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03 Letter From the Editor 04 What is VEFS DESIGNERS 08 Sarina 12 Vurjeet 14 Nora 18 Hannah 22 Bailey 27 Kathleen 32 Sila 36 Mikhail 38 Zara 40 Behind the Scenes 46 Show Music 48 Credits
LETTER FROM THE EDITOR
was a difficult decision, as so much love and time was put into this entirely volunteer-run project. Although this isn’t a runway, I’m so happy we had the opportunity to turn all this work into the magazine you’re reading now! Through its pages, we got the opportunity to celebrate our talented designers, models, artists and everyone else who was involved. I am so grateful to have had so many of these talented people help out on this project and I wanted to give a shoutout to everyone who
To say 2020 has been an unprecedented year for us all is an understatement. Cancelling our show
helped make this possible! You are all awesome! First, I’d like to thank the amazingly talented designers that were a part of this year’s show. I am totally in awe of all of their stunning work. This art will serve as an inspiration for me for years to come! I am so proud to have been part of a project with such talented artists within the University of Toronto community. Thank you all for your dedication, hard work, and creativity. Next, thank you to the rest of the entire executive team. From organizing all our events, to balancing our budgets, this work was essential to making VEFS possible. To all of our models: thank you for making us look good… Literally! I’m sorry that you weren’t able to walk the runway, but I’m happy that many of you could be featured here in some capacity. To all the photographers, this magazine would not exist without your amazing work. Thank you for your time and artistry! Thank you to VUSAC and the Victoria College student community for your support and guidance. A special thank you to Cameron Davis who helped me extensively throughout the year amidst many stressful moments. I’d also like to thank Jay Muoio. With your support and work we were able to make this magazine possible. Lastly, I’d like to thank my friends, and family, many of whom ended up helping me with this project (as you’ll see in the credits). I am so lucky to have you all in my life. Your help means the world! With that, I bring you the 2019-2020 season of the Victoria College Environmental Fashion Show! I hope it brings some inspiration into your own life that shows that fashion can be cute without hurting our planet. I also hope it serves as a memento to the art and vibrance that exists within the University of Toronto community. A sincere thank you to everyone who helped make this possible!
Modeded by Madeline Reyno, and Ellen Lupton.
JEWELS/ROCKS Culture, wealth, history: all can be sources of rich, joyous experiences. But they can also be sources of great unhappiness. While culture can cultivate enjoyment and connection, the 21st century has been declared by many as â&#x20AC;&#x153;the century of lonelinessâ&#x20AC;?. Wealth is assumed to enable more freedom but despite getting richer, studies find that people are busier. Meanwhile, history can tie us to the people before us and guide us to a greater purpose. Yet popular media and the cultural zeitgeist is dominated by a sense of meaninglessness in daily life. Culture, wealth and history can thus be seen both as opulent jewels that enrich our lives or rocks that weigh us down, perpetuating illusions of happiness. From these insights, this collection symbolizes the paradoxes and potentials of culture, wealth, and history in three parallel looks.
the kaur collection VURJEET MADAN
Modelled by Phoebe Jenner, Vivian Li, and Celina Yang
the kaur collection is an attempt at capturing true elegance through a vogue, polished perspective. kaur translating into â&#x20AC;&#x153;princessâ&#x20AC;? from sikhi, (originating in India) the collection combines the internal and external features of royalty through its representation of sophistication and classiness. with tones of golden and light beiges, and textiles such as silks and offwhite furs, the cohesive theme is driven with the thought of representing true beauty in neutrality. the designs express the concept of confidence as something that emerges from strength and selfrespect, rather than defining it with wealth.
The Internet of Things (IoT) 14
Modelled by Emily Ioffe and Tara Elliott The fashion industry is going through updates within its business models with technological changes that are revolutionizing how consumers engage with their clothing. The Internet of things (IoT) is a new way of interacting with physical items through digital means like smart phones, which can provide user identification to items and offer transparency to past ownership and how it was created. For fashion this means transparency on how sustainable brands are, to give legitimacy to green claims
and forward the industry towards responsibility of their business practices. This collection promotes the upcoming phase of fashion by creating digital files for each piece with a custom QR code, which are heat pressed on to the items for permanence. Each item was thrifted in support of the circularity movement, and will be further sold with the QR codes forever holding their story of where they were thrifted, by whom and featuring the stunning photos taken by the VEFS team.
y collection explores the notion of coming of age, synonymous with that of a butterfly coming out of its chrysalis. Farfalla in Italian means butterfly, and given their natural beauty and mystery, I wanted to explore this further as it relates to the development of the self. In my first half, chrysalis, each of my pieces represent a bounded self, guided by fear. Here, rather than embracing their true identity, these versions of my self are physically guarded by societal expectations that have shadowed their growth including: beauty, success, and wealth. Here, I hope to deconstruct what happiness truly means in our society, and how it ultimately does not lead to true fulfillment. In these pieces, happiness as represented by the subtleties of the butterfly which are just out of reach. After this, I have my second half, butterfly. In these pieces, the true self is found, and the beauty of freedom of expression is evident. Structural conventions are broken, and each of these pieces are filled with things that can be unconventional, but represent an honesty in being who you really are. Moreover, they are filled with outlandish colours, as would flower fully in bloom. I finish my collection with my model being covered in butterflies. Here, she has evolved into her true self, being fully surrounded with her contemptment for the present moment, and who she has become. She no longer has to chase: it is a part of her.
Modelled by Parissa Manteghi and Amara Phillips
“In the beginning, woman was the sun. An authentic person. Now she is the moon. Living through others.
Reflecting the brilliance of others”
was how Raichō Hiratsuka began the Japanese feminist magazine “Bluestocking” in 1911.
Nearly 110 years later, the question continues to be posed. What is the status of women in Japan? Those that don’t fit expectations? The ‘bad girls’? The foreign? Hafu? Six years after ‘womenomics’, who is Japan’s 21st Century girl?
With the tremendous talent and guidance of two great friends, I hope to leave our audience, not despairing of the past or present, but rather aspiring to the future.
Designer/Stylist: Bailey Irene Midori Hoy With additional styling by Flora Mei McIntosh Modelled by Flora Mei McIntosh and Nanami Nogami
When I think of second hand clothing and shopping, it always seems to be divided into three categories: clothing myself in Canada, clothing myself in Japan, and clothing others. I’ve always been used to reusing old and previously owned clothes. This mindset, it must be noted, had come from my mother’s side, a large and practical family primarily located around the Windsor area, where they have been farming the land for over 200 years. When I was born, I was the youngest in my family for nine days. For nine days, I was the bright, shiny new baby, until another cousin was born and I was promptly upstaged. In all fairness, I had done the same to my twin cousins, who had been the youngest for about two months and had only kept the title for that long because I had been late and they had come early (in total, six cousins were born that year, with many preceding and following). With such a large family, clothing and hand-medowns were passed down from cousin to cousin with regularity. This trend did not change when I had a little brother, and not a sister as the nurses had guessed. In the correct and practical eyes of my parents, they had a set of perfectly good baby clothes that I wore 2 ½ years ago, and something as simple as a gender-associated colour was a ridiculous reason not to use it.
Thus, my brother proceed to wear pink onesies for the first few months of his time on earth (my first lesson in “fuck gender norms”). Even now, 23 years later, there’s still a mad dash in the family whenever my older cousins get rid of clothing, with all the female relatives on my mum’s side excitingly picking over the offerings. This enthusiasm was not necessarily found on my dad’s side of the family. My grandmother often bought new dresses for me as a child, claiming my mum dressed me like a “ragamuffin” - not because my clothes were ragged, but because they once belonged to someone else. The logic for this may be partially societal: as a whole, Japanese culture doesn’t tend to wear secondhand clothing.
R emake R emake 24
25 This enthusiasm was not necessarily found on my dad’s side of the family. My grandmother often bought new dresses for me as a child, claiming my mum dressed me like a “ragamuffin” - not because my clothes were ragged, but because they once belonged to someone else. The logic for this may be partially societal: as a whole, Japanese culture doesn’t tend to wear secondhand clothing.
To those who follow Japanese subculture fashion, this idea might sound out of place. After all, many of the teens and young adults featured in Harajuku Fashion blogs have at least one piece of their outfits that are vintage or remade second hand clothing. When combing the streets of Kensington Market, kimonos are often some of the most expensive items, the bright colours and patterns much sought after. These amplified voices, however, do not necessarily speak for the general population. The truth is, many Japanese people don’t particularly wear vintage clothing, or indeed clothing that has been on another body. When shopping at fashionable stores, it is not uncommon, upon deciding to purchase an item, to have an entirely new, wrappedin-plastic article presented to you, with the one you tried on being exclusively for display and retail purposes. While there is a strong legacy of passing down heirloom kimono through a family, to buy a previously used kimono from an unknown person is not as accepted, with many of the women whom I interviewed expressing doubts as to their quality and history.
With this in mind, shopping for secondhand clothing in Japan is a different experience to the casual, chaotic way that I interacted with used clothing in Canada. Firstly, I have to determine what sort of clothing I’m looking to buy. Am I searching for used, relatively cheap clothing from Japanese brands (known as resale), or am I looking for used clothing imported from America, often with a more historic, curated edge (known as vintage)?
Perhaps I’m looking for an old kimono and maybe to find a few cheap dresses or a gudetama plushie, in which case I would check the internet to see if a nearby temple (or in some cases, a car park) is hosting a monthly flea market. Although sometimes I’ll be lucky enough to find a Clothes-Off (a second hand clothing brand, which in turn is a spin off from the wildly successful Book-Off), often looking for used clothing requires a little thought. It is not, therefore, surprising, that a subculture known as “remake” fashion has gained popularity in the past few years. Consisting of used garments that have been ripped apart and then reconstructed to form new clothing, most pieces are individual, one off pieces. Requiring both knowledge and irreverence for the clothing which makes up the final project, the style is often chaotic, with clashing colours, patterns, messages and textures.
Although some elements of remake style are beginning to permeate into K-pop styling (most notably in asymmetric, multi-patterned clothes), perhaps the most widespread Western examination of the style came in a video by YouTuber Safiya Nygaard, in which she explored three rising Japanese subcultures with popular lolita model RinRin. When the pair interviewed the owner of the popular remake store A Nincompoop Capacity, Mr. Ohashi (whose wife Cathy makes much of the clothing) noted that there aren’t many rules to the clothing created: rather, the style is up to the wearer.
bailey hoy bailey hoy
This freedom of choice intrigued me about the style. Unlike some other subcultures where the style is largely regulated to certain specific brands and silhouettes, remake is more contingent on the consumer’s aesthetics. Edges can be ragged, frayed, or unfinished, which anyone with a sewing machine and some old clothing can create. When working in costuming or designing for other people, I always aim to create a garment that the wearer is comfortable in.
This drive is partly selfish: as a Japanese-Canadian woman who often wears traditional clothing such as kimono, I have received comments directed not so much at me, but rather at the clothing I am wearing. Instead of questions about why and how I wear them, I am often told what people think of t he kimono aesthetically. In kimono, Bailey, the mixed Japanese-Canadian girl who spent an hour tying on all the pieces and a couple of weeks deciding what motifs were appropriate together for the event, is reduced to a “geisha”, “kimono-girl”, and “that pretty kimono over there”. The difference is subtle and often unintentional, but it is notable to the people that worked so hard for the outfit to be viewed as effortless but with meaning.
In creating remake fashion and promoting kimono in Canada, it is my hope that monologing to the “other” can become a dialogue with the people on whose bodies the clothing is presented.
i n c o h p or m F
29 There is nothing more opulent than a trip to the symphony. The idea of different instruments coming together to create one cohesive piece of art, was taken a little more than literally for Symphonic Form. The trumpet, the harp, and the violin create a collection that to me, represents some of the most beautiful and opulent things in life. Music however, has also been used to inspire change and revolution as styles evolve with time, yet still hold true to the values that it began with: tone, pitch, intonation, etc.. The looks in the second half of tonightâ&#x20AC;&#x2122;s show represent more modern applications of the same materials and instruments.
Modelled by Laura Godin, Emma Hastie , Talia Holy, Gianna Olive, and Ellen Puhalovich and Lucy Xiang.
I would like to thank my amazing models Talia, Lucy, and Emma for really pulling off my obscure photoshoot notes such as “channel a 1920s gangster who is coming to collect a rivals’ debts, but make it fashion”.
PERMISSION TO BE FREE
Modelled by Sarah Kristian, Kelcy Timmons and Anne (Wencong) Qian
Money, fame, power, thatâ&#x20AC;&#x2122;s the dream. â&#x20AC;&#x2DC;To be like themâ&#x20AC;&#x2122; is the mindset. The dimensions that lie beneath the glitz and the glam of old Hollywood and Royalty are a history of tight rules and even tighter outfits and above all, a carefully constructed smile. Effortlessness is the lie and beauty is the liar. In the end, the internally bound state and the external crown are mediated by the gallantry of passionate and convicted individuals who stand their ground, on top of the world.
I think fashion design is a very intimate thing. What we choose to wear is a visual expression of who we are; our wardrobe is an eclectic collection of things that make us happy and reflect our identity somehow. To have my weird ideas added to someoneâ&#x20AC;&#x2122;s personal closet is a great honour. I just hope it makes them happy, or more confident, and improves their life somehow, if only a little bit.
THE ART OF IDENTITY THE ART OF IDENTITY THE ART OF IDENTITY 36
MIKHAIL SK Modelled by Mathea Treslan
This collection explores the
silhouettes of opulence and illusion through history. Opulence garners images of a refined and elongated figure and dramatic use of accessories. The pieces aim to capture the feeling of wealth with luxe fabrics and statement jewelry.
Illusion, however, is approached with exaggerating the silhouette and playing with accessories in a way that emphasizes the shape of the pieces. Pieces incorporate prints and elements from fashion of the 1970s as well as the present. Modelled by Rania Phillips and Hanady Zahreddine
t d h n e i h
posters posters posters posters
o m o r p w o sh
SHOW MUSIC Harem Skils from Bombay - Les Baxter Immaterial - SOPHIE
I Don’t Want It All - Kim Petras
We Appreciate Power - Grimes (feat. HANA) Focus - Charli XCX
Ringfinger - Nine Inch Nails
Laws of the Universe - Toro y Moi Bad Boy - Tommy Genesis
Hot Stuff - Donna Summer
Venus Fly - Grimes (feat. Janelle Monáe) Smack My B**** Up - The Prodigy Born Slippy - Underworld
Lipslap - Kero Kero Bonito (Makeness Remix)
February 2017 - Charli XCX (feat. Clairo & Yaeji) One Good Day - Control Top Say So - Doja Cat
7 rings - Ariana Grande
Do the Astral Plane - Flying Lotus
Meet the Team! Team EXECS
Hannah Boonstra Creative Director Designer Editor
Olive Von Communications Director
Emmeline Johnston Clubs Director
Ari Zhao Assistant Creative Director Photographer Web Designer
Rania Phillips Treasurer
Sophia (Bai) Xuemeng Treasurer
Jakob Boontra Editor Graphic Designer
Lauren Tom Editor
Clara MkC Editor Photographer
DE S I G N
Cover: Ilya Sarossy (@ilyasarossy) Editorial: Ilya Sarossy (@ilyasarossy), Clara MkC (@claramkc) Nicole Yen (@the.nicoden), VicXposure (@ VicXposure), Stan Trac (@stantrac)
Cover: Madeleine Reyno Editorial: Rachel Bannerman, Bryan Chan, Genevieve Crispin Frei, Tara Elliot, Laura Godin, Emma Hastie, Talia Holy, Emily Ioffe, Phoebe Jenner, Alison Jeon, Sarah Kristian, Vivian Li, Manou Liu , Parissa Manteghi, Flora Mei McIntosh, Nanami Nogami, Gianna Olive, Daphne Peng, Amara Phillips, Rania Phillips, Ellen Puhalovich, Anne (Wencong) Qian, Madeleine Reyno, Kelcy Timmons, Mathea Treslan, Lucy Xiang, Celina Yang, and Hanady Zahreddine
Artist: Sierra McCormick (@bestworldart)
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