VOLTA Spring Summer '16

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The sole responsibility for the content of this publication lies with the authors. Its contents do not reflect the opinion of the University Students’ Council of the University of Western Ontario (“USC”). The USC assumes no responsibility or liability for any error, inaccuracy, omission or comment contained in this publication or for any use that may be made of such information by the reader.

table of content 04

CONTRIBUTORS..... The Volta Team


LETTER FROM THE EDITORS..... Faustina Setiawan & Marcel Sokalski


MAJOR CONTRIBUTORS..... Notable Team Members


BEHIND THE SCENES..... An Inside Look Into Volta


GIRL, WHAT ARE YOU WEARING?..... By Diyana Noory




BREAK IT & SHAKE IT..... The Diner Editorial


PABLO'S FINEST CREATION..... By Mithila Somasundaram


FROM WHERE YOU STAND..... By Monica Scaglione

LOOKING FOR REVENGE 20 The Midnight Swim Editorial

20 LOOKING FOR REVENGE..... The Midnight Swim

48 LATER DAYZ..... The 70s-inspired Retrospective Cover Editorial

Editorial 28 TORONTO FASHION WEEK 2016..... An Inside

58 THE VALUE IN VINTAGE..... By Laura Robinson 60 STREET SAMPLE..... The Black and White

Look Into the Collections 32 EYECANDY..... The Beauty Editorial 38 VICE..... The Men's Miami-inspired Editorial

90s-inspired Editorial 67 VOLTA DEFINITION..... End

46 TOM* FASHION WEEK... A Week in Review of the Most Notable Designers



VOLTA Editors In Chief Creative Director FASHION DEPARTMENT Fashion Director Head Stylist Stylists CREATIVE DEPARTMENT Creative Advisors Layout Editor PHOTOGRAPHY & VIDEOGRAPHY DEPARTMENT Head of Photography Editorial Photographers Behind-the-Scenes Photographers Videographers LITERARY DEPARTMENT Literary Editors Writers

EDITORIAL DEPARTMENT Make-Up & Hair Shoot Contributors Models

Social Media Corresponder


Faustina Setiawan, Marcel Sokalski Claire Henderson Nancy Xu Richard Truong Chelsea Clifford, Laura Robinson, Natalie Tang Liam McLean, Matt Anderson Laura Robinson, Savanna Lee, Richard Truong Faustina Setiawan Tara Magloire Claire Henderson, Lenore Li, Mai Tilson, Maria Denomme, Ryan Vu, Olivia Mossuto Tara Magloire, Claire Henderson, Jenney Zhu, Adriana Monachino, Savanna Lee, Natalie Tang Matt Anderson, Liam McLean Laura Robinson, Mithila Somasundaram Faustina Setiawan, Marcel Sokalski, Nancy Xu, Richard Truong, Claire Henderson, Marielle Alayna Littzen, Diyana Noory, Savanna Lee, Mithila Somasundaram, Laura Robinson, Monica Scaglione Sheila Khalili, Adeline Jordon, Katie Foster Steph Wood, Janet Hong, Tara Vanden Boomen, Savanna Lee, Jake Dunbar, Mina Yuan, Jordan De Souza, Caylen Walker, Justin Hsiao Chelsea Clifford, Tatiana Romero, Savanna Lee, Jake Dunbar, Rachel Dunford, Alexandria Richards, Dian Han, Miles Campbell, Brandon Logie, Zhenya Bryzglova, Oliver Sjaarda, Christian Mazzilli, Zakariya Ahmed, Liam Hickey, Nancy Xu Adriana Monachino



As one of our most editorial-heavy issues yet, Volta Spring Summer '16 nostalgically looks back at past historical styles while still incorporating modern trends - from the eclectic femininity of the 90s, as featured in our diner shoot Break It & Shake It, to the 70s' bohemian-elegance, as showcased in our cover editorial, Later Days. This issue, we look into prominent, contemporary topics in culture and the arts; featuring an article on the politics of Drake’s Hotline Bling as written by Savanna Lee, and engaging in a critical discussion on some of 2016’s biggest trends: Yeezy’s Season 3 collection and the rising ‘Sneaker Culture’, as reviewed by Mithila Somasundaram and Monica Scaglione. The Volta publication team is also grateful for getting yet another exclusive look into this season’s Toronto Fashion Week collections: from the impressive designs of “Say Yes to The Dress” alumni, Christopher Paunil, to an equally beautiful line by TFW newcomer, Marisa Minicucci of SØSKEN Studios. We would like to thank our local clothing sponsors – Filthy Rebena Vintage Clothing, Jordan Stewart and Steelo clothing – who have allowed this issue to become a delightful reality. We would also like to give a warm thank you to our location sponsor, Prince Albert’s Diner, who graciously hosted us at 6am on a weekend morning and were wonderfully co-operative throughout. I (Faustina) would also like to extend a personal thank you to Volta Publications and the Volta team, from past to present, for allowing me to grow exponentially in my creative journey. Thank you for pushing me, building me and inspiring me. As my last issue with Volta after five wonderful years, I am confident that the upcoming team will produce excellence and continue to inspire the local London community. Lastly, thank you to you – our readers – without whom, there would be no Volta. We hope you enjoy our Spring/Summer'16 issue. Your Co-Editors in Chief, Faustina Setiawan & Marcel Sokalski




Behind-the-Scenes Photographer/Model I am currently in my 2nd year of the MIT program. The first time I was exposed to F&LS was in first year, that was the first time I realized that things I was interested in were happening at Western. Volta attracted me at the first meeting we had, the way the team presented themselves inspired me to try something new. I love that Volta is something physical we can put out to others and say, "Hey, we're creating something innovative like this. Come check us out and be a part of it." What I'm learning is that it's okay to be who I am, the team makes me realize that I'm never alone. I love expressing myself in different ways; photography, dance, fashion, social media, modelling, music and writing. The goal of expression is to build on who I am.

Chelsea Clifford: Stylist/Model

I am currently in my 2nd year of Honours Specialization Political Science. I joined Volta because I appreciate fashion and I wanted to be in an atmosphere with others that also do. I wanted to see that my own contributions as a stylist made a difference and elicited a distinctness that was not seen before. Volta has taught me that everyone’s opinion and input makes a difference; always say what you're thinking because it might be something amazing. Alongside my interests in fashion, I am a hip-hop connoisseur and always feen soccer. Catch me on campus sporting my favourite pink vintage coat!

Laura Robinson:

Stylist/Literary Editor I’m currently in my second year of MIT. Admittedly, I’ve always been a hoarder of magazines; I love pulling inspiration from editorials and reading something that isn’t always a textbook, so when I heard about Volta, I knew I had to get involved. Being a part of the diverse and talented Volta team has taught me that creativity should never be held back – even if you think an idea might be a little crazy. Crazy is beautiful. When I’m not editing article submissions or styling a shoot, I’m working on my headstands in yoga, attempting to teach myself the ukulele, or collecting vintage coats.

Jake Dunbar:

Shoot Contributor/Model I am in my first year in the Music Administrative Studies Program at The University of Western Ontario. I joined Volta because I have always had a love for fashion and it seemed like a great way to get involved and meet new people at Western who share a similar passion. Volta has opened my eyes to what goes on behind the camera and how much thought and analysis goes into each aspect of the clothing and photograph. My hobbies beyond clothing and fashion include musical theatre, choir, visual arts and sports.




COVER Photographer: Mai Tilson Model: Miles Campbell, Brandon Logie, Zhenya Bryzglova, Christian Mazzilli, Oliver Sjaarda Creative Director: Claire Henderson Fashion Director: Nancy Xu Head Stylist: Richard Truong Make-Up Artist: Katie Foster Shoot Contributor: Jake Dunbar Clothing Sponsor: Filthy Rebena



Girl, What Are You Wearing? : A Reflection on the Judgement of Women's Clothing

What is it about the female form that gets people so riled up? The policing of how women must dress – and when they can be undressed – is not a new concept. Reflections about and arguments against rigid regulations have led to changes in policy in many parts of the world, but regardless of the law, women are always judged based on their attire in ways that differ from males. The partygoer in a short skirt is a hoe, the student in a turtleneck and 501s is a prude, the Muslim woman in a hijab is oppressed, the shopper in head-to-toe designer is shallow, the nude model is a whore, the businesswoman in a suit is a dyke. Any sartorial look a woman chooses has an element to it that can be criticized in a derogatory manner. Although she may have had autonomy in choosing her clothing, she is stripped of it when outsiders label her based on her aesthetic preferences. Contrary to what these outsiders believe, there is not a single correct formula that reveals how a woman should dress. While individual judgements may encourage negativity, the biggest problem lies within a patriarchal system that continues to be harsher on women than on the very people who criticize women’s clothing choices. To this day, schools enforce uniform policies that are tailored to ensure the comfort of heterosexual males unable to control their own gaze. Instagram still enforces a perplexing no female nipples policy, while the comment sections of photos of women in revealing clothing are full of vulgar, abusive language that is considered free speech.


In regards to Islamic garments such as the hijab and niqab, certain leaders continue to encourage rhetoric that paints the veil as a universally oppressive item. This kind of dialogue is far from appropriate in the feminist discourse – denying the idea that a woman may be so faithful as to choose to wear a veil is insulting to her intelligence and independence. Circling back to the original question: why is the female body so offensive? Is our modern world still too sexually repressed to accept the beauty of a woman’s naked skin? Are the supposedly liberal, progressive thinkers of the West too ethnocentric to accept that the liberation of women is not a one-way road? A piece of clothing that is considered art on the runway may be considered slutty if a woman wears it on the street, but simultaneously, “covering up” will still draw criticism. Stop telling us women to change the way we dress. Instead, help change the way in which society views it. The solution seems simple: everyone should mind their own business, and not mind women’s clothing choices. Though, the problem is far more complex – norms regarding female dignity and sexuality have been built up over thousands of years. Breaking down such a strong wall in a short amount of time requires an enormous amount of effort; however, on the bright side, there is no such thing as a mandatory feminist uniform. p


- Diyana Noory

The Power and Politics of

'Hotline Bling'

(Source: YouTube.com)

The impact on popular culture that “Hotline Bling” has made is undeniable. With the release of the accompanying music video on October 19, 2015, the power of Drake was unleashed. Presented on VEVO, the video has been viewed more than 436 million times to date. The Internet serves as a playground for consumers, allowing them to manipulate the original material of this music video and create content of their own, such as memes, some of which have received 20 million replays. Even politicians such as Donald Trump, Republican candidate; Thomas Muclair, political party NDP leader; and Norm Kelly, Toronto Politician, can be seen publically interpreting the popular “dad dance-moves” seen in the video. It is easy to assume that “Hotline Bling” as a cultural phenomenon happened on its own; yet, this is far from the case. Media corporations such as Universal Music Group and Apple Music aim to create an image of culture that seems organic, but in actuality, media conglomerates strategically control the production, distribution, and exhibition of a piece of culture. We, as consumers, are feeding into it. Drake, Universal Music Group (UMG) and Apple Music stand to cross-promote and profit from each other; “Hotline Bling,” a record owned by UMG, was released on Drake's Apple Music Beats 1 radio station, OVO Sound Radio, on July 25, 2015. The video for Hotline Bling was exclusively introduced and promoted on two media platforms, Apple Music and VEVO. VEVO is an online video hosting service parented by UMG. As Bettig and Hall state, "UMG was among the first labels to sell digital versions of it music and video content," distributing content to third parties such as iTunes and T-Mobile. UMG as a mass media corporation supports theorists Adorno and Horkheimer's notion that "the technical contrast between the few production centers and the large number of widely dispersed consumption points is said to demand

organization and planning by management.” UMG stands to be successful in this instance: in releasing “Hotline Bling” with two partner companies, Apple Music and VEVO, UMG concentrates profit and encourages consumer enthusiasm on its associated platforms. UMG maximizes its “Hotline Bling” revenue through its promotion practices along with Apple Music and VEVO, proving its ability to utilize the increasingly digital nature of experiencing music. UMG uses the media platforms it already owns and is associated with to maintain its powerful position and keep its music libraries relevant. On the surface of popular culture, “Hotline Bling” is a song that features Drake, one of the most important figures in the music industry, being emotional about a past relationship. It is easy to view a song as its own separate piece of content; however, there is a vast amount of money and politics that contribute to the creation of cultural products such as “Hotline Bling.” The world’s leading music company, Universal Music Group, exploits the digital streaming business model in order to increase profit. Partnering and owning companies such as Apple Music and VEVO, UMG ensures its business presence on various promotional platforms. As consumers, we are led to believe that we are free to enjoy and use digital platforms in any way we desire; yet, what has been demonstrated here is that we lack the choice to determine how and what we see in the media. The method through which cultural commodities are created, promoted, and used is part of the corporate structure that strives for profit. This is the structure that media corporations work within. p


By: Savanna Lee


Sunglasses, Jordan Stewart

Break it & Shake it Photographer: Lenore Li Creative Director: Claire Henderson Fashion Director: Nancy Xu Head Stylist: Richard Truong Make-up Artist: Sheila Khalili Model: Nancy Xu Stylist: Natalie Tang BTS Photographer: Tara Magloire, Jenny Zhu Shoot Contributor: Savanna Lee Location: Prince Albert's Diner

Wildfox Spaghetti bralette, Jordan Stewart, $110 White culottes, Jordan Stewart, $70 Miista slippers, Jordan Stewart

Baby pink dress, Jordan Stewart, $122 Kate Spade glitter clutch, Jordan Stewart, $60

Beverly Hills T-shirt, Jordan Stewart, $88 White Skirt, Jordan Stewart, $65

Sunglasses, Jordan Stewart Mint turtleneck, Filthy Rebena Suede mint pants, Filthy Rebena

Yeezy Season 3: Pablo's Finest Creation

Kanye West never fails to create a spectacle. The debut of his new Yeezy Season 3 fashion line along with his latest album, The Life of Pablo (TLOP) was no exception: taking place at the historic Madison Square Garden during New York Fashion Week (NYFW), it was nothing short of spectacular. With the models center stage on an elevated platform and innovative beats from the new album emanating throughout the packed arena, Kanye displayed the high aesthetic quality of both his futuristic clothing line and album. “Ultralight Beam,” the opening track on his record, communicates the contrasting senses of vulnerability, purity, and empowerment that he felt while writing the piece. These sentiments are perfectly paralleled in his designs, which include an off-white, short-sleeve crew neck that similarly conveys innocence and purity. Additionally, the minute tears in the details of the grunge-style army green sweater and skirt combo reflect the vulnerability and emotional rawness depicted in the track.

leather coat and tights ensemble, which really made his designs stand out from the others presented at NYFW. Analogous to “Waves” featuring Chris Brown, Kanye’s fashion show and album launch ebbed and flowed gracefully. It communicated a sense of ambience in the first portion of the show, a sentiment of joy and exuberance in the middle portion, and finally returned to that same sense of calmness in the final portion, as conveyed by the final track “Wolves.” Akin to the simple yet bold pieces in his clothing line, “Wolves” exudes humility and independence. Quite simply, Kanye West has once again proven to the world through the Yeezy Season 3 show that he is not afraid of stepping out of his niche into an unfamiliar and critical industry. He has reinvigorated the rap game, and at this pace, could possibly do the same to world of prêt-à-porter fashion. Ultimately, Kanye has reminded us that we are living in an age of creation and that he, through his evolving creations, is living the life of Pablo. p

The ambient mood set by the first track is offset later on in the album by the up-tempo beats and powerful vocals from Rihanna, Swizz Beatz, and Nina Simone in “Famous.” Similar to the track, Yeezy Season 3 is explosive in the sense that Kanye did not refrain from utilizing bright hues, as evident in the orange



By: Mithila Somasundaram Image sourced: Getty Images

Sneaker Culture:

From Where You Stand

"There’s something so chic about the appearance of comfort." One particular niche item that is on everyone’s list for Spring 2016 is the classic sneaker. Sneakers have definitely made the transition into the world of fashion and are here to stay. When paired with the right pair of jeans and a tee, sneakers can create a whole new look that can be easily personalized. Sofia Corbo, Assistant Buyer at George C Boutique in Yorkville says, “Sneakers have reached a whole new level of elevation in fashion today. Sneakers can be chic because they provide that sort of effortless idea.” Luxury sneakers with a thick platform are a way to get the height of a heel without the agony—and the best part is, your flared pants don’t have to suffer. The sneaker culture has definitely expanded significantly this year. From Adidas’ Stan Smiths to Isabel Marant and, of course, Kanye West and his Yeezys, a good pair of runners can go a long way.

The minimalistic looks that have been displayed throughout fashion month compliment the impression of effortlessness that sneakers exude. Sofia states, “That’s what a lot of women want; they want to look like they just threw on whatever but it still looks amazing.” No one says that fashion has to break your toes. It is refreshing to see comfort being accepted on the runway and in everyday street style. Although flat shoes are tricky to style, when paired with a properly tailored cropped pant, one can still be sophisticated without putting in the effort. In Sofia’s opinion, “Showing a little bit of ankle can make a flat [shoe] a little more sexy.” Mixing a bit of trend with classic looks is definitely a step (literally) in the right direction. So this Spring, remember not to underestimate the sneaker – at least from where you stand. p

By: Monica Scaglione



looking for


Photographer: Claire Henderson Models: Chelsea Clifford, Tatiana Romero Make-up: Faustina Setiawan



COLLECTIONS BUSTLE Bustle established a cozy chic menswear look for fall 2016, pairing knit joggers with casual blazers and smart suits with sneakers. They stayed true to the Canadian winter uniform - flannels, turtlenecks, warm hats, vests and down filled jackets. They debuted a couple of menswear inspired women’s looks, with a sultry twist of plunging necklines. Alongside their their men’s and women’s looks they also presented their “Bustle Sprouts” line for children. A fun and stylish twist on traditional children’s wear that complemented the looks of the older counter parts they joined on the runway.

STEPHEN CARAS Beautiful blues, subdued pinks, modern cuts, cloaks and high necklines where booming down the runway at this season’s Stephan Caras show. The fluidity of dresses, and minor accents made you wish you were able to step out for a night on the town in one of their elegant gowns. As a juxtaposition to the gowns, Stephan Caras flawlessly created both form fitting, as well as loose floral pants. According to this show we should all be bringing out royal blues, and blacks come the fall season.

DI CARLO Montreal based Antoinette Di-Carlo launched her fall/winter 2016 bridal and evening wear couture this past week at Toronto’s Fashion Week. Surrounded perfectly by Swarovski chandeliers and gawking guests, The presentation was anything but subtle. Di Carlo offers a romantic collection featuring nearly transparent embroidered lace gowns, sleek satin silhouettes, and intricate jewelled designs. Its most notable piece was an enamouring sleek modern ivory gown - showing elegance through clean-cut precision and giving justice to shoulder pad embellishments. The whole collection of Di-Carlo’s gowns dazzled with their thought out detailed designs.



FARLEY CHATTO Fur pelts, feathers, ballet, and abs: Toronto’s own Farley Chatto took the Toronto Fashion Week runway yet again, showing us that colour and kilts are the way to go this season. An evident juxtaposition on lighter, luxe fabric to embody femininity with structured tailored suits, the collection was a nod towards building a distinct Canadian sartorial identity. Colour and fur being his print on Canadian fashion, from the past season to this Fall 2016 collection, Farley Chatto transported us to a world of royalty in his signature style of embodying true elegance. For yet another season we were brought true Canadian fashion through the combination of classic tailoring, and colourful playfulness. Thanks Mr. Chatto!

HELDER DIEGO The power that lies beneath Helder Diego’s FW16 collection is the beautiful marriage between two opposing elements – the hard and the soft. The calm and sophisticated forms are met with unusual prints and textures. Helder Aguiar and Diego Fuchs, the designer duo behind the line, have found a way to smoothly integrate 90’s grunge into luxury wear by styling the collection with leather chokers and ripped tights. This happy marriage between punk and luxury presents us with a new way of thinking about street wear.

HILARY MACMILLAN Leave it to Hilary Macmillan to prove that femininity and power can, in fact, go hand in hand. The juxtaposition between the strong silhouettes of the 80’s and the soft color palette create an eye catching collection. Hilary MacMillan’s signature print this season – a pop art inspired lip print – is a perfect pick-me-up for the fall and winter season. The designer’s intentional use of faux-fur this season also sends a strong message: that luxury doesn’t necessarily have to come at the cost of animals. As fur has become a trend that seems to be staying for a while, faux-fur is definitely the way to go.



LAMARQUE Toronto Fashion Week allowed for the debut of LaMarque’s Fall 2016 Collection. LaMarque’s standard use of suede and leather was otherwise complemented by spurts of lace, silk and fur; providing a unique combination of luxury fabrics. LaMarque’s collection can be deemed wearable since it synthesizes both versatile and chic. The show also showcases LaMarque’s impressive accessory line which featured pom-pom hand bags and distinct leather purses. With a focus on trenches coupled with vivid suede pant suits, designer Ifigenia Papadimitriou certainly left her mark at Toronto Fashion Week. Amid many spring collections, LaMarque’s 2016 Fall Collection instills an anticipation for fall wear.

NARCES Florals? For spring? Groundbreaking. Yet, Narces achieved just this. Designer Nikki Wirthensohn, opens the show with a burst of floral that catches everyone’s attention. With a myriad of designers following suit, the use of delightful pastels amalgamated with specific metallic elements is particularly tasteful. While the beginning of the show addresses day-to-day dresses, she subsequently delves into bridal wear. With this, Narces' 2016 Collection redefines the wedding dress with an ethereal essence worth noting. Standouts included both opening and closing dresses; a plunging midi floral dress alongside a whimsical bridal gown crowned with a delicate veil.

CHRISTOPHER PAUNIL As a familiar face in the Toronto fashion scene, Christopher Paunil yet again successfully showcased a wonderful collection that embodies the modern woman’s desire for both soft elegance and aesthetic criticality. Known for mixing traditional fabrics with unconventional elements, Paunil utilized his signature juxtaposition in this Fall collection – incorporating lace with fur accents, and metallics with neutrals. With this Fall/Winter line, we also see a return of the peplum – emphasizing both femininity and strength through a flattering yet dynamic silhouette. Paunil’s fashion presentation was perfectly topped off with a showcase of his bridal line: a romantic collection of pearl white gowns and pastel pink dresses.



TORONTO FASHION WEEK EXCLUSIVE SØSKEN STUDIOS Montreal native, designer Marisa Miniccuci of SØSKEN, started her TFW debut with a collection that epitomizes the perfect winter wardrobe. Specializing on coats, Minicucci impressed us with an impeccable line of tailored outerwear, seamlessly amalgamating a soft, casual look silhouette with a complementary belt. Combining these details with monochromatic fur accents, ivory culottes and oxfords – Minicucci presents to you a modern Norwegian princess-esque collection with a distinctly Canadian twist through its vibrant pops of color: from striking red, to imperial teal. Dreamily paired with chic legwarmers, off-white skinny scarves and furry bags, the SØSKEN collection incorporates the biggest winter trends of 2016 with a classic infusion of timeless luxe-couture.

TRIARCHY What would Canadian fashion week be without the Canadian tuxedo? This season, Triarchy showed us that this season, your denim head-to-toe is more fashion-forward then ever before. Triarchy successfully combined superb craftsmanship with modern cuts and designs to bring people a pair of jeans to be proud to wear - the type of denim that's part of your lifestyle, your day in and your day out. Triarchy denim are the pair of jeans you can say can age with you - that is the statement that the Canadian denim brand brought to the runway of TFW, yet again.

MALORIE URBANOVITCH Malorie presented a retrospective Fall/Winter 2016 line, seemingly drawing inspiration from the 70s, with flared denim, frilled tops and maxi dresses. She presented a versatile neutral colour palette and sleek and fluid silhouttes, opening the show with dresses suitable for the modern working woman, transitioning to casual knits and denim and then to jumpsuits and casual maxi dresses. Malorie played with a variety of 70s reminiscent materials such as velvet, silk, leather, chunky knits and denim and transformed them to create a modernized wardrobe fit for 2016. (Image Source: George Pimentel/Getty Images) Written by: Faustina Setiawan, Marcel Sokalski, Marielle Littzen, Nancy Xu, Claire Henderson, Chelsea Clifford, Savanna Lee




Photographer: Maria Denomme Creative Director: Claire Henderson Make-up: Sheila Khalili, Adeline Jordan Fashion Director: Nancy Xu Creative Advisor: Laura Robinson Shoot Contributor: Tara Vanden Boomen, Caylen Walker Models: Dian Han, Alexandria Richards, Rachel Dunford BTS Photographer: Tara Magloire

VICE Photographer: Ryan Vu Creative Director: Claire Henderson Creative Advisor/Head Stylist: Richard Truong Models: Liam Hickey, Zakariya Ahmed Fashion Director: Nancy Xu Stylist: Matt Anderson, Chelsea Clifford Videographer: Matt Anderson BTS Photographer: Savanna Lee Shoot Contributor: Janet Hong, Jordan De Sousa

Pink blouse, Filthy Rebena Blue pants, Filthy Rebena

Blue shirt, Filthy Rebena Mahogany loafers, Filthy Rebena

Velvet tan top, Filthy Rebena Velvet tan pants, Filthy Rebena

Orange button up (worn underneath), Filthy Rebena

On Liam: White throwover, Klasztor Design White polo, Filthy Rebena On Zakariya: Purple shirt, Filthy Rebena



3.Paradis + L'Momo With the modernization of war, designers have created collections that reflect a futuristic dystopia. Designers such as 3.Paradis and L’MOMO have merged utilitarian lines and structures with a heavy sports influence. Colours remain fairly monochromatic, however L’MOMO incorporated metallic accents while 3.Paradis integrated burnt sienna. Interestingly, 3.Paradis used more structural lines, such as their bulletproof inspired vests, whereas L’MOMO used drape-like lines to create movement. Nevertheless, both designers created a futuristic dimension of technology and destruction.


CAFFERY VAN HORNE Equestrian is a sport that has been inspiring men’s fashion for centuries. This practical yet extremely high fashion look inspired Caffery Van Horne’s collection at TOM*FW16. His collection merges the equestrian lifestyle with the modern man. He brilliantly incorporates pieces such as leather motorcycle jackets in neutral colors, such as brown and wine red, with the classic hounds tooth print on pants. In addition, a major trend for the fall-winter season are capes, and Caffery’s collection incorporates them for a high-end collegiate aesthetic. Interestingly, this collection presents pops of colour with its bright orange duffle bags and teal knits to brighten the bleaker months. The Van Horne signature look was classic prep with a twist of modernized sophistication.




TUCK SHOP TRADING CO. Lyndsay Borschke spent her childhood and early adulthood at a traditional camp in Algonquin Park. She now summers on the same lake with family, at a cottage that was originally leased by her husband's grandfather. To say that her experience at summer camp shaped who she is today would be an understatement. At the same camp where she grew up, her first 'real' job was as Director of Business Development & Operations, where amongst other responsibilities, she was in charge of the procurement of their tuck shop items.

After designing clothing programs for camps and schools, she decided it was time to take the next step and develop her own line. Tuck Shop Trading Co. is a luxe yet cozy line of ready-to-wear fashion inspired by her current lifestyle --- one spent between the city and suburbia. Proudly made in the Great White North since 2013, all garments and accessories are designed in Canada and solely manufactured in North America. Tuck Shop only trades with the world's finest textile producers, and only works with quality mills and reputable manufacturers.

Richard: What was your inspiration behind this collection? And how did your experience at camp shape the pieces? Lyndsay: I grew up going to a camp in Algonquin Park and my first real job after university was working as Director of Business Development & Operations. One of my many jobs there was to do the buying for their tuck shop, hence where the name of my line came from. Therefore, all the time that I’ve spent at Algonquin is where I get inspiration. The pieces are what you could wear up North but still look stylish and wear them back in the city. R: What makes this collection different from outdoors lifestyle brands? L: We try to do Canadian 'right', is what I keep saying. Making it cool, beautiful, sleek, and modern. R: What is the defining piece of this collection?

"We try to do Canadian 'right'"

L: The sweater coats. It can hem with or without the fur collar. As Interviewed by: Richard Truong (Image Source: TOMFW.com)

R: What can we expect from Tuck Shop in the future? L: We’re going to keep growing, expanding to new cities and adding neighborhoods. In the presentation, we’re introducing a new style of toque for fall/winter 16. But for now, we’re going to keep growing for both the men’s and women’s line. This is our first runway collection ever and it was really exciting to see it all come to life.

Tuck Shop and City of Neighbourhoods is sold online at http://tuckshopco.com. Their flagship outpost is located in Summerhill, 1226 Yonge Street, and select retailers across Canada.




Photographer: Mai Tilson Model: Miles Campbell, Brandon Logie, Zhenya Bryzglova, Christian Mazzilli, Oliver Sjaarda Creative Director: Claire Henderson Fashion Director: Nancy Xu Head Stylist: Richard Truong Make-Up Artist: Katie Foster Shoot Contributor: Jake Dunbar

On Zenya: Striped Button up, Coral Pattern Pants, Printed Silk Scarf, all Filthy Rebena On Miles: Suede black pants, Filthy Rebena On Christian: Brown button up, Filthy Rebena

Red Paisley Scarf, $15, Filthy Rebena

On Zenya: Striped mini skirt, $20, Filthy Rebena Mesh pastel tee, $20, Filthy Rebena

Yellow lace button up, $20, Filthy Rebena Teal leisure suit, $50, Filthy Rebena

Bell Jeans, $45, Filthy Rebena Glasses, $25, Filthy Rebena

Floral Jacket, $40, Filthy Rebena

On Oliver: Rust YSL Shirt, $35, Filthy Rebena

The Value

In Vintage by: Laura Robinson

"Vintage: it’s warm, it’s worn, it’s the memory of the ’88 Olympics woven into that sweater my dad passed down to me. It’s nostalgic. The mall: it’s a trip filled with the juggling of shopping bags, it’s hunting for the best deal on a new dress, it’s the ridiculously tempting scent of Cinnabon that seems to waft around the whole place. It’s shiny and it’s new. One other thing: it’s mass-produced." Whenever our wardrobes cry out for an update, our student budget guides us to “fast fashion” stores. These are labels that produce clothing quickly and cheaply, and sell it for prices so low that the deal – and not the item itself – may very well be the key deciding factor when you make a purchase. Though fast fashion is convenient for our university budgets, it feeds a global cycle of worker exploitation and overproduction. I certainly did not see this information disclosed on my Forever21 receipt when I bought that new top to wear to the bar. Fast fashion favourites such as Forever21, Topshop, and H&M have all come under fire by media outlets such as Human Rights Watch, The New Yorker, and The Huffington Post for violating fair working standards in the garment factories that produce their clothing. According to The Guardian, at least 1,800 Bangladeshi garment industry workers have been killed in building collapses or fires in the last 11 years, including the 2012 Rana Plaza disaster, when an eight-story factory collapsed and killed over 1000 workers. Many of these workers were of university age or younger. These facts are sobering, and as consumers, we need to resist turning a blind eye to this harsh reality. We need to look past the flashy “five-for-one” deals and think about the unethical working conditions present in the factories that produce the clothing we consume. It’s time to shop smarter.

alternatives into your wardrobe, and provide suggestions as to where you can find these alternatives in the neighbourhood. Let’s talk about the value in vintage. Not only is it recycled, therefore decreasing your contribution to the harmful global chain of clothing consumption, but there is also a certain romantic nostalgia to it. Example: the suede coat I don on fall days is warm with the memories that my nana made in the ‘70s. Quite groovy indeed. Each time you discover a vintage treasure, think about the life it has already had – who wore it previously? What memories did they make in it? Did they laugh, cry, fall in love, or make music while wearing it? Compare clothing that’s been cared for through the years to clothing that was created at the hands of potentially exploited garment workers and shipped to your local mall. The feelings of uniqueness, individuality, and the peace of mind that come with purchasing a vintage piece trump the feeling of “new” that comes with a fast fashion purchase. So ditch Masonville and hop on the 6 or the 13 bus route towards downtown London. You’ll come across thrift stores such as Good Value, where I once found a fabulously floral turtleneck for two dollars (I am particularly proud of that purchase) and quality vintage stores such as Filthy Rebena, whose owners advocate that “purchasing recycled clothing is smart and sexy.” I tend to agree.

“Help me, I’m poor” is what runs through the university student mind when faced with taking action – I know because that was my initial reaction too. Ethical fashion is typically accompanied with a hefty price tag, placing it out of reach to buyers on a budget. We students are sustaining ourselves on kraft dinner and rice cakes – not many of us can truly afford a wardrobe full of high quality garments. So where does this leave us? Turning a blind eye, or going broke?

No need to panic about completely changing your lifestyle – you don’t have to go from zero to one hundred too quick. Start out by purchasing one ethical item for every new item you purchase, and work sustainability into your wardrobe one Macklemore-thrift-shop coat at a time. You can’t truly feel fabulous in a new outfit unless you know that it was produced honestly; it is due time we embrace the smart, classy, and ethically conscious trendsetter within. p

Before I propose an alternative, let’s get one thing straight: the purpose of this article is not to convict you of sartorial sin because you shop at stores in your price range. The purpose is to inform you, the consumer, about the ways in which you can work ethical

(Photos taken by: Savanna Lee)



street SMART

Photographer: Olivia Mussuto Creative Advisor: Savanna Lee Models: Jake Dunbar, Savanna Lee Creative Director: Claire Henderson Stylists: Chelsea Clifford, Liam McLean, Pyeong Ha Ryu Make-up Artist: Adeline Jordan Behind-The-Scenes Photographer: Tara Magloire Videographer: Liam McLean Shoot Contributor: Justin Shiao, Miles Campbell, Mina Yuan

Golden Denim grey joggers, $90, Steelo

10 Deep Long B/W Striped T-shirt, $90, Steelo

Crooks and Castle Floral Woven Bomber Jacket, $160, Steelo

On Savanna: Crooks and Castle Knit Baseball Jersey, $58, Steelo On Jake: 10 Deep B/W Plaid shirt w/ hood, $135, Steelo

VOLTA: [vohl-tuh, vol-; It. vawl-tah] In

literature, the volta, also referred to as the turn, is the shift or point of dramatic change.


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