Federation of Sport Climbing, the governing organization for competitive climbing, to ensure that regulations are improved and at-risk athletes are screened and, if necessary, treated.

As she prepares for Paris, Yip is approaching her event with a different kind of confidence. She’s sporting a newly bald look due to alopecia totalis, but the experience with the condition has given her a sense of freedom and empowerment that will surely take her to new heights in the climbing world. “More than ever, I’m walking out onto those mats saying ‘This is me—take it or leave it.’ And that feels good.”

BRANDIE WILKERSON

TORONTO – BEACH VOLLEYBALL

Brandie Wilkerson was a creative kid. She loved drawing, painting and fashion and spent her formative years at a specialized art school in Ontario. And though her mom—who regularly competed in Ironmans—encouraged her to have an active lifestyle, Wilkerson grew up viewing sports as simply “something to do while [her] parents were working.” Yet, somehow, the Swissborn, Canadian-raised athlete—and the first-ever Black woman to represent Canada at the Olympics in beach volleyball—is about to make her second appearance at the Olympic Games. And hopefully, Wilkerson—along with her partner, Melissa Humana-Paredes—will make history and land on the podium for what would only be Canada’s second medal in the sport. (The men’s team won bronze at the Atlanta Games in 1996.) “If you’d asked my friends in high school, I don’t think any of them would have said ‘Brandie’s going to be a pro athlete,’” she says. “Nobody saw that as my dream, which makes me feel extremely privileged to be in this position. It [makes me think] that maybe there was a spot for me in this world after all.”

Throughout her journey, Wilkerson has always been hyperaware of how a young athlete’s access to resources is one of the biggest determinants of their success. Beach volleyball wasn’t commonly played in her community in Toronto’s Rexdale neighbourhood, and she noticed that young athletes who lived

in more affluent areas had a very different experience from her own. That’s why she co-founded Project Worthy, a scholarship program that provides young Canadian BIPOC athletes with access to volleyball. “How do I make my own path in places that aren’t typically where I’ll see people whom I relate to?” she remembers thinking. Each year, Project Worthy covers the cost of up to two young athletes’ volleyball-club fees, and, to date, it has funded 30 kids at international volleyball camps. In the future, Wilkerson hopes the program will include more mentorship as a “return the favour” to the community for the support she received as a young athlete. “Doing something as simple as funding an athlete of the BIPOC community has been so deeply gratifying. I’m excited to have the sport represent the country and the people who are living here.”

SKYLAR PARK

WINNIPEG – TAE KWON DO

Skylar Park had barely learned to walk when she started tae kwon do. Still in diapers, she began training on the mats at her parents’ studio in Winnipeg, and by age seven, she had earned her black belt. “When I was younger, everyone in my family was training together all the time,” she says. “I don’t think that’s a common thing. That’s what drew me to the sport at the beginning, and [it] still does today.” Not only are both of her younger brothers also professional tae kwon do athletes but Park’s dad, Jae, is their coach and her mom, Andrea, is their travel momager. For Park, tae kwon do is synonymous with family.

It’s with the support of her family that she has been able to qualify for her second Games (her first being Tokyo 2020) and will hopefully fulfill the dream she’s been working toward since her first competition. “For as long as I can remember, I’ve been telling my parents that I want to win an Olympic gold medal for Canada,” says the 24-year-old. “I remember watching the London [2012] opening ceremonies at home. We were supposed to go out with our grandparents afterwards, but I told my dad that I wanted to do a training session instead. I was so inspired by watching Team Canada march in. I think that Olympic dream has always been in the back of my head.”

Park also uses her martial arts expertise to help young girls build the confidence they need to conquer life’s challenges. In March, she hosted Pathway to Paris, an event at which she introduced fundamental self-defence techniques to more than 200 teenage girls and women. “For a young girl, confidence is one of the most important things,” she says. “[It’s] something that I still continue to develop but also try [to] bring out in girls I teach. The world isn’t always the safest place, but knowing that you have that extra level of protection if anything were to happen is so empowering.”

BRAVE New World

American rapper and singer TIERRA WHACK gives us a glimpse into her creatively raw musical universe with her debut album.

By CONNOR GAREL

A MULTICOLOURED DOG PRESERVED BY TAXIDERMY, a shimmering sequined black coffin, Muppets commandeering a graveyard, psychotic grins paralyzed by dental appliances... In her songs and technicolour music videos, Tierra Whack gathers tragicomic images like flowers in a lovely bouquet—and then leaves them out to wilt and stink. She has a flair for pairing off-kilter nursery-rhyme flows with subjects like grief and suicide, often to humorous effect; in “Two Night,” a twinkling cut from World Wide Whack, her debut full-length album, which was released in March, she appends an offhand admission to a prospective suicide note: “But before I go / Gotta let you know... / I didn’t pay the light bill this month!”

“I’ve always been the kind of person to tell a really sad story and then start laughing,” Whack tells me one spring morning. “Maybe it’s a nervous thing, but it’s also that once you’ve been through the pain, you can find joy in it.” Sometimes your misfortune seems so bottomless that it feels like a cosmic joke. Sometimes you have to laugh to keep yourself from crying.

Born and raised in North Philadelphia, Tierra Whack (which is her actual government name, by the way) first turned heads at 15, when a video of her freestyling kooky non sequiturs on a street corner—posted by the Philly rap crew We Run the Streets—went viral online. “My flow’s all chocolatey, I’m guaranteed a record deal / On top near Lauryn’s hill / You whack, so imagine how Tierra feels,” she raps in a baby-pink knit and pearl earrings, oozing confidence far beyond her years. WRTS started managing her, and she quickly became the talk of the town in the local battle-rap scene (“I used to cry watching 8 Mile,” she admits) but soon grew bored of the form’s financial and creative limitations. She was young, there was pressure and she was feeling aimless, disillusioned and depressed.

Whack’s mother, always sensitive to her daughter’s darkening moods, decided to move the family to Atlanta in 2011, and it was there that Whack earned enough money working at a car wash to buy her first laptop, which she used to finally record her music. “It was time to put on my big-girl panties and show people who I really was,” she says. “They knew me as the neighbourhood emcee. But I wanted to be a household name.” Before, she’d been writing poems, freestyling over instrumentals and accidentally rhyming sentences in her homework assignments; now, she was writing hooks and bridges and oddball choruses, attempting the blend of singing and rapping that she’d fallen in love with as a child watching Lauryn Hill and Missy Elliott on BET’s music-video show 106 & Park. Eventually, she returned to Philly to pursue music in her birthplace. “I feel like she’s the new Missy, almost,” American musician, songwriter and producer Anderson .Paak told a reporter from Vibe magazine in 2018, a few months after the drop of Whack’s debut “audiovisual project”: the spectacular 15-minute, 15-song Whack World , which falls somewhere between a surrealistic conceptual art project and an enviably stylish mixtape. It starts as the sly wild-card dispatch of a clever trickster who is already a master of theatrical voices, spirals downward from a helium-induced pitch in “Dr. Seuss”—named for the children’s book author who inspired her rhyming schemes—and adopts a faux-country twang in “Fuck Off” to tell a potential lover that he reminds her of her deadbeat dad. In the video for “Bugs Life,” a song about her hunger for success and the joy of seeing her mother laugh, a single bee circles as Whack peels back her hood, revealing a face that’s half-swollen from anaphylactic shock: “Probably would’ve blew overnight if I was white,” she grumbles. Every 60-second track is a shiny, self-contained multiverse—life’s peaks and valleys projected through a kaleidoscopic lens. André 3000 took her to lunch, Hill asked if she’d open her Philadelphia tour date and she made fans of Beyoncé (Whack features on Lion King: The Gift, Beyoncé’s most underrated album), Solange, Alicia Keys and Missy herself. “I was the doorwoman at a condo in Philly at the time,” she says, “and sometimes people would walk past and be like, ‘Yo—what the hell are you doing here?’”

All her life, Whack had wanted to be an entertainer. “But I didn’t realize it was going to come with all this other stuff,” she admits. Cypher, a 2023 mockumentary directed by Chris

Moukarbel about Whack’s rise to fame and fictional entanglement with a deranged stalker-fan, doubles as a critique of the absurdities of modern celebrity: the constant invasions of privacy, the immortalization of your every misstep, the world’s expectation that you have unimpeachable politics and the insatiable demand—from fans and journalists alike—for more of you. “Once you’re a celebrity, it’s almost like you’re not even human anymore,” she says. World Wide Whack is also exuberant and jewel-toned, but the darkness that once lurked beneath a technicolour surface is now totally exposed, with several songs (“Numb,” “Difficult,” “27 Club”) seeing the artist wading into the tenebrous corners of her own psyche and then flicking a switch and flooding the room with light.

This album, though, is an archive of a troubled emotional landscape that has since been overwritten. When I tell Whack that we don’t need to get into a conversation about despair and suicidal ideation since it has already been explored so thoroughly on the album and in her other interviews, she seems genuinely grateful to not have to revisit old wounds. She’s glad the project is resonating with people, she says, “but it’s a bit frustrating to still be talking about suicide so much because I don’t want to psychoanalyze myself anymore,” and she’s no longer in the well she once found herself stranded at the bottom of. Plus, those inquiries miss the album’s patina of optimism, its braggadocious interludes (“X,” “Ms Behave”) and its moments of sheer, unadulterated fun; “MOOVIES,” for example, is a simple disco-pop track about wanting to be wined and dined.

Many artists of Whack’s stature would probably have traded their hometown for a sunnier, more-star-studded city by now, but Whack has no plans to leave Philadelphia. “It’s where my heart is—where it will always be,” she says. It’s also where her mother, whom Whack describes as “the flyest woman I know,” lives. She speaks of her mother as a kind of prophetic figure: She was the one who forced Whack to freestyle on that corner all those years ago and whose fashion sense came to inform her daughter’s own. In fact, the pair are planning to start a fashion boutique together—her main priority, it seems, for the next year.

Aside from that, says Whack, she’s been spending a lot of time behind the wheel, clearing her head and blasting Frank Ocean songs. (We both agree that he often sounds like he’s singing—and writing—from the driver’s seat.) She does some of her best thinking in a car, particularly at night, when it feels “like an apocalypse or something because the streets are so empty and it’s only me in the world.” She drives until the familiar parts of the city are replaced by parts she doesn’t recognize, which happens despite the fact that she’s lived there her entire life. It’s comforting to be reminded that there’s almost always more to see, more to know, more to understand—that sometimes peace of mind is just a spot at the end of a long road and all you have to do to find it is keep driving, driving, driving until the whole world and your old self have all but vanished in the rear-view mirror.

If you or someone you know is having suicidal thoughts, call or text the Suicide CrisisHelplineat9-8-8.

TOUR DE FORCE

After three decades in the music business, SARAH MCLACHLAN is commemorating the milestone by hitting the road this summer.

By WENDY KAUR

THIRTY-PLUS YEARS OF MAKING MUSIC professionally might have snuck up on Sarah McLachlan, but such an accomplishment compelled the 56-year-old singer-songwriter to come out of what she calls “semi-retirement.” “I haven’t really had a need to do a real tour because I haven’t had a new record out [in some time],” she says. But new album or not, McLachlan wanted to celebrate the anniversary with her fans because, as she exclaims with a hearty laugh, “Holy shit, it’s been 30 years!”

The three-time Grammy winner spent two years setting the stage for her new series of live shows, and the Fumbling Towards Ecstasy 30th Anniversary Tour kicked off in Vancouver on May 23. The tour is named for her popular 1993 studio album, which put her on the musical map with hits like “Hold On,” “Ice Cream” and “Possession.” The emotionally expansive album launched McLachlan’s star, swiftly topping the charts in Canada and going certified-platinum within weeks. McLachlan plans on playing the beloved album in its entirety for her shows, along with some of her other hits.

Originally (and fittingly), there were 30 dates mapped out across Canada and the United States over the summer, but one Vancouver date was added due to popular demand. Some of the venues McLachlan will be playing at are iconic, such as the Hollywood Bowl in Los Angeles and Radio City Music Hall in New York. “I don’t have quite the energy I used to, but I still adore playing live,” she says over Zoom from her home in Vancouver, where she has lived for 36 years. “The energy I get from that is incredible.”

You could say that the first time McLachlan got that performance “high” was when she was four years old. The little girl from Halifax was given a ukulele by her adoptive parents and would put on a show whenever her mother’s friends came over. “[My mother] taught me what she knew, which were Depression-era prohibition songs,” she says. Music became a more serious pursuit when she went on to study classical guitar, classical piano and voice at the Maritime Conservatory of Music (following the same curriculum as the Royal Conservatory of Music). She got some real-world experience at 17, when she fronted a short-lived rock band called The October Game, which led to her being discovered and recording her debut album, Touch, at age 20.

In her late 20s, McLachlan moved to New Orleans, settling in the French Quarter for six months to work on her fourth album, Surfacing—an experience that was a learning curve in its own right. “My mind was blown by the epicentre of subculture in America,” she says. “It [seemed] crazy, especially because I come from a conservative Canadian family.” Meeting a myriad of characters made McLachlan think about who she was—and who she wanted to become. “[‘Building a Mystery’] is about all the faces we put on: the masks we wear to give us our identity and help us get through the day and make us feel better,” she explains.

Now, even though she has cemented herself as a Canadian icon (she was inducted into Canada’s Walk of Fame in 2012, and she has sold more than 40 million records worldwide), McLachlan says it can still be a battle to stay true to herself when she’s composing new songs. “I think I’ve gotten a lot better at not thinking about what other people want,” she says. “I hope that part of my success is that I am very true to myself. I don’t set out trying to please anyone else when I write. I try to be honest, open and truthful in whatever the song is asking of me.”

She also no longer strives for perfection when making music. “I give myself a lot more space and edit myself less,” she says. “I used to set a very high standard, and I realize now that when you do that, you limit the chances [to make] mistakes, which can actually be the thing that makes the song beautiful.” Revisiting songs she hasn’t listened to in years—like “Mary” and “Ice,” for instance—in preparation for the tour has brought up this point repeatedly. “That’s what I keep going back to: How much do I rework and screw with these songs?” she asks. “I would have done some of them so differently; [some are] so messy.” She tends to follow her intuition about which songs to stay true to and which ones she can take some liberties with. She is always cautious about changing things too much but hopes her fans will allow her some latitude. “The wonderful thing about performing live is that it’s live,” she emphasizes. “Anything can happen.”

Despite the freedom being onstage offers, McLachlan can’t help but be a little reluctant about leaving the cocoon she’s built for herself. Even though she has been nomadic for much

“THE WONDERFUL THING ABOUT PERFORMING LIVE IS THAT IT’S LIVE. ANYTHING CAN HAPPEN.”

of her adult life, she’s really a homebody at heart. (She loved not having to get on a plane during the pandemic.) “I’ll do a couple of gigs here and there, but it’s been pretty luxurious to stay here,” she confesses. She also finds that the pop-culture climate has changed significantly compared to when she was coming up on the scene. Today’s artists—especially younger ones—have their every move picked apart. “I’m very grateful that my career developed slowly and quietly,” she says. “I had years when I had some media attention and I had some critical acclaim. But there was no social media back then and there was a totally different mindset. There was no rating system.”

McLachlan is proud of how stars like Taylor Swift and Billie Eilish are handling their success. “They are so incredibly strong and resilient,” she says. “[At that age], I would have succumbed to the pressure. It’s so unforgiving, and you’re always under a microscope.” She’s just as moved by this new generation of musicians as she was by the ones who influenced her, like Simon & Garfunkel and Talk Talk. “I love Boygenius and SZA,” she says. “I love Billie Eilish, and I’m so in awe of Taylor Swift right now. You know, you can like her music or not, but she’s taking over the world. You show ’em,” she adds, laughing.

Having spent decades in the business, however, means that McLachlan is also doing just that. The look-back tour isn’t the only gig she has going on; the singer-songwriter has also started pre-production on a new record that she hopes will be released next year. “I have the most ridiculous life,” she says, reflecting on her success. “I get to make music, I get to write songs, I get to perform. I also have no problem making a fool of myself [onstage],” she says. “I know that I’m talented and that people seem to like what I do, so that spurs me on.”

READY, SET, SELF-CARE

How two professional athletes have levelled up their competitive mindsets by focusing on their well-being.

WHEN YOU THINK OF SELF-CARE , what comes to mind? Maybe your thoughts wander over to the pop-culture-approved suggestions of plant-based cleanses, detoxifying facials and regular cold plunges. The truth: It can be so much simpler than that. Devoting a few minutes every day to a top-tier oral-health routine—care of Philips Sonicare’s premium essentials—can be just as effective for shifting your perspective.

This is a sentiment that resonates with professional boxer Tammara Thibeault, who seeks slow, thoughtful experiences while she’s out of the ring. “For me, self-care is about finding peace in the chaos and taking joy in the little things,” she says.

One way in which Thibeault has invested in herself is by upgrading to the Philips Sonicare DiamondClean Prestige 9900, the brand’s most advanced electric toothbrush. Equipped with game-changing SenseIQ technology, this sleek, clinically proven tool offers real-time AI guidance on pressure, motion and coverage so you can “up your oral-health game,” as she puts it.

Now, Thibeault actually looks forward to those two minutes twice a day when she can just focus on herself. “In moments like these, I know

that no matter what happens around me, I’m taking care of myself,” she shares.

For Canadian gymnast Félix Dolci, self-care is all about getting grounded. He says it’s been a “saving grace” for his physical, mental and emotional well-being among all the training.

Since Dolci has cultivated a routine dedicated to looking and feeling good, the Philips Sonicare Cordless Power Flosser 3000 has become essential to his oral-health routine. Delivering a gentle but thorough clean with its four X-shaped streams, this plaque-nixing tool is up to 150 percent more effective than traditional floss for improving gum health. “Let’s be real, nobody jumps for joy about flossing,” says Dolci. “But with this tool, it’s a breeze! It’s such an easy and effective way of making sure I do it right every time.”

Ultimately, for high-performing athletes like Thibeault and Dolci, something as simple as honing in on this solo time can set the rest of their day up for success. As Dolci puts it, “Prioritizing self-care gets me in the right headspace, allowing me to feel myself and fully confident when it comes to bringing my A-game to performances.”

TAMMARA THIBEAULT IS THE 2023 PAN AMERICAN GAMES GOLD MEDALLIST TAKING OVER WOMEN’S BOXING.

The Essential FRENCHBEAUTY GUIDE beauty

The fresh, barely-made-up complexion, the strands tousled just so… There’s no denying that the women of the hexagone have a knack for looking chic in the coolest, most uncontrived way. So what’s their secret?

By KATHERINE LALANCETTE

MONICA AINLEY DE LA VILLARDIÈRE notices the difference most when she’s back in Toronto. “I’m like, ‘Wow, my nails are a mess and my teeth are kind of yellow,’” she tells me with a laugh. “But I don’t feel like that in Paris.”

The writer and content creator moved to the French capital in 2016 to join her now husband, whom she met while studying abroad. Instantly, she was struck by the distinct way Frenchwomen approach beauty. “I feel like they’re allergic to looking like they’ve tried too hard, whereas where I grew up—and by the way, there are some incredibly glamorous women in Toronto—there’s this kind of blow-dried, somewhat primped look that’s more prevalent.”

Ah, yes, that much eulogized French insouciance. It seems the country’s motto should really be “Liberté, égalité, effortlessness.” It’s an attitude that has rubbed off on de La Villardière, who admits she probably does less in the beauty department now compared to when she lived in Canada. (Hence why she feels like the only mani-less woman whenever she returns to the 6ix.)

But don’t let the unbrushed hair fool you, says the transplant; Frenchwomen take very good care of themselves, regularly getting facials and other treatments and investing in top-quality products. So, is the whole effortless thing actually a lie? Well, not exactly. Allow some of Paris’ most sought-after beauty experts to explain.

HAIR

Of all the hallmarks of French beauty, none is perhaps more coveted than the Gallic mane: sexy, slightly messy and seemingly contingent on having a Parisian postal code. “I think everyone is obsessed with that perfectly imperfect aesthetic,” says hairstylist Delphine Courteille, whose regulars include Jeanne Damas, Inès de La Fressange and Sophie Fontanel. “It’s hair that’s sort of falsely neglected.” The emphasis here is on “falsely,” as it turns out much care can go into achieving the look.

For instance, half of Courteille’s salon, wedged between the Tuileries Garden and the Place Vendôme, is dedicated to a “hair spa,” where clients routinely come in for services such as a “rehab scalp detox and shiatsu massage” or an “ultrasound regenerating treatment.”

“For Frenchwomen, the idea is to really take care of themselves so they have the most beautiful hair in the long term and don’t need to do too much in terms of styling,” explains Shokooh Ossareh, general manager of Paris-based hair brand Christophe Robin. “I’m always impressed when I go to the U.S.—the hair is so done with the perfect waves. You feel like everyone’s just come [from] the hairdresser.”

While Frenchwomen rarely reach for a curling iron or straightener, they devote a lot of time to their hair-care routine. For example, Ossareh notes that conditioner isn’t really a thing in France as it’s largely viewed as a quick fix. Instead, women prefer to apply a mask, taking the extra five to 10 minutes in the shower to allow the product to work its magic. Once a week, many will use a pre-shampoo treatment or scalp scrub. The result is hair that is softer and shinier and doesn’t require high heat or heavy-duty products to be coaxed into submission. “When you follow your regimen meticulously, then the hair looks fabulous on its own,” says Ossareh.

A great cut is also key to having hair that looks fab on its own. When snipping a client’s locks, Courteille will carefully consider their natural texture, facial features and personal style, making the finished product entirely bespoke. She starts

by cutting the hair while it’s dry to get a better sense of how it behaves and favours a technique called piquetage, a.k.a. “point cutting,” where the scissors are held vertically to enhance the hair’s movement, soften edges and help layers blend together. “You want to remove bulk but not too much,” she says. “Americans have a tendency to over-layer hair.”

Debating getting bangs? The trick to not regretting them later is choosing the right ones for your face, says the pro. “For example, Jeanne [Damas] has a small forehead and eyes that are quite round, so I cut her fringe shorter in the middle and longer on the sides, whereas Caroline de Maigret has much longer bangs because she has a larger forehead, almond-shaped eyes and a strong nose.” If you’re not sure which style would suit you best, ask your hairstylist (the French are big believers in deferring to the experts) or search for examples of women with a similar bone structure to yours.

Now for how to style your hair. While a successful cut should largely fall into place on its own, not all Frenchwomen are the wash-and-go type, Courteille assures me. That’s why she teaches her clients to blow-dry their hair in a manner that won’t make it look overly coiffed. It can be as simple as twirling some pieces around their finger and setting them with a shot of cold air or putting their hair in a loose bun or braid afterwards for a few minutes to impart some slight bends. “You want to create a nice base and then sort of break it up and introduce imperfections,” she says. A blast of texturizing spray is another surefire way to do this.

Last but not least is colour. The French technique par excellence is, of course, balayage—which means “to sweep”—where highlights are hand-painted onto the hair, keeping much of the base intact. “The effect is much softer compared to foils, which can make highlights look stripey,” says Rémy Faure. “Plus, it requires less maintenance because you don’t get that strong demarcation at the roots,” adds his colleague Louis Trautwein. The Kérastase ambassadors form a duo of in-demand colourists, tending to the strands of many a French cool girl, including a trifecta of Camilles: model Rowe, influencer Charrière and actor Razat, who stars in Emily in Paris. “When we tell American clients they’ll only be due for a touch-up in three months, they can’t believe it; they’re used to going to the salon every five to six weeks,” says Trautwein.

They use a similar technique to cover greys: Rather than applying colour all over, they go in with a brush and only target the parts that need it. “That way, instead of having to return every four weeks, you’ll only need three sessions a year and you’ll get to keep your natural colour,” says Faure. It’s a philosophy that definitely appeals to their local clientele. “As soon as you tell a Frenchwoman that something will require a lot of upkeep, she’s not into it,” says Trautwein with a chuckle.

SKIN

When in the City of Light, art aficionados hit up the Louvre or the Musée d’Orsay, while hard-core beauty enthusiasts make a pilgrimage to l’Ambassade, Biologique Recherche’s flagship spa on the Champs-Élysées.

The treatment rooms look like Haussmannian apartments, complete with a marble fireplace and mouldings galore, and the facials (now available at many Canadian spas) employ various massage techniques to deeply work the muscles. (If you go for one, don’t be surprised if your cheekbones seem several centimetres higher once you’re done.) Customers are advised to come in monthly for best results, which might seem excessive, but de La Villardière says many Frenchwomen do this kind of thing “all the time.”

Before you lie down and have the jet lag kneaded out of your face, the therapist will ask you a host of questions (such as how you’d rate your stress level, how much sleep you’re getting and what products you use) and analyze your complexion in detail with an arsenal of high-tech instruments. That’s because the cult-favourite brand, launched in the ’70s by biologist Yvan Allouche and his physiotherapist wife, Josette, was built on personalization and the idea of meeting skin in its many possible “instances,” as the couple believed that one’s epidermal needs are constantly changing depending on factors like weather, health and lifestyle.

Biologique Recherche has since become famous for its no-frills skin solutions. Think bare-bones packaging and formulas that can smell kind of funky because no fragrance is used to disguise the sometimes pungent actives. The less-is-more approach feels distinctly French, like Jane Birkin in a T-shirt and jeans.

No product better exemplifies this than the fabled Lotion P50, which celebrated its 50th anniversary last year. The liquid exfoliant—which is brown and smells like vinegar—was the first of its kind: a blend of fruit acids meant to be used daily to even out skin’s tone and texture. “It really brings the skin back to life,” says Pierre-Louis Delapalme, co-chairman of the brand. “That’s why it’s so addictive.” The glow it yields more than makes up for the scent.

Want to see for yourself? To purchase a BR product, you’ll have to make your way to one of its spa partners in your area and undergo a consultation. (It’s another of the brand’s quirks.) Though you can buy the products online, it’s not as simple as clicking “add to cart.” Authorized e-tailers require you to first create an account and then usually answer a few questions about your skin. “One of the biggest mistakes people make [with skincare] is using products without understanding exactly what their skin needs,” explains Delapalme. “It’s a little like choosing a medicine without any advice.” And if there’s one thing to know about Frenchwomen, it’s that they love seeking out professional advice.

I witness this first-hand at Citypharma in Saint-Germaindes-Prés. In Paris’ most famous pharmacie, a multi-storey temple devoted to all things French beauty, one can easily tell the locals from the tourists. The out-of-towners clutch a list of must-buy items they’ve read about online and go about their shopping like they’re on a solitary mission. (Although I do overhear a few inquiring about where to find Embryolisse’s Lait-Crème Concentré—the storied moisturizer happens to be sold out on this particular day.)

The true-blue Parisiennes, on the other hand, are the ones asking the lab-coated attendees questions about what this cream does and which serum would be best for this skin concern. That’s how I spot Julie, a bobbed brunette with a clear complexion and crimson lips. Once she’s done chatting with a saleswoman, I introduce myself and explain that I’m on an anthropological quest to uncover the secrets of French beauty. I ask her about her personal philosophy on the matter. “I’d say as natural as possible,” she replies. “I have my daily rituals. I double-cleanse and moisturize a lot. I also take a supplement for my skin and hair.”

Julie has a five-year-old daughter in whom she’s instilling the importance of self-care, just like her mother did with her. “It’s like anything when raising a child: You set the example,” she says. “She sees me and sees that it’s a pleasure to look after yourself. Some days, you feel like dressing up and putting on lipstick; other days, you don’t, and that’s perfectly fine. There’s no pressure; it’s all about feeling good.”

MAKEUP

When Paris-based makeup artist Leslie Dumeix is getting a French client ready, she usually receives the same requests: no heavy foundation, no dark eyeshadow and not too much lipstick. “They’re really into that no-makeup makeup look,” says the pro, who’s worked on many famous faces, including those of Damas and Charrière. “Frenchwomen are very put together and wear makeup,” she clarifies. “They just don’t like it to show too much.”

When it comes to their complexion, for instance, they’ll generally opt for a few dabs of strategically placed concealer rather than an all-over base. Heavy contouring tends to be frowned upon, but a sweep of Guerlain’s Terracotta powder—a product so popular that its name has come to stand in for any bronzer, much the way Kleenex has for tissues—is a staple in many women’s routine.

Take Valérie, an impossibly chic sixtysomething I meet in Citypharma. “I do my makeup every day,” she tells me, though she looks like she’s hardly wearing any. “I apply concealer and some Terracotta for a little glow. I fill in my brows a bit and put some colour on my lips, and that’s it.”

Part of the reason for this less-is-more take is that, as we’ve seen, Frenchwomen are fastidious about caring for their skin.

“In France, skincare has always been more important than makeup,” says Dumeix. “Your skin regimen comes first, and

makeup is just an add-on.” As such, she always allots a lot of time for skin prep, deeply hydrating and massaging a client’s face before she picks up the first brush.

It seems that—much like if you’re diligent about preserving your hair’s health, you won’t need as many styling tools or products to make it look good—if you really take care of your skin, you won’t feel the need to cover it up. And then makeup becomes just a fun accessory—a way to complete the overall look.

For instance, de La Villardière says one of the best beauty tips she’s learned from her Parisian pals is to always carry a red lipstick in your bag for unforeseen situations. “Maybe you weren’t planning on going to dinner or whatever, but you put on your lipstick and no matter what you’re wearing, you look really elegant.”

Feel free to pat on your lip colour with your finger for a blurred, bouche mordue (“just bitten”) effect, says Dumeix. “It doesn’t need to be pristine.” Another of the artist’s tricks is to wipe her mascara brush before applying the formula. “That way, it’s not as heavy on the lashes,” she explains. “You get definition and length, but it doesn’t really look like you’re wearing mascara.” As the French say, moins c’est mieux (“less is best”).

NAILS

“When I was a teenager growing up in Toronto, we spent a lot of time at the nail bar,” recalls de La Villardière. “It was fun, but I never get my nails done anymore.” While she has noticed an uptick in nail art on the streets of Paris in recent years, the dominant approach, she says, remains a more subdued one. “France doesn’t have the same culture around manicures as, say, Canada or the U.S., but that’s starting to change,” says Elise Khettat, founder of Le Rouge à Ongles, a line of polishes mostly made of natural, sustainable ingredients.

Khettat’s passion for manis originated in her childhood. Every Wednesday, she and her grandmother would paint their nails together. “It’s always been really meditative for me,” she says. In 2022, she opened a salon, Griffe Paris, in Place de la Madeleine, with the goal of providing employment opportunities for deaf women. She developed a gentle, supremely pampering protocol incorporating ultra-luxe products like Chanel hand cream and Augustinus Bader body oil.

It proved a hit, with Vogue France naming Griffe the number one nail bar in Paris. But when Khettat’s partner got a job in Montreal, she shuttered her studio and packed her bags. Now, residents of la métropole are the lucky ones who get to experience Paris’ best mani. (Khettat still sees devotees, including a slew of celebrities, in her appartement whenever she’s back home.)

Clients come to her for a classic look, she says: Think reds (from coral to bordeaux) and pinks (blush to raspberry) along with the occasional aubergine, chocolate or black in the colder months. But she’s perhaps become best known for creating extra-glossy “naked” nails: short, rounded and topped with a sheer nude. “I like to keep things as minimal as possible, which is what women often prefer in France,” she says.

Khettat’s main priority, always, is safeguarding the health of the nails, which is why she doesn’t use any gritty buffing blocks or rotary tools or do extensions or acrylics. That way, nails become stronger and more naturally beautiful with every appointment instead of getting increasingly damaged, which can happen with more traditional, abrasive services.

It goes back to that now familiar French tenet: If you care well for something—your nails, your hair, your skin—you won’t have to rely as much on artifice to make it look good. See, it’s not that Frenchwomen don’t make any efforts, insists Ossareh; it’s just that those efforts are usually directed more upstream. “It looks effortless, but it’s actually not at all,” she says, debunking the myth. “It’s just pointing the cursor a bit differently.”

TOUGH LOVE

I HAVE A NEW YORKER CARTOON framed and hanging in my living room. In it, cat parents are talking to their feline son, who is smartly dressed, bow-tied and carrying a suitcase, presumably poised to leave his childhood home and set off into his adult life. The mother cat has a tear on her furry cheek, while the father, placing a paw on his child’s shoulder, imparts advice: “Find a patch

As a former self-confessed sun worshipper, OLIVIA STREN faces the hard facts about what it means to be fully protected today.

of sunlight, my boy. Find a patch of sunlight and bask in it.” It seems to me that no wiser exhortation has ever been spoken. These words could well serve as my life’s credo. I may have them bronzed.

When it comes to bronzing and sun-related behaviour, however, Toronto dermatologist Dr. Julia Carroll, predictably, offers different directives. “First: sun

avoidance! Particularly between the hours of 11 a.m. and 3 p.m. If you’re outside, seek shade,” she says to me over the phone in a way that feels less like promoting shade than throwing it. As a lifelong sun-lover, I feel my spirits cloud over as she goes on. “Wear protective clothing, wear sunscreen, reapply it and make it a family habit.”

In my own family, much like the aforementioned cartoon cats, sun-seeking was a hobby, a pleasure and a sport. I fondly recall my parents, my sister and I tanning poolside on loungers in a happy lineup, passing the Hawaiian Tropic or the (since discontinued) Bain de Soleil Orange Gelée (both SPF 4) like familial batons. (This, I should clarify, was in the ’80s.) In my family, “You look pale” landed like an insult, one degree away from, say, “You look tubercular.” “Pale” was pejorative. When I was about 11 or 12, I travelled on my own for the first time to visit my grandmother at her condo in Palm Beach, Fla., for a week of what turned out to be mostly inclement weather. Upon my return home, my dad picked me up at the airport and appraised the state of my complexion: “You have a little tan!” he declared. A damning review.

This was, of course, many moons (and suntans) ago, and, speaking of families, I now have an ever-growing family of fine lines and wrinkles as souvenirs. By now, I would have had to have spent my life living under a rock—not my preferred perch—to be ignorant of the sun’s dangers. Carroll outlines them for me, her tone as sharp as a shadow on a sunny day. “Sun is radiation,” she says. “UVB radiation damages your DNA, [making] the cells replicate either too rapidly or improperly, and that’s what a cancer is—it’s cells behaving badly.” Sun exposure also wreaks aesthetic damage, causing hyperpigmentation and accelerating the breakdown of collagen, which results in fine lines and wrinkles. (Check.)

So, yes, I now wear sunscreen with an SPF higher than 4, but—and this could be my greedy former tanned self talking—finding sun and basking in it remains one of life’s greatest pleasures for me. I can hardly think of anything more instantly moodcorrecting. It’s physiological: Sunlight regulates our circadian rhythms and activates the production of feel-good neurotransmitters serotonin, dopamine and norepinephrine. “Light and mood travel in a conjoined orbit: Dim the light, and we dim our joy,” writes Ingrid Fetell Lee in her 2018 book, Joyful

Yet today sun and shame travel in a conjoined orbit—there are few things that invite more shame, finger-wagging and regret than sunbathing. Sunning is the new smoking. I hear Carroll’s voice brighten at this comparison. “Yes! I always tell my patients that tanning is smoking for your skin.”

“But what about vitamin D? And mood? What about joy?” I ask her weakly. She tells me to take supplements. There is an exchange from 1963 between Jackie Kennedy, who enjoyed spending summers at the Kennedys’ Cape Cod manse, and her New York City-based dermatologist, Erno Laszlo (who also

treated Audrey Hepburn and Marilyn Monroe), that was documented in the doctor’s notes. They read: “She said she will stay out of the sun while at the Cape and always wear a hat. Doctor says it is not necessary because the sun is good for her, and she should not be afraid of brown spots, he will make them fade in the fall.” When I share this nugget with Carroll, she chuckles bitterly. “That was before we knew the risks. There are lots of safe ways to enjoy the sun. But tanning? No!” she concludes as if drawing a shade over this conversation.

She concedes that there are cosmetic treatments— BBL (BroadBand Light laser therapy) and fractional lasers—that can make brown spots “fade away” and help reduce the signs of sun damage (broken blood vessels, pigmentation), encourage collagen production and stimulate the body’s natural healing process. In the dermatology world, early fall is known as “laser season.” “Every season is laser season in our office!” says Carroll. “But it is frustrating when people don’t listen. I do still have a lot of patients who will say ‘I just want to have a little bit of colour.’ But you know what? We have bronzers! We have self-tanners!”

Indeed, self-tanners and tanning artists are enjoying their moment in the sun. Professional spray-tan artist and Dolce Glow founder Isabel Alysa chats with me via Zoom from her home in Valencia, Calif. Her whole career and life turned on a tan, she tells me. After 10 years in foster care, she left her foster family at the age of 17 to live on her own. “I didn’t know where my next meal was coming from,” she recalls. “I was working in three or four dead-end jobs at the time—cleaning bathrooms, working at a Jack in the Box—just to make ends meet. Then, at the age of 18, I got my first spray tan. And I’ll never forget the way it made me feel. I was in such a dark place in my life, and I immediately felt better. All of my worries and all of my insecurities about my body lifted. I was no longer depressed! I was happier, I felt motivated and I had confidence. I thought, ‘I can walk into any room and own it!’” She resolved to launch her own tanning side hustle and went door to door in Burbank, offering spray tans and earning $100,000 in her first year. She has since tanned the likes—and limbs—of JLo, Miley Cyrus, Selena Gomez and Salma Hayek. She recently flew to Antibes, France, to tan Sofia Richie for her wedding at Hotel du Cap-Eden-Roc.

Alysa’s line of tanning mists and foams are part of a fast-proliferating world of new tanning and sunscreen products that offer alternative ways to get sun-kissed as well as reimagined classics. Miami-based Vacation’s brand-new collection features Orange Gelée SPF 30, reminiscent of the cult glamour lotion by Bain de Soleil that I remember so well. Just looking at this product beams me back to holidays past, to times more hedonistic and guiltless, when we knew less and seemed to enjoy ourselves more. As I think mournfully of those bygone bronzing days, I spot a patch of sunshine outside. I know what I need to do. (And, yes, I’ll bring the Gelée.)

FUN in the SUN

For decades, sun protection felt obligatory and clinical. But these brands sought to change that and frame SPF in a more appealing way.

By LESA HANNAH

WHEN VACATION SUNSCREEN CO-FOUNDERS Lach Hall and Dakota Green were working remotely in Mexico a few years ago, slathered in SPF and sipping pina coladas poolside, they wondered why sunscreen was so boring given that the environments it’s used in are anything but. “That was the catalyst,” says Hall over Zoom from Miami against the backdrop of a pool. “And from there we looked into the category and realized that sunscreen did actually used to be a hell of a lot more fun in the ’80s, ’70s, ’60s and ’50s.” Once the ’90s hit and the dangers of tanning started to become more apparent, the industry shifted. “The products and the messaging became a lot more clinical.”

Knowing that these days most people are dutiful about protecting their skin, they created Vacation in 2019 and marketed the brand with a throwback ’80s aesthetic. “Our version of that fun [product] is what we call ‘leisure-enhancing sunscreen,’” says Hall. “Our personal Instagram feeds and our wardrobes look very similar to the Vacation [aesthetic], so we’ve actually been living in this world.” (The brand brought on the third founder and fellow ’80s enthusiast, Marty Bell, in 2020.)

They wanted Vacation to be a transportive experience, taking users to an all-inclusive resort. To do that, they enlisted perfumers Carlos Huber and Rodrigo Flores-Roux, who developed a scent that includes notes of swimsuit Lycra, pool water, coconut, banana and bergamot. The packaging—from the fonts to the colours to the textures—evokes the ’80s. Beyond the Classic Lotion, there’s Baby Oil (a nod to the way people used to coat themselves in it to tan) and Classic Whip, which dispenses like whipped cream, a dessert staple of the era. Their most recent launch is Orange Gelée, a reimagined version of Bain de Soleil’s tanning product of the same name, which was discontinued in 2019. “We thought, ‘Someone should bring that back—why not us?’” says Hall. It had a 15,000-person wait-list shortly after it was announced last fall.

Over in Australia, Ava Chandler and Rebecca Jefferd felt a similar impetus when they conceived their sunscreen brand, Ultra Violette, which launched in Canada this past spring. They met at beauty retailer Mecca and saw that though the Australian government was diligent about national campaigns around sun safety, messaging to the beauty customer was lacking. “I thought, ‘Why are we doing a retinol campaign and not telling people that they need to buy sunscreen?’” says Chandler. “That beauty customer I saw at Mecca wasn’t really being told that they need to wear [sunscreen] every day.”

The challenge they saw with existing sunscreens was that aside from the product feeling like a chore to apply, it also felt very basic and functional. Their goal was to make theirs a premium product that works well under makeup, has a beautiful texture and is also fun. Their initial formulas were made by a chemist who is a woman and therefore better understood the need to test the sunscreens under makeup as well as in tandem with any other skincare consumers might be using.

Chandler and Jefferd launched Ultra Violette online in 2019 with three sunscreens in Yves Klein-blue tubes with neon-pastel text—the colours are a nod to the packaging of the zinc sticks applied to Aussie kids by their parents. They offer both mineral and chemical formulas as well as various textures, including a light cream, a lotion and a fluid called Queen Screen that’s similar to sunscreens found in Asia. “It has a watery kind of

finish,” says Chandler. “It’s great for humid climates or people who don’t like the feeling of sunscreen.” But their hero product is Supreme Screen, which they’ve never reformulated. “We have a lot of customers who use it as a three-in-one moisturizer, SPF and primer,” says Chandler. “It makes your makeup last longer, and you can get away with wearing it as the only thing on your face if you are a bit of a lo-fi person.”

Speaking of makeup, Supergoop!, an American sunscreen brand launched by Holly Thaggard in 2007, makes SPF-spiked makeup—and not the usual SPF-15 foundation, which doesn’t provide enough protection. Glowscreen SPF 40, a bestseller, acts as a makeup primer, is tinted for a bit of sheer coverage and includes niacinamide and hyaluronic acid for skincare benefits. “We want to infuse SPF into existing skincare and makeup routines,” says Thaggard. “Our goal is for our customers to have a full face of makeup with SPF that is seamless to apply.”

Like the previously mentioned founders, Thaggard was prompted to make sunscreen more wearable after noticing that most were “icky, sticky and pasty and only associated with the summer months.” She also understood that the language around it needed to change. “I knew that I wanted the brand’s voice to be playful in order to [be able to] educate people without instilling fear—it was this idea of being ‘serious with a smile’ that really came through in how we talked about all things SPF.”

For the founders of Vacation, a real test of their product’s success was whether customers would actually pose with their sunscreen. “To our delight, we get on average five million earned views a week on TikTok from people posting content about our products,” says Hall. “And [we’ve had] something like 200,000 Instagram mentions in the past few years. And this is [from] all demographics—[including] guys, which we get a kick out of since they’ve been notoriously bad about wearing sunscreen.”

The reframing of sunscreen seems to be changing negative consumer relationships with it, much to the delight of dermatologists. “They just love the fact that we’re actually making something that’s fashionable and fun and enjoyable,” says Hall. “Something to look forward to that’s not a chore.”

In Style

These six

fabulous hair

trends are going to be everything this summer.

JOANIE PIETRACUPA

COLOUR

ICY CHESTNUT

WHAT IT IS Icy chestnut—in both lighter and darker iterations—is all about naturally brilliant hair that reflects the sun’s rays.

“It’s a deep tone-on-tone, low-contrast look that we’ve been seeing for a few seasons now and will continue to look stunning this summer,” says Morgan Tully, founder of Toronto’s THIC Studio. Unlike its warmer counterpart, this ice-cold ash brown does not feature golden, honey, copper, caramel or coffee tones, instead rocking icy, silvery, borderline-mauve highlights that shimmer.

WHO IT’S FOR “This colour is perfect for bringing out natural dark browns,” says Tully. Perhaps a tad on the harsh side for blond-born beauties, icy-chestnut locks have the power to light up pink, tan and darker complexions.

STARS WHO ROCK IT Camila Morrone, Ciara, Rachel Zegler, Meghan Markle, Kendall and Kylie Jenner, Bella Hadid, Olivia Rodrigo, Anne Hathaway, Alexa Chung, Lucy Hale and Gemma Chan.

REAL-LIFE VERSION Yes, almost any complexion can benefit from this effortlessly cool and ashy shade, but you’ll still need to show your stylist a photo of the brown of your dreams. According to Tully, you should also make a habit of fairly frequent hairgloss treatments at the salon since icy chestnut has a tendency to fade and lose shine the more you shampoo.

GOOD TO KNOW To keep colour going strong, always apply a heat protectant prior to using hot hair tools.

PRO TIP The best trick for getting bright-like-a-diamond colour both under the summer sun and in the shade? Coat hair with a few precious drops of light hair oil to seal cuticles and illuminate locks à la plexiglass.

COLOUR FIERY RED

WHAT IT IS According to MJ Déziel—founder of and creative director at Montreal’s Apart Studio—red is the It colour of the summer. “A fiery red automatically imparts style and edge,” says Déziel. “Personally, I see it as the natural evolution of the ‘cowboy copper’ [trend] on TikTok at the beginning of last winter.” Daring and, some would say, extreme, this hair colour is part of the badass-redhead trend that has been a recurring theme for a few seasons now.

WHO IT’S FOR Although red suits all kinds of people, every individual needs to find the right tone to avoid clashing with their natural colouring. “Warmer complexions are best highlighted by orangey or coppery reds, while fair skin tones pair best with darker reds and burgundies,” says Déziel. “Please consult your hairstylist!” For people who love the look but don’t want to go full throttle, effects such as streaks or dip-dyed tips can pack an attention-grabbing, albeit subtler, punch.

STARS WHO ROCK IT Dua Lipa, Megan Fox, Ice Spice, Billie Eilish, Natasha Lyonne, Hari Nef, Emma Stone and Julianne Moore.

REAL-LIFE VERSION Red tends to wash out faster, so you’ll need the right stuff to keep your new colour looking fresher longer. The perfect arsenal for the job: sulphate-free shampoo and conditioner for coloured hair as well as a colour-boosting mask.

GOOD TO KNOW “Even if you do everything right, red will fade fast, especially when exposed to summer sun, pool water and ocean waves,” says Déziel. “Which means you’ll need to schedule regular touch-ups to revive your hair colour and keep it radiant and vibrant.”

PRO TIP In addition to a good heat protectant (“Every single human should have one—no exceptions!” says Déziel), it’s essential to have an anti-UV spray on hand to protect your red mane from the sun’s rays.

ZENDAYA

DUA LIPA

JULIANNE

THE INVERTED BOB

WHAT IT IS The famous chin-length bob has made yet another comeback. This inverted version—slightly shorter in the back than in the front—is currently turning heads in Hollywood. We love it with a subtle rather than extreme angle, either brushing the top of the jawline or reaching down to the base of the neck.

“The barely-above-the-nape bob is super chic, sexy and full of fantasy, on top of working for just about every hair type,” says Jason Lee, co-owner of Jason Lee Salon in Toronto and the founder and face of Mela & Kera.

WHO IT’S FOR “Personally, I find the inverted bob an excellent fit for medium to fine hair that’s straight or wavy because it always ends up looking impeccable,” says Lee. “But I also love it for medium to thick curly hair, which requires a generous cut on the square side, [which is] less triangular and far more chic. The only kind of hair I wouldn’t recommend this bob for is very thick and highly textured. That said, you can still get a really gorgeous look with these hair types—you’ll just need to clock more time styling and controlling your bob in the morning.”

STARS WHO ROCK IT Selena Gomez, Helen Mirren, America Ferrera, Greta Lee, Taylor Russell, Charlize Theron, Hailey Bieber, Aubrey Plaza, Elle Fanning, Maya Hawke, Taraji P. Henson, Kristen Wiig and Halle Bailey.

REAL-LIFE VERSION For a straight, glossy bob with bounce, follow this super-simple tutorial by Lee.

+ After applying heat protectant to damp hair, blow-dry it about 85 percent of the way.

+ U sing a medium round brush and working in sections, continue blow-drying hair to straighten it, rounding the brush inward at the ends.

+ I f needed, use a flatiron to straighten flyaways or any hair that’s been volumized by humidity.

+ Finish with a dollop of serum to tame frizz and seal ends.

GOOD TO KNOW “The summer version of the inverted bob is round and bouncy and draws inspiration from retro and modern sources,” says Lee.

PRO TIP If you’re lucky enough to have heated or Velcro curlers gathering dust in a drawer, this is the perfect time to whip them out and get your bouncy-curly bob on!

’90S LONGLAYERED CUT

WHAT IT IS A love song for the cut that defined the early ’90s, this super-sexy bombshell look—and its concomitant parted or side-swept bangs—has seen a major uptick in popularity this season, with its wavy, supple, bouncy layers à la Cindy Crawford at the top of her game. “It’s one of my favourite cuts to recreate on clients—I love it when they bring me photo inspo for this look,” says Armineh Damanpak, owner of and hairstylist educator at Beau in Vancouver. “Since there are many names for this cut and ways to interpret it, your photo and video references are key resources for your stylist.”

WHO IT’S FOR “This kind of long-layered cut is perfect for people with thick hair, but it can also be adapted to those with fine hair via a technique called ‘invisible layers,’ which creates the appearance of distinct layers without diminishing thickness,” says Damanpak. She recommends this cut for women who have naturally wavy or curly hair and want a cool, laid-back style that only requires a bit of air-drying or light work with a round brush or flatiron to curl ends. Lastly, as far as colour goes, our specialist suggests a subtle yet flattering contrast, such as babylights on lightly-washed-out or even fully solid colour.

STARS WHO ROCK IT Margot Robbie, Emily Ratajkowski, Hunter Schafer, Kaia Gerber, Beyoncé, Demi Moore, Simone Ashley, Julia Roberts, Jennifer Lopez, Blake Lively, Amanda Seyfried, Emma Roberts, Kim Kardashian and Ciara.

REAL-LIFE VERSION For extra-femme, extra-sexy long layers, simply follow Damanpak’s lead.

+ U sing a fine-tooth comb, work a volumizing cream, mousse or spray into damp, freshly shampooed locks.

+ N ext, dry hair section by section—first the bangs, then the sides and then the back.

+ Finish with a spritz of thickening spray.

GOOD TO KNOW The secret behind fabulous layers is lots of volume and movement. “A heated round brush, like Dyson’s Airwrap, is a fantastic tool for this look,” says Damanpak.

PRO TIP This cut is just as head-turning when it’s in a messy updo or bun with effortless yet well-placed pieces framing the face.

CUT

SIMONE ASHLEY

JENNIFER LOPEZ

AMANDA

SEYFRIED

MARGOT

ROBBIE

STYLING

NATURAL CURLS

WHAT IT IS Voluminous curls are the style of the season—and with good reason. There’s little effort or maintenance required, and summer humidity is a help, not a hindrance. These curls are cloudlike, almost cottony, rather than defined. “They’re an actual dream for people with natural curls in the heat,” says Catia Corr, co-owner at Le Artof Salon in Montreal.

WHO IT’S FOR “Although this style can be recreated on wavy locks with a curling iron, the super-au-naturel look is more for people who were born this way,” says Corr. “Depending on how thick your hair is, you’ll see big gains in movement and volume with a cut that’s lightly layered at the ends. It’s particularly flattering with a few shorter locks framing the face to counterbalance those subtle long layers.”

STARS WHO ROCK IT Tracee Ellis Ross, Sandra Oh, Laura Harrier, Issa Rae, Yara Shahidi, Kerry Washington, Nicole Kidman, Angela Bassett, H.E.R., Rihanna, Andie MacDowell and Miley Cyrus.

REAL-LIFE VERSION Here’s a play-by-play from Corr so you, too, can rock gorgeous natural-looking curls.

+ After washing hair with a curl-enhancing two-in-one shampoo and conditioner, use a microfibre towel to remove excess moisture.

+ N ext, apply curling mousse to your roots and curling cream the rest of the way through, rubbing hair between your hands like you’re trying to start a fire, and then hang your head down and dry your hair using a diffuser attachment.

+ A s needed, use a curling iron on a few curls on both sides for smoothness and definition.

GOOD TO KNOW There are all kinds of products out there to keep your curls in luxuriously good health, and they’re suitable for all kinds of curls—we’re talking 2A, 2B, 2C, 3A, 3B, 3C, 4A, 4B and 4C. Ask your stylist where you fall on the curl spectrum.

PRO TIP Keep your fingers out of your hair as much as possible, and don’t brush while styling to avoid activating frizz.

RIHANNA

STYLING

REBEL PIXIE

WHAT IT IS In keeping with the times, the pixie cut has taken on modern appeal on the red carpet thanks to trendsetters like Florence Pugh, Zoey Deutch and Taylor Hill. We’ve seen all the takes on this classic—slicked back, tousled, totally dishev elled—at the biggest premieres in the business. The one that made our hearts skip a beat was the super-short pixie shag on Pugh. “This avant-garde hairstyle is longer on the sides and features highly textured layers, making it a modern and versatile option,” explains Adelai Romphf, hairstylist at Edmonton’s Chatters Hair Salon Mayfield Common.

WHO IT’S FOR “The pixie is the dream cut for bleach blondes, folks with very fine hair or people who like to switch up their look on the daily,” says Romphf.

STARS WHO ROCK IT Florence Pugh, Daisy Ridley, Halsey, Léa Seydoux, Halle Berry, Julia Garner, Taylor Hill and Iris Law.

REAL-LIFE VERSION Here’s Romphf’s guide to copy-pasting Pugh’s shaggy pixie.

+ After shampooing, apply a quarter-size dollop of volumizing mousse to the top of your head, and then blow-dry hair using a round brush to create volume at the roots. Next, tousle hair with a bit of wax.

+ U sing a flat brush, brush hair on sides toward the back, and then coat with extra-hold gel for added control.

+ Finish by misting with a strong-hold hairspray.

GOOD TO KNOW Romphf says to not be scared to use more than one product for a wet look in certain spots and a hair dryer for a more dishevelled appearance in another. “That’s what makes Florence’s pixie unique and recognizable.”

PRO TIP Who said the pixie is only for naturally smooth and straight hair? Think again, world: Julia Garner and Halle Berry have proven that the cut looks just as fly on those with textured locks.

TAYLOR HILL

DAISY RIDLEY FLORENCE PUGH

JULIA

GARNER

HALSEY

HALLE

BERRY

Fertile GROUND

From

spa-inspired clinics to AI for embryos, the future of fertility is here.

By CAITLIN KENNY

AFTER YOU PASS THE OVERSIZED PETAL-SHAPED PENDANT LIGHTS, fluted feature walls and Pinterest-worthy curved sofas with coordinating spherical throw pillows, you reach the changing room. Only, in this luxurious space, you get your own private room. There’s a soft cotton robe waiting for you and a pair of slides to slip on. Perfectly cozy, you sit back and wait to be called.

But it’s neither a massage nor a facial that awaits you. At Pollin, Toronto’s newest fertility clinic, patients get a spa-inspired experience every time they show up for their “veins and vag”—that’s blood work and internal ultrasound per the make-light-of-it lingo fertility patients use for the countless pokes and prods they endure as their doctors watch their cycles. “I always tell patients, ‘I can’t change the fact that you have to cycle-monitor, but I can definitely make it a better experience,’” says Dr. Kim Garbedian, the clinic’s medical director.

It’s undoubtedly a far cry from the scene in a Manchester, England, hospital room where an embryo was transferred into a woman’s uterus around midnight on November 10, 1977, to become, almost 39 weeks later, the world’s first IVF baby, Louise Brown. Even now, 46 years later, modernized clinics like Pollin Fertility, Toronto’s Twig Fertility and Edmonton’s ARC (Alberta Reproductive Centre) are a step change from most, whose patients often use the word “cattle” when describing how they feel during the process. Considering the life-changing potential of treatments like IVF for LGBTQIA2S+ couples, singles and the one in six Canadians who experience infertility, there’s a huge population that stands to benefit from these reimagined, patient-centric approaches.

You could consider this wave of modern clinics a catch-up to the scientific advances in the fertility field. “The industry has come a very long way,” says Dr. Dan Nayot, medical director of The Fertility Partners, a network of clinics throughout North America. “We had very little basic physiology knowledge at

the start—we didn’t know much about ovulation, sperm or the interaction.” Even since the birth of Brown, innovation has whizzed forward. The Brown embryo came from a single egg that was retrieved from the ovary of her mother, Lesley, via a laparoscope, mixed with her father’s sperm in a petri dish and, a couple of days later, transferred into Lesley’s uterus. Today, every part of the IVF process has been improved: There are medications that stimulate the ovaries so more eggs can be collected at once; those eggs can be retrieved with an ultrasound-guided needle through the vaginal wall; a selected sperm can be injected directly into a retrieved egg for fertilization; embryos can be biopsied and genetically tested; and they can be frozen and, remarkably, survive thawing for future use. Even our eggs, tiny single cells, can now be frozen and thawed.

“In our field, some say that the big scientific breakthroughs have already happened,” says Nayot. “We’re plateauing in our success rates, but a lot of us think that now the big innovations are going to be in access to care and patient experience.”

While there’s a need—especially in rural areas—for more clinics in Canada (there are roughly 35), the good-news story when it comes to access is that there’s new funding for the treatment. A single round of IVF can cost about $15,000, and many patients need more than one. Increasingly, employers in Canada—from the Big Five banks to Apple to Starbucks—are introducing fertility benefits, and British Columbia just confirmed that it will become the eighth province to offer coverage or reimbursement to those undergoing IVF. (Notably, the B.C. announcement came in the days following the Alabama Supreme Court’s ruling that frozen embryos are considered children, which made operations at many of the state’s fertility clinics grind to a halt for fear of criminal charges that could follow the routine disposition of surplus embryos or accidental damage that can happen during biopsies, transporting and

more. “It’s an interesting dichotomy today that in Canada, we’re standing by fertility treatment and IVF and investing in it [while], unfortunately, south of the border, things are getting more restrictive,” says Garbedian. Nayot sees more medical tourism in the future.)

Outside of clinics, there are a growing number of products that support the fertility journey at home. Toronto-born Bird&Be offers test strips that can help screen for low egg counts via urine as well as a digital test that measures sperm’s ability to swim forward. Both are designed to help educate consumers about their own reproductive health and, if needed, empower them to contact a doctor sooner. (With age being a key factor when it comes to fertility, saved time can translate to better outcomes.) Other at-home offerings, like DIY insemination kits, allow some to dodge the treatment route altogether. Sold by Mosie Baby in the U.S. and Béa Fertility in the U.K. (neither of which currently ship to Canada), they’re at-home options for those looking to conceive without sex, including people using donor sperm or experiencing sexual dysfunction. These products are hitting the mainstream in tandem with the rising fertility chatter online. TikTok’s #TTCcommunity (short for “trying to conceive”) has 3.7 billion views. Amy Schumer took to Instagram to solicit advice from fellow IVFers, and Chrissy Teigen reminded her followers that sometimes what looks like an early pregnancy bump can actually be an IVF bump. “We’re making strides on reducing the stigma,” says Garbedian. “More people are comfortable being open about their fertility struggles, but we still have a ways to go.”

Better societal support means understanding how complex and all-encompassing fertility issues can be. “There’s a huge psychological impact of infertility, and it’s not just the infertility,” says Garbedian. “It’s the weight of coming in for blood work and ultrasounds multiple times a month, the roller coaster of ovulating and negative pregnancy tests, the financial burden,

Better societal support understandingmeanshow complex and all- encompassing fertility issues can be.

putting your life on hold—all of these things.” She points to a study that found that depression levels in patients with infertility are comparable to those in patients diagnosed with cancer. “There’s a lack of control with fertility,” explains Garbedian. “Infertility happens to you; you don’t cause it. When you break your arm, you go to the hospital and they fix it. With fertility, there’s no guarantee you’ll wind up with a baby at the end. That’s the hardest thing about it.” This is part of the reason Garbedian made sure that Pollin offers counselling resources along with naturopathic medicine and acupuncture. And, yes, even the decor is strategic. “Fertility is chaotic,” says Garbedian. “Patients need a minute to breathe, so we developed the space to feel relaxing and calm.”

But that’s not to say the industry’s progress is all light-toned woods and shearling armchairs. In labs around the world, researchers are tapping the latest science for fertility. And Nayot is in the optimistic camp that expects new breakthroughs to come. In fact, he’s doing his part to try to make sure of it: He’s also the co-founder and chief medical officer of Toronto-based Future Fertility, a company whose technology harnesses AI to assess egg quality and is used in clinics in more than 20 countries, including Canada. “The egg is the most important piece of the reproductive puzzle, and there was no way to visually assess an egg,” says Nayot. This made it difficult for egg-freezing patients to get a good sense of the quality of their frozen eggs. “If you apply artificial intelligence to thousands and thousands of eggs and you know the outcomes of those eggs, you can train the machine to create a spectrum of better-quality to lower-quality eggs, and that unlocks personalized feedback and predictions for patients.”

AI is also being explored as a means of guiding embryo selection (choosing which to transfer to the uterus for the best odds of a live birth) as well as a way to predict which treatment protocol might work best for a patient based on their age, hormones and so on. “The use of AI has become less sci-fi and more inevitable,” says Nayot.

Perhaps more firmly still in the sci-fi realm, IVG (in vitro gametogenesis) involves making eggs and sperm from stem cells. Japanese geneticist Katsuhiko Hayashi has already taken skin cells from mouse tails and created mouse eggs. Other research looks to discover the egg stem cell that could reverse menopause; re-energize aging eggs by injecting them with cytoplasm from another female’s healthy eggs; and thicken the lining of the uterus using PRP (yes, the same spun-blood technique that the vampire facial popularized) to make it more receptive to an embryo.

Whatever the next big breakthrough is, both patients and clinics like Pollin will be watching. “With fertility, the success rates aren’t 100 percent,” says Garbedian. “Even doing IVF, the success rates can range by person from 20 to 60 percent, so any little thing that can nudge them forward—even 1 or 2 percent—and give our patients an edge makes a difference.”

This delightfully tingly bar soap from Lush combines zesty lemon grass with cooling eucalyptus and peppermint to mimic the invigorating qualities of an ocean plunge.

LUSH OUTBACK MATE SOAP ($9, LUSH.COM)

Blue eyeshadow is having its main-character moment right now, and what better way to get in on the trend than with a luxe palette from Chanel?

CHANEL LES 4 OMBRES RIVAGE ($83, CHANEL.COM)

NARS has reimagined its iconic 20-shade powder-blush range, and nothing says summer like a flushed complexion.

NARS POWDER BLUSH IN EXHIBIT A ($43, NARSCOSMETICS.CA)

We’ve all been waiting for Charlotte Tilbury to release a fragrance range, and it’s finally here. The brand’s six-part scent collection is designed to evoke an emotional response, and it does just that. CHARLOTTE TILBURY FRAGRANCE

COLLECTION OF EMOTIONS IN MORE SEX EAU DE TOILETTE SPRAY ($210 FOR 100 ML, CHARLOTTETILBURY.COM)

FIRE AND ICE

Sun-kissed skin and shades of red go hand in hand with scorching weather, but this summer’s best beauty looks introduce a refreshing twist with a splash of frosty blue. Why limit yourself when you can have both?

By MELISSA FEJTEK

Leave it to Rihanna and the Fenty team to develop a shimmering highlighter that creates a your-skin-but-better effect on all complexions.

FENTY BEAUTY BY RIHANNA DEMI’GLOW LIGHTDIFFUSING HIGHLIGHTER IN 08 THAT’$ RICH ($54, SEPHORA.CA)

To get the look of just-kissed lips, slick on Guerlain’s hydrating high-shine lip oil in Poppy Glow. The formula includes nourishing Corsican honey, propolis and royal jelly to plump and smooth lips all day long. GUERLAIN KISSKISS BEE GLOW OIL IN 775 POPPY GLOW ($52, GUERLAIN.COM)

This waterproof cream pigment by Danessa Myricks can be applied on the eyes, cheeks and lips for a seriously cool icy monochromatic look that won’t budge. DANESSA MYRICKS COLORFIX PASTELS WATERPROOF MATTE LIQUID PIGMENT MULTI-USE EYES, FACE, LIPS IN OASIS ($27, SEPHORA.CA)

JUNE/JULY/ AUGUST

BE INSPIRED BY SOFT TONES, EDGY DRESSES, STYLISH SEPARATES AND HINTS OF GLITTER AND SHEEN FOR AN ALL-OUT PLAYFUL SUMMER SEASON.

Photographer MAX ABADIAN

Creative director OLIVIA LEBLANC

Stylist PATRICK VIMBOR

Canadian actor KARINE VANASSE embraces the power of creating her own narrative.

THE ART OF AUTHENTICITY

By CAMILLE CARDIN-GOYER

DRESS (ALBERTA FERRETTI), UNDERWEAR (SIMONS), BOOTS (LOUIS VUITTON) AND NECKLACE (MARINE

Karine Vanasse doesn’t just walk into a room; she glides in with poise, her step sprightly and sure. There’s something effortless about the way she carries herself, and it speaks to the quiet confidence she has found within, which allows the Canadian talent to take every role she’s had and embody it like no one else can—no mean feat for someone who’s been in the industry for more than 25 years. Initially, it’s her warm expression that draws you in— something I noticed the first time we met, which was over Zoom a year ago, when she was promoting her lead role in the CBC series Plan B. This time, she suggests we meet in person at a café nestled in the heart of Knowlton, Que., where she lives. The quaint town is known for its historic charm thanks to white-clapboard cottages and Victorianera homes with wraparound porches set amid rolling hills and glassy lakes and is just an hour’s drive east of Montreal. When I arrive, the café is nearly empty, its wooden furnishings, snug seating nooks and natural light creating a relaxed country vibe. It’s the perfect spot to catch up with an old friend, and when Vanasse enters—clad in Helmut Lang cargo pants, an oversized T-shirt printed with a “last pickle in a jar” graphic and a pair of Reeboks—that’s exactly how she treats me.

Since she last appeared in the pages of this magazine, Vanasse has been busy adding to her many onscreen credits with the film Ru (adapted from Quebec author Kim Thúy’s acclaimed 2009 novel of the same name) and the award-winning series Avant le Crash (Before the Crash), a drama about the clash between materialistic values, relentless productivity and human connection. She has been hosting

both the Canadian and the Quebec versions of the hit reality-TV series The Traitors and most recently travelled to Berlin and Senegal to film a documentary series for French-Canadian network TV5Unis that’s set to be released next spring. The show, about fashion designers who are not afraid to take chances, has allowed Vanasse to delve into the worlds of these inspiring innovators. It’s obvious that she’s genuinely excited about this project, and she has relished the chance to connect with a fresh new wave of creators who don’t hold back when it comes to their art form. What excites her even more is that they work in a different industry from her. “It feels good to meet people who are real—who aren’t just following the crowd,” she says. “It’s not about extreme nonconformity; it’s simply about doing what you damn well please. They’re the kind [of people] who don’t fear judgment, are proud of their identity and confidently own the quirks that define who they are.”

Vanasse sees their work as a major coup in our current social climate, in which conformity dominates and individuality is frequently quashed because it’s perceived as weird or different. “It’s important to not fear what’s strange because at the end of the day, everything holds an element of strangeness,” she says.

It’s the 40-year-old actor’s eagerness to do new—and what some might see as strange—things that prompted her to host The Traitors Canada, a murder-mystery competition show in which contestants must complete a series of tasks while trying to suss out the secret traitors among them. Like its American and U.K. counterparts, the show has been a hit; the first season earned 1.2 million viewers each week, making it the most-watched Canadian series last fall.

“IT FEELS GOOD TO MEET PEOPLE WHO ARE REAL—WHO AREN’T JUST FOLLOWING THE CROWD. IT’S NOT ABOUT EXTREME NONCONFORMITY; IT’S SIMPLY ABOUT DOING WHAT YOU DAMN WELL PLEASE.”

Vanasse’s role is to guide contestants through the challenges with wit and style. She’s enigmatic and authoritative and often at the centre of pivotal moments and plot twists. She has managed to elevate the show to thrilling heights, keeping the audience on the edge of their seat with her nuanced performance and magnetic presence—not to mention her avant-garde outfits.

The Traitors has exploded in popularity because of its compelling format—familiar faces like MuchMusic VJs compete alongside everyday Canadians—and because of how much it feels like a social experiment. Challenges are built around lies and manipulation, creating opportunities to explore the intricate dynamics of human nature. What’s captivating about the series to Vanasse is also what draws her to acting. “I love projects that bring out the truth,” she says. “Even when they’re presented as entertainment, there’s still something that rings true. And whether it’s beautiful or sad, the truth feels good, no matter how it’s conveyed.”

Hosting The Traitors in both English and, more recently, French came naturally for Vanasse; having starred in more than 20 movies and over a dozen TV shows, she has long been a trusted figure on Canadian screens. But she almost feels shy about admitting that she was still nervous. Her apprehension about doing the reality show stemmed from stepping into a role that diverges from her usual onscreen image—that of a vulnerable, complex, independent woman with a neat and precise air—and a fear of the potential scrutiny from her more familiar Québécois audience.

The most challenging part for Vanasse was simply enjoying the experience of hosting the show instead of being afraid of being told “No, you’re not supposed to be doing that.” In this way, The Traitors makes perfect sense in the context of her career: Vanasse has been on a lifelong journey of learning not to be ashamed of what she does and who she is and letting go of the fear of being judged. “I’ve had times when it consumed me more, but now it’s minimal,” she says. “I believe that’s just life—choosing to tell yourself ‘Let them think what they want.’ It’s freeing.”

That’s the guiding principle behind all of Vanasse’s work—she is committed to embracing freedom, exploring new endeavours and refusing to conform to others’ expectations. “Just because I host a docuseries on fashion or a reality show like The Traitors doesn’t mean I can’t have a role in Avant le Crash,” she says. With her unwavering resolve and unapologetic attitude, she believes that different pursuits can harmoniously coexist and that setbacks serve as valuable learning experiences.

It’s clear that Vanasse’s philosophy extends beyond her onscreen roles when we transition to a topic that people— especially mothers—are often asked about: balancing one’s personal and professional lives. As the parent of a two-year-old son myself, I’m all too familiar with the gendered nature of this conversation, but I also recognize the importance of addressing it candidly. “Luckily, my schedule is carefully arranged,” says Vanasse, who is the mother of a six-year-old. “I can spend quality time with my son, and when work periods are concentrated, my parents and

(ALEXANDRE VAUTHIER)

ON LEFT: BODYSUIT (BALENCIAGA) AND HAIRBAND (HAIRSTYLIST’S OWN); ON RIGHT: DRESS (LOEWE), TIGHTS (SIMONS) AND HEELS (ALEXANDRE VAUTHIER) FOR DETAILS, SEE SHOPPING GUIDE.

MAKEUP ARTIST, LESLIE-ANN THOMSON (THE PROJECT); HAIRSTYLIST, DAVID D’AMOURS (KÉRASTASE); MANICURIST, NATALIA ARACENA (ONGLES NATALIA);

EDITORIAL PRODUCER, PÉNÉLOPE LEMAY; PHOTOGRAPHER’S ASSISTANTS, PASCAL FRÉCHETTE AND DON LOGA; STYLIST’S ASSISTANT, JOSEPH SCHAFFNER; PRODUCTION ASSISTANTS, ELOÏSE LEMAY AND FLORENCE ROIGT LE BEL. SPECIAL THANKS TO FONDERIE DARLING.

“YES, I’M A MOTHER, BUT I’M ALSO A WOMAN, A HUMAN BEING. AND IF I’M LUCKY ENOUGH, I FIND MYSELF IN A TIME AND A SOCIAL CONTEXT WHERE THERE’S ROOM FOR EXPLORATION AND THE FREEDOM TO DO SO.”

sister step in. I’m truly grateful to have them by my side, but it’s not just about relying on them; it’s about the profound presence they have in my son’s life.”

When it comes to getting it all done, Vanasse—with the help of her support system—simply finds a way. “When someone notices my unconventional schedule, they often ask, ‘How do you do it?’” she says. “But, honestly, what’s there to ‘do’? I just manage, like anyone else would. Yet, there’s [also] this unspoken assumption [that] my son will be at a disadvantage [because I’m in this line of work]. There’s an implicit judgment lingering behind the question that weighs heavily because it reflects a societal norm we’ve adopted.” Vanasse feels that we need to change the narrative, steer clear of guilt and celebrate mothers’ creativity and adaptability while also acknowledging that being a working parent can be hard at times. “It’s about [accepting] the reality that you can’t do it all,” she says. “Yet, it often feels like society expects us [women] to act as if this struggle doesn’t exist.”

The journey of motherhood isn’t an effortless one, and it has been crucial for Vanasse to accept that. “It necessitates rediscovering the pride in proclaiming ‘Yes, I’m a mother, but I’m also a woman, a human being,’” she says. “And if I’m lucky enough, I find myself in a time and a social context where there’s room for exploration and the freedom to do so.” Vanasse has come to the realization that she has a responsibility—toward both herself and her son—to always stay true to her values, maintain independence in various aspects of her life, find happiness and contentment in different pursuits and accept the unique qualities that make her who she is, however strange they might seem.

For Vanasse, both her life and her career are part of an ongoing process of rediscovery and realignment with her true self. That’s why her authenticity shines through, making her a captivating presence both onscreen and off-screen. She gives everything her all, seizing every moment and opportunity. She’s learned to be kind to herself, easing the pressure. Trying to meet society’s standards is a battle no one wins anyway. And perfection? It’s boring. It’s unattainable, unrealistic and utterly uninspiring. Vanasse would rather be real—which is what makes her so perfectly compelling.

Away Carried

MARIA GRAZIA CHIURI’S DIOR FALL 2024

COLLECTION IS A DREAMY, FEMININE TAKE ON STRUCTURED TAILORED PIECES THAT REFLECT THE PERFECT BALANCE OF STRENGTH AND DELICACY.

PHOTOGRAPHER MAX ABADIAN

CREATIVE DIRECTOR AND STYLIST OLIVIA LEBLANC

JACKET, VEST, BLOUSE, SHORTS AND BOOTS (DIOR)

JACKET, VEST, BLOUSE, TIE AND PANTS (DIOR)

SHOES (DIOR)

COCO

LIVING HERITAGE

CHANEL’s Patrimoine is where the history of the brand—along with some of Coco Chanel’s own creations—can be traced through time.

By JOANNA FOX

IN THE HEART OF PARIS, at 18 Place Vendôme, is a captivating place where the past, present and future of Chanel converge. The recently renovated mansion is home to the French house’s Watches and Fine Jewelry collections, High Jewelry workshop and Creation Studios plus a boutique and one of the brand’s most cherished places, the Patrimoine.

The three-floor space recently underwent a year-long renovation in which it was reimagined by celebrated American architect Peter Marino, and it reopened in May 2022. Contemporary sleek lines and shades of beige, white, black and gold are found throughout, along with treasured pieces of jewellery, works of art and nods to Coco Chanel’s life and interests. Yet it’s only when you go downstairs into the private, safelike room of the Patrimoine, with its soft white carpeting and dark reflective-panelled walls, that you can truly experience the magic of Chanel’s history through the preservation of jewellery pieces that speak to 92 years of craftsmanship.

For a long time, Chanel has been loaning important items from its collection to exhibitions and shows around the world as a way to celebrate the house’s signature jewellery—some of which dates back to 1932—but with the recent creation of the Patrimoine, there’s now a unique venue in which to showcase the beauty and creativity of the brand. Iconic pieces that are kept here include the original Comète diamond brooch, from the first high-jewellery collection created by Coco in 1932, and the 55.55-carat-diamond necklace crafted to commemorate the 100th anniversary of Chanel No. 5.

More than just ensuring the safety and preservation of these precious works of art, which reflect the different eras of Chanel, the Patrimoine also avidly seeks out, authenticates and tries to obtain original pieces found out in the world, whether through estate sales, auctions or forgotten (or found) collections or even in antique stores.

According to Patrimoine staff, Coco was a very generous woman who loved to give things away, so they are tasked with trying to piece together her history by searching the globe for bits and pieces of her life and work, including articles and items that used to reside in her nearby apartment (which has been preserved almost exactly as it was when she died in 1971) on 31 rue Cambon. They never know when something important or valuable will pop up, so it’s essential that they follow up on every lead and potential discovery.

This is what’s so fascinating about the Patrimoine. The constantly growing collection—every item of which is carefully documented—not only serves as an archive but also allows us to see how Chanel is taking its craftsmanship into the future while respectfully discovering and acknowledging its past.

INSIDE THE CHANEL PATRIMOINE

If you suffer (probably silently) from vaginal dryness and/or pain during sex, you’re not alone.

Learning about these conditions and their treatment will shed some light on these sometimes hard-to-talk-about symptoms.

A SENSE OF PLACE

Discover the cultural traditions of Morocco on a sensory journey from Marrakesh to the mountains.

By CHLOE BERGE

IT’S LATE MORNING IN MARRAKESH, and the walled medina is waking up. Vendors toss small pails of water onto the cobblestoned streets in front of their shops—an act said to shift the day’s energy and attract business—and bikes motor around clip-clopping donkeys pulling carts of wood and tools. A whiff of frankincense hangs over colourful sacks heaped with spices, herbs and dried flowers. The day is warm, but the labyrinthine streets’ pink clay walls have a cellar-like coolness. “Getting lost in the medina is getting lost for the rest of the day,” says my guide, Youssef Kamal, as he ushers me out of the way of a motorbike that sputters past us and heads down a narrow side street.

As the gateway to Africa from Europe, Morocco has been a crucible of creativity and industry for centuries—a place where people have traded in ideas as much as goods. Established in the 11th century, Marrakesh is one of the country’s oldest cities; its medina even has UNESCO status. That rich history seems embedded in the day’s veil of dusty golden light, prismatic colour and stew of scents. “In every town, there is a fountain, a mosque, a bread oven that’s used communally, a hammam and a swiqa, or daily market,” Kamal tells me as we head deeper into the old city.

We pass these landmarks as we weave our way down shadowy alleys and corridors illuminated by a constellation of copper-filigree lamps, stopping to try on pointy-toed embroidered slippers and thumb through leather bags and pouffes. Family-run stalls offer up sizzling whole roasted lamb (or mechoui)—which is slow-cooked in an underground pit—on communal countertops, where it’s sliced up as hungry

lunchgoers jostle for space. It’s this sensory cacophony that has drawn artists here for decades, including the bohemian circle led by Yves Saint Laurent, socialite Talitha Getty and interior designer Bill Willis in the 1960s. (The Jardin Majorelle and IZZA, a beautiful new boutique property in the medina, pay homage to the iconic figures.)

Beyond the din of the souks are small islands of tranquility. Our meandering brings us to Le Jardin Secret, a lush Edenic refuge built during the 16th-century Saadian dynasty, as well as the Ben Youssef Madrasa, an Islamic college from the same era that stands as an exquisite example of Moroccan architecture. Over the centuries, students of religion, science and history have gathered around its fountains and in its light-filled courtyard, which is decorated with intricate jewel-tone zellige tiles. “In Marrakesh, education is related to travel,” says Kamal. “You can learn only if you travel, and students came here from all over to debate and learn from their intellectual idols.”

My own education in local culture continues back at the Royal Mansour hotel, just outside the ancient city and steps from the historic square Jemaa el-Fna. The opulent oasis was designed to be a microcosm within its towering sorbet-hued walls. I’m welcomed back with a silver cup of mint tea in the light-flooded lobby, with its Moorish architecture bedecked with diaphanous draped fabrics and zellige-tile floors. Not your traditional hotel, the 53 lavish three-storey riads punctuate palm-filled gardens and winding alleyways.

Orange blossom—which blooms throughout Morocco— perfumes the air across the property. I even catch a whiff of it in the water that’s poured over my hands that night before a dinner of buttery lamb tagine at La Grande Table Marocaine, the hotel’s traditional Moroccan restaurant. I get a behindthe-scenes look one morning at a sleek new on-site cooking school where I learn how to make mrouzia, steaming hair-thin pasta and lamb seasoned with peppery-sweet ras el hanout Morocco’s famous blend of 35 spices, including cinnamon, ginger, turmeric and cumin—and showered in poached raisins and slivered almonds.

The hotel was built by King Mohammed VI in 2010, and a stay here comes with access to Moroccan royalty’s private world, including a tour of legendary French nose (and the king’s personal perfumer) Serge Lutens’ riad and laboratory—an experience offered only to hotel guests. One morning, tucked into one of local tour operator Marrakech Insiders’ gleaming black sidecars, I zip through the less visited east side of the medina, where the scent of freshly baked bread wafts out of small stalls and wooden carts overflow with oranges. Behind the unassuming facade of Lutens’ home, I step into a dark dream: the moody, atmospheric world of an obsessive creative.

“Lutens came here in the late ’60s, inspired by the city’s light and colours,” says Félix Mathivet, my Marrakech Insiders guide. Lutens continually redesigns spaces and adds new acquisitions; he began with the purchase of one riad, and the sprawling residence now encompasses over 100 different properties renovated by master craftsmen. Every inch seems to have been considered, with its incomprehensibly intricate tile work and vaulted ceilings with delicate origami-style relief carving, all draped in the scent of cedar. Paradise is described in the Quran as having gardens and water, which is thought to have inspired riad architecture, and winding my way through

THE VIEW FROM A ROOM AT KASBAH DU TOUBKAL IN THE IMLIL VALLEY

the lantern-lit chambers and courtyards filled with murmuring fountains and leggy palm trees, I can see that this is Lutens’.

The walls of one tall, narrow, windowless room are bejewelled from floor to ceiling with antique silver Tuareg crosses, which are worn as pendants by the Sahara’s Indigenous Amazigh, or Berber, peoples and were once used for stellar navigation while traversing the mountains and desert. The next morning, I make my way to the Atlas Mountains, around an hour and a half from the city, to see the wild landscape for myself.

A winding road climbs alongside a brown river, the first green signs of spring sprouting at its edges. Clay Berber villages cling to the sides of the ochre hills like sandcastles. It was less than a year ago that a 6.8-magnitude earthquake struck the country, and the epicentre was here in the mountains. But when I’m dropped off in the Imlil Valley at the office of Kasbah du Toubkal, the ecolodge where I’ll be staying, I can see that the buzz of everyday life has resumed in the village. From here, it’s a 20-minute walk—escorted by a donkey who hauls my luggage—uphill to the Kasbah.

The air is thinner and cooler up here, and I’m welcomed with mint tea on a sun-baked terrace. Smoke billows out of the stone lodge’s chimneys while the wind tangoes with fragrant pine trees. Aroumd, the village just beyond the Kasbah, is the last stop for trekkers before they head into the wilderness to summit the towering snow-capped Mount Toubkal, which looms so close I feel I could run to it that afternoon.

One bright morning, I head up through the twisting streets of the village and into the backcountry. “We lost almost three months of tourism business because of the quake,” says my hiking guide, Mohamed Aziam, who has been leading travellers through the mountains for Kasbah du Toubkal for nearly a decade. “It’s very good to have visitors back.” The Kasbah employs more than 40 local people and runs social-impact

initiatives in the surrounding communities—something that’s been essential for recovery here. These projects include Education for All, which sends young girls to school in rural regions, where education for women traditionally stops at age 11.

We leave the humble apple and cherry orchards behind, passing through walnut, pine and juniper trees, and ascend onto an austere, rocky plateau. An eagle wheels through the blue sky, wolves and wild foxes slink unseen through the boulder-strewn hills and black wheatear birds whistle into the silence. We stop for lunch on a wind-pummelled ridge, gazing at the bronze-hued valley and the Kasbah in miniature far below.

Back at the lodge that evening, my reward is a feast of hearty homemade mountain fare served by candlelight around the glow of a wood-burning stove. I savour a plate of steaming spiced meatballs and beef tagine served with couscous and garden vegetables. Outside, stars prick the velvet sky.

That starry night sky blooms into a limitless expanse on the last days of my trip, which I spend in the desert. I check in to Caravan Agafay—hotel and resort brand Habitas’ outpost in the Agafay Desert just 45 minutes outside of Marrakesh—where I’m welcomed with an intention-setting ceremony. The sweet, woody smoke of salabane, a tree resin similar to frankincense or copal, wafts up from smouldering coals and mingles with the warm desert wind blowing in off the dunes.

The design of the luxury tented camp is a nod to nomadic Berber desert dwellings, and I feel close to the elements. I find my fingers in the soil plucking vegetables from a garden studded with olive and orange trees (the fruits of which I use in a lemon-chicken tagine), sip cocktails with fresh mint and rosemary at sunset and slow down to feel the warmth and wind on my face during outdoor meditation and yoga. One morning in the garden, the words of Lahcen Essadik, the camp’s chef, ring in my mind like an old pilgrims’ proverb: “We come here to see, smell and taste.”

THE ROYAL MANSOUR HOTEL IN MARRAKESH

A MEAL AT CARAVAN AGAFAY IN THE AGAFAY DESERT

SHOPPING PARIS

An essential guide to the City of Light for fashion lovers.

By TRUC NGUYEN

SHOPPING IN PARIS IS A DREAM , no matter your budget or personal style. There are 218 shopping centres in the region, and the city boasts 28 retail businesses for every 1,000 residents. So if you’re making a trip to the French capital to take in the Olympics this summer, be sure to make time for a little retail tourism too.

In addition to making the usual stops at essential tourist attractions like the Louvre and the Eiffel Tower, I set out to discover the city’s top shopping destinations for luxury designer goods, affordable everyday essentials and everything in between. With guidance from American Express Canada’s travel and lifestyle consultants, I explored exhibitions for style and design enthusiasts, checked off a few bucket-list fashion experiences and fell in love, again, with the City of Light.

BOUTIQUE EXPERIENCES

I had always associated shopping in Paris—the birthplace of couture—with the luxury boutiques that line the streets of the Golden Triangle, the area in the 8th Arrondissement bounded by avenues Montaigne, Georges V and Champs-Élysées. But while there is something undeniably thrilling about perusing the larger-than-life shops at iconic addresses like 31 rue Cambon, where Chanel has had a boutique since 1918, and 30 avenue Montaigne, where the House of Dior was founded, most of us aren’t there to make four-figure purchases, as much as we might like to.

You can find the same curated experience—and more pieces that fit your budget—at the city’s most intriguing independent boutiques. Merci, a three-storey concept store in Le Marais, sells everything from fresh flowers to baguette-shaped candles to racks of clothes—in-house designs and pieces from international brands mixed in with actual vintage garments. The vibe: if your effortlessly chic fashion friend who moonlights as a creative director had a bougie, shoppable apartment.

Steps away from Merci, you’ll find Noir by Hier Vintage, a tiny space packed with racks of black clothing and shoes. During my visit, I debated a sleek Celine top, a sculptural Comme des Garçons jacket and a work-ready Lemaire blazer—all found hanging alongside no-name thrifted and vintage garments.

Another must-visit vintage spot for both menswear and womenswear, which was recommended to me by a local magazine-editor friend, is Thanx God I’m a V.I.P., in the 10th Arrondissement. Everything is colour-coded, and owner Sylvie Chateigner brings in new items weekly from high-end brands like Givenchy, Balenciaga and Yves Saint Laurent.

SAMARITAINE

GALERIES LAFAYETTE PARIS HAUSSMANN

ONE-STOP SHOPS

I could have easily spent an entire day in Galeries Lafayette Paris Haussmann, which has been open since 1893 and is one of the most iconic department stores in Paris. The flagship boasts a great rooftop view—the Eiffel Tower, Sacré-Cœur, Opéra Garnier and Notre-Dame are all visible—and is so popular with tourists that there are guided heritage tours every weekend. There’s also a Zen new space on the lower level that’s focused on wellness, beauty treatments and products, and you’ll find (Re)Store, a department that stocks second-hand and upcycled fashion, on the third floor.

For quirky souvenirs and hard-to-find beauty products, you’ll want to visit Samaritaine. This department store, which boasts a distinctive art nouveau look, reopened in June 2021 after a meticulous 16-year renovation. Samaritaine carries more than 600 brands across seven levels; in particular, you’ll want to seek out the Loulou boutique for fun gifts like croissant-shaped stuffies and locally made chocolates. Be sure to also leave some time for exploring the largest beauty department in Europe. I spied an enormous bottle of Chanel No. 5 priced at an astonishing €6,100 (over $8,900), but there were also plenty of more affordable finds from brands like Grown Alchemist and Humanrace.

BIG DEALS

If you are determined to score a designer souvenir on your trip and have time for an hour-long train ride to the outskirts of Paris, add La Vallée Village to your itinerary—and get there early in the day to beat the crowds and lineups. I spent a happy morning at this outdoor designer outlet mall trying on shoes and coats at stores like Bottega Veneta, Givenchy, Jil Sander and Repetto. If the fashion gods are in your favour, you might just find last season’s It sandals or a runway-worthy jacket at close to 90 percent off.

THE ESSENTIALS

STAY

If you’re looking to splurge, the Prince de Galles hotel boasts an incredible location within walking distance of the Eiffel Tower, the Seine river and museums like the Palais Galliera and Palais de Tokyo. It’s also a Fine Hotel + Resorts property, so Amex Platinum cardmembers get perks like a room upgrade, late checkout and free breakfast.

Farther out, there’s the newly opened Bloom House hotel, in the 10th Arrondissement and close to both Gare de l’Est and Gare du Nord. The rooms are airy and charmingly decorated, and there’s a beautiful wellness area with a pool and sauna.

EAT

A girl can only eat so much steak frites. (Although if you must have some, head to one of the Le Relais de l’Entrecôte locations.) Some of the best meals I had in Paris were at Asian restaurants. There was a memorable lunch at Kodawari Ramen Tsukiji, warm bowls of udon and flavourful appetizers at Udon Kisin and cold mulhué soup and Korean-inspired ceviche (both of which I’m still dreaming about) at OMA au Château des Fleurs.

SEE & DO

In between marathon shopping excursions, I took the opportunity to brush up on my fashion history and learn more about French designers and couture houses. At any given time in Paris, there are multiple notable fashion and style exhibitions on show. With the 2024 Summer Olympics happening soon, curators are focused on the intersections between athleticwear, fashion and movement; don’t miss Fashion on the Move at the Palais Galliera.

Some brands have their own museums that are open to the public. At La Galerie Dior and the Musée Yves Saint Laurent, for example, both historic and contemporary looks are displayed, and there are even sketches, fabric swatches and recreations of the design studios included.

For an immersive brand experience—and a total splurge—there’s also the new Dior Spa Plaza Athénée, a wellness sanctuary where you will be welcomed with a beauty elixir called “Glow Shot.” A personalized exfoliating and cleansing Hydrafacial treatment left my skin glowing for days.

BLOOM HOUSE

Depth of Field

Two new ambitious multi-experiential exhibitions bring fashion photography into focus at Montreal’s McCord Stewart Museum.

By ROBB JAMIESON

SMACK DAB IN MONTREAL’S BUSTLING

DOWNTOWN CORE, the McCord Stewart Museum has been quietly producing some of Canada’s most insightful shows centred on creativity within the fashion and visual-art realms—and this summer is no exception. Its first exhibition this season, Norman Parkinson: Always in Style (April 19 to September 2), allows viewers to delve deep into fashion history through the lens of the famed British photographer. The show, which has travelled to the National Portrait Gallery in London, England, and the Centro Cultural de Cascais in Portugal, pays homage to the 20th-century foundational-image maker, whose influence can quite literally be seen in every fashion magazine today. Parkinson was one of the first photographers to liven up the stiff studio-based presentation of fashion models and have them pose more naturally; his innovation allowed for more spontaneity and movement of the body, with models being placed in unique exterior locations and shot with his signature brilliant sense of whimsy. Parkinson was active from the 1930s through to the 1980s. He had long working relationships with many of the top publications of the day, including Vogue, Harper’s Bazaar and Town & Country, and became the official photographer of the British Royal Family. The collection on view includes 79 of his most iconic images (including some newly discovered works) presented alongside era-specific clothing from the museum’s archive that resemble items worn in the pictures, such as pieces by British designers Hardy Amies and Digby Morton and hats by Quebecers Fanny Graddon and Yvette Brillon.

AUDREY HEPBURN, GLAMOUR (DECEMBER 1955), BY NORMAN PARKINSON

The very complementary second exhibition, Portraits and Fashion: Quebec Photographers Beyond Borders (May 31 to September 29), is a group show featuring the work of 17 talented photographers who developed their image-capturing skills in Quebec and made an impact internationally on fashion and commercial photography, such as Max Abadian, Sacha Cohen, Andréanne Gauthier and Norman Jean Roy. Visually inspiring fashion spreads are displayed alongside captivating portraits of famous musicians and noteworthy faces like Céline Dion, Nelson Mandela, Adele and Charlotte Cardin. Audiovisual clips produced for the show by creative agency Rodéo FX make it a more immersive experience, allowing each photo and its context to fully envelop the senses. Curated by Thierry-Maxime Loriot, who previously produced two of Montreal’s most successful exhibitions at the Montreal Museum of Fine Arts (The Fashion World of Jean Paul Gaultier: From the Sidewalk to

the Catwalk in 2011 and Thierry Mugler: Couturissime in 2019), the show highlights Quebec’s importance as a creative breeding ground. “There are many words you could use to describe the work of these 17 artists, portraitists and fashion photographers,” says Loriot in the press release. “But they all have one thing in common: Quebec. Whether they’re from Tunisia or Iran, the Laurentians or Montérégie.”

Montreal’s thriving fashion industry and many print magazines make it an ideal place to get valuable real-world experience, and all 17 photographers have distinct voices that are echoing successfully across the globe. Among them is Tunisian-born, Montreal-based Oumayma Ben Tanfous, who sees the camera as a “collection” tool that allows her to document images that move her. “My colour palette and my lighting are very soft, and my portraits are focused on rendering the subject,” she says. A talented portraitist who captures the inner

light of an individual while expressing the strength of femininity, Ben Tanfous has worked for the likes of Vogue, Dazed and Le Monde and was recently included in the highly regarded British Journal of Photography’s annual “Ones to Watch” issue. Royal Gilbert, who’s originally from the Beauce region of Quebec and now based in Paris, grew up in rural Quebec casting his siblings and cousins in his photography and films. This creative play became the foundation for a successful career working with iconic musical artists and magazine institutions like ELLE and Vogue. And one of Quebec’s most accomplished portrait photographers is Quebec Cityborn Monic Richard, whose portfolio is a historical record of notable Quebecers, from politicians to entertainers. Richard’s sensitive approach allows her to freeze the intimate exchange between herself and her subjects, which have included Leonard Cohen, Guy Laliberté and contemporary dancer Louise Lecavalier.

JONI MITCHELL, NEW YORK MAGAZINE (2020), BY NORMAN JEAN ROY

FOOD FAN

In every issue, Canadian content creator MARGAUX VERDIER shares her love of dairy-free, mostly-plant-based dishes. On the menu this month? Strawberry Tiramisu.

MY FAVOURITE TIME OF THE YEAR has finally arrived: strawberry season. This fruit is always a huge inspiration for me when it comes to both savoury and sweet recipes. Strawberries add a tangy, sugary taste and make any dish a thousand times prettier. This fresh, fragrant dessert is made with a combination of tofu- and cashew-based mascarpone and chai-tea and rum syrup. It’s the perfect dish to make for a dinner party or brunch with friends or to simply enjoy this bountiful local fruit.

STRAWBERRY TIRAMISU

Servings: 6 to 10 | Prep time: 35 minutes | Refrigeration time: 3 hours

INGREDIENTS

Dairy-free mascarpone

1 block (300 g) silken tofu

1 1/2 cups (350 mL) cashews soaked in boiling water for 20 minutes

1/4 cup (60 mL) lemon juice

1/4 cup (60 mL) maple syrup

1 tsp (5 mL) vanilla

1/4 tsp (1.25 mL) salt

Chai-tea and rum syrup

2/3 cup (160 mL) water

2/3 cup (160 mL) maple syrup

1/4 cup (60 mL) rum

1 tsp (5 mL) vanilla

3 chai tea bags

Tiramisu

200 g dairy-free ladyfingers

1/2 cup (125 mL) strawberry jam

2 cups (500 mL) sliced strawberries

freeze-dried strawberry powder, for garnish (optional)

METHOD

Dairy-free mascarpone

In a blender, blend all the ingredients until super smooth. Pour the mixture into a container and refrigerate for 20 minutes.

Chai-tea and rum syrup

In a small skillet, bring the water, maple syrup, rum and vanilla to a boil. Turn off the heat, and place the tea bags in the syrup. Let steep for 15 minutes.

Tiramisu

Pour the syrup into a large shallow dish. Dip half of the ladyfingers into the syrup and place them in the bottom of an 11 x 8 inch (28 x 20 cm) baking pan. Break the cookies as needed. Spread half of the dairy-free mascarpone over the ladyfingers. Then spread the strawberry jam, followed by 1 1/2 cups (375 mL) of the strawberries, overtop. Dip the remaining ladyfingers in the syrup and place them on top of the strawberries. Spread the remaining mascarpone overtop, and refrigerate the tiramisu for at least 3 hours or overnight. Serve sprinkled with the freeze-dried strawberry powder and topped with the remaining strawberries.

SUMMER H OROSCOPE SPECIAL

Your ultimate astrological guide to the warmer months ahead.

By VANESSA DL

CANCER

JUNE 21 JULY 22

The month of June begins on a particularly festive note, with a gentle breeze of optimism blowing into your life. Let yourself be swayed by what makes you feel good rather than what you think you should do; the less you compare yourself to others the easier it will be for wealth and happiness to float toward you. In the middle of summer, your desire for spontaneity is hampered by important work obligations. By mid-August, a sense of frustration prompts you to make adjustments—you can’t be everywhere at once. Although your need to shine will have to wait, you may have the chance to see your talents elevated by choosing your projects wisely. You’re particularly sensitive to the Mercury transit, so its retrograde in August could disrupt your domestic and family sphere, prompting you to set aside your pride for more effective communication. During this time, an open and curious mind will be your best asset.

Your summer tarot card is the THREE OF CUPS , which encourages you to make friendships a priority. Deepen your existing connections, and choose your collaborations based on the people you want to get closer to.

The summer starts with activities that take place behind the scenes—and away from prying eyes. You will need solitude to deal with more spiritual matters and work on getting rid of harmful habits by taking responsibility for your actions instead of blaming others or relevant circumstances. The month of July, on the other hand, offers you the chance to start a new cycle that requires action- and risk-taking. Take advantage of the new moon on July 5 to put your six-month plan in writing. The month of August promises to be a little more chaotic and encourages you to organize yourself better so as not to spread yourself too thin. Be extra careful when communicating, emailing and exchanging information. Ensuring your schedule isn’t too busy will help you avoid careless mistakes.

Your summer tarot card is TEMPERANCE . It reminds you that it is essential to have faith in life and trust that everything happens when the time is right. Be patient, and don’t rush anything.

LEO

JULY 23 — AUGUST 22

The first signs of summer encourage you to expand your social circle. Join a book club, get involved in a political organization or participate in a softball tournament to meet new people. In addition to opening new doors, these encounters can boost your self-esteem. July is a time of deep introspection that requires you to work on your ability to let go. You will need time and an empathetic ear to help you clarify your intentions and motivations. Your astrological season, which starts on July 22, will bring you a boost of energy while shaking up some of your personal relationships. August is a good time to review how your resources—from your monthly budget to the time and energy you give to others—are allocated. Acknowledging your self-worth and making changes based on healthy self-esteem are at the heart of this period.

Your summer tarot card is the FIVE OF CUPS . It reminds you that while disappointment is difficult, it can help you refocus on what’s really important to you.

VIRGO

AUGUST 23 SEPTEMBER 22

The start of your summer promises plenty of professional opportunities and maybe even increased public recognition. While this period may be marked by the achievement of goals and an increase in freedom in your career, you should consider having a system in place to meet the growing demand. In July, you find solace in groups and communities that support your well-being and your need for emotional depth. From mid-July, you feel the urge to retreat to your inner temple and escape from the intensity of the outside world. Honour this need for solitude as it will fuel your creativity. In August, you’re juggling career development with relationships that need your attention. If you’re feeling overwhelmed, remember that your allies are there to support you. Be creative, and take steps to redefine the balance between these two spheres of your life.

Your summer tarot card is the EIGHT OF CUPS , which symbolizes the need for a retreat when everything seems to be moving too fast. Take the time to integrate the changes to come.

LIBRA

SEPTEMBER 23 – OCTOBER 22

At the beginning of summer, you embark on a very stimulating exploration phase in which travel or learning opportunities could arise unexpectedly. Your intellectual curiosity pushes you to broaden your horizons and shake up your routine. Take advantage of this time to express your ideas, but be sure to avoid doing so too impulsively. July promises to be a time of significant advances in your career, and perhaps there will even be a change in your marital status. What has been slowly growing in your private life is ready to be formalized. In August, you have the chance to review and complete a few projects, which allows you to transition into fall with a burst of freshness. Remember that you’re allowed to make mistakes, so don’t let a fear of failure stop you from taking calculated risks.

Your summer tarot card is THE HERMIT. This reminds you of the importance of moments of introspection in order to address the big internal questions. The answers you’re looking for are within you.

SCORPIO

OCTOBER 23 – NOVEMBER 21

The beginning of your summer has a theme of generosity. You offer your resources without concern, and you could receive something unexpected. Abundance comes in different forms: financial, informational or emotional. Whatever its nature, you learn to recognize life’s gifts and welcome them without guilt, fully appreciating their value. In July, a quest for freedom pushes you to seek out new endeavours. To deepen your selfknowledge, explore different places or immerse yourself in something you’re passionate about. Either way, it’s essential to gain inspiration from new experiences. In August, you have the opportunity to revisit a goal that you had previously let go. At the end of the month, push aside your imposter feelings to better catch the flowers thrown at you.

Your summer tarot card is JUSTICE . It reminds you that while it’s noble to have good intentions, it’s just as important to think about the impact of your actions.

SAGITTARIUS

NOVEMBER 22 – DECEMBER 21

From the first days of summer, partnerships of all kinds are brought to the fore to help you create new alliances that will evolve over the next 12 months. Be confident in your value, and let your curiosity guide you toward fruitful collaborations. During this time, your relationships are a useful learning source. With the arrival of July, you enter a transition phase that requires you to sort out your life by following your instincts. Write down situations that make you feel overwhelmed, tense or uncomfortable, because they are there to unsettle you just enough to prompt you to make changes. In August, it’s time to review your career ambitions and align them with your values. Ask yourself what is truly important to you, and dare to fully commit to what will bring you closer to the person you want to become.

Your summer tarot card is the QUEEN OF SWORDS . It helps you set clear boundaries and exercise sound judgment when it comes to selecting the people and projects you want to invest yourself in.

CAPRICORN

DECEMBER 22 – JANUARY 19

Summer brings fun and fluidity to your work, health and daily routines. You manage details effectively, and your skills are recognized by your peers. Collaboration with colleagues is at its best, and you have the energy to make beneficial and lasting changes to your lifestyle. In July, your relationships are at the heart of your personal development. Don’t be afraid to slow down and enjoy sweet moments with the people you care about most or even solidify a business relationship. The Mercury transit fosters important conversations that could strengthen your bonds in a meaningful way. In August, you may be confronted by your inner critic and encouraged to look deep within yourself to address whatever is preventing you from achieving your full potential.

Your summer tarot card is STRENGTH . It reminds you that resilience also means having the courage to keep your heart wide open, even in the face of adversity.

AQUARIUS

JANUARY 20 – FEBRUARY 18

You perceive the arrival of summer like you would a school bell sounding the beginning of recess. It’s time to put away your work tools and prioritize fun, but it’s best to avoid getting into expensive hobbies as your budget could need tightening in mid-August. In July, you feel the need to take care of yourself through a lifestyle that promotes gentleness, slowness and solitude. Avoid being of service to others so much that you forget to meet your own needs. During the month of August, your emotional world might be slightly shaken. However, you have everything you need to take on challenges with an innovative spirit. By doing so, you are able to assert your individuality more strongly, especially in the family sphere, which could have a positive impact on your personal relationships.

Your summer tarot card is the QUEEN OF CUPS , symbolizing your ability to use your own resources to find emotional stability. Listening to your intuition will help you follow your path.

ARIES

MARCH 21 – APRIL 19

PISCES

FEBRUARY 19 – MARCH 20

Summer begins with an aura of lightness and positivity. Are you considering moving, renovating or getting a new roommate? No matter what changes take place, their purpose is to increase your feelings of security, happiness and inner contentment. In July, prioritize activities that help you relax and unwind. Rather than overwhelm yourself with obligations, ask yourself what gives you both pleasure and a sense of well-being. By figuring out the answer to this question, you will find a better balance. In August, it’s important to look at obligations that weigh you down. Sure, you have commitments to fulfill, but it’s important to communicate your boundaries so you can better discern how to spend your precious energy.

Your summer tarot card is the EIGHT OF SWORDS , a symbol of the restrictions you impose on yourself. These months are meant to be light for you, so try to free yourself of burdens and open yourself up to new perspectives.

The start of summer gives you a zest for life that pushes you to get out of the house, flirt with your barista and strike up friendly conversations with your neighbours. On June 4, a meeting sparks your curiosity and inspires you to take a new learning path. Be careful not to get overloaded with information; organize the results of your research so you don’t get lost. Once summer is in full swing, you feel the need to temporarily retreat and become a bit of a homebody. Don’t ignore the importance of comfort in your personal and emotional life. You need to feel safe to address any intense emotions that surface. You’ll be glad you topped up your energy stores because August promises to be an eventful month at work. On August 14, you are motivated to assert yourself with courage and confidence. With Mercury in retrograde, you find yourself slowing down and reconnecting with the activities that motivate you on a daily basis.

Your summer tarot card is the QUEEN OF PENTACLES , which reminds you of the importance of staying aware of your body’s needs and adapting your daily routine to meet them, as they can fluctuate depending on the situations you encounter.

TAURUS

APRIL 20 – MAY 20

The summer season kicks off with a self-esteem boost, inspiring you to proudly share your values with the world. Your mind is engaged in investing your financial resources wisely. Ask questions so you can make informed decisions, but avoid getting lost in a never-ending quest for information that could hinder your ability to take action. In July, don’t underestimate the small daily rituals that bring you comfort. Whether you take a long evening walk with a friend or have sunrise meditation sessions, find beauty in every moment. In August, despite a busy social calendar, take the time to prioritize relationships that fulfill you. Don’t hesitate to cancel commitments to make time for yourself.

Your summer tarot card is the NINE OF CUPS , which symbolizes pleasure and contentment. It encourages you to find these feelings in yourself rather than in material possessions.

Foramorein-depthreading,checkyourRisingsign—whichisbasedonyour exacttimeofbirth—andthenyourSunsign,a.k.a.theonethat’sassignedto youbasedonyourdateofbirth.Ifyou’renotsurewhatyourRisingsignis,no worries—justgowithwhatyouknow!

EASY BREEZY

Outdoor essentials for summer entertaining.

ATWELL HIGHBALL GLASSES, CRATE & BARREL ($10 EACH, CRATEANDBARREL.CA)

PLANTER, BUTINE ($110, BUTINE.CA)

CUBE PORTABLE CHARCOAL GRILL, EVERDURE ($240, AMAZON.CA)

TUNDRA 65 HARD COOLER, YETI ($475, YETI.CA)

ELLE CANADA EXTRA

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COVER STORY

ALBERTA FERRETTI albertaferretti.com

ALEXANDRE VAUTHIER alexandrevauthier.com

A.W.A.K.E. MODE awake-mode.com

BALENCIAGA balenciaga.com

DION LEE dionlee.com

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GUCCI gucci.com

LOEWE loewe.com

LOUIS VUITTON ca.louisvuitton.com

MARINE SERRE ssense.com

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SACAI sacai.jp

SIMONS simons.ca

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CARRIED AWAY

DIOR dior.com

WORKS OF ART

THIS PAST SPRING, Dior presented its fall 2024 collection at New York’s Brooklyn Museum as an homage to feminism, visual art, the connection between New York City and Paris and the late actor, singer and Dior muse Marlene Dietrich. Creative director Maria Grazia Chiuri drew inspiration from Dietrich’s style of dressing in particular, giving feminine touches to masculine pieces for strong, structured looks—such as blouses with cinched waists and tailored vests paired with pencil skirts and wide-legged pants—and incorporating nods to 1940s dresses with drapey, fluid materials like crushed velvet, hammered satin and crepe. This aesthetic of the contemporary Dior gamine was interspersed with streetwear-style sets in prints that combined iconic imagery of New York and Paris, further emphasizing a relationship that began when Christian Dior first visited the American city in the late 1940s.

The House of Dior and Grazia Chiuri have also been involved in the art world, so the location of the show—and the art on view—added to the creative dialogue. American-born artist Suzanne Santoro readapted a 1976 installation, I Thought Art Was for Women, with the aim of promoting female artists. Complementing this was the work of Paris-based collective artist Claire Fontaine (a feminist conceptual project launched in Paris in 2004 by Fulvia Carnevale and James Thornhill): large-scale neon hands whose fingers join to form a diamond shape. The show’s notes explain that this gesture, which symbolizes the female sex, originated during the feminist protests of the second half of the ’70s and early ’80s and was a strong emblem of women’s empowerment at the time. The models walked on ceramic tiles that were also created by Claire Fontaine and designed to resemble those used in the outdoor courtyards of historic residences in Palermo, Italy—a reference to Mediterranean sensuality. As the show closed, there was no doubt of Grazia Chiuri’s message, which was about championing women’s strength, power and point of view.

THE MUCH ANTICIPATED COOKBOOK FROM ONE OF MONTREAL'S MOST ICONIC RESTAURANTS