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Vintage Alhambra long necklace GuillochĂŠ yellow gold, diamonds.
The
issue
Cover Story Maria Borges: Angolan top model inspires you
Culture Michael Venus is bridging communities with Never Apart
Style
Music Canadian pop star Carly Ray Jepsen's musical
to chase your dreams
Chanel CRUISE Collection 2020 Louis Vuitton CRUISE Collection 2020 Framing success with Cutler & Gross The new Louis Vuitton ArtyCapucine Handbag collection Our curated trend highlights from international runways
Beauty Makeup artist talk with Peter Philips, Creative Director of
Christian Dior Makeup Inspiration: an avant-garde interpretation of the iconic ‘20s makeup look Illustrator Cathy Coufakis Beauty News: Products we like and romantic fragrances
transformation Montreal’s hot electro-dance musician Annie Sama
Design
The 2020 Pantone colour: Neo-Mint Best of Milan Design Week
Fashion Editorials Femininized masculine silhouettes are in
Rebel with a lot of style (it's ok to be on the dark side) We love the new disco vibe of the Michael Kors Collection The muses and new collection of Maison Saint Laurent Eighties patterns and colour-blocking are back
ArtCarte Blanche: Thierry Mugler showcases his
Lifestyle
Cinema Best picks from the Cannes Film Festival
Events Canada's first BMW M Festival track event was a succes
most iconic photography artwork Renata Morales and her ability to intertwine music and fashion through art
Meet Canada’s rising movie actress: Devery Jacobs
How MJ Guertin is making vegan restaurants trendier than ever The ‘20s speakeasies are making a comeback Networking apps are the new dating app
Night at the Mansion: DTK’s annual F1 soirée
Deep V Mini Dress ($3,780) and Patent Leather Neon Belt ($550) SAINT LAURENT. Gilot Earrings ($385) MONICA SORDO x NUASHEEN SHAH. Solid Strip Ring ($295) JENNIFER FISHER. Photographer RICHARD BERNARDIN. Fashion Editor ZEINA ESMAIL at P1M.CA. Makeup CAROLINA DALI at THE WALLGROUP. Hair KYLE MALONE at BRYAN BANTRY. Post-production PATRICIA SINCLAIR. Model MARIA BORGES at IMG. Assistant photographer MISA CUERING. Special thanks to LORRAINE OSPEDALE & ANJU SUNDRANI and THE MONDRIAN PARK AVENUE HOTEL.
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PRADA.COM
to FALL 2019 N° 46
President and Editor-in-Chief: Kathia Cambron C.E.O.: Shervin Shirvani Editorial Director: Sylvain Blais
PRODUCTION
Executive Editor: Rebecca Kahn Copy Editor: Rebecca Kahn Interns: Nicole Fu, Pia Mikhael
ART DEPARTMENT
Creative Director: Sylvain Blais Art Director: César Ochoa Graphic Designers: Hagar Moussali, Cesar Ochoa, Carolina Ramirez, Robin Westfield On-Set Art Directors: Sylvain Blais, Atelier Vingt Quatre
FASHION
Fashion Editors: Kathia Cambron, Cinthya Chalifoux, Zeina Esmail, Fritz, Nadia Pizzimenti, Peter Papapetrou, Cary Tauben, Corey Ng Assistant Stylists: Kat Flanagan, Emmanuelle Néron
BEAUTY
Beauty Editors: Nicolas Blanchet, Brenna Dixon Makeup & Hair Artists: Nicolas Blanchet, Joffrey Dumas, Steven Turpin, Grace Lee, Kristjan Hayden, Caroline Dali, Kyle Malone, Ronnie Tremblay, Kirsten Klontz, Nisha, Sabrina Rinaldi
LIFESTYLE
Lifestyle Editor: Marie-Ève Venne
CONTRIBUTORS
Editor-at-Large: Stéphane Le Duc Senior Fashion Editor: Brenna Dixon Writers: Maya Assouad, Azamit, Aaron Cunningham, Brenna Dixon, Stéphane Le Duc, Nicole Fu, Jason Gorber, Rebecca Kahn, Daisy Mellar, Pia Mikhael, Mariam Moussally, Marie-Ève Venne, Luisa Tarantino
PHOTOGRAPHERS
Damian Siqueiros, Richard Bernardin, John Londono, Royal Gilbert, Chris Nicholls, Hadi Mourad, Mathieu Fortin Set Designer: Leanne Kelly Assistant Photographers: Tom Berthelot, Hector Abela, Misa Cuering Post Production: Patricia Sinclair
WEB
Executive Web Editor: Kathia Cambron Web Editors: Jane Bradshaw, Pia Mikhael, Rebecca Kahn, Daisy Mellar, Marie-Ève Venne, Lauren Walker-Lee Art Director: César Ochoa Graphic Designers : César Ochoa, Robin Westfield
SPECIAL EVENTS/PUBLIC RELATIONS info@dresstokillmagazine.com
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IOUS
CONTRIBUTORS
Richard Bernardin PHOTOGRAPHER
Richard, based between New York, Paris, and Montreal, is a regular contributor to French, Fashion Magazine, and Elle Canada and has also shot editorials for magazines including Vogue Brazil, Elle France, Elle Russia, Maxim, Rolling Stones Russia, and Glamour France. He has also shot portraits of Hailey Baldwin, Freida Pinto, Xavier Dolan, Karine Vanasse, Elisabeth Harnois, Dita Von Teese, Hu Bing, Asia Argento, Chiara Mastroianni, Eva Doll, Jessica Paré, and recording artists such as Icona Pop, Adam Cohen, Nelly Furtado, and the Chromatics.
Zeina Esmail
FASHION EDITOR
Zeina Esmail is an award-winning Fashion Director and Stylist. She has worked with A-listers such as Kate Bosworth, Taylor Swift, Gigi Hadid, Miley Cyrus, and Anna Kendrick. Her recognizable aesthetic and conceptual intuition have led to collaborations with international publications Glamour, Vanity Fair, and French Magazine.
RICHARD BERNARDIN ZEINA ESMAIL
Stéphane Le Duc EDITOR AT LARGE
Notorious Canadian fashion and culture journalist with more than 25 years of experience in journalism, Stéphane started his career on television with a fashion TV show called Perfecto in the early ‘90s. Since 2008, Stephane has been an Editor at Large at DTK. His Jean Paul Gaultier cover story won many prizes for best fashion article.
Azamit
DESIGN EDITOR
Azamit’s designs transcend the senses and leave the viewer with an imprint of revelation. Her multi-layered interests in the design and fashion world has led her to create In Toto – a visual storytelling firm. Creative mind behind SOUK, she continues to show an unparalleled commitment to working with local artists. Azamit is one of the leading voices in the Quebec (and Canadian) design, beauty, and fashion community.
STÉPHANE LE DUC
Marie-Ève Venne LIFESTYLE EDITOR
AZAMIT
MARIE-ÈVE VENNE
Marie-Ève likes to talk (maybe a little bit too much), and you can often catch her at some event, sharing all the details of her last trip. She enjoys the finer things in life, especially regarding food and drinks. At Dress to Kill, she is the one writing about the newest musician you need to discover and that trendy bar that makes the best damn cocktails in the city.
Nicole Fu
CONTENT EDITOR
Nicole Fu is a third-year university student at the Ivey Business School. Passionate about marketing and communications, Nicole joined the Dress to Kill team eager to learn from those in the fashion and business industry. Outside of work, Nicole loves to spend time outdoors, especially in her hometown, Vancouver, BC.
Brenna Dixon
SENIOR FASHION EDITOR
NICOLE FU BRENNA DIXON 12
Brenna launched her creative branding career in Milan after completing a master’s degree in Fashion Marketing. Nearly 12 years later, she’s created unique and progressive visual stories for brands ranging from advertorials to ad campaigns. Her ability to conceptualize and deliver powerful images is her forte, while writing is the cherry on her creative cake. Being part of Dress to Kill has allowed her inner creativity to blossom and connected her with a variety of people in the industry from icons to emerging talent.
LAMARQUECOLLECTION.COM | @MYLAMARQUE| 2000 RUE PEEL, MONTREAL
Editor’s Note PHOTOGRAPHER BENOIT PEVERELLI
PHOTOGRAPHER CHRIS NICHOLLS
PHOTOGRAPHER DARREN CRAIG
© MANFRED THIERRY MUGLER
We hang on to any sun ray that we can. This light makes us feel alive – it gives us energy and self-awareness and a little guilt-free time for ourselves, nurturing our soul. We’ve enjoyed the summer for months, but it’s at its last hours that we seem to become more aware of our appreciation for it, right as it fades out. This is how we often navigate in life – we are in it, it’s changing, we look back with different eyes, we look ahead to make an assessment of what’s coming, and repeat.
Kathia Cambron Editor-in-Chief
But, sometimes it’s great to stop and reflect, and I think we need to asses and celebrate our passion. Fashion and culture are big passions of mine, and whatever your passions are, realize how important they are in your life. Just like seasons, they keep the cadence of our time on this earth; they colour our life and keep it interesting.
After a rough couple of years struggling with the meaning, the impact on people’s life, and the environmental cost of fashion, I’m glad to find my way back to the place where I realize I still love fashion. Fashion has helped me at times feel much more than myself. It has helped me create the person I wanted to be. Most importantly, it has made me feel. We are creatures of concepts, ideas, and emotion. Fashion and culture have opened the door to my imagination. I know that culture is vital for our community and our well-being, and I’m glad to be part of DTK, to promote culture and everything that we love about fashion. Culture is essential to happiness, and it’s something that must be done collectively. We always like to hear from you. Share your thoughts at info@dresstokillmagazine.com.
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2020
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TREND REPORT TIFFANY AND CO. MICHAEL KORS BLACK/SILVER MIRRORED READE SUNGLASSES (PRICE UPON REQUEST)
It's time to elevate your Fall and Winter wardrobe. If you need some inspiration this season, here are some of our favourite pieces we’ve gathered from the runway. Edited by KW
ATLAS™ 2-HAND 24 MM WATCH. WOMEN'S WATCH IN 18K ROSE GOLD. WHITE DIAL SET WITH ROUND BRILLIANT DIAMONDS. CARAT TOTAL WEIGHT .28 ON A BLACK ALLIGATOR STRAP 24 MM CASE. QUARTZ MOVEMENT. WATER-RESISTANT TO 30 METERS/100 FEET/3 ATM SWISS-MADE ($13,200)
MICHAEL KORS
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DIOR AMOUR EARRINGS. AVAILABLE AT DIOR BOUTIQUES NATIONWIDE 1 800 929 DIOR ($240)
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Cyber chick
LONG WIDE COLLAR WRAP COAT IN SCARLET RED ($1,795)
Rock an androgynous look by mixing masculine and feminine silhouettes and accessories. Step out with attitude in stylish chunky sneakers or work a pair of stiletto heels with a strong suit for a powerful, gender-bending look.
COACH COACH X TABITHA SIMMONS CHELSEA URBAN HIKER ($250)
ZANOTTI ESTHER – BLACK LEATHER BIKER BOOT WITH BUCKLE AND ZIP DETAILS ($1,795)
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FLEUR
BLACK SUEDE SANDAL WITH FLOWER BROOCH ($2,275)
Louis Vuitton
CRUISE COLLECTION 2020 Presented at the TWA Flight Centre at JFK International Airport, the 2020 Louis Vuitton Cruise
Collection captured the essence of travel, exploring the sensation of departing and returning. Honouring the Maison’s joy of discovery, Nicholas Ghesquière debuted a collection revitalizing past silhouettes and bringing forth references that drew on the world’s most bustling city. By Brenna Dixon
T
he TWA Flight Centre designed by architect Eero Saarinen in 1962 was an indefinite symbol of rapid technological transformation post-WWII. Created with the desire to grasp the sensation of flight, Saarinen designed the wing-like structure with an open interior and concrete shell roof. The idyllic stage for the Louis Vuitton 2020 Cruise Collection signified the continuous circle of departing and returning. The entire facade illustrated the essentiality of a journey and exploration, representative of the history of the LV brand, which was constructed upon the joy of discovery. The 2020 Cruise Collection symbolized the comings and goings of travel in a city synonymous with constant movement – none other than New York. As the collection was unveiled, an overarching dialogue was evident between Paris and New York, which was directly correlated to the silhouettes that exemplified a sartorial exchange. Leveraging off of the Masion’s savoir-faire, Nicholas Ghesquière debuted a refreshed synthesis which encompassed the two distinct worlds.
Channelling the connotation of moving back and forth, the collection shifted through ‘80s-inspired pieces: bubble skirts, batwing sleeves, and rounded shoulders, to a touch of ‘90s grunge with toned down combat boots and board shorts. There were vibes of futuristic superheros, from Wall Street pinstripes (complete with a tailoured suit and shirt dress) to form-fitting bustiers and structured, shoulder-grazing tops with a Neo-futurism vibe and slick black caps. Sharply tailored trousers nipped higher up on the waist with prominent belts, while cinched skirts danced between metallic embroidery, legendary buildings transposed as sophisticated prints, and acid colours, recalling the lights that radiate from notorious NYC high-rises. Iconic bags served as the ideal base for digitalization, as the prototypes made their world-premiere for the Maison. The vibrant energy of the collection was electric, drawing on the mutable sensation of New York. As the eclectic collection drew from a variety of eras, Ghesquière refreshingly revitalized times past, presenting them to an entirely new generation.
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Chanel Cruise 2020
A NEW ADVENTURE
W
orking alongside Karl Lagerfeld as his righthand woman for the past 30 years, Viard set in motion the collection with travel on her mind. Guests were all aboard the reminiscent pre-war Chanel train, settling into the dining carriage of a Belle Epoque café. Breakfast was served as the train chugged away from the station, instilling a sense of adventure and perhaps a sensation that was once familiar to Coco Chanel herself, taking us en route to La Pausa (her villa built in Roquebrune-Cap-Martin in the 1930s). Guests hopped off directly into the Grand Palais that was reconstructed into a train station platform with destinations Saint Tropez, Antibes, Rome, and Byzance.
For over a century, Chanel has continuously inspired and molded the way women want to look. The dualistic DNA of the renowned Maison is comprised of two icons: Gabrielle “Coco” Chanel & Karl Lagerfeld who have indefinitely left their mark on the fashion world. The 2020 Cruise collection, however, debuted without either fashion legend, Virginie Viard instead taking centre stage as Chanel’s new Creative Director. By Brenna Dixon Photographer Benoît Peverelli 18
The opening look featured a wide leg trouser cropped above the ankle, paired perfectly with a simple black blazer and an easy-going white blouse. Wax cotton trench and utility coats were juxtaposed with frothy white blouses and knit sets, some of which were highlighted by neon pink and others layered over modernized suiting to provide a refreshing new perspective. Layered chiffon dresses were knotted with bowed belts, candy coloured tweed topped leggings with house emblems, and a lineup of beyond desirable accessories flooded the station. Viard’s technical savoir-faire was in the spotlight as she brought a softer and more feminine approach to silhouettes and, ultimately, an air of delightful freshness to the Maison.
DOLCE & GABBANA PINK LEATHER SICILY 62 BAG ($2,545 USD)
LOUIS VUITTON ARIZONA DREAM SUNGLASSES ($590 USD)
CHANEL
METAL/GLASS/RESIN BRACELET IN GOLD/WHITE (PRICE UPON REQUEST)
BE BLEUMARINE COAT (PRICE UPON REQUEST)
FENDI
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TORY BURCH CRYSTAL DROP EARRING ($248)
CHANEL
Funky Town
FENDI
Throw it back to the '70s by mixing patterns, colours, and textures. For the fun and daring, pair a vibrant velour jacket with patterned slacks and feminine heels.
LOUIS VUITTON CAPUCINES BB CANDY ($5,000 USD)
MANOLO BLAHNIK ZANOTTI BEBE – BLACK PATENT PLATFORM ($1,260)
SHOE ($795)
MIU MIU SHOE ($890)
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COACH
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SHOE ($975)
TOM FORD
Taking Care of Business
In the age of the woman, an elegant outfit will help you close any deal. Keep it classy with a staple designer handbag to elevate your everyday work look.
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J'ADIOR PUMPS, AVAILABLE BY SPECIAL ORDER 1 800 929 DIOR (PRICE UPON REQUEST)
JIMMY CHOO
MAHESA BOOT ($2,050)
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JIMMY CHOO
VARENNE XB BAG ($2,225)
FASHION SPOTLIGHT
THE ‘70s look is back - THE MICHAEL KORS COLLECTION IS FULL OF SPOTLIGHT-STEALING SPARKLE, SHINE, AND PATTERNS. Boho-glamour is blooming IN THIS BEAUTIFUL NATURAL ENVIRONMENT FULL OF ADVENTURE. Creative Director Sylvain Blais Photographer John Londono Fashion Editor Fritz
Teal Sequin Stretch Matte Jersey Cutout Halter Dress and Teal Feather Boa (Prices Upon Request) MICHAEL KORS COLLECTION.
This page: Gold Crushed Silk Lamé Tie-Neck Choreographer Shirt, Black/Gold Metallic Denim Cuffed Jean, and Skinny Leather/Gold Sequin Belt (Prices upon request) MICHAEL KORS COLLECTION. Opposite page: Black/Gold Sequin/Merino Beret, Gold/Black Metallic Glen Plaid Stretch Wool Blazer, Gold/Black Metallic Stretch Wool Pleated Trouser, Skinny Leather/Gold Sequin Belt, and Black Leather Platform Sandal (Prices upon request) MICHAEL KORS COLLECTION.
Cocoa Glen Plaid Stretch Wool Newsboy Cap, Black/Suntan Crepe de Chine Blouse, Cocoa Glen Plaid Stretch Wool Trouser, Black Calf Belt, Calf Shoulder Bag, and Auburn/Cocoa Patchwork Leather Emmy Platform Boot (Prices upon request) MICHAEL KORS COLLECTION.
Auburn Ribbed Metallic Viscose Turtleneck, Gold/Silver/Copper Patchwork Leather Belted Trench, and Black Leather Platform Sandal (Prices upon request) MICHAEL KORS COLLECTION. Photographer JOHN LONDONO. Fashion Editor FRITZ. Makeup and Hair STEVEN TURPIN at TEAMM using CHARLOTTE TILBURY, FENTY BEAUTY, NARS , ORIBE and STATIC NAILS. Model SOPHIE TOUCHET at MONTAGE MODELS. Assistants Photographers TOM BERTHELOT and HECTOR ABELA. Post-Production BIANCA IASENZANIRO. Location BOLTON-EST.
FASHION TALKS
A Talk with MARIE WILKINSON
From Cutler & Gross
By Marie-Ève Venne The first thing you notice about Marie Wilkinson when you meet her is the way she looks at you. In this day and age where people seem more concerned by how they present themselves than really paying any concern to others, Wilkinson gives you the impression that she is actually noticing every single element of your person. It is precisely this attention to detail that makes her such a success as the Design Director for the British cult eyewear brand, Cutler and Gross, since 1982. Creating couture glasses and sunglasses that combine modern silhouettes with exceptional quality, she is the mastermind behind the most lucrative collaborations of the brand, such as those with Margiela and Rei Kawakubo from Comme des Garçons. But having an exceptional flair for trends is not the only quality that helps Wilkinson with her day to day tasks for the brand. You only have to talk to her for a few minutes before realizing that the creative force that drives her is mostly fueled by a strong passion for what she does. “When I was a little girl and I was 8, I had to have my first pair of glasses. It was magical! People were feeling sorry for me, but I was so excited about it. It was all about expressing my style,” states Wilkinson. “When you are having a conversation with someone, you are not looking at their feet. You are looking at their eyes. That is how you are trying to get to know someone. When people are wearing interesting glasses, they usually use it to express themselves. And it makes you curious. You want to know more about that person. It’s like an inside into who they are. It is very interesting from an intellectual point of view,” she explains.
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about having bad eyes. It is almost like the last taboo. We are all open about our personalities and our opinions, but we almost apologize for the fact that we need glasses. We should embrace it. Wearing glasses is fun after all.” It's no secret that Cutler and Gross has an army of celebrities as fans, the most noticeable being Victoria Beckham, Elton John, and Rei Kawakubo. Even though these names come from completely different worlds, they all seem to be connected by Wilkinson. The brand she is working for, Cutler and Gross, is nothing short of fascinating. When Graham Cutler and Tony Gross founded Cutler and Gross in 1969 it was mostly about creating glasses for a modern world that was still stuck in the past in the eyewear department. “They wanted to create frames that were modern and clean. They went with the music, the current politics and the nightlife rather than looking backwards. They were pioneers. They were hanging out with fashion designers and colorful people and started making glasses for their friends, but also to challenge people. Even to this day, that is the spirit of the brand. We want to obtain a reaction from people with our designs,” declares Wilkinson. “Making glasses is not about us but our customers. We want to offer them the glasses of their dreams, and to do so, we have to listen to them. People come into our store and want to talk about glasses, design and styling. It’s a very social art. I love that it is something that brings people together. We also consider the sustainability aspect of the process, too. That is a priority. We are really open about how our sunglasses are made. People can even come visit our factories and see the people that are making their glasses. It’s like being a part of a family too you know,” adds Wilkinson. The way she talks about glasses, you can tell that the psychological aspect of her craft is also very important to her. “I feel like glasses can amplify the person you are, or at least, some parts of you. If at work you have to dress a certain way or you have to wear a uniform, you can actually be yourself with your glasses. But it’s funny because no one actually talks
“I think that working with Rei Kawkubo was most definitely amazing. I have a profound respect for the person and her designs. She takes fashion and pushes it to a new direction. It was truly inspiring to have the chance to exchange with her and create together. I love to build a whole creative process you know, when it all comes finally together, sometimes, almost by accident. Sometimes, you have an idea and you talk to the technicians working for the brand and they simply say why don’t you try this instead. It’s almost like making bread. You have to mix all together all the right ingredients to make the magic happens,” she declares with a smile. For Marie Wilkinson, it is important to understand the brand and the market you are designing for, as well as understand the expectations of your brand and the extent of the skills of the factories you are working with. “We are designing glasses for a broad range of people. When I start working on a new design, I am trying to think about what I would want to wear if I was a customer. We don’t mind making a small collection if we know it will satisfy some people. We can create something that is bold and stylish and yet wearable. We don’t make things that we expect people to like. Not all people like the same look. But we most definitely want a reaction from them. You know, no matter what you are wearing, as long as people want to look you in the eyes when you are wearing one of our models, I feel like we've fulfilled our mission,” she concludes. - This interview was possible thanks to Antoine Laoun Opticien, which was celebrating their 10th anniversary at Mode and Design Festival with Marie Wilkinson as a special guest. Cutler & Gross glasses are available at Antoine Laoun stores in Quebec and at antoinelaoun.com.
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FASHION NEWS
The ARTYCAPUCINES COLLECTION
SIX CONTEMPORARY ARTISTS RECREATE THE ICONIC LOUIS VUTTION CAPUCINE BAG. Over a century ago, Gaston-Louis Vuitton, the grandson the the Masion’s founder began establishing relationships with various artists, commissioning them to create store windows. The connection between Louis Vuitton and the art world evolved over the years, extending into elaborate collaborations that resulted in unique brand interpretations and positioned the House as the forerunner of rewriting the creative rules between luxury brands and the arts. By Brenna Dixon
ALEX ISRAEL BAG © PAUL WETHERELL
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URS FISCHER BAG © PAUL WETHERELL
TSCHABALALA SELF BAG © STUDIO LENTHAL
NICHOLAS HLOBO BAG © PAUL WETHERELL
SAM FALLS BAG © STUDIO LENTHAL
S
ince 1998, Louis Vuitton has collaborated with some of the biggest names in design and modern art who have modified textiles, motifs, and even design, creating some of the best-selling luxury items in the world. This June, the House revisited the Capucines bag, a contemporary classic named after the Parisian street Rue de Capucines where Louis Vuitton opened his very first store in 1854. The ArtyCapucines Capsule Collection features six international contemporary artists: Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self, and Jonas Wood who all applied their creativity to a Louis Vuitton classic. The Capucines bag is the perfect blank canvas for an artist, with its timeless silhouette and smooth outer structure. As LV continues its drive to cultivate artistry and uphold artists, the selected six not only demonstrate their creativity but also epitomize the House’s extreme savior-faire through each individual’s expertise.
Sam Falls replicated real plant life, featuring embroidery and complex mother-of-pearl craftsmanship. There’s removable and playful hand-crafted fruits and vegetables on Urs Fishcer’s, and Nicholas Hlobo has hand-laced intricate leather patterns, while Alex Israel’s bag is an L.A. beach-life inspired piece complete with two removable fins (one a mirror and the other a comb). Tschabalala Self deconstructed the Louis Vuitton logo in order to recreate the brand elements, resulting in new forms through exceptional leather patchwork dexterity. Finally, there’s innovate digital printing and 3D embroidery on Jonas Wood’s Capucines. The ArtyCapucines Collection honours Louis Vuitton’s artisanal tradition in combination with passion and perpetual innovation. Each artist’s collection will be released in a limited and numbered edition of 300 bags.
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Grand electric SATURATED HUES LIGHTUP FALL collections FOR A FRESH TAKE ON AN otherwise DARK COLOUR PALETTE. KILL IT with COLOUR. CHOOSE A SPLASH AS AN ACCENT OR rock a head TO TOE HUE IN SEARING PINK, electric blue, OR SCARLET RED. Photographer Royal Gilbert Fashion Editor Nadia Pizzimenti
Leather paneled shirt, Pleated trousers, and Earrings SALVATORE FERRAGAMO.
STYLE
Left photo: Auburn Mongolian Coat, Copper Plongé Fringe Mini Dress, and Copper Leopard Calf Jacquard Small Bancroft Shoulder Bag (Prices Upon Request) MICHAEL KORS COLLECTION. Earrings (Price upon request) CAROLE TANENBAUM VINTAGE COLLECTION. Right photo: Bright fuchsia shiny glove nappa padded bomber with gold GG buttons ($7,655), Bright fuchsia shiny glove nappa single breasted jacket with gold GG buttons ($5,300), Brown-red G gemstones printed silk twill long sleeve shirt with all-over contrast saddle stitches ($2,945), Bright fuchsia shiny glove nappa straight skirt with gold GG button ($1,750), Mini bucket with chain in fuchsia matelassé chevron velvet with metal Double G detail ($1,100), Mid heel slingback pump in yellow python and black leather combo with square toe and horsebit detail ($1,300), and Nude GG lace socks ($145) GUCCI. Earrings $70 WARREN STEVEN SCOTT.
Dress in Orange Amdo ($9,100) HERMÈS. Shoes ($1,095) JIMMY CHOO at NORDSTROM.
STYLE
This page: Jalila Jacket ($898) and Varania Skirt ($798) BOSS. Shoes ($1,100) CELINE at NORDSTROM. Earrings ($70) WARREN STEVEN SCOTT. Bag (Price upon request) SIMON MILLER at NORDSTROM. Opposite page: Jacket and Skirt (Prices upon request) CHANEL. Shoes ($1,080) VALENTINO at NORDSTROM. Earrings (Price upon request) CAROLE TANENBAUM VINTAGE COLLECTION. Photographer ROYAL GILBERT. Fashion Editor NADIA PIZZIMENTI at P1M.CA. Makeup & Hair RONNIE TREMBLAY at P1M.CA. Model MEGAN at WANT AGENCY.
MUSIC
Carly Rae
JEPSEN FROM POP PRINCESS TO FULL-BLOWN QUEEN The voice at the other end of the line is calm and bubbly. Despite her crazy schedule, Carly Rae Jepsen has taken some time to update us on her latest projects and on how her life has been since the release of her most recent album, Dedicated.
B
By Marie-Eve Venne
est known for her hit “Call Me Maybe,” which became the world’s best-selling single in 2012, Jepsen has spent the last few years emerging from her image of a tween pop star to fully embracing a more mature pop queen persona. Showcasing a modern and sophisticated sound, her fourth full-length album comes after the release of Emotion in 2015, an album that was raved about by critics but slipped under the top charts radar. On Dedicated, she delivers breathy pop songs that reveal her sexier side, while walking us through an upbeat disco romance. She sounds more like herself, or at least like what a woman of
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33 years that has spent the last few trying to rise from her mega-hit should sound like. All these tracks are unmistakably Carly, and all have a common trend: they go for the feelings. Through her whole evolution, Jepsen’s most ardent fans continued to defend her magic beyond a doubt. Her fandom has reached its peaked in 2018 when a Tumblr user created a post calling for a “Petition to give Carly Rae Jepsen a sword,” and then continuing to say, “I like her and think she should have one.” From this, the Canadian pop star’s fans launched a social media campaign that culminated at Lollapalooza last summer, when someone hurled an inflatable sword onstage during Jepsen’s performance of “Cut to the Feeling.”
“My fans are simply incredible, and they keep on following me year after year. Every time I take a break from touring, I wonder if they will be there when I come back or if they will get on board with the newest album. But they do. I always have the best time ever when I am on a stage, thanks to them. It’s an incredible feeling,” explains Jepsen. “I love that connection we all have through my songs. We’ve all been through some situations that are unique but that end up feeling similar because they are connected to our emotions,” she adds. Owning all the different shades of her feelings is something that Jepsen has never been shy of, and that can be heard from track to track on her album. She takes us through all the different stages of a relationship, from the rush of torrid new beginnings to heartbreaking flame-out endings. On her latest single, "Too Much", on top of a steamy dance track, she depicts the struggle of being too intense for her loved one. “When I party, then I party too much/ When I feel it, then I feel it too much/When I’m thinking, then I’m thinking too much/When I’m drinking, then I’m drinking too much/I’ll do anything to get to the rush,” Jepsen sings in an unapologetic way. “I think that in this time and age, we have to be brave and share how we feel and be our realest self, [whoever] that might be. I think men can also sometimes worry about letting loose because there’s this idea that you have to be a certain sort of way. Men and women, we are allowed to be as colourful and bold as we want and even to go crazy from time to time. Sometimes, being too much is a great thing,” Jepsen explains. Overdoing things is something that Jepsen most certainly can relate to, choosing only a fraction of the hundreds of songs she wrote to feature on her latest album. Is this because she felt that, at some point, she had to keep some personal stuff for herself? “I don’t really see it that way. When I write songs, it’s a form of therapy for me. It always has been. I just pour out there whatever I might feel without overthinking it. If I feel at the end of the day that it might be turned into a great song, I won’t choose to keep it for myself just because it might be too raw. People want to hear real stuff, something that they can connect to,” she says. “Whenever I feel like I need to ground myself, I just go back home. The first time I reached Top 40, I gathered all my family together and we celebrated. It’s important to stay close to our loved ones, no matter where life takes us.” Focusing on love, or at least what it means for her, is something that comes naturally to Jepsen. When she found herself conflicted about a relationship that she was in, she went on an Eat Pray Love-esque solo vacation in Italy. “I had so many songs,” she says. “I needed some space to walk around, reflect, eat pasta, and get to know myself a bit.”
From that retreat came the songs “Right Words Wrong Time” and “The Sound,” which both highlight that period of realizing that a relationship must come to an end. However, thinking that the tracks are full of bitterness would be not knowing Jespen at all. “There aren’t a lot of hopeless romantics left out there,” she says. “But I believe in it. Romantic love is always going to come with some sort of euphoric high to me, so I keep singing about it. Even though a million songs have been written about it, I’ll still contribute my couple thousand, so by the time I’m gone, you’ll know that I was a believer, too.” And what does she do when she feels like it’s time to let go and simply enjoy life as it is? “Like everyone else, I need to take some time to relax and go wild in a fun way. I am very close with my crew on tour, so we are all already planning to go on vacation together at the end of the tour. I’ve really wanted, for a long time, to go on a safari, and it seems like something fun to do all together as a family. You’ll probably see a bunch of fun pics popping [up] on my social media around that time,” she says. One thing is certain. Whatever Jepsen will do next, it will be everything but boring, as a true queen of pop. With or without a sword.
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New Bourgeoisie CONFIDENT AND FOREVER STYLISH, THE new-and-improved rich GIRL IS HERE TO STAY, BUT COOLER THAN ever. ALWAYS IMPECCABLY PULLED TOGETHER without EVER TRYING TOO HARD, THE SUBURBAN IT GIRL COMBINES THE BOLD THE CHIC, EVEN IF SHE HAS NOWHERE TO GO. MEET THE NEW BOURGEOISIE.
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Photographer Mathieu Fortin Fashion Editor Cary Tauben
This page: Full look CHANEL. Opposite page: Black Studio 54 Sequin Silk Georgette Shift with Feather Embroidered Sleeves (Price upon request) MICHAEL KORS COLLECTION.
This page: Sunglasses (Price upon request) DIOR at TRENDSAVVY.COM. Opposite page: Belted Carrot Pant Jumpsuit ($6,150), Plate Belt ($845), and Running Shoes ($1,480) LOUIS VUITTON.
This page: Buffalo Check Jumpsuit ($3,600) and Saddle Belt ($1,250) DIOR. Opposite page: Gold/Black Sequin Double Crepe Sablé Asymmetric Dress with Feather Trim (Price upon request) MICHAEL KORS COLLECTION.
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This page: Sienna Canadian Coat (Price upon request), Variation Boots ($2,825), and Birkin Handbag (Price upon request) HERMÈS. Opposite page: Jacket, Sweater, Earrings, Bag, and Vintage Sunglasses (Prices upon request) CHANEL. Photographer MATHIEU FORTIN. Fashion Editor CARY TAUBEN at THE PROJECT. Hair & Makeup SABRINA RINALDI at THE PROJECT. Model EMMA GOUNE at FACES MGMT.
CINEMA
Best of Cannes Film
FESTIVAL The annual Cannes International Film Festival brings the world’s cineastes to Southern France. For decades, some of the most extraordinary films ever made have debuted on the shores of the Mediterranean Sea, with the glitz and glamour often contrasting films that can be far bleaker or melancholic than the resplendent surroundings. By Jason Gorber
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hile many international festivals have been quite vocal for the need for greater representation from a wider range, Cannes has steadfastly suggested it’s a celebration of cinema, not identity. While this is certainly debatable, given some of the risible films that did make it into competition, it does somewhat obviate claims about additional considerations, making the celebration of certain works free from some of the otherwise metatextual considerations. Here are three remarkable films that emerged from the festival, showcasing some of the immense talent to come out of such an event.
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Portrait of a Lady on Fire
A perfect film to fit the surreal and seductive allure of the Croissette, Céline Sciamma’s sumptuous story about a painter falling in love with her subject was awarded best screenplay and the Queer Palm (the first film directed by a woman to win the latter). Marianne (Noémie Merlant) is tasked to paint a reticent Héloïse (Adèle Haenel) in order to provide a potential husband with the image of the woman he’s to wed. Instead, the two strike up a close connection, eschewing convention and propriety as their love draws them near. The story could easily descend into melodrama or more maudlin period drama silliness, yet Sciamma guides her fantastic cast with a steady hand, using moments of quiet intimacy and intense introspection to keep the film from falling into farce. There’s an electric mood at play, as perfectly drawn as the portrait being commissioned.
Atlantics Mati Diop’s debut film earned her the prestigious Grand Prix,
immediately solidifying the reputation of this French filmmaker with Senegalese roots. Her film is a dreamlike tale of love, loss, and hardship, using horror film elements and a dream-like setting to evoke a deeply unsettling story of modern-day Dakar. Sumptuously shot against the crashing waves of the Atlantic Ocean, the story of a young woman who has lost her lover during a refugee voyage to Europe evokes both social drama and the more heighted emotions of a gothic romance. Part ghostly tale, part drama, the film is realized with a documentary-like precision mixed with more lyrical elements, crafting an enticing hybrid that drew much applause during its debut. A strange, unsettling work, Diop’s film is a perfect calling card for what promises to be an immense filmography to come.
Bull Screened as part of the Un Certain
Regard sidebar, Annie Silverstein’s film follows a young girl with a troubled family situation, finding herself drawn to the world of her neighbour, an African American rodeo worker who helps protect bullfighters from harm. Shot with a hazy, humid palate, the film drips of an Americana often overlooked, highlighting communities and situations a far cry from the stereotypical. Silverstein’s keen eye for detail elevates the film tremendously, and she’s able to capture the quiet conversations and bursts of action with equal flair. It’s an emotionally engaging yet raw portrayal, always focused on the believable connection Creativebetween Directormentor Sylvain andBlais mentee, with all the challenges implies. A tale Photographer Damianthat Siqueiros race, class, ambition, and struggle, FashionofEditor Cinthya Chalifoux this film, told with a delicate hand, is truly commendable. 51
CINEMA
Canada’s Rising Star
DEVERY
JACOBS Kawennáhere Devery Jacobs is one of the most impressive talents this country has produced. In 2013, her role as Aila in Jeff Barnaby’s residential school drama Rhymes for Young Ghouls earned her a Canadian Screen Nomination and major critical attention. Following that, she had many ups and downs, finding the strength to continue in an industry that often chews up and spits out upcoming stars. A fierce, uncompromising talent, she conveys both charm and intelligence, one of those truly warm individuals who exudes a deep humanity. By Jason Gorber
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Her recent major roles include playing Sam Black Crow in American Gods and Lilith Bathory in The Order. She’s soon to reunite with Barnaby in Blood Quantum, a zombie horror film set within a First Nations reservation that’s shot in part in her Kahnawá:ke community. DTK spoke with the actress about her creative drive, the changes she’s seeing in the industry, and the challenges she’s been forced to overcome as a young talent coming to terms with both success and struggle.
How have your recent roles changed your life? My first feature was when I was 13, and it’s taken nearly 13 years to gain any sort of success and to be able to pay my bills doing only this. I’ve been hoisted onto this platform, representing indigenous people and queer people on a much bigger scale on an American platform. I want to step up to the plate for both of my communities. After The Order premiered, I went up by 40,000 social media followers in three weeks. It’s an overnight success – 13 years in the making.
What was your start like at 13? I played an anglo-
phone girl in Montreal in a film called South of the Moon. It was fun, but it was actually one of those experiences when I was young that convinced me that I couldn’t do this because I hadn’t seen anybody like myself. I was a little Native girl in Montreal, where a lot of industry is French. I studied to be a counselor at the Native Women’s Shelter of Montreal. I’m technically a certified corrections officer. I was in my third year of school when I got cast in Rhymes for Young Ghouls… I was about to give up on acting, and I saw this casting notice. The character description was seven paragraphs long. For half of that feature, I was just scared shitless. Then there was a moment where I [realized] I love this, and that was a huge turning point.
After that, you had a dangerous thing: You had hope.
Yep, very dangerous. I moved to New York. I lost all of my money. I lost my reps. That was very tough, but those kinds of necessary down times were something that turned me on to writing. That was the moment where I thought, fuck it, I’m going to do this myself. While I know that my first short film wasn’t the best thing ever, I’m still proud of it. That sense of creative control is really important, especially as an actor that’s literally, no pun intended, at the bottom of the totem pole.
© LINDSAY DUNCAN
You came out to New York convinced everything was now going to be easy? I thought, 'Oh, I had this
really successful film, so now my life is going to change.' In many ways it did, but it didn’t change for the better in terms of the industry. I also really believe that Rhymes for Young Ghouls was ahead of its time… Now, people are pushing for inclusive voices.
Were there particular projects that you were up for that you can talk about? I had booked the role of Dani
Instar in Gambit. That was the second time that I had been cast in an X-Men project that fell through. I had hints of success, but none of it actually happened. I had gone back to Kahnawá:ke with my tail between my legs. My family, out of love, were not very encouraging and were saying “Well, we see how much this is hurting you, and when are you going to call it quits?” I was broke, and instead of getting a normal job and saving up some money, I decided to kickstart a campaign so I could do a short film, and so even more of my money went into that. The person who I was with at the time couldn’t understand why that would feed me more than actually just having a job.
You got an audition for Rey in The Force Awakens. J.J. Abrams was incredible; he was so well-spoken. I was in there for an hour and we were
working together, but he was asking me to do things that I didn’t understand at the time, like be more commanding with my voice, fill the space with my voice. I didn’t know what that meant, I just came from the fucking rez! I’m like, ‘Yell? What?’ I never went to theatre school. I needed these years to prove that it doesn’t come so easy and that it is a job, but also to take away the illusion of what this industry actually is.
Have you seen positive changes in representation in the industry? There are more indigenous ac-
tresses around my casting age category now, which I think is really exciting. There are many of us who are going out for this and have different flavours and different skills and strengths and weaknesses. In The Order, I’m cast as a werewolf – it is not an indigenous-specific werewolf, which I was pretty psyched about. This is no Twilight! They had no conversation around race or anything in it, which was kind of reassuring for me.
You bring your own identity, you bring yourself to the character, whatever that character is. It will always be
drawn from my perspective as a Kanien’kehá:ka woman. That will always shape my perspective of the world and the truth that I bring to my work, whatever role I play.
Do you still have that sense of “impostor syndrome”? It comes in waves. The more I work and the more I see the spectrum of experience, I think that I aspire to be like certain people. You’ll come across people who are bitter in the industry who think that it’s just affirmative action and diversity casting, and they’ll try and diminish you. You have had the opportunity to meet many people who you looked up to before you were in this industry. Is it a good idea to meet your heroes? I fully geeked
out when I met Taika Waititi. I can be cool as a cucumber in those moments and then geek out later, but I couldn’t do it when I met him.
He, like you, is changing the landscape and telling different stories. That’s one of the reasons I was such
a fangirl of his. Boy is one of my favourite films of all time. That comedy could just be on the rez. It’s so specific, and that makes it universal.
What’s your next year like? I’m in post-production for a feature that I’ve co-written called This Place, and I’m producing a couple of projects in my non-existent free time. I am about to leave to Vancouver to shoot The Order, and thenCreative hopefully back on American Director Sylvain BlaisGods. The thirdPhotographer portion of the book is where Sam BlackDamian Siqueiros crow is mostly present in the novel, and that is Chalifoux the Fashion part thatEditor we’reCinthya venturing into this season, so we’ll see!
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BEAUTY
Makeup: Highliner Earth(Quake) Matte Gel ($25) MARC JACOBS at SEPHORA. Nail Polish in Wild Earth #826 ($32) DIOR at HUDSON’S BAY. Lip Pencil Het Loo Satin ($34) NARS at SEPHORA. Liquid Liner Sex Kitten ($27) TARTE at SEPHORA. Clothing: Coat ($995) SMYTHE. Vest ($120) REISS. Brooch ($300) CAROLE TANENBAUM.
Timeless
BEAUTY IN A MODERNIZED rendition OF 1930s GLAMOUR, EXPRESSIONS AND EMOTIONS REMAIN STATIC IN TIME. A DELICATE THINLY arched brow PAINTED PERFECTLY ON A FAIR DEWY FACE PAIRED WITH A CONTEMPORARY NUDE LIP INTENSIFIES THE EYES. A REFRESHED APPROACH TO AN iconic STYLE CAPTIVATES THE ONLOOKER, PORTRAYING AN AVANT-GARDE INTERPRETATION OF EMOTION.
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Photographer Hadi Mourad Fashion Editor Corey Ng Makeup Nicolas Blanchet Hair Kirsten Klontz
Makeup: Perma Precision Liquid Eyeliner ($38) PAT MCGRATH. Cream Lip Stain #25 ($18) SEPHORA COLLECTION. Accomplice Concealer in Medium 33 ($32) MARC JACOBS at SEPHORA. Clothing: Coat VINTAGE. Vest ($159) MILWAUKEE PERFORMANCE. Necklace ($575) CAROLE TANENBAUM.
Makeup: Luminizer Champagne Rose ($38) RMS at SHOPPERS DRUG MART. Lip Pencil Do Me BabyVelvet Matte ($34) NARS at HUDSON’S BAY. Liner Superhero Liquid ($32) IT COSMETICS at SEPHORA. Clothing: Coat ($1,185) NANUSHKA. Top ($480) ASAI. Choker Necklace ($600) CAROLE TANENBAUM. Photographer HADI MOURAD. Art Direction ATELIER VINGT QUATRE. Fashion Editor COREY NG at P1M.CA. Makeup NICOLAS BLANCHET at FOLIO. Hair KIRSTEN KLONTZ at P1M.CA. Model MEGAN atWANT MANAGEMENT. Makeup Assistant IAN RUSSELL at P1M.CA.
FALL FRAGRANCES
Narciso
EAU DE TOILETTE ROUGE This airy and radiant fragrance consists of an exquisite floral bouquet of lily of the valley and roses, finished off with warm woody notes of tonic bean and black and white cedars. $98 (50ml)
Chanel
GABRIELLE ESSENCE This new olfactory interpretation of GABRIELLE CHANEL reveals a trail that is more voluptuous and opulent, solar and enveloping. ESSENCE gives a majestic role to the radiant fragrance, incorporating four white flowers - jasmine, ylang-ylang, orange blossom, and tuberose. $129 (50ml)
Prada
Issey Miyake
L’EAU D’ISSEY, ROSE & ROSE Rose & Rose perfume is a floral-fruity oriental scent suited to compliment a woman’s everyday look. With two types of roses, Bulgarian and Centifolia, it’s infused with raspberry, pear, and an underlying woody fragrance to captivate the true essence of nature and beauty. $134 (90ml)
Gucci
MÉMOIRE D'UNE ODEUR
CANDY NIGHT Taking its cues from neon-lit cityscapes and their kaleidoscopic delights, Prada Candy Night captures the unbound freedom found after dark, introducing a world rich with possibilities. $138 (80ml)
Inspired by a vintage Gucci bottle, the soft emerald hue contains ingredients of a new olfactory family: mineral aromatics. Key notes of Roman chamomille and coral jasmine are paired with precious musk and cedar wood. $92 (40ml)
Fall calls for something a little more serious, and these fragrances are seriously amazing, giving you a bit of confidence as you settle into your autumn routine. By Nicole Fu and Brenna Dixon
BEAUTY REVIEW
Face
FORWARD
There’s no need to lose your summer glow. Lock in moisture and reveal natural radiance with this fall’s best-kept secrets to prolong your summer skin. By Brenna Dixon
CAUDALIE Vinopure Purifying Gel Cleanser
The perfect cleanser is the first essential step for a clean, clear, blemish-free complexion. The Vinopure purifying gel cleanser is a soap and sulphate-free gel that refreshingly cleanses pores without drying. This gentle yet effective formula reduces excess sebum, minimizes blemishes, and visibly tightens pores. $34
IDC
Utlime Day Intense Regenerative Anti-Aging Cream
DIOR
This ultra-luxurious day cream provides intense nourishment that fights even the most pronounced signs of aging. The rich melting texture firms, lifts, and smooths and relaxes fine lines. It’s the perfect way to start back at the office. $149.99, Available in early September
Dior Backstage Face and Body Primer and Foundation
SHISEIDO
AMANDINE SOL BOTANICALS Inner Glow Face Oil
Synchro Skin Self-Refreshing Gel Stick Concealer
This Inner Glow Face Oil is a unique blend of active natural botanicals and essential oils. Carefully formulated, these ultra-luxe drops restore skin brightness and texture to reveal a naturally youthful glow. Apply it after your skincare routine under eyes to reduce dark circles, plump fine lines, create a barrier to protect your face from environmental harshness, and lock in moisture. $120
The unique gel combination of this newly formulated concealer presents the latest in skin technology, in a range of 16 shades. The weightless and crease-resistant coverage supplies the perfect balance as the creamy texture stays in place for 24 hours. $35
The ultimate primer for the face and body, this product blurs imperfections, revealing instant radiance while plumping skin with 24-hour hydrating care. The blend of shea butter and glycerine results in a silky smooth and youthful complexion. Wear it alone or pair it with the foundation that’s a buildable fluid with second-skin texture, providing a completely customizable approach. This waterproof plus heat- and humidity-resistant unisex formula is available in 40 shades in six undertones with a natural yet luminous finish that reveals radiant skin while hiding imperfections. Available exclusively in select Sephora stores, at sephora.com, and at dior.com
ARTIST TALK
PETER PHILIPS THE ART OF MAKEUP Peter Philips’ makeup is truly an art. He knows how to transcend the restrictions imposed by the industry while acknowledging the needs of the customers. His talent, discipline, and quest for perfection helped him quickly climb the highest peaks of the luxury universe. By Stéphane Le Duc
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n 1993, he graduated in graphic design from L’Académie Royale d’Anvers; 21 years later, he was crowned as Creative and Image Director of Christian Dior Makeup. He is the brain behind the makeup collections and also worked on an impressive number of editorials with some of the most renowned photographs, such as Mert Alas, Marcus Piggott, Nick Knight, and Richard Burbridge. He often collaborates with his friend and compatriot, Raf Simons of Dries Van Noten for fashion shows, and, until recently, with the late Karl Lagerfeld who instantly noticed his tremendous talent. He is admired both for his audacious creations and his ability to master subtle and elegant makeup. It is backstage of Dior’s fashion show that we met up with an amazingly calm and humble man, in the height of his creativity.
As a makeup artist, does high fashion have a special meaning? I think that at a certain time, it used to be more defined. High fashion and prêt-à-porter had different looks. Now everything is mixed up.
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© PIERRE DEBUSSCHERE
Concerning the Dior fashion shows, do you and Maria Gazia Chiuri exchange a lot? It depends, from one collection to
another. A month or so before the fashion show, she usually sends me some references. Last year, in certain cases involving a very elaborate eyeliner, we discussed it a lot. Same with the hatter Stephen Jones, because the models were wearing veils. We had to find a balance between the clothing, the accessories, and the makeup. Sometimes, it comes really quickly.
You’ve known Raf Simons since he started at Dior. Today, you are working with Maria Grazia Chiuri. Any differences between these two? Tons of differences. I am used to working
with a lot of different creators: I worked with McQueen who was very unique, Dries Van Noten who has a very special style. They are fashion creators, not makeup artists, and it’s interesting to hear how they talk about
© CHRISTIAN DIOR PARFUMS
© CHRISTIAN DIOR PARFUMS
© CHRISTIAN DIOR PARFUMS
it. Maria Grazia talks about it like a woman who wears makeup, but it was totally different from Karl Lagerfeld who was drawing it. Dries explains his collection with prints. For example, there was this fashion show where we worked with colourful lashes. The process was very interesting because we got to see all the green and red feathers in his collection. He asked me if I could use the feathers for lashes. I said, ‘Yes, but we have to be careful.’ Too little, and you see nothing; too much, and it’s Las Vegas! We [did] some tests and decided to use coloured lashes with a feather-like effect. It was all inspired by his creations, such as the makeup with Swarovski crystals or by his crystal accessories. It is really a continuation of his clothing creations. Each creator has his own vision and approach when it comes to makeup.
Is it the fashion shows that inspire your makeup creations for Dior or is it the contrary? It’s not really defined. I would
say it’s more of a mix. For example, for one of Raf Simons Men’s collection, I had done smoky eyes. It gave me ideas to go further [with] black matte for Dior. When I see makeup in a different context, it inspires me for what’s to come. However, sometimes fashion shows are not the place to experiment [with] makeup, but there are so many other platforms to experiment, such as editorials, projects with artists, product creation, or even when you do your friend’s makeup before going out.
Have you been a perfectionist since the very beginning? Yes, I’ve always been and especially when it comes to makeup. When you work on eyes and lips and on the face, you really have to get into the details. Even when you are working on audacious projects, you have to know what you’re doing. You have to
know your products. Your base must be perfection. For example, I once did photos with extremely red pigment for a magazine. It was freestyle but I had made several tests prior to the event. The powder had to be on point; it had to be a good shade of red. Even if the last step was a splash of colour, I had tested everything in advance and had done precise research. That’s what you need to achieve perfection.
Aren’t you worried by how quickly you have to work on fashion shows sometimes? I have a very good team
and, also before a show, model lineups allow us to do touch-ups. For the runway, the makeup doesn’t have to last for 24 hours, so it’s fine. But we have to be careful because sometimes a mistake can happen. A spot on a leg that we have missed can totally ruin the magic.
What does it mean to you to work at La Maison Christian Dior? I love it because it’s a fashion house where
I am free to work the way I want. It’s also very dynamic, like all these fashion houses of 70 years and older that had to evolve. As you know, we must move to stay young and remain relevant. We can’t work the way people were working 10 years ago, especially in a makeup industry in constant evolution. You have to stay aware of what’s going on out there. Dior is extremely open to renewing itself and taking risks, and that’s why it still stands today.
What keeps you going in the profession? The never-end-
ing challenges to remain relevant. It’s also a very dynamic universe. I travel a lot, and I meet interesting people. Between the product creation, the fashion shows, and the editorials, it is enough to stay enthusiastic!
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ARTIST PROFILE
Cathy Coufakis
FASHION ILLUSTRATOR Cathy Coufakis is a force to be reckoned with. The Montreal illustrator, painter, and former makeup artist has been enchanting people with her emotional, high fashion images. As a B.A. graduate in Fine Arts from Concordia University (specializing in painting and drawing), her solid fashion and beauty knowledge mixed with a firm rock ’n’ roll sensibility leads her to create refined yet powerful illustrations.
By Mariame Moussally
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The nineties wouldn’t be the nineties without the white-hot influence of makeup brand MAC Cosmetics and its edgy aesthetics. Cathy famously worked there for many years, and she says that working on so many fashion shows and body painting events “actually influenced my artwork in terms of really understanding how to recreate the planes of the face and how the light and shadows play on the features.” The ultimate beauty professional, Cathy not only worked behind the scenes at Montreal and NYC Fashion Weeks, she also collaborated with Montreal master fashion designer Denis Gagnon, “whom I really admire. The makeup for fashion shows is always so creative and high voltage!”
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athy has been drawing since she was a child, and her first “encounters” with glamour were Disney films: “Their animation and the way they depicted women… for example, ‘Blue Fairy’, in Pinocchio just blew me away. The artwork of Tamara De Lempicka and the Pre-Raphaelites were also a big influence on me in terms of glamour.” She cites Egon Schiele, El Greco, as well as Georgia O’Keefe and Henri de Toulouse Lautrec among her favourite artists. Illustrators such as ‘70s legend Antonio Lopez, Arthur Rackham, Czech Art Nouveau master Alphonse Mucha, and Marjorie Miller also count among her influences, along with the legendary fashion illustrator René Gruau. In the realm of fashion photography, Ellen Von Unwerth and Paolo Roversi have her favour.
A bona fide rock chick, music is no less an influence on Cathy’s artwork: she confesses that Debbie Harry has been a major influence on her “since the age of nine, to this day,” and is “particularly obsessed” with ‘70s glam rock, especially David Bowie and KISS wearing kimonos. Sixties psychedelic rock, with its beehives and cat eyes also figure prominently among her inspirations. Cathy’s art seduces a wide range of people, both men and women, but especially women that she describes as “very creative, edgy, and successful!” She ships worldwide to an international clientele who appreciate her modern yet delicate take on classic fashion illustration. Her advice to anyone wishing to pursue a creative project or career? “Do what inspires you, what moves you, and try to find your own style and voice.” www.cathycoufakis.com Etsy shop: Etsy.com/CathyCoufakis @catcouart on Instagram
The nineties left a strong mark on Cathy, thanks to the high-drama, high-octane, glamourous runway shows. Supermodels also left a solid impression on her, especially the reigning queens of the day such as Naomi Campbell and Linda Evangelista, “who were so striking, beautiful, and strong. I don’t think there is much that can top the ‘90s Versace, Gaultier, and Mugler runway shows, except for McQueen, of course.” Alexander McQueen is a perennial inspiration in her artwork, along with vintage Yves Saint Laurent and ‘70s Halston designs. In the more current crop of designers, Cathy confesses enjoying very much the delicate work of Rodarte. Despite all her past influences, she applauds the fact that we are now seeing more diversity, “especially in terms of age, shape, and sizes, women of colour, etc… But I would also love to see less photoshop and ‘influencers’ in fashion and other fields.”
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When you wish upon a star
THIERRY
CARTE BLANCHE
MUGLER THE NAME MANFRED THIERRY MUGLER sounds LIKE A POWERFUL SUPERHERO OR AS IF IT’S TAKEN right out OF A SCI-FI MOVIE, BUT, IN ACTUALITY, HE’S SOMEONE whose timeless CREATIONS INSPIRE DREAMS. By Stéphane Le Duc
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is female robots, corset armors, and insect dresses continue to fascinate people, judging by the thousands of visitors who stood in line to admire his Courtissime exhibit and who will soon do the same at the Kunsthal in Rotterdam. One day, his life will be told in a novel or an opera, or better yet, in a ballet, an art form that fascinates him and to which he has devoted 15 years of his life. One thing is for sure, this solitary child has always wished upon a star. He came up with his first collection in 1973, a bold and unique vision that brought fashion into a new modernity. Even though collections took most of young Mugler’s time, photography soon became an essential creation tool for him. Through his friendship with the renowned German photographer Helmut Newton, Mugler discovered his talent and his ability to create his own images. Fascinated by the architecture that he associates with the construction of the body and the garment, he offers a poetic outlook on the world. He knows
how to observe monuments that are sublimated by his eyes: “This photo of the CNIT in the La Défense district doesn’t look like much, but if you look at it from a certain angle, you’re transported to a magical planet, a land of ice or white sand. It’s a way to look at things differently. Like this old oil tank in the port of Le Havre, which turned into an amazing photo. Tons of people walk right past it without even noticing it. It’s a vision, a framing, like the view on the roof of the Géode in Paris.” For decades, he traveled all over the world, visiting the desert plains of the Sahara, the glaciers in Greenland, the skyscrapers in New York, and the huge territories of Russia. He sometimes did it to fulfill contracts with big magazines, but mostly he did it for his own projects.
Photographer Manfred Thierry Mugler
His sense of staging is exerted wonderfully during his runways which became a reference through their full-blown shows. The fashion show of 1984 in the immense Zenith Hall in Paris marked history by bringing together a paying audience of 6,000 people who came to celebrate the great mass of fashion. This director’s perspective is transposed into the photos, often taking great risks in order to obtain the desired effect. Let’s not forget that photoshop did not exist back then, Mugler seeking perfection without it. “There were huge risks; that’s why I hired adventurous women, but I would always test it first by standing at the spot where the picture was going to be taken. Even on the Chrysler Building, I went in before the model did. On the iceberg, the model had just a tiny little piece of survival blanket under her buttocks, and she made it, but we rehearsed before in the boat and everything was in place. I went in before, we did the test, then took the photo. It lasted three minutes. I was giving indications with a megaphone. It was so dangerous that the captain of the boat abandoned us. He said that we couldn’t go between the icebergs because things
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His trip to Russia allowed him to discover a symbol that he is now very fond of: “This photo with the star was a miracle. It was in the countryside of Volgograd; it was not planned. We were in a bus caravan, I had permission from the Soviet government because it was still the USSR... Our cultural attachés, who were actually KGB spies, were watching us all the time. Every night, I had to show where we were going to shoot the next day. We could never improvise or organize ourselves in accordance with the light. We went through a field, and I saw this huge red metal star. I said, ‘Stop everything’, and we climbed on a ladder, despite the protests of the cultural attachés.”
IF YOU LOOK AT IT FROM A CERTAIN ANGLE,YOU’RE transported TO A MAGICAL PLANET, A LAND OF ICE OR WHITE SAND. IT’S A WAY TO LOOK AT THINGS DIFFERENTLY.
could quickly take a turn for the worst. The muses and adventurers who took part in these photos had amazing personalities, and they were excited about the result.” Manfred Thierry Mugler has always managed to convince the greatest models to immerse themselves in his extraordinary world: Linda Evangelista, Naomi Campbell, Iman, Jerphanion’s Dauphine, and, of course, the one and only Jerry Hall, who will be part of Mugler’s famous 20th Anniversary Fashion Show, and who will also be the image of Mugler’s first perfume, Angel.
“Jerry was wonderful! She was very generous, with a good sense of humor! Extraordinary! I saw Jerry Hall after she had finished a modelling job that started at 5 A.M. in the desert; those were scary and exhausting days. She still managed to be just as good during the evening for the fireman on duty of a nearby village. She is a very confident woman, but she’s also adorable and very simple.
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I met Jerry Hall through the illustrator Antonio Lopez, who was a great friend of mine. He’s the one who discovered her. Jerry walked the runway for me for free at my first fashion show. She was 18 years old, and I can tell you that when she came by my small workshop at home, she was causing accidents in the street. “The image of a Jerry Hall lying in white sand for the Angel fragrance campaign was never forgotten. The perfume imagined by the designer, launched in 1992, is considered a revolution because it was the first gourmet perfume in history.” The exceptional success of this fragrance confirms the choice of Manfred Thierry Mugler to make no compromise in his creation: “For Angel, I knew I wanted to create a classic, using a large crystal bottle. The idea was to find a common bond for everybody between tenderness and the France that I love. So, I thought about chocolate, more specifically about gently biting the person that we love. Hence the idea of asking chemists to come up with the formulas for the chocolate extract, with cotton candy and mixed with a lot of patchouli. I was very stubborn! It was very difficult and proved to be a real challenge, and Clarins helped me every step of the way to make the star-shaped bottle. There were four great bottle designers because, apparently, it was
a unique craft and they were working for all the designers in the world. One of them made me a bottle with epaulette shapes amongst others, but I wanted a star. I was told it was impossible, that no glassmaker could that. Finally, a glassmaker took on the challenge. We finally had the juice, and then we had to pick a colour. It was out of the question to make a blue perfume, as it is believed that women don’t like this color because it stains. They tried a natural color, but the star ended up being yellow... It ended up finally working with the colour blue, which goes to show that when the idea is good, you must have the integrity to respect it.” Manfred Thierry Mugler isn’t out of creativity, and projects are piling up, including one that he’s particularly fond of, in collaboration with the Bolshoï Ballet, La Scala in Milan, the Royal Ballet of London, and who he considers to be the greatest dancer of all time, Svetlana Zakharova. When asked if he was born under a lucky star, he answered without hesitation: “Yes, absolutely! Considering everything that I’ve done and the dangers that I avoided, for example I did not fall from the Chrysler Building... Not to mention getting to work as Director brought me all over the world, including Moscow, Berlin, and Japan. Yes, I think I was born under a lucky star.”
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Stolen identity This page: Scarf, Cardigan, Cape, Skirt, and Tights (Prices Upon Request) MIU MIU. Opposite page: Shirt ($875), Vest ($995), and Skirt ($6,945) DOLCE & GABBANA. Pearl Necklace with Diamonds ($1,900), Chain Necklace with Pearls ($1,100), Ring with Pearl in 18K Gold ($2,400), and Bee ring in 18K Gold ($3,400) DAVID YURMAN.
IN THESE MASCULINE-INFLUENCED GARMENTS, you’ll be THE TALK OF THE TOWN. EQUALLY INFLUENCED by classic, EDGINESS, AND LAID-BACK COOL, THESE LOOKS are guaranteed TO GIVE YOU THE CONFIDENCE REQUIRED TO STRUT IN STYLE. Photographers Royal Gilbert Fashion Editor Fritz
This page: Hat, Earrings, Turtleneck, Jacket, Skirt, and Handbag (Prices Upon Request) LOUIS VUITTON. Opposite page: Shirt, Vest, Coat, Pants, and Boots (Prices Upon Request) MICHAEL KORS.
This page: Hat, Earrings, Shirt, Bustier, Belt, and Pants (Prices Upon Request) CHRISTIAN DIOR. Opposite page: Earrings, Necklace, Shirt, Jacket, Coat, Pants, Belt, and Shoes (Prices Upon Request) CHANEL.
This page: Shirt, Jacket, Skirt, and Boots (Prices Upon Request) PRADA.Opposite page: Dress ($689), Coat ($3,050) COACH 1941. Pearl necklaces with diamonds ($1,900), Chain necklace with pearls ($1,100), Large pearl ring in 18K gold with diamonds ($5,650), and Pearl ring in 18k gold with diamonds ($2,450) DAVID YURMAN. Photographer ROYAL GILBERT. Fashion Editor FRITZ. Model CHANTALE. Makeup & Hair NISHA using DIOR and HASK.
DESIGN
Future Realities
NEO-MINT
AMI FW 2019
Meet the colour of the future, the very near future, neo-mint. The clean and fresh, S/S 2020 hue fuses technology with nature and gives a flair of futuristic design, scientific innovation and environmental sensibility. Story by Azamit Words by Maya Assouad
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GSN, the popular trend forecasting company, based on the current cultural, economic, social and possibly political climates, announced early on that neo-mint will be particularly popular in the coming year.
SALLY LAPOINTE FW 2019
AMI FW 2019
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Skillfully determined, the right trends can evoke strong emotional responses that often play a critical role in the success of products and designs. Colour has always been an important and powerful selling tool, particularly relevant in the design world and the fashion industry. Colour forecasting, a process that depends heavily on research, observation and intuition and almost always psychology, delivers choices that affect entire seasons and ensuing collections and projects.
HOUTIQUE X MASQUESPACIO
CC TAPIS
The 2020 forecast, described as a gender-neutral, youthful colour, evokes breezy summer days and imagery of clear, transparent sea waters. Imbued with optimism and a cutting edge mood, this crisp tone of green, in a way represents a new digital decade that promises sensational leaps in information technology and revolutionary advancement. Today’s futuristic reality of artificial intelligence is also marked by the dangerously terrifying decline of our natural habitat and its resources. Neo-mint represents a bridge between both worlds, our current awareness of the changing relationship with the environment due to advanced technologies and aiming to strike and preserve the perfect balance between them.
TOM DIXON THE MANZONI
Š MUD AUSTRALIA
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ART © JUAN LUIS GONZÁLEZ DURAN CORICHI
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Renata Morales
ART THAT DEFIES BOUNDARIES Renate Morales is a force in the Canadian and global © RICHMOND LAM
art world. Her work spans mediums, countries, and classification. Morales was born in Mexico City and arrived in Canada many years ago when her family immigrated to the Laurentides. She now shares her time – both living and working – between Montreal and Mexico City. By Aaron Cunningham
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ontreal is a melting pot of cultures that constantly inspire me,” Morales shares what it’s like to live as an artist here. “It has very cool movements, like what the guys from Moonshine are doing. Plus, some of my best friends live here, and they are all talented artists that nurture my creativity as well.” Anyone new to Morales’ work will quickly become aware that she is prolific in many different creative mediums. She began her career as a painter, showing her work at age 18 in Mexico City, Montreal, and Toronto. She then decided “fashion would be a wiser outlet” for her vision. Driven by a love of music and a realization she would never herself become a musician, she used fashion as a “modus-vivendi and also an eventual door to collaborate on more things with interesting musicians.”
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© JUAN LUIS GONZÁLEZ DURAN CORICHI
It has almost become a right of passage for Montreal’s emerging indie and synthpop artists to be costumed by Morales. She has designed outfits and costumes for Grimes, Allie X, Yelle, and Arcade Fire. She has also worked with directors Denis Villeneuve, Pedro Pires, Anton Corbijn, Vincent Morisset, and Spike Jonze. More recently, she has moved towards sculpture, embracing her love of ceramic and combining it with other materials. “Everything is starting to melt together. They all have become tools instead of an obstruction. I started adding metal, glass, and textile to my ceramic compositions; I personally find it all so interesting. I’ve been learning so much from other experienced artisans who have supported me through my practice, and learning from their medium has also influenced my drawing and painting work,” Morales remarked how the various mediums she works with shape the way in which she creates.
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Earlier this year, at the 58th Venice Biennale, Morales presented Invasor, the culmination of a two-year residency at the Phi Centre in Montreal. Invasor consisted of 70 used tires painted in glossy candy shades with massive self-portraits printed on distressed textiles to create a dystopian universe of opposites. Her composite figures of assembled media challenged the viewers’ perception of texture, touch, solace, and violence. “I have been working and/or collaborating with the Phi Centre and its team for about 10 years. When the Phi Centre opened, I was the first person to be invited for a Carte Blanche (others followed), and we all came up with the eight-day week, to show the versatility of the building and also opened the Phi store for the first time. I guess the same happened with this 2019 Phi initiative, when Phoebe had the idea of doing a show during La Biennale di Venezia. We all have evolved with our work over the years; it was a special culmination,” Morales told DTK of her experience working with Montreal’s Phi Centre.
© LUKE WALKER
Moving forward, Morales says she has “a lot of painting work to finish and will work on installations in Montreal for two different exhibits.” She also plans on “going back to Mexico to continue work on sculpture and other mediums.” Morales tells us she is perpetually “into collaborating with my music friends; a couple of them have projects on the way. I’m always open to ideas and discussion. I love collaborating with great people, even on clothing or accessories.”
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Phi’s show at the Venice Biennale also showcased Marina Abramovic’s Rising, which addresses climate change by transporting viewers. The work completely immerses the viewer in a VR experience and brings them face-to-face with rising sea levels. Morales told us, “she has remained a strong and important voice during her whole career. Phoebe Greenberg, the curator of the residency, felt like our work could coexist in the same exhibition. Phoebe always has wild ideas, and I was honoured about the experience.”
FASHION would BE AWISER OUTLET. Renata Morales
One of her life dreams “is to have cultural – art/work – exchanges between Canadian and Mexican artists and artisans. We have a lot to exchange and to gain from each [other].” She also stated that to see Canada “continuing to develop exchanges with Mexico (especially during Canadian winters) could be very enriching to our relationships in general.” One can see Morales’ desire to build cultural exchange reflected in her work, which merges materials and mediums to build something larger than the sum of its parts.
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CULTURE
Michael Venus
COMMUNITY LEADER
An underlying thread stringing together all of Michael Venus’s projects is to create community by giving voice to and carving out spaces for artists, designers, and performers from the LGBTQ+ community of all generations. Never Apart in Montreal has done just that, as a cultural centre that celebrates emerging queer artists. By Rebecca Kahn
Acting throughout the years as a vital part of LGBTQIA+ (Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, and Asexual) communities of Montreal, Toronto, Vancouver, Hamilton, Windsor, and Detroit, Michael Venus lives somewhere in between – in between cities, in between baby boomers and millennial generations, and identifying as queer, which is a word that’s come to be all-encompassing for sexuality and gender identity that defies boundaries and norms. As the Executive Director of Never Apart, you can see this in-between ideology come alive. He’s helped to create a space filled with people who are either queer or not, young or old, and artistic or trendsetting, but the big thing you can tell as soon as you walk in is that everyone is having a great time. Seeing Michael Venus today, or as he’s known by his drag alter-ego, Miss Cotton, he’s confident, kind, and powerful, but he’s had to fight to get to this place in life. He tells us, “My journey started very young when I was 15 and knew there was a big gay world out there, growing up in a rural Ontario farm where I was an isolated teenager. So, I ran out to the world and started in search of that quest that brought me to Hamilton, Ontario, which brought me to a lot of LGBTQ people and activists and artists. And that’s kind of where it began, but then it really started coming together more so when I moved to Windsor, Ontario and started my art collective, the House of Venus, with my other friends. And that’s where we started creating community and putting on art events and that sort of thing.”
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Since those humble beginnings, Michael has witnessed some big changes in the community and world. “With the advent of the internet and technology, we’re able to communicate with people from all around the world. It’s easier to see our strength in numbers. The laws have changed – we’re allowed to love who we want and marry who we want, especially here in Canada… In the last 25 years especially, we’ve just had so much positive change, but I would like to see a lot more change. There’s so much that needs to be done in Canada and beyond, so I just hope we can continue to make these leaps and bounds and create equality for all.” While there’s more queer representation now, Venus tells me, “When I was growing up, we didn’t have a lot of queer people in the media or people I could have as mentors because people in that age bracket that could have been mentors for me were dealing with the AIDS crisis. So, the philosophy with the House of Venus and what I’ve done is that if there’s not something in the world out there, then you’ve got to create it.” He goes on to say, “We weren’t seeing the kind of events that we liked. We would visit New York and get inspired by the club scene there and the drag scene that was just blowing up. There was such a big movement in the '90s, which started in the '60s with Andy Warhol, these groups of people that create their own scene and chosen family, so that’s where we started it, just with the necessity of we’re not seeing anything like that. We did fashion shows and art events and theme parties in Windsor and Detroit area. And then in 1995, the three core members of House of Venus moved to Vancouver and then multiple other friends joined us and we met up with new people there, and we sort of took over the after-hours nightclub scene in Vancouver… We used clubs as a way to pay for our art, and we used the clubs to put on events. We wanted to be very inclusive – not just queer people but anyone that felt like a misfit or an outsider or just had a different perspective than heteronormative existence.”
MICHAEL VENUS POSING WITH AMANDA LEPORE AT NEVER APART © SAAD AL-HAKKAK
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INSTALLATION AT NEVER APART GALLERY © EDWIN ISFORD
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Venus speaks of one of the first projects he was involved in that helped give space for all people to express themselves: “Wiggle, our wearable art festival, which we created 25 years [ago] this year – it’s been a spot where young artists, designers, performers, you know, where we can launch their careers and give them a safe space and recognize their talents and help promote them.” Michael Venus, drag house “mom” of the House of Venus, organizer of Wiggle, and Executive Director of Never Apart, has accomplished a lot in his life. Particularly, Montreal’s Never Apart is home to things such as a blossoming queer community, with art exhibitions, an LGBT legend film series, and “Never Apart Inc., where we have our monthly online magazine where we have different trailblazers and pioneers within the queer community, as well as emerging artists. And now we have Never Apart TV, and I’m actually working on Season 4 currently, and what’s really exciting is it’s available on Out TV Canada and Out TV Go online. But more recently, this whole summer, Season 3 of Never Apart TV is airing on Air Canada, giving it a larger audience and more viewers, because we’re in the air now too, so that’s pretty cool.” He also tells us about “Color By Icons, which is a historical LGBTQ colouring book, which features 50 LGBTQ pioneers and trailblazers who have fought the fight for us, so it’s a really fun interactive way for children of all ages to learn about queer history, which is erased – it’s not taught in school.”
25TH ANNIVERSARY OF NEVER APART CELEBRATION AT MUSÉE DES BEAUX ARTS © SAAD AL-HAKKAK
This space has a lot to offer to the community. “Never Apart is a nonprofit organization with our headquarters and galleries here in the Mile-Ex, which is a booming area full of queers and artistic types, and we began our mission in 2015, so we just celebrated our four years… We’re trying to create positive change and build community and make change through art and make a safe space and an inclusive space for marginalized people, but bringing also different crowds together because it’s hard really to create change if you’re just within your own subculture or group. It’s important to expand your circle of friends or people who would come to our events, but to have it be mixed. We want all people of all walks of life to come together and engage together. Because more and more, with smartphones and internet and technology, people aren’t actually coming together in the flesh. It’s easy for people to connect internationally through the internet and all of that, and that’s wonderful, but having a place you can actually come and see other people and discuss is a different topic. I think it’s really important to do that.” Michael Venus works for more than just connecting people, though; he fights for change. “Especially with the political tune of what’s going on in the United States and with the UK… there’s a big scary right-wing thing happening, and we have to take to the streets, we have to work together on so many levels, not just in the queer community. We need to listen to the other communities and see who needs support and stand up for people and have a voice.”
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Bringing the ‘70s back with the confident girl, supermodel Maria Borges is radiating power and taking taking over the world. The sexy look is in with an emphasis on infinite legs and a thirst to succeed.
Photographer Richard Bernardin Fashion Editor Zeina Esmail
L/S Ruffle Dress ($6,400 USD) and Faces Belt ($840 USD) LOUIS VUITTON.
This page: Floral Crushed Charmeuse Dress and Vanilla Mongolian Coat (Prices upon request) MICHAEL KORS COLLECTION. Sandal with Chain Strap ($1,125) VERSACE. Gilot Earrings ($385 USD) MONICA SORDO X NUASHEEN SHAH. Opposite page: Deep V Mini Dress ($3,780) and Patent Leather Neon Belt ($550) SAINT LAURENT. Gilot Earrings ($385 USD) MONICA SORDO X NUASHEEN SHAH. Solid Strip Ring ($295) JENNIFER FISHER.
Neon Peni Top ($1,095) GRETA CONSTANTINE. Gilot Earrings ($385 USD) MONICA SORDO x NUASHEEN SHAH. Solid Strip Ring ($295) JENNIFER FISHER.
USING FASHION TO INSPIRE GIRLS
African supermodel Maria Borges continues to conquer the modelling world after her fashion week debut in 2012. This New York-based Angolan model radiates positivity in everything she does, inspiring women all around the world today.
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By Pia Mikhael
er eternal positivity is contagious, and her rise to fame is an inspiring story to many – including those who believe they do not have the means to rise in the industry. According to Richard Bernardin, the photographer of the shoot, Maria arrived like a true African Queen. The shoot call time was 7:30 A.M. in order for the team to get settled and be ready to start as soon as our cover star, Maria arrived, whose call time was at 8 A.M. When she had not yet arrived by 8:10, the team wondered if she was going to be late and started exchanging stories about past shoots where certain models arrived a shocking three hours late for no better reason than their alarm had not gone off. At precisely 8:15 A.M., came a knock on the hotel suite door, and in came Maria who not only immediately apologized for her lateness but also went around and introduced herself to every member of the team. Being informed the day before the shoot by her agent that she was arriving straight from the airport due to complications in scheduling, the team knew that she was coming right off a red-eye. After assuming that she had flown from L.A., Maria, looking absolutely radiant with the grandest of smiles, told us that she had flown that morning from her home in Angola, where she had been visiting her family. Needless to say, the team was completely taken aback by her work ethic and the size of her heart. Despite being on a flight for over 40 hours, Maria was giving the shoot 200% all day.
You chose to walk the Victoria’s Secret runway in 2015 with your natural hair. Why was this decision important to you? The decision was because
I was always seen as a high-fashion girl, and I just did a hair-show in Paris for Givenchy, and it was major. I decided to keep my natural hair for the Victoria’s Secret shows. I really wanted to make a difference. I wanted to show all the girls that I had the opportunity to work with my natural, short hair. I did it; the rest was history. That was something I wanted to do to make a change.
As a woman of colour in the fashion industry, what are the challenges that you face? I feel like
as long as you work and show that you are meant for it, then you’re good – I don’t really see the rest. If you are good at what you do, it doesn’t matter whether you are a woman of colour or not. I feel like there is an opportunity for everyone, and whoever is ready to take it, will do it.
So, what advice would you give to girls of different backgrounds that want to break it into the fashion industry and are not as confident as you are? My
advice to those girls is to be themselves, to understand what this is about, and to inspire other girls.
What was it like growing up in Angola? Well, I
was born during the Civil War – I don’t remember much of it because I was a baby, but growing up in Angola was amazing. I was always surrounded by love, even though I lost my mom when I was 11. My sister always took care of me and my brother. My family supports us as well. I feel like I was a happy child with a lot of dreams, and dreaming big of being the first supermodel of my country, and one of the best models from Africa right now.
Dress ($8,220) GUCCI. Sandals with Chain Strap ($1,125) VERSACE. Gilot Earrings ($385 USD) MONICA SORDO x NUASHEEN SHAH.
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I FEEL LIKE THERE IS an opportunity FOR EVERYONE, ANDWHOEVER is ready TO TAKE IT, WILL DOIT.
Maria Borges
So, you said that your sister raised you and your brother after your mom passed away – what are your siblings doing now? They are
back in my country. My sister has a family, and she is working. The same goes for my brother. They are still in my country.
How often do you go back and visit your friends and family? What are your future plans relating to Angola? I go back every
summer and every Christmas. If I have a week off, I go back as well. I visit them when I can. Family is my priority. I go home and give my family and friends hugs. When I’m home, the thing I love the most is spending quality time with my family. Now, I am supporting girls in my country and have a career out there. I do some charity as well. I like to help, and I like to live.
What sparked your interest in working in the fashion industry, and what pushed you to want to do this as a career? I will start
with the stability of myself and my family. Modelling has helped me help them. Of course, my life changed from water to wine. It was a big change, and I love all of the things that I have. I want to work to inspire a lot of girls, and it is a dream come true to become a model because in my country they think it is not a real job. Showing them that it is a real job and that it is worth it, is what I fight for.
Are you looking to continue working as a model or in fashion long-term? Or are you thinking about branching out in acting, for example? My long-term goal is fashion. But, of course,
if something comes my way, I will take it. I feel like I am very free, and I like different, new trends. Fashion and modelling are treating me well, and I appreciate it.
How are you able to portray and radiate positivity in everything you do? Life is tough sometimes, and you’re always so happy and so positive. I think it is healthy to be positive. As you
mentioned, life is so hard, so why do you have to make it harder? I always like to smile, even when I’m sad, because when someone is sad, you feel for that person. I always try to show the best of me, and somehow, I don’t need to show everybody that I am upset. I am grateful I have this life, and every day I wake up in the morning, and I realize that this is the best gift I actually received.
You are 26. You’re still young, and obviously you are very busy. How do you keep up with your dating life and personal relationships? Well, I feel like in life you got to find time to do
everything. Love is something that I live by. I love when people love me. I love my boyfriend, so we work it out. As long as he supports me and I support him – that is the way to live life.
This page: Magenta Wool Tweed Jacket, Magenta Shiny Lambskin Jacket, Magenta Shiny Lambskin Pants, and Metal/Glass Pearl Earrings (Prices upon request) CHANEL.Opposite page: Ribbed Knit Turtleneck ($400), Silk Skirt ($1,500), Bondage Bra ($2,225) and Sandals with Chain Strap ($1,125) VERSACE. Gilot Earrings ($385 USD) MONICA SORDO X NUASHEEN SHAH. Photographer RICHARD BERNARDIN. Fashion Editor ZEINA ESMAIL at P1M.CA. Makeup CAROLINA DALI at THE WALLGROUP. Hair KYLE MALONE at BRYAN BANTRY. Post-production PATRICIA SINCLAIR. Model MARIA BORGES at IMG. Assistant photographer MISA CUERING. Special thanks to LORRAINE OSPEDALE & ANJU SUNDRANI and THE MONDRIAN PARK AVENUE HOTEL.
Saint Laurent’s
Sculptural lines inspired by the
eighties had us
&Bianca Jagger.
recalling great style icons like Betty Catroux
From knotting bows, exaggerated strong shouldered blazers to blazing neon
Anthony Vaccarello's collection pushed us beyond infatuation.
All SAINT LAURENT.
By Brenna Dixon
This page: All outfit SAINT LAURENT. Opposite page: All outfit SAINT LAURENT.
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EVERYTHING starts FROM THE SHOULDER CONSTRUCTION. THE GRAPHIC sculptural TAILORING GIVES A SHARP sophistication TO THE LIBERATED IMPULSE OF DESIRE
This page: All outfit SAINT LAURENT. Opposite page: All outfit SAINT LAURENT.
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Anthony Vaccarello
This page: Herringbone coat with strap details, Long sleeve turtleneck sweater, Bondage top, Slip skirt with purple lace, Black leggings, Stiletto with ankle strap, and Safety pin earrings VERSACE. Opposite page: Wool cape, White silk blouse, Black pleated wide pant, Fingerless gloves, Tie, and Pin CHANEL.
Rebel
REBEL
CULTIVATING THE PUNK ERA IN this romantic USE OF FABRICS, THE CLASSIC GOTHIC AMBIANCE HAS NEW DIMENSION. THE dark grey & BLACK HUES ESTABLISH AN OMINOUS YET ENCHANTING style WITH A LITTLE UNEXPECTED EDGE. Photographer Royal Gilbert
Fashion Editor Randy Smith
This page: Grey wool jumpsuit, Grey wool coat, White shirt, Plaid tie, and Studded suspenders GUCCI. Opposite page: Grey wool jumpsuit, Grey wool coat, White shirt, Plaid tie, Studded suspenders, and Brown pumps GUCCI.
This page: Blue plaid jacket, Shirt, Black bowtie, and Grey cotton pant COACH. Opposite page: Black wool coat, Black wool pants, and Black studded shoes PRADA. Safety pin earring MARTIN ALI. Sunglasses ACNE. Belts STYLIST’S OWN.
This page: Knee length black boucle, Coat with necktie, Black glittery dress, Black skull cap with feathers, and Leather knee high boot MARC JACOBS. Opposite page: Large herringbone melton banker coat, Button down shirt with necktie, Wool knee length pant, and Knee high lace up boots MICHAEL KORS COLLECTION.
This page: Velvet blouse, Suede belt, and Wool shorts SAINT LAURENT. Opposite page: Leather trench coat, Organza blouse, and Leather tie FENDI. Photographer ROYAL GILBERT. Fashion Editor RANDY SMITH. Makeup & Hair STEVEN TURPIN at TEAMM using DIOR, FENTY BEAUTY, and ORIBE. Assistant Stylist EMMANUELLE NÉRON. Model CHELSEA MEI LEE at MONTAGE.
Face Hat ($350) LILLIPUT HATS. Jacket and Shirt (Prices upon request) SID NEIGUM. Hosiery ($45) PHILIPPE MATIGNON.
aith Dive into a world of excess, mystery, and glam. Inspired by the ’90s notorious and iconic New York church-turned-club, LimeLight, faith delves into the mystical shadows and vibrant looks of a golden era of glittering extravagance and lavishness.Â
Photographer Chris Nicholls Fashion Editor Peter Papapetrou
This page: Blouse ($1,890) GIVENCHY at HOLT RENFREW. Leggings ($925) VERSACE at HUDSON’S BAY. Chain Link Skirt (Price upon request) PACO ROBANNE at WDLT. Opposite page: Dress ($3,195) BALMAIN at HUDSON’S BAY. Visor (Special Edition) JENNY BIRD. Heels ($1,025) LOUBOUTIN at DAVID’S SHOES.
This page: Bodysuit ($1,395) ALEXANDRE VAUTHIER at HUDSON’S BAY. Lace Cape ($1,245) IZZY CAMILLERI. Shoes MICHAEL KORS COLLECTION. Opposite page: Lambskin Fingerless Gloves ($960), Wool Pullover in Bright Red ($2,775), and Metal/Glass/Resin Earrings ($1,575) CHANEL. Photographer CHRIS NICHOLLS. Fashion Editor PETER PAPAPETROU at PLUTINO GROUP. Stylist Assistant KAT FLANAGAN at PLUTINO GROUP. Model ELIZABETH THOMPSON at ELITE MODELS. Makeup GRACE LEE at PLUTINO GROUP. Hair KRISTJAN HAYDEN at PLUTINO GROUP. Set Design LEANNE KELLY at PLUTION GROUP. Retouching LORCA MOORE.
MUSIC
Vintage Kimono (Price upon request), at LE GRAND COSTUMIER. Top ($35) UNDER ARMOUR. Shorts ($74) LULULEMON. Necklace ($2,400) SCARO. Eyewear ($349) VERSACE at KLAR VISION. Sneaker ($1,085) PRADA at HOLT RENFREW. Earrings ($95) AARON MAYA at ARGENT TONIC.
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STYLISH, GRACEFUL, DYNAMIC, & DETERMINED, ANNIE SAMA IS RELEASING A new album and embracing ALL ASPECTS OF HERSELF TO THE FULLEST: AN electro-dance musician, A FASHION ICON, A DJ, AN ARTIST, AND MORE. Written by Rebecca Kahn Creative Director Sylvain Blais Photographer Damian Siqueiros Fashion Editor Cinthya Chalifoux
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haring vegan ice cream and crème brûlée with Annie Sama is a breath of fresh air on a too-hot Montreal summer day. With creativity, kindness, and excitement, Annie Sama is someone who is sure to succeed in all her future endeavours. Her zest and appreciation for life is immediately apparent, and it’s clear after talking with her that she gains inspiration from all her experiences, surroundings, and people in her life. She divulges, “I’m always excited. I was excited for my day today – I was excited to come here. I’m excited to have a meeting with my team later.” While laughing herself, she tells me, “I always love to surround myself with people who make me laugh. I love to crylaugh, where your cheeks hurt.” Dabbling in dance, music, fashion, and visual art, she says, “I think I see it as a whole. I see it as me. I think that speaks for itself. That’s me. And it’s never going to be anybody else. Other people can be their own thing, but that’s me… Everybody loved music. I was creating my own melodies and stuff like that and getting very inspired by nature – I was living almost in the woods. It just made me. I think also growing up in a very, very small village, I was kind of underchallenged with literature and stuff like that. So, as soon as I got out, I was like, ‘Please feed me with information and knowledge’. It was really important for myself to go and reach out to the world.” She sums up her music and new album simply with, “I really want people to dance, to have a good time… I want to bring people into an electronic journey where people can come to my show and dance the whole way.” While looking forward to her performance at PY1 at the end of August and at Pride festivities before then, she tells me “I’m
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Dress ($900) DENIS GAGNON. Top ($39.99) REEBOK at SPORTS EXPERTS. Belt ($28) STEVE MADDEN at SIMONS. Earrings ($95) and Rings ($110, $140, and $150) AARON MAYA at ARGENT TONIC.
going to be the party. Yes, I’m so going to be the party.” She articulates a few particular moments in time to sum up what being “the party” means to her. “One time, I was at Elsewhere and the rooftop is – they built the thing like on the container – and there’s so many people doing the same movement, and the floor would just be like this [moving arms], and the whole thing wouldn’t break. It was just so weird, like to have this movement. Or, when you go dance on a boat, you have that feeling as well, when everyone’s grinding real good on the same beat at the same time – it’s quite something. It’s such a unique experience, and it’s totally worth it – to have that emotion and motion.”
Sama describes a slightly different party moment once while she was at a smaller music festival: “Starting at 4:30 in the morning when the sun comes up, I was singing to everyone, ‘Here Comes the Sun’, from the Beatles. And people would start singing with me… It’s just a special moment, and the sun is coming up… It’s these little moments where it makes a difference, and I don’t need to do a show. I can just give a gift to people and make their experience so much better.” She thrives off of doing it “just for them – just for the moment of living, this little moment, where everybody knows the song, where everybody feels that energy of love and giving. And [I’m] giving to people with what I do best.”
More than just moving to the music, she’s also always physically moving around. Annie describes herself as a nomad, with a bittersweet note in her voice as she equally laments leaving her friends while celebrating “moving forward into something.” She has a particular affinity for road trips and jet-setting from festival to festival, expressing her love for “being always on the constant move – it’s my kind of thing.” She loves nature and the ocean, as well as cities or places with a lot of personality, but she laughs as she tells me that her favourite place to travel is her suitcase: “That’s my home. Home is where I am – it has to be anyways because we’re always on the go.” Apart from her suitcase, Sama calls two cities her home, settling down in either New York or Montreal when she’s not travelling elsewhere, and there’s pros and cons to both metropolises. “Everybody in New York comes from somewhere else, which changes a lot of things because a lot of those people, since they come from somewhere else, they saw something else. A lot of people won’t stay in their apartment because they’re too small, and people have the crappiest apartment but the nicest clothing because they won’t in-
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Annie tells me her dance melodies for her music will “come to me like all of the sudden. Sometimes, when I’m in my shower, I run out and record myself.” She goes on to say, “I don’t only do electronic music for my albums. I like to do weird soundscapes. I really love modular synthesizers and to work the sound and make it evolve.” But her music is more than just melodies; it’s also accompanied by expert lyricism, telling me that she’s “going to keep repeating in all my songs, as a mantra throughout my work, ‘Be yourself, be loving, be yourself in this mental state that you are. Embrace it, and then work from it.’”
THAT’S ME. AND IT’S NEVER GOING TO BE ANYBODY ELSE. OTHER PEOPLE CAN BE THEIR OWN THING, BUT THAT’S ME…
vest in their apartment, but they’re gonna invest in themselves. They're going to see art and moving into the city and making the city so great – discovering knowledge, education. Here [in Montreal], it’s a good art hub, but for people to consume art, it’s another thing sometimes. They’re gonna like free stuff, but in New York, they’re used to having a budget and they’re going to go and consume art… I’m in a francophone world. It’s harder for them to understand what I do because the electronic music scene here is growing slowly. But here, we have a lot more help from the government to develop our things, so that’s a good thing. The rent is cheaper, so it’s easier to develop products like mine and travel than starting over [in New York].” Her music project is well-developed now, but she’s not going to stop there – Annie has big goals for her future and who she wants to work with. “I really love Diplo. For singers, I think M.I.A. is just a dope person who speaks the same language that I do. I really like her whole thing. There are smaller artists that I’m looking at and reaching out slowly for the new album, so we’ll see about that. For the future, I think, Mark Ronson, there would be a song that would be mine in his repertoire. I love what he does. I love what he did with Miley Cyrus. I love what he did with Tame Impala. I love that he works with weirder artists as well. I think
Tame Impala and Miley Cyrus are artists that have a very strong voice and are themselves.”
Wearing a dress custom-made for her by her friend and stylist of this shoot, Cinthya Chalifoux, she also has big goals for her impeccable fashion and style. “I’d love to have my own line of clothing eventually. I think I’d have a great eye and to fulfill a lot of girls needs in fashion. I love the idea of the practicality and the sleekness, so that’s my go-to ideology – a mix of very high-fashion and sportswear.” Annie comes off with an undeniable calm and cool confidence, in who she is as a person, her style, her music, and her morals, and she wants nothing more than for others to embody this same assuredness, but she tells me, “I’m not always confident, but when I have these moments, I have good people around me to remind me, ‘Annie, think positive’… It really helps so much to have good people around me. I have my breakdowns. I’m depressed sometimes. Everybody has a past… But it’s humanity, it’s who we are.” On the flip side, she solemnly notes, “People who live in fear will be in their bubble and in judgment. Fear is the driving source of any racism or any judgment because you don’t know what you have in front of you, so you have fear, so you make a judgment.” Annie Sama still manages to find hope and purpose, though: “It’s our responsibility to really change this world, one mind at a time.”
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Custom Tulle Caftan (Price upon request) CINTHYA CHALIFOUX. Custom Shoulder Armor (Price upon request) ZONE TANGIBLE. Ring ($2,400) SCARO. Earrings ($115) AARON MAYA at ARGENT TONIC. Creative Director SYLVAIN BLAIS. Photographer DAMIAN SIQUEIROS. Fashion Editor CINTHYA CHALIFOUX. Makeup and Hair JOFFREY DUMAS.
DESIGN
ECHO PAVILION
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2019 DESIGN WEEK Milan
Milan Design Week, the vibrantly stimulating celebration of smart design and creative minds, standouts with striking installations and glamorous events peppered all across the fastpaced metropolis. This year, the lavish weeklong event defined by the showcases of Salone del Mobile and Fuorisalone, took place from April 8th to April 14th under several standout themes of collaborations, responsible design and ingenuity.
Story by Azamit Words by Maya Assouad 129
LAMBERT ET FILS X DWA DESIGN STUDIO
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nderlined with the pulsating rhythm of innovative design, powerful concepts, playful colour palettes, and artful collaborations, the monolithic and multifaceted event yet again reigned supreme. From an array of winning designs and unexpected installations, our selected highlights include: The altered environment of Life in Vogue which saw a group of heavyweight designers and architects completely transform the magazine’s offices into a spirited, visual gallery. In the elegant Circolo Filologico Milanese, Formations by Note Design Studio for Tarkett stood out with geometric, terrazzo-inspired, totem poles topped with 3D shapes.
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Studiopepe unveiled Les Arcanistes, an immersive experience flaunting bold colour palettes and featuring the studio’s new furniture range. Innovation met tradition at the baroque Palazzo Litta Pavilion with Echo Pavillion, an installation by Chilean architecture studio Pezo von Ellrichshausen. Conifera, a collaboration between French architect Arthur Mamou-Mani and COS made a case for technology and sustainability with a respectful nod to heritage. Six Gallery’s impeccable and decadent installation previewed their latest modern venture launching fall 2019, The Sister Hotel. Lastly, Montreal’s Lambert et Fils collaborated with DWA Design Studio on Caffè Populaire, a social pop-up bistro set in a former panettone factory flaunting pieces from both studios’ collections.
LIFE IN VOGUE
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BMW M FESTIVAL Hosted for the first time in North America, the BMW M Festival took place at Canadian Tire Motorsport Park in Bowmanville, Ontario on July 13 and 14, 2019. By Nicole Fu
For the first time in North America, the BMW M Festival was hosted at the Canadian Tire Motorsport Park in Bowmanville, Ontario from July 13 to 14, 2019. The festival promised everything from exciting automotive experiences to musical performances and displays. Among the drivers were Finnish driver Jesse Krohn and Brtish driver Tom Blomqvist. Krohn is an award winning professional racing driver and BMW Motorsport work driver who in his early days made a name for himself in Formula 1 before becoming a regular IMSA driver. Blomqvist, who was named ‘Rookie of the Year’ in 2015 and went on to win on several occasions in the DTM, won the 24-hours of Spa Francorchamps in 2018. During the festival, BMW’s lucky guests were able to experience both talented drivers’ skills.
PHOTOS: LUCAS SCARFONE
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BMW Canada kindly extended the invitation to Dress to Kill to attend the media event on July 12, providing us with an unforgettable and exhilarating experience! The day prior to the BMW Canada Festival weekend was specifically catered towards influential and affluent women, making it an exclusive Women’s Event to further unite the BMW community. Throughout the day, seven adrenaline-filled driving experiences, both on- and off-track, were offered to the attendees at the media event. From drag racing with M3s to driving around a track with professional racers at 250km/hr, BMW and its drivers successfully won over each attendee’s heart at the site.
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LIFESTYLE
The Swiping
GENERATION Swiping apps are no longer only used for finding dates – networking for business connections can now go beyond unanswered emails, allowing you to swipe left or right on your next collaborator.
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By Daisy Mellar
ot too long ago, dating sites were typically associated with a stigma of being only for lonely middle-aged or older individuals who were, in some way or another, definitely a catfish. At best, your date was actually the height they said they were, and at worst, they were a psychopath looking for their next victim. In any case, there was the perception that any meeting from the internet was most likely going to end badly. My own mother once told me of a time when her date tried to woo her with his job as a printer salesman, offering her ‘all the free ink cartridges you could want!’ – her response was a strongly sarcastic ‘wow’. What’s more, even if you did have a great date and ended up in a relationship with the person, the fact that you met on the internet in the first place was still likely to carry some form of judgment. However, with the millennial takeover and the immense progression of the digital era, where everything is twice as fast-paced and everyone is glued to their smartphones, this stigma has all but been eradicated. Now, 91 million people worldwide are estimated to be using dating apps such as Tinder, Hinge, and Bumble, and young people meeting their other halves via this method is considered the new norm. It is therefore unsurprising that this gamified experience of meeting complete strangers has now evolved into the world of professionalism.
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In the past, doing business was presented only in a very formal and corporate fashion. Online networks such as LinkedIn were often seen as falling short of the needs of self-employed youngsters or those in the creative industries, as 77 percent of their users are aged over 30 and looking to recruit mainly from large firms. Though, in recent years, statistics show that more and more people are finding jobs through the method of networking, and with the increasing number of entrepreneurs, freelancers, and graduates fuelled with modern career ideologies, newly formed apps such as Shapr, Mixer, Ripple, and Bumble’s spin-off Bumble Bizz (to name a few) have gained great momentum in connecting individuals on a professional basis. Though the apps differ in their specific features, generally, they all enable you to present and view very (very) condensed and visually interesting CVs, which you can then either ‘like’ or
The success of these apps was not that unpredictable if we consider the millennial attitude to want more and not be afraid to ask for it. Millennials are also holding greater value for community and creativity in their career rather than simply obtaining a large paycheck – this is exactly what these apps aim to provide. However, like most forms of social media, these professional networking apps are also effective in providing users with a little boost in dopamine (the neurotransmitter that controls our reward processing). Think of that feeling you get when picking up a phone call congratulating you on having made it through the first stage of the job application process or the feeling when you match with the hottie on your dating app of choice. A mixture of those two feelings is what these apps provide when you connect, and the more you swipe, the more rewarding sensations you get. It is no wonder so many people, just like with social media, are finding these networking apps slightly addictive – but then again, being addicted to boosting your career may not be such a bad thing.
move past. Those who connect by liking each other may want to collaborate on projects, discuss interests in their relevant fields, organize mentorships or internships, or even be directly considered for employment opportunities. In my opinion, these apps provide a fantastic alternative to the tedious and time-consuming online applications or sending copious amounts of attempted networking emails from which you rarely get a response. Instead, they allow people to efficiently swipe through profiles, perhaps on their morning metro journey or as they wait in the queue for their coffee, then match and connect to immediately start a conversation. Also, and I am sure many will agree, engaging with someone over a 30 minute meet up can teach you more about them than reading answers to an online application or responding to their formal email. Because of this, many people even consider these apps to be fixing the networking and job-seeking experience.
So, what is the perfect first professional networking date? In my experience, whatever you are hoping to get out of the connection, you cannot go wrong with offering to buy them a coffee, though from other people I have heard everything from going to a conference together to planning a week’s holiday in Spain. When you arrive for the networking date, make sure to come prepared. If you are hoping to build a successful connection with this person based on their profession, do some research and think of some interesting questions to ask them, but at the same time, don’t make it like an interview, keeping the conversation light and flowing. Don't expect too much and keep your expectations of the meeting realistic. If you’re seeking employment, it is very unlikely that they are going to offer you a job then and there. Like any connection, it takes time. It is important to be respectful of their reasons for using the app and also respect their schedule. If you have agreed on a 30-minute meet up, then it is usually good to wrap things up at this time; however, if there is a great connection and it flows over naturally, this may be a good sign. At the end of the meeting, mention keeping in touch or ask if they are going to a relevant event you are attending. Once you have left each other, send them an email thanking them for their time and following up on meeting again, being sure to keep it purposeful. Just remember that these connections need to be mutual – they aren’t job interviews or romantic dates! They are about sharing knowledge and exploring connection possibilities with interesting and like-minded individuals that will help to grow your professional network and resources on a day-to-day basis. I think many will agree that these apps hold great potential in the professional world, and it will be exciting to see how they develop and expand further over the coming years. So, put yourself out there, and get swiping.
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EVENTS
Dress to Kill Grand Prix
A NIGHT AT THE MANSION The third annual Dress to Kill fashion night kicked off the Montreal Formula 1 weekend in utmost style. The red carpet welcomed some of Montreal’s most glamorous who gathered to celebrate creativity in the Nouveau Renaissance at Bar George. The theme of the evening was a night to celebrate the very best in Montreal talent across a variety of categories.
Photos by Guillaume Bell, Le Homard Club Photography, & Vicky Snyder
Thanks to our Sponsors
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DTK CONTINUES TO BE A FERVENT SUPPORTER OF THE FREEDOM OF EXPRESSION IN ALL ART FORMS, WHILE BEING A VOICE FOR THOSE WITHIN OUR COMMUNITY. WITH OUR NEW WEBSITE, WE WILL CONTINUE TO INSPIRE, STIMULATE, AND EXCITE READERS.
DRESSTOKILLMAGAZINE.COM
HOT SPOTS
The best SPEAKEASY barsACROSS CANADA
There’s something quite exhilarating about looking for an unidentified space, opening a secret door, and descending a darkened set of stairs into a drinking establishment. By Marie-Ève Venne Despite speakeasy bars gaining popularity over the last few years, the excitation of exploring one of these secret liquor joints for the first time never fades. Discover our favourite hidden bars across Canada.
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CLOAKROOM BAR
Tucked away inside a custom-made menswear store, this sophisticated speakeasy is probably the best in the city. After pushing a mirror door, you step inside a narrow space with dim lights, black velvet drapes, and old Hollywood portraits hanging on the walls. Don’t bother asking for a cocktail list (there is actually none), since the expert mixologists working there will create you the cocktail of your dreams, according to your boozy preferences and mood. You go there to experience mixology at its best and to (re)discover how carefully-selected, excellent spirits give life to any cocktail.
Montreal 2175 Rue de la Montagne #100
GIFT SHOP
Don’t get turned off by the overall bougie-hipster feel of this bar that’s hiding inside a barbershop. Gift Shop, owned by the very successful Vancouver-based Donnelly Group, is an 18-seat covert cocktail bar inside Barber & Co that brings a West Coast feel to the neighborhood. Walk through the door with a green lightbox to find inventive drinks created by the barman known only as H. Here, you will get a unique – and most likely addictive – cocktail experience in the heart of downtown Toronto, leaving totally charmed by their delicious concoctions.
Toronto 89-B Ossington Ave
You will find this cozy hideaway while looking for the red light. Located on the corner of Main Street and 3rd Ave, The Narrow Lounge is a literal hidden gem that will serve you delicious drinks and some tasty bites. If you are looking for a fancy place, you might not appreciate the general laid-back vibe and quaint look of the place, but it will be your loss. Go there on a night when you need a break from all the posh cocktail places, when you’re looking for a bar with a dive feel where you can enjoy a great selection of craft beers.
THE NARROW LOUNGE
Vancouver Corner of Main Street and 3rd
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LIFESTYLE © BENJAMIN SÉGARD
© GROUPE VEGANGELS
© GROUPE VEGANGELS
As for the vibe of the place, she is going for reminiscent of retro diners, with a sleek white counter and high stools, a black and white checkered floor, and music posters that she bought while she was still living in Los Angeles.
COMPASSIONATE COOKING
How a Montreal vegan cook is making it her mission to open people’s minds, one meal at the time.
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By Marie-Ève Venne
t’s 3 P.M. on a hot and suffocating summer afternoon, as I meet MJ Guertin in the Mile End, in front of what is about to be her new restaurant Mimi & Jones.
“Sorry for the mess – I was supposed to come earlier and clean a little bit. It’s slowly taking form, though,” she declares as we step inside the space she is renting.
For a few weeks now, she’s been working nonstop on giving life to her new project, while still supervising the operations at her other restaurant, Sata Sushi. Located on Ave. Parc, Mimi & Jones is a vegan diner that will serve comfort food, along with homemade raviolis and milkshakes. “I didn’t want to go for something overly complicated. I think the best way to reach people is to serve them food that they already enjoy. I want to show people that eating vegan is not exclusively quinoa and seeds. I am personally obsessed with pasta, and I love making my own take on vegan raviolis,” she explains.
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“I’ve been doing a lot of back and forth over the past years. I love Montreal, but I’ve always felt like I needed to explore more. I lived two years in Los Angeles, where they have an incredible vegan scene. I actually always thought that I would open my second restaurant there, but at some point, I had to come back here to take care of Sata. And I never went back. It’s okay, I feel like there is more that I can do here to help the cause.” Vegan for over 10 years now, she has been spreading her message of compassion, with her cooking as the messenger. “I used to eat meat without asking myself any questions. One day, as I was driving, I came across a truck full of pigs on their way to the slaughterhouse. You could clearly see the fear in their eyes. It shocked me! I had to stop on the side of the road because my whole body was shaking. That is the moment that changed everything. I could no longer eat meat. I started "[doing]" research on the meat industry and what I discovered disgusted me forever.” “For me, it’s mostly about not being selective with my compassion, and I think every human should do the same. We are the most evolved species, and still, we keep on coming up with excuses for giving our affection to only a few living creatures. It doesn’t make sense to me,” she adds. That high sensitivity and empathy for others is something that radiates from MJ as soon as you meet her. She automatically makes you feel at ease, while still forcing you to rethink the way you go through life embracing habits that have been engrained in you from an early age. “No one is born a carnivore. We are simply conditioned.”
JEAN-CLAUDE POITRAS FASHION AND INSPIRATION EXHIBITION OCT. 24 – APRIL 26, 2019
This exhibition is a co-production by the McCord Museum and the Musée de la civilisation.
B® CHANEL S. de R.L. ©CHANEL, Inc. CHANEL ®
www.chanel.com
Vancouver (604) 682-0522
Calgary (403) 232-6240
Toronto Bloor (416) 964-1085
Toronto Flagship (416) 925-2577
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Montreal (514) 842-7318
