Fashion Series - EERIE by Fashion Series Archive

fashionSERIES eerie

fashionSERIES Fashion Series is an electronic publication entirely dedicated to discovering, showcasing and promoting Toronto’s emerging and established fashion industry professionals. Our mission is to provide a distinct platform for fashion photographers, models, designers, wardrobe stylists, makeup artists, hair stylists, bloggers, and illustrators through visual series and exclusive interviews. Fashion Series will highlight these rising stars by encouraging and unveiling their talents in the form of a cohesive photographic collection. In addition, via exclusive interviews, we aim to yield some background information about the showcased artist, the artist’s intention, technical specification, an indication of their work’s historical and theoretical context - and, at the same time, provide our readers with an invaluable insight into the world of fashion visualization.

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FASHION SERIES ISSN 1929-4786

is the voice of Toronto’s aspiring fashion industry professionals. Available 24 hours online via www.fashionseries.ca. Entire contents are © by Fashion Series Archive unless otherwise stated.

THE TEAM CEO/EDITOR IN CHIEF Mehreen Hussain SENIOR EDITOR Meagan Enciso WRITERS Aaren FitzGerald Brian Henderson Jaskirat Gebi Kathlyn Rose Pema Tsering Sarah St. Jules STAFF PHOTOGRAPHERS Kate Koler Mugunthan Ganesan ASSISTANT TO EDITOR IN CHIEF Aiysha Khan Fatima Idris Nadia Khan

COVER IMAGE CREDITS Polk Liang, featured photographer Beatrice Jean, makeup artist Joshua Kun Luan, hair stylist Stephanie Heimpel, model

fallen mathews

christina rufino

polk liang

maria abilleira

karolina jakimiak

art of fashion: raw

Fallen

mathews Pema Tsering As a young girl growing up in Brampton, Ontario, Fallen Matthews kept to herself and battled self-esteem issues. She dreamt of having a career where she could work with other people like an artist or a doctor. That all quickly changed for Matthews when she was persuaded by a friend to crash a local photography society meeting in Halifax, Nova Scotia. She handed out homemade business cards to everyone who was in attendance. It was there that she met her first photographer Tony Egan and whom she had her very first photoshoot with. To this day, she says he is the best she knows. “As I did more [photoshoots], I networked and eventually found my footing in approaching photographers, models, and other fashion personnel for other opportunities.” Her first photoshoot was with Egan and it was a ‘Seven Deadly Sins’ themed shoot. She says that as a result of much planning beforehand with Egan, she was not as nervous as you would expect. She was still nervous but

enjoyed the experience with Egan. Once she started to model, Matthews says that it wasn’t what she expected. The glamorous life of a model that she had heard so much about was certainly not the reality but she enjoys it nonetheless. She loves meeting new people through modelling and trying new things. However, Matthews has also been told several times that she does not meet ‘the industry’s standards’ as a model. “I think that the entire modelling game needs to change and be more receptive to ethnic types instead of being primed for particular proportions.” Even though she is a petite 5’5” Matthews has modelled in two shows in the past. When it comes to her height, she says that she is perfectly capable of appeasing a wide range of moods and looks. “Don’t discredit people because of a lack of inches.”

Photography: Tyler Rogers Designs: Clark & James

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“I think wherever you go, you’re bound to discover or encounter significant life lessons and knowledge towards your future.” Branding herself as, “Trained, ethnic, agency-represented, small model…with a serious thing for shades.” Matthews says that her greatest feature, and many would have to agree, are her lips. She likes how they are slightly bigger than most but are also ‘demurely pouted’. While many would say that the most important aspect to modelling is having a great look, Matthews believes otherwise. She says networking is most important because everyone has the ability to succeed. “I think that success ultimately dependent on the climate of the market and your audience.” As for models that she looks up to, Matthews says she does not have any. Instead she looks up to great photos themselves as well as photographers. “I can’t think of any models I look up to because I fall in love with art forms and aesthetics instead of individuals.” Art inspires her because she says they contribute to art. However, she does note that she does have a passion for photographer Stefan Milev. She says that the ultimate photoshoot for her would be with Milev in Berlin or Prague. Her thoughts on the definition of beauty go beyond physical looks for Matthews. “I believe beauty is a matter of acceptance and perspective as opposed to raw, definitive aesthetics. Being healthy in heart and mind in beauty enough for me.” For those of us who aspire to become a model just like Matthews, she advises to always have an alternative career option, as the industry is a tricky one. “Always remember that you are beautiful in spite of what standards you do or don’t appease in terms of the ‘industry’.” In the end however, new models need to remember not to take things personally and to learn as much as possible from each experience, says Matthews. A quick tip: do some research on the clientele you will be working with. “It never hurts to be informed, know backgrounds

and get some other reviews from your modelling-fashion community.” In terms of income when starting out in the industry, Matthews says it is always important to specify that you would like to get paid for the work that you do and always justify why you should. She also adds that aspiring models need to know how to negotiate when it comes to pay. “You have to know your network, your market and how to approach people professionally.” Throughout her career however, school has always come before her modelling and she tells others to do the same as well. “I’ve never thought that modeling could sustain my dreams financially or personally which is why I view it as a part-time career.” Currently busy working towards getting her BA in Sociology, she is also preparing to enter a funeral arrangement, direction and embalming program. “Odd interests but they’re mine.” Apart from modelling, Matthews says her three passions in life are reading, writing and her cats. When she gets some downtown from modelling, she likes to read the classics (“D.H. Lawrence or V.C. Andrews classics”) and watching foreign movies. When asked what she felt was her biggest achievement to date in her modelling career, Matthews says it is everything because of the ‘outrageous odds’. “It’s really hard to ‘make it’ or make anything out of modelling unless you go for things.” Matthews plans on teaching English in South Korea in the near future where she hopes to meet Korean actor Choi Woo-Jae who she says she’s had a crush on since 2000. While teaching she also hopes to work with some photographers as well as makeup professionals there. She will be updating her blog (fallenkittie.blogspot.com) with tales of her adventures while abroad.

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christina

Rufino Sarah St. Jules

With the multifaceted talent to both accentuate someone’s beauty and to give him or her the bloody scars of a zombie, it is hard to believe that makeup artistry was an accidental career choice for Christina Rufino. During her years working in fashion retail, a once-taken-butnever-forgotten high school cosmetology course, combined with her urge to create beauty and gore, led her in the direction where she was destined to be. “I hadn’t stopped thinking about [makeup] since I finished the cosmetology course. I signed up for [School of Makeup Art in Yorkville] soon after, and the rest is history.”

teaching makeup artistry. “I love teaching but the most challenging thing of all would be discovering new and exciting ways to present the world of makeup. It’s important that new artists start off on the right foot.”

While it may almost be an accident that Christina Rufino stumbled into makeup artistry, her talent, determination and passion has given birth to a makeup artist that has surpassed the countless challenges one faces in the industry. Ever since Christina began working as a makeup artist over eight years ago, she has taken every opportunity to further her career in the Toronto’s bustling industry. She describes her profession as a continuous learning process that has so much to offer. “I enjoy every facet of makeup. Beauty, bridal, fashion, special effects… having diversity is what I love about my career.”

Christina finds the fashion industry to be a “fascinating beast” – something that is satisfying to be a part of. She’s excited that Toronto is starting to be recognized as a fashion powerhouse. It is this thriving and multifaceted fashion industry that has been providing Christina diverse opportunities to work as a makeup artist. “I love that I’m able to be in different scenarios and able to create every day.” However, with eight years of experience under her belt, she admits that it isn’t for someone who is timid. “It has its perks, but the hours are long and the back pain isn’t pleasant. It’s a lot of hard work and dedication.” That’s why Christina’s admires hardworking artists such as Dany Sanz, the creator of MAKE UP FOR EVER. “Over the years she has evolved and stayed true to her artistic background.” And then there’s the lack of stability a freelance makeup artist faces in his or her career. “It’s definitely a roller coaster at times but I couldn’t imagine doing anything else.“

Christina has been fortunate enough to work on challenging projects such as music videos, commercials, TV stations as well as special effects assignments that require a lot of research, preparation and practice. She also teaches makeup techniques to up-andcomers in the industry with aims to innovate the art of

Christina’s passion for makeup is visible in all that she’s doing to advance her career and move to the top of Toronto’s fashion industry. Where this passion came from, is hard for her to describe but she believes that “its mostly [from] that urge to create - whether it’s beauty or gore.” Aside from her love of makeup and special effects, Chris-

-tina attributes her success to her life goals – she has made it a personal mission to travel as much as her wallet can handle – and to those who surround her. “I am passionate about the important people that surround me.” With this passion in heart, Christina has developed an innate ability to see beauty in ordinary things and to take inspiration from every part of the world she encounters. “I get inspiration from absolutely everything. A person, nature, sometimes a walk through a craft store might plant a seed for an idea.” Maybe that’s why Christina doesn’t feel there is any definable version of beauty. “To me there is no ‘one’ beauty. I find beauty in everyone I see.” But it is the classical beauties of 1950s and 1960s, such as Bridget Bardot and Sophia Loren, which Christina most adores and takes inspiration from. The femininity along with magnificent looks of the celebrities from those eras continues to influence Christina’s makeup and personal style. In the contemporary world, Christina loves the strong sense of style Freida Pinto, Adele and Lady Gaga possess. However, when it comes to her dream celebrity to work with, she steps outside of the box. “I would have to say Johnny Depp. Mostly because of all the characters he is capable of portraying, it would be awesome to create something on that canvas.” For Christina, one of the facets of her profession that gets easier over time is the process of putting makeup on a new client’s face. The tricky part is that no two clients are the same, and Christina has to change her approach depending on the person or the style of makeup the clients are looking for. Certain appointments, such as bridal, must begin with questions, in order to gauge what the client is expecting. “It is important to know the personality of your client. Other than that, the first things I look at are facial features and structure. In beauty, it’s all about complementing your subject.” While makeup application becomes easier with practice, there’s no way getting around those long and tiring days spent on location for photo shoots. Christina shares her own coping mechanism for making it through the day and reveals how she always manages to keep her energy up: “I find that it’s all about going in with a good attitude and initially being prepared for the long haul. It will rub off on everyone else.”

Depending on the crew that she is working with and the theme of the shoot, Christina says that it could take hours or days to be fully prepared. Her most important tool for any photo shoot would be full coverage foundation. She looks for the most pigmented products to use during the shoot, so that the makeup stands out. Aside from the literal products, she feels that the makeup artist’s skill is the most vital part of a successful shoot. “Without it, your other tools will be rendered useless.” She feels lucky because she has been involved with many projects that have allowed her creative freedom. “The trick with being allowed full creativity is staying on track with the stylists, photographers and hairstylists.” Everyone needs to be on the same page. Since fluidity is so important, the team needs to get together to come up with the concept and from there the ideas for the shoot will usually spark amongst all the creative minds. And with a mind as creative as Christina’s, we had to ask her for some useful makeup tips and tricks. For Christina, a classic ‘go-to’ look for her is a kitten shadow all along the lid, mascara, a BB cream or tinted moisturizer, a rosy cream blush and a moisturizing lipstick or balm. She suggests playing up your favorite features is the best way to achieve a simple and stylish makeup look. To stay on trend with what is popular this season, pick up a coloured liquid liner, she adds. It’s a simple way to add impact to your look without going overboard. If your eyes happen to be your favorite feature, Christina’s suggestion is “use concealer right below the outer corners of your eyes and it will lift you right up.” Also, if you are trying to avoid the ‘dewy’ look, stick with a powder compact, mascara, blush and a nice bright lipstick that will prepare you for any last minute late night affairs. Of course, Christina has a lot more makeup tips and tricks up her sleeves. Her artistic talents have the ability to transform you into a beauty or a beast, literally “anything your heart desires”. We find her energy, passion and inspirational attitude towards the magical world of makeup to be downright intoxicating and wish her nothing but the very best in her career.

afterdark Photography: Paul Steward Makeup: Christina Rufino of Make Up For Ever Hair: Jesse Young for Lift Salon Model: Maycee Lara Jade

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polkliang

Jaskirat Gebi & Kathlyn Rose Driven by a true passion for his work, immense amount of sons but the most dominant is the power that it has to talent and a love for photography, Polk Liang doesn’t just capture an audience’s attention. He explains that fashshoot photos but creates a story with a click of a shut- ion is a luxury; it’s the high echelon that directs society’s ter. Liang’s photographic vision can only be described as trends. an intense story that is masterfully executed. He not only brings equal passion and enthusiasm to each image but In his photographs, Liang doesn’t just accentuate the also his inspirations which seem to find a way into his clothing or make-up but creates a feeling around it. In orwork. der to achieve these results, he creates a fun atmosphere to help models feel more comfortable. “I like [to] keep Liang moved to Toronto a year ago with 2 years of experi- joking with model. I don’t like when it’s so quiet when I am ence in China. He says his interest in photography grew as taking photos with models, and I will play some music.” his creativity needed an outlet. He didn’t have any masterful skills in painting or drawing so he took up photography. Liang took us through his photography process and emBy teaching himself graphic design, he was introduced to phasized the effectiveness of a well-made team. His pera new world of commercial photography where he landed ception is that a harmonious team, including the model, his first job in a studio in China. His first job allowed him will deliver the best results. He furthers this by includto expand his knowledge of photography whilst giving him ing the model in the story. Liang says he talks with the hands on experience in the industry. He credits his boss, model before a shoot to help her embody his vision. After who is based in Guangzhou, China, for pushing his cre- the photo shoot is done he picks only the best shots and ativity and love for the art. A boss as well as a mentor, “He emphasizes the importance of detail. He believes that a often [said], ‘soft fire makes sweet malt.’” good photograph has a soul and a center which attracts the viewer. “It should be the best work to be displayed for Liang’s recent arrival in Toronto sheds a new light into his the viewer.” The pictures are then taken into post produccreativity and has become one of his driving inspirations. tion where the photograph is refined and edited to maxiHis creativity is sparked by many things but observing mize the viewer’s interest. Each picture always comes as another artist’s editorials and photographs inspires him a surprise to him but the best way to deal with them is to the most. While studying other’s work, he looks at details. be prepared. “Most of the time, I find something is really useful.” This helps him learn how to develop his technique and to fur- Photography, though an art in itself, is Liang’s business. ther refine his style. But he says that he has never looked at photography as so. It is through his hard work that his passion has eleLiang’s style can easily be categorized as focused perfec- gantly transformed into his career. He explains that being tion. During his capturing process, the most important a good photographer entails respect for your work, and thing is to photograph a good shot. This allows the pick- to have responsibility for each piece created. ing process for an editorial to be almost effortless and post production simpler. In order to achieve this, Liang When asked about his current projects, in a very hushed believes in harmony between technique and having a vi- sense, a fall fashion editorial came up. “I am working on a sion for the shoot. As “for good work, both of them are kind of fall season fashion photo shoot currently. This is a inseparable.” huge post process project.” Secretive about his work, we can only assume it may be his best yet. Liang has a powerful attraction to Fashion for many rea-

untitled Photography: Polk Liang Designs: Blue Bu Hair: Joshua Kun Luan Makeup: Beatrice Jean Model: Stephanie Heimpel

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maria

abilleira Meagan Enciso Creativity is something that cannot be taught, but when someone is gifted with the ability to create art, it has to be nourished. Luckily for María Abilleira, her parents noticed her attraction to art at a young age. Immediately after, she was whisked away to a life of cultural pursuits. Enrolled in painting classes and art books bought, Maria’s pursuit for creativity never wavered. She studied art in school and later switched her major, and city, to study fashion design. Under the tutelage of her favourite Spanish designer, Jose Castro, she blossomed. Although, she does remember her first article of clothing she designed with a slight grimace. “I did it very bad”. However, she has learned from her past. Now knowing what makes a quality article of clothing design and textile - her designs have continued to get better. Drawing inspiration from everyday life, each design represents an event in her life. “I think every artist’s influences are personal; the things that I see and that influence me on my life [are] not the same as the things you see and influence you in your life.” This type of thinking ensures that her clothes have a distinct personality and emotion about them that separates them from the pack. To her, fashion is a means of expression. It’s how she tells the story of her life and experiences, her feelings and emotions through her designs. “I need to create something everyday.” Although humbly, she doesn’t qualify

herself as an artist. “I think that people have to say it.” Although she loves fashion, the frivolity of the fashion world sometimes irks her. Not to mention the stiff competition that rises up every year. “It is very hard because there are a large number of high quality emerging designers and [to] stand out from all of them [gets] really complicated.” Although after winning several awards as a young designer at the national level, she has little to worry about. With a penchant for classic looks, Maria’s slightly dark astehtics sets her apart from her competitors. Playing with volume and textures with exaggerated necks, she likes to mix in a little abstinence in her clothing. When not designing, she works as a stylist for fashion publishing houses among the likes of photographer Miguel Vidal as well as styling for movies. In her spare time, she reads Metal Magazine, Neo2 and Avenue Illustrated magazine, which help keep her creativity flowing. Although Jose Castro is her favourite designer, she also touts Alexander McQueen and Martin Margiela as design inspirations. Now creating a line of fashion accessories, the future seems bright for Maria. Endorsing her strong work ethic, passion, and perseverance for her success, she advises aspiring designers to do the same. “I believe that without this, I would not have [succeeded].”

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silencio Photography: Miguel Vidal Designs & Styling: Maria Abilleira Hair & Makeup: Xela Vazquez Model: Violeta Mosquera

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karolina

jakimiak

Polish photographer, Karolina Jakimiak has two passions: people and fashion. “I like to photograph people. They are inspiring in themselves. When I see an interesting face, I need to take a photo immediately.” Unfortunately, like many photographers, Karolina sometimes lacks the courage to take pictures of people in the streets she doesn’t know. However, there’s no doubt that Karolina can capture and show beauty – especially that of a women – with a click of a button. Aiming for extraordinary, Karolina tries to show something that the ‘recipient’ would not normally see. While she believes she has yet to develop her own personal style in photography – “to develop your own style, you have to be mature and aware of your own self” – she has managed to create an intoxicating portfolio over the years. Barely believing in photographic education, it is experience that is helping the self-taught photographer make a name for herself amidst other photographers. “I think that education cannot teach everything to perfection.” That’s why she is keen on having a vision. “The most important in photography is the ability to look. If you do not feel what you see, the picture will not come out good.” For her, experience surpasses education. “I think that no studio photography [class] will teach me what my own experience has.” Karolina points out that, while fashion in Poland a few years ago was a little behind, it is becoming progressively important. “A few years ago, most people did not pay attention to how they dressed, or to what is in season.” But now she notes that she sees girls dress better on the streets. Moreover, Polish boutiques did not stand out from abroad previously. But now, Poland has great designers which are increasingly appreciated in the world: Grosia Baczyfiska, Robert Kupisz, Paprocki

& Brzozowski, Eva Minge, and La Mania to name a few. “They are creating, at the moment, Polish fashion.” While the works of many prominent photographers inspire Karolina – Leibovitz, Newton, Watson and Weber – she is very captivated by the work of Patrick Demarchelier. “His way of shooting and viewing is intriguing and beautiful. I love looking at [the] pictures, they have something magical that can not be called words.” Living and working in Poland, Karolina is very excited to see the rise of many young and talented photographers now working in the Polish fashion industry. She sees competition as inspiration and a healthy motivator. Looking at other brilliant photographers and their work gives her the motivation to continue to work and to improve upon it. “I say to myself. ‘I will also [produce] such pictures,’ and immediately prepare the next sessions to train [myself to match their] skills.” Karolina’s passion for fashion is apparent in her photography, in which she also does the styling. Karolina sees styling as a kind of art dependent upon what the fashion industry produces for the current season. “Fashion is invaluable and never fully known. It is not known what the new season beholds.” That’s how, she explains, you can mix and match costume pieces. “It is fascinating because everyone does it their own way. Everyone has a different sense of style.” For Karolina, it is this style, this individual fashion that, in some ways, defines us. “How we dress can tell a lot about what kind of people we are.” The mystery and intrigue fashion produces draws Karolina to it. And while Karolina does not focus only on one area of photography, fashion photography is what she loves. It is the perfect combination of the two passions she just can’t get enough of.

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endless journey Photography & Styling: Karolina Jakimiak Designs: Kas Kryst Hair & Makeup: Mateusz Smyk Model: Kamila/Eastern Models

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artof

fashion design competition & Fashion Show Authors: Brian Henderson Meagan Enciso Sarah St. Jules Pema Tsering Jaskirat Gebi Mehreen Hussain Photography: Kate Koler Mugunthan Ganesan

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Michelle Planche, Founder & President of Art of Fashion

On the sleepless night of Toronto’s annual sunset-to-sunrise celebration of contemporary art, Art of Fashion organization presented an intimate encounter with Canadian fashion at their annual Design Competition and Fashion Exhibit. The exhibitionstyle fashion show brought together ten of Canada’s emerging designers, a renowned judging panel of industry leaders, and an endless crowd of fashion enthusiasts to the transformed Hazelton Lane’s Oval Square. Now in it’s 16th year, AOF’s Design Competition and Fashion Exhibit has grown to see increased interest from the public in their design finalists and ongoing support from the fashion industry. For Michelle Planche, Founder and President of Art of Fashion, “Over the last 16 years, [the organization] has grown in different ways but one thing always consistent is bringing together an amazing group of creative, dedicated and inspiring people.” Free for designers to participate and to gain exposure to mentors, peers and potential future consumers, the unique AOF Design Competition & Fashion Show competition is purely Canadian, drawing talent from across the nation.

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Hair: Spellbound Hair Design Makeup: Blonde Moxie Makeup Models: Orange Model Management

backstage The event began backstage, an industrial lit hardwood floor room rich with photographic fodder: colorful clothes, beautiful people, and the high intensity of a short-lived event. Creativity overflowed as hair specialists from Spellbound Hair Design and makeup artists from Blonde Moxie Makeup took charge in making the Orange Model Management’s models catwalk ready; each designer focused on primping the dresses before the final revelation. The scene was something far from your usual backstage hurdle, yet there was present, a form of chaos in which everyone involved was at their most natural state revealing the full transformation of ordinary into the designer’s interpretation of “RAW”, the challenging theme for this year’s competition.

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design exhibit In the meantime, the Oval Square had been completely transformed. The cocktail bar, DJ stage, red carpet photo booth, boutique exhibits, and silent auction tables were all strategically set up to be accessible. And of course, with the ten designer finalists being the core of the competition, each was provided with a presentation booth that had been personalized into fashion visuals using inspiration boards, mannequins with five of their six â&#x20AC;&#x153;RAWâ&#x20AC;? themed design pieces and well thought out details to accentuate their exhibit. Set up back to back with their competition, each designer was ready to prove themselves as the most promising designer and tell the story behind their collection.

What is your experience as a designer? Formal Training/Education? Career/Work? I studied Fashion Design at Fanshawe College after a childhood of sewing, and was awarded some awards at Graduation. I was one of three to receive the Flare 2012 Awards for Best Collection, Ronis Brothers Award of Excellence for Best Design and Unbound 2012 People’s Choice Award for my final collection. What made you be a part of Art of Fashion Design Competition? Charlotte approached me with the idea and we sat down for a couple days and really thought about our interpretation of Raw. It was my first design project out of school, and I thought it would be a cool experience to test the waters and see how different it is when you’re not in school. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? The difference is the idea, and the process from taking something on paper that you designed, and staying true to that image and making it three dimensional. How would you describe the clothing you design? When designing clothing I think that having a strong emotional mood is the most exciting part for me, so that’s what I try to do when I’m thinking of silhouettes and colors and textures. Being able to feel like a certain person or a certain emotion when wearing certain pieces is something I try to think about, so people who wear my clothes can have that extra element. How difficult was it to incorporate the “RAW” theme into your own aesthetic? I don’t think it was that hard, we kind of started with the theme and worked around it to find something that was appropriate and in a direction no one else might think to go. What materials or fabrics were used to create your pieces? For our collection Orb, we used an array of different fabrics including cotton/poly blends, faux suede’s and silks.

What is most rewarding to you about designing clothing? I like designing clothing because I live inventing new things, and putting colors and prints together that you might not see often in the commercial market. What has been your greatest success as a designer thus far? I think my greatest success would be being graduating from Fanshawe with such a recognizably strong collection, in the sense that people understood my me and saw a unique potential in me as a designer and creator. What are the greatest challenges that you have faced as a designer in Toronto/Canada? As a new designer on the Canadian fashion scene, I think the hardest part is finding was to market myself and get my ideas out there. That’s why I’m so thankful for having the opportunity to showcase my abilities at Art of Fashion this year. What sets you apart from the other designers in Art of Fashion Design Competition? I think out interpretation of the theme RAW really set us apart from others at the Art of Fashion event. I think every designer there was very diverse and very strong in displaying his or her own designs. We just had an image and were confident in that image and just ran with it, and I think that confidence is extremely important. Which Canadian designers are your greatest influences? I am a really big fan of Erdem. I find his prints combinations and silhouettes very inspiring to my own design style. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I’m just excited about launching myself as a designer in the world of fashion. Just being immersed in Canada’s fashion scene is something I’m looking forward to, and learning from still so, any events I have the privilege of taking part in I’m thankful for. Finding people who enjoy clothing, especially my clothing is super exciting, so I’m very grateful.

andrea kuntz & charlotte ghesquiere

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orb “Orb was inspired by the transition between light and dark, night and day, naivety and corruption. I was personally really inspired by corruption and darkness and was really trying to pull in almost deathly elements for a portion of the pieces. We used skeletal cut outs throughout, as well as different fabric textures and weights just to incorporate the dissimilarity of things in everyday life. Our interpretation of the RAW theme is the contrast between dark and light, and purity to corruption in the most humane form possible. We took the idea of the raw human condition, where a person who has just been born is in the most purest state of it’s life and as it grows and learns and listens to the world around it, he or she is influenced and corrupted by things like religion and politics and just the grime of everyday life. Someone could argue why couldn’t we have expressed that in more celebratory and light way, but I think your state of mind when designing really drives it the same as your idea, and both myself and Charlotte shared the dark feeling about what we wanted to come up with.” - ANDREA KUNTZ

What is your experience as a designer? Formal Training/Education? Career/Work? I have a breadth of experience in competitions, schooling, corporate design, and private design. I am currently a senior design student at Ryerson University, and most recently I have managed to win the episode two series premier of Wedding Dress Wars. In addition I have worked as both an apparel design and technical design intern with large and small companies.

crystals in order to contrast some of the matt from the textiles.

What made you be a part of Art of Fashion Design Competition? I have always been a big competitor in the industry and had to jump at the chance to compete in a well known national competition.

What has been your greatest success as a designer thus far? My greatest success as a designer to date would have to be winning the second episode of the series premier of Wedding Dress Wars. I was given four day to sew a wedding dress for a client after only a ten minute consultation with the bride and thirty minutes to shop for fabrics.

What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? The process has definitely been a chaotic one as I spent my summer travelling for work while assembling my initial application for the competition. When I finally got back to Canada I found out the day after I returned that I placed as a finalist! This meant I had just three weeks to focus on constructing everything before my senior year of design school kicked off. How would you describe the clothing you design? I design soft romantic vintage styles of clothing which incorporate a modern edge through surface design and textile manipulation. How difficult was it to incorporate the “RAW” theme into your own aesthetic? I did not have too much difficulty incorporating the theme into my aesthetic because I find that I am most inspired by the materials I work with. By basing my collection around my usual inspiration I had endless ideas coming to me for this competition. What materials or fabrics were used to create your pieces? I used a lot of dupioni silks for the bodies of my garments combined with chiffon and tulle skirts for movement and volume. My appliqués are developed by quilting, cutting, heat treating, and painting a variety of synthetic fabrics. In addition some styles have been embellished with Chinese

What is most rewarding to you about designing clothing? I find that the last stitch that goes into a finished garment is the most rewarding part of the process for me. I love the challenge of taking a two-dimensional bolt of fabric and turning it into a three-dimensional piece of wearable art.

What are the greatest challenges that you have faced as a designer in Toronto/Canada? The challenges I face are more as a student designer. People assume I lack experience and skill because of my age and I am frequently underestimated or not taken seriously. What sets you apart from the other designers in Art of Fashion Design Competition? I believe my willingness to take risks with my ambitious designs is what sets me apart from my competition. I have created six unique ornate yet cohesive designs that I am very proud of. Which Canadian designers are your greatest influences? I was once in a competition where Jason Matlo was a judge and he gave me some great advice. Although it may seem obvious he explained how quality is infinitely better then quantity when it comes to design and his words have really pushed me to challenge my technical design skills. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I am hoping that with this exposure I can move forward with my senior collection and really captivate people with my designs. This is one more launching point and I can’t wait to see what will happen next.

ryan joelson

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rough hewn “Rough-hewn means to shape roughly without finishing and my collection is inspired by the experimentation of raw materials. I have used a variety of techniques to shape the human form through surface design and heat treatments applied to raw textiles. When I thought of RAW I turned to the foundation of all of my designs, the fabric. I worked to develop innovative ways to shape these textiles allowing the fabric to speak to the theme. I believe my designs have achieved a materialistic interpretation of RAW through the organic frayed finishes and reaction of the textiles to my treatments. I used a lot of dupioni silks for the bodies of my garments combined with chiffon and tulle skirts for movement and volume. My appliqués are developed by quilting, cutting, heat treating, and painting a variety of synthetic fabrics. In addition some styles have been embellished with Chinese crystals in order to contrast some of the matt from the textiles.” - RYAN JOELSON

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What is your experience as a designer? Formal Training/Education? Career/Work? I am in my third and final year of the Fashion Design program at Fanshawe College. This program has been unbelievably helpful in not only the technical side of the industry, but the creative side. I have learnt to effectively move from concept to creation, staying on-trend and marketable without losing my personal design aesthetic. I also own and operate a women’s clothing and accessory company, do custom design work for various local clients and work as a design assistant at a fashion house in London, Ontario. What made you be a part of Art of Fashion Design Competition? I am always looking for opportunities to expand my portfolio and make connections, and this competition was the best of both worlds. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? It has been very exciting, challenging and educational. I am currently balancing this competition with a full-time school schedule as I am in my third year of Fashion Design at Fanshawe College. That has proven itself to be the biggest challenge, although I do feel as I have successfully managed to create the collection I had envisioned (with a lot of hard work and late nights!) How would you describe the clothing you design? I would describe my clothing as very unique and innovative – yet marketable and suitable for the Canadian fashion scene. I believe fashion is about editing down your huge ideas into communicable, beautiful, wearable ideas. How difficult was it to incorporate the “RAW” theme into your own aesthetic? This was not very difficult for me. I find inspiration in almost any theme that is presented, it just requires sketching, brainstorming and editing. My design aesthetic is very free, I like to change up my style and techniques with every piece I create.

What has been your greatest success as a designer thus far? Since I am still finishing up design school, I have not yet launched myself into the industry in the way I intend to, so I think that this competition would be my greatest success as it is my first real step in the door. I am so excited about the exposure and connections I will receive from participating in such an exciting event. What are the greatest challenges that you have faced as a designer in Toronto/Canada? The greatest challenge I have faced is simply the fact that I live in London, Ontario, where there is not much in the way of fashion. I plan to move to Toronto after graduation and see what opportunities await me. What sets you apart from the other designers in Art of Fashion Design Competition? I believe I have the determination, lifelong creativity, technical skills and personality that are required to be successful in this industry, while also being spontaneous and daring. I am not afraid to put myself out there, try new things, meet new people and capture all opportunities that are presented to me. I love this industry and I am very passionate about what I do. Which Canadian designers are your greatest influences? I absolutely love David Dixon and Franco Mirabelli. Both of them have fabulous design aesthetics, mixed with wonderful personalities and passion for their work. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I am very excited about the exposure I will receive as a result of this competition. I hope that people take the time to get in contact with me, talk fashion, talk design and talk business. I am always looking for opportunities to work with new people and create beautiful, innovative, exciting pieces!

tess elizabeth meehan FASHION SERIES

unrefined beings “When presented with the theme RAW, I had the idea to create a collection that looks as if it could have came to life on its own in nature. By clever use of fabrics, colours and unique RAW materials, I feel like I was able to effectively communicate this idea. I interpreted RAW in a very natural way, by creating a collection that looks as if it grew in nature on its own. I tried to incorporate very “RAW” materials and fabrics into my collection to further demonstrate my design concept. I illustrated this idea by using a mix of natural linen and wool fabrics, wooden beads, glass beads, raw edges, and organic colours. I also ripped small pieces of chiffon and sewed them individually to two of my pieces to create a frayed, natural look.” - TESS ELIZABETH MEEHAN

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What is your experience as a designer? Formal Training/Education? Career/Work? I complete my B.Des at Ryerson University this past spring, and have interned for a variety of Designers here in Toronto as well as abroad in Auckland, New Zealand. I completed a semester abroad in Auckland at AUT that has heavily influenced how I currently design.

What is most rewarding to you about designing clothing? Being able to communicate my own vision is the most rewardingly selfish thing about designing. I love being able to express myself through my designs, and in the process meeting people with similar aesthetics and thought processes to collaborate with and dress.

What made you be a part of Art of Fashion Design Competition? I was very interested in exposure for my brand, especially after graduating from Ryerson’s Fashion Design program.

What has been your greatest success as a designer thus far? Having my garments available for sale on a UK based online retailer.

What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? I am unsure what this question is asking. How would you describe the clothing you design? I typically work with very structured silhouettes, in very muted color palettes. Typically I work with black, grey and occasionally red. I tend to focus on angular jackets and fabric manipulations to create subtle detailing. How difficult was it to incorporate the “RAW” theme into your own aesthetic? It was not particularly difficult to incorporate my vision of the RAW theme into my work, but everyone’s interpretation of it is different. What materials or fabrics were used to create your pieces? I used mostly natural materials. I used cotton denims, Swiss cotton and cotton twill, as well as bamboo knits.

What are the greatest challenges that you have faced as a designer in Toronto/Canada? I find the lack of government grant funding for Fashion, particularly how it tends to be excluded from many art grants to be a challenge. What sets you apart from the other designers in Art of Fashion Design Competition? My collection for this year’s competition revolves around versatility and wearability, which I think, sets it apart from many of the other designers. Which Canadian designers are your greatest influences? I’ve been following Sid Neigum, Calla Haynes and Heidi Ackerman lately. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I am hoping that this exposure will translate into being able to further grow my brand, be it through future collaborations arising from the exposure or simply the experience gained.

devlyn van loon

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grist The six pieces I designed were an exercise in pushing my aesthetic towards more wearable items. I sought to create pieces that would create a strong visual impact while remaining wearable and versatile; creating pieces that could easily be adapted into a wardrobe without being too basic. Typically I work in very structured silhouettes that can be a bit too much for everyday wear, and with collection I was looking to create something that had more versatility. My interpretation of the RAW theme stemmed from looking at the purpose of clothing. Many people use their clothing to tell their personal stories, and as such I tried to create a collection that could be easily integrated into an existing wardrobe without losing its sense of individuality. The pieces can easily be mixed and matched with others while still retaining their personality, and remain wearable at the same time. I wanted to create garments that would theoretically take a beating, and used fabrics that would show this over time, lending to an evolution of the RAW theme. - Devlyn Van Loon

What is your experience as a designer? Formal Training/Education? Career/Work? I studied Fashion Techniques and Design at George Brown College and have been consulting as a Creative Design Director and Product Developer over the past 3 years. I have designed and developing several acclaimed Women’s Luxury Brands in Canada and the U.S. I created a couture design workshop for gifted fashion design students and am currently a board member on the Board of Advisors for the George Brown Fashion and Arts Programme and a Design Consultant and Mentor for the Toronto Fashion Incubator. What made you be a part of Art of Fashion Design Competition? I wanted to choose a platform that championed the art in fashion and this year’s theme and venue worked perfectly with my reverence for the art and crafting tradition of design. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? It was a bit of a mad rush to get the designs in and as a finalist I am currently buried in needles, beads and fabric, feverishly trying to get the collection completed. However, I have thoroughly enjoyed every single moment of the ebb and flow and cannot wait to do it all over again. How would you describe the clothing you design? I would describe the aesthetic of my clothing as architecturally experimental. They are intricately crafted to venerate the masculinity of tailoring and the femininity of romanticism. How difficult was it to incorporate the “RAW” theme into your own aesthetic? I felt it was a seamless transition to embrace the theme into my designs as the RAW ideal endeavored to enhance the true tradition of crafting in the arts and for myself, creating has always been a manifestation of the raw talent and emotion needed to break through all the barriers we had created for ourselves. What materials or fabrics were used to create your pieces?

I used silk brocade, double faced satin, chiffon, organza and guipure lace. These materials were beaded with Swarovski pearls; crystals and hand dyed embroider flowers. What is most rewarding to you about designing clothing? The most rewarding aspect of designing is witnessing the transformation from a 2d sketch to a 3d tangible element. I thoroughly enjoy the whole process of materializing fantastical ideas. What has been your greatest success as a designer thus far? My greatest success is having the luxury of doing exactly what I do, dreaming up designs and hand crafting them into a reality. It has also been the amazing people I have met through this process that have helped and supported me throughout my career. What are the greatest challenges that you have faced as a designer in Toronto/Canada? There really isn’t much funding and support for fashion designers in Canada and unfortunately some of our biggest talent is going abroad. That has slowly been changing though and it is venues like this that provide a great platform for budding designers. What sets you apart from the other designers in Art of Fashion Design Competition? I feel we have more in common than anything else being that we have all decided to be part of this competition and work tirelessly to exhibit our art work. There is an immense amount of talent in this group and I am privileged to be amounts them. Which Canadian designers are your greatest influences? I greatly admire Erdem Moralioqlu. His use of colour, print and drape are simply spectacular. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I wish to expose people to my aesthetic of design, and hopefully leave an impression on them.

anouk moran

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THE RESPLENDENT WARRIOR “My collection is titled “The Resplendent Warrior”, an homage to armour and the rebel that is encapsulated within it. I was inspired by the intricately crafted armour seen both in nature as well as warriors through out time. I was intrigued by the relationship of the wearer that was hidden beneath the shell and desired to capture the fragile and intimate balance between the two. The rite of passage of a true artist is the derangement of all senses to evoke enormous suffering. One must accept the experience of unbridled emotions in order to create the most provoking of art. And yet from this suffering and tension, come the most delicate of creations, released from these hardened layers of existence. Sealed within the core of this armour, a powerfully raw emotion awaits to be birthed. Armour is exemplified much in nature from the sharp thorns capping the pleated bodice of the palm leaf, to the intricately detailed seeds that hide within it a delicate sprout. Despite its’ utilitarian functionality, it unassumingly celebrates its’ fundamental nature in the most resplendent of ways. I sought to capture the tension between the shell and it’s wearing, to expose the delicate balance that only raw emotion could purge. I unified masculine tailoring with the delicate burst of feminine romanticism, creating precise and hardened shapes through the luxury of drape. I returned to the core fundamentals of creation itself, an homage to the art of design through a return to true form.” - ANOUK MORAN

What is your experience as a designer? Formal Training/Education? Career/Work? I have studied and worked in the fashion industry for over ten years. I was lucky enough to find great mentors and fashion courses throughout high school. I studied design at LaSalle College in Montreal. I have created strong relationships within Toronto’s fashion industry. I have worked in every field in fashion, from buying and selling, to production, to wholesale and even produced fashion shows. My goal was to become as well rounded and understanding as a designer as I possible could be. What made you be a part of Art of Fashion Design Competition? I decided that I need to create on a different level then I usually do for my business. When I am designing for my knitwear line, I create pieces for my target market and their everyday lives. This collection for Art of Fashion is totally going against the functionality that I usually keep in mind for my clientele. This process is a great way for my creativity, skill level and techniques to be applied in a new way. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? I always need to sit on a design thought without drawing or drafting anything. It needs to come to life in my head first, once that happens, everything tends to fall together really well. The process of creating six pieces in a shorter time period than you would have for a season, has it’s ups and downs, but I am finding it is great way to step out of my comfort zone. How would you describe the clothing you design? I like to design classic pieces that are timeless and not too trendy. I love to create pieces that are of the moment, but have vintage inspiration. I work with natural fabrics and all my pieces are made in Ontario. I find that most women prefer to invest their money on a great piece that they can wear for years, that washes well and won’t look dated after a month, these are the elements in which I work in. How difficult was it to incorporate the “RAW” theme into your own aesthetic? It was not very hard for me to incorporate the “RAW” theme into my own aesthetic. I really like taking “guidelines” or terms in which I MUST create in, it is like an added

challenge to each collection. Each of the designers in this competition had a very different view on the theme and I think we have all designed with our personalities in mind. This is probably one of the traits in a designer that I hold the highest; can you design within a theme and still show your own creativity. What has been your greatest success as a designer thus far? My greatest success as a designer would be in my everyday life with my business. I have spent many years getting ready for this point in my career, watching it come together and having many signs pointing out that I am on the right track. Being on the frontlines with customers and seeing them fall in love with my clothing the way I do, is probably the best feeling. What are the greatest challenges that you have faced as a designer in Toronto/Canada? The greatest challenge of being a designer in Canada is that our market is over saturated, whether it is with our Canadian peers or those around the world. Focusing on your niche and sets you apart from everyone else is always on the your mind. What sets you apart from the other designers in Art of Fashion Design Competition? My collection for this year’s competition revolves around versatility and wearability, which I think, sets it apart from many of the other designers. Which Canadian designers are your greatest influences? This is probably the hardest question for me to answer. When I look at other Canadian designers I tend to be more proud of their staying power and how they have affected our industry. Most designers have a hard time developing the “business” side of their companies, so when I see hard working entrepreneurs that have built an empire, that influences me. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? The most difficult part about being a designer and an entrepreneur is getting your brand out there. I am hoping that the public will see my work and want more.

tess barbieri

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a night at the opera “A couple of things came to mind when I first thought of the “RAW” theme, first was the form of a woman’s body, how to showcase nature’s beauty without over doing it. The other element that came to my mind was the classic techniques that have been used in clothing design and production. I find that we have lost a lot of the skills in which made a designer who they were an hundred years ago. I am constantly referring back to the geniuses that made fashion what it is now with adding modern twists and functionality. I stuck to using only three kinds of materials. I have used a sheer feminine fabric to create pleating, a subtle satin for men’s tailoring detailing and onyx beads for accessorizing. My inspiration came from the fact that I am really fascinated with 1930s and 1940s films. Men and women always looked flawless. I could spend days watching old films and not even paying attention to the plot, only the costumes. Edith Head is a huge icon for me, if I could have anyone’s career, it would be hers.” - TESS BARBIERI

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What is your experience as a designer? Formal Training/Education? Career/Work? I’ve studied in Ryerson University & Hong Kong Polytechnic University for BA Hons Fashion Deisgn. I have over 15 years of experience as a fashion designer. I’ve been Design & Product Development Manager for major US & Canadian brands. I have also worked for the New York Designer, Derek Lam, for five years. I have also taught fashion design & fashion styling courses in colleges in Hong Kong. What made you be a part of Art of Fashion Design Competition? I’ve heard about this competition since last year & wanted to do it as they are encouraging Canadian designers. It’s good exposure for my own collection. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? It’s all about hard work. How would you describe the clothing you design? A little edgy with the materials & the 3Dimensional dress of fire How difficult was it to incorporate the “RAW” theme into your own aesthetic? It is challenging as it needs to be perfectly finished yet raw. So the balance between details are very important. What materials or fabrics were used to create your pieces? Mostly natural linen, linen mis & also PU synthetic for Energy.

What is most rewarding to you about designing clothing? It’s at the show & when people really likes them. It gives the greatest satisfaction What has been your greatest success as a designer thus far? To be able to do fashion shows. I’ve also been a finalist in the Young Designers Contest, Hong Kong Fashion Week. I think being a fashion lecturer [and] coaching all the students in graduate fashion show is a great success for myself. What are the greatest challenges that you have faced as a designer in Toronto/Canada? Limited resources in materials as most of them are imported. There aren’t that many choices in retail either, making it difficult to source some really different materials, fabrics & trims. What sets you apart from the other designers in Art of Fashion Design Competition? My style is different. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? It’s really great exposure for my brand with the media coverage & art of fashion exposure

amy yuen

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six elements “[The inspiration behind the collection are] the five elements plus one more: energy. Five elements are metal, wood, water, fire, and earth. I’ve explored different materials & techniques in this collection. I have also used raw elements and raw edges, embroidery, appliqué, etc. I’ve used the metal sequins in the metal and wooden fan in the wood. I have used raw elements, natural materials such as linen. I have used raw edges, appliqué, patch on details. The whole six elements is RAW.” - AMY YUEN

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What is your experience as a designer? Formal Training/Education? Career/Work? I began designing clothing for myself and friends at the very young age of eight, I made prom dresses for customers throughout high school and recently gained my Bachelor of Fine Arts Degree, Major in Textiles and Fashion, at NSCAD University in Halifax, Nova Scotia. What made you be a part of Art of Fashion Design Competition? I am at the very beginning of building my brand and Art of Fashion looked to be a great platform on which to introduce myself as a designer to a broad audience. It is such a fantastic organization, putting so much effort into help blossom up and coming Canadian designers. It’s always a positive thing to continue immersing yourself in an environment where your work can be critiqued, especially from such industry professionals as the judging panel and of course the public. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? The process has been very intense and extremely rewarding. I found out about the competition in time to give me two days to come up with and make my final illustrations, I found the theme very intriguing and it was the quickest collection I have ever designed. After screaming at getting the news of being a finalist, I worked a full time job while creating the collection, so I had to put myself in a different type of mindset in order to make it all come together, but I love a challenge and situations like these really test your abilities as a designer. How would you describe the clothing you design? The clothing I design is sophisticated with high attention to small detailing, using inset shapes to enhance and not hide the female form. They are designed for women who do not want to blend into a crowd, want to showcase their personality. How difficult was it to incorporate the “RAW” theme into your own aesthetic? The design process for the RAW theme flowed surprisingly well. I felt very at home and in sync with the theme. It was a pretty clear transition incorporating it into my own aesthetic.

What is most rewarding to you about designing clothing? The most rewarding aspects to designing clothing is to see a final garment that looks exactly how I pictured it in my mind, to know it was possible to make an idea a physical reality. When making a garment and something does not work, the point at which you push past what once seemed impossible to the point of creating a new method of doing something, those little triumphs. What has been your greatest success as a designer thus far? Honestly, becoming a finalist in the Art of Fashion Competition is my greatest success as a designer thus far, having produced a collection in that amount of time, and one that I am very proud of. What are the greatest challenges that you have faced as a designer in Toronto/Canada? I am only beginning to put myself out there as a designer, and so I am sure in the immediate future will run into many challenges. I prefer to use all natural fibres, and dye my own fabric using natural dye, where sourcing fabrics within Canada is very difficult, especially being from Nova Scotia, where you are situated outside the main fashion centres. What sets you apart from the other designers in Art of Fashion Design Competition? I do not follow trends, but rather try to design pieces that are very original, that can be made part of a woman’s wardrobe for a very long time, rather than following trends and continually buying a new wardrobe every season. I want my clothing to be part of slow fashion. Although due to time constraints and available materials I was not able to do so for this collection, I prefer to use all natural dyes and natural fibres. Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I think the widespread attention that Art of Fashion receives will be extremely beneficial for my brand. I am only beginning to introduce myself to the public as a designer and being able to have such a high volume of people see my designs, comment and critique them will only help me in bettering myself and my designs.

jennie uhlman

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undulation â&#x20AC;&#x153;RAW means working with the characteristics of the fabrics chosen without using added support or alteration through other mediums as much as possible, showcasing the utilitarian aspects such as zippers, to expose the beauty found in their use. RAW means the way in which the clothing is constructed should be clear, where the thought process of each seam is just as important as the overall appearance and where every pleat, every seam is intentional. This translates into my designs through exposed zippers, controlled pleating, purposeful seams offsetting and accentuating the shape of the body. I used beautiful Japanese wool paired with satin, pleather. I love mixing rough and smooth, hard and soft, dull and shiny to create interesting contrasts. [For inspiration], I was looking at the incredible work of architect Zaha Hadid, where she uses very fluid forms, where very intriguing shapes are made from the positive and negative space. I was also very interested in the cell structures of wood, and recent travels to Australia all inspired my collection. I wanted to explore the qualities and characteristics of the fabrics seeing how far I could push them.â&#x20AC;? - JENNIE UHLMAN

What is your experience as a designer? Formal Training/Education? Career/Work? I attended George Brown College in Toronto for a course in sewing. I made a collection for Clothes Your MouthFashion as a Force, which showed in Toronto. I attended College Lasalle in Montreal for women’s wear and costume design. I made two small collections for an Etsy shop. I have worked as a seamstress for Cirque du Soleil, I was a wardrobe assistant and dresser at the Centaur Theater in Montreal. I did technical design for a socks and hosiery company. Now I work for my own company Eating Black Feathers. What made you be a part of Art of Fashion Design Competition? The search to find something that was meaningful and fulfilling. What is the inspiration behind the 6 pieces you designed? The body as a vulnerable canvas. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? It has been a labor of love. I am lucky to be able to work with my wonderful assistant Eve.

though I went with what that little intuitive voice was telling me to do, which was create from love, suffering, pain, and tension. What materials or fabrics were used to create your pieces? Chiffon, Curtain Piping, Satin, Stretch Satin, Tulle, Stretch Tulle, Trim, Beads, Flocked Polyester. What is most rewarding to you about designing clothing? Knowing that I can create anything out of fabric, and thread. What has been your greatest success as a designer thus far? Every moment I am designing is a success. Also when people try on and have to have something I’ve made. What are the greatest challenges that you have faced as a designer in Toronto/Canada? Finances! To buy the fabrics, start the business, and work solely on it. What sets you apart from the other designers in Art of Fashion Design Competition? My references and experiences are different from theirs.

How would you describe the clothing you design? Tension and release, dark, bold, edgy, raw, wild, wacky, elegant.

Which Canadian designers are your greatest influences? Denis Gagnon, Erdem, Rad Hourani (but without so much black)

How difficult was it to incorporate the “RAW” theme into your own aesthetic? At first I thought of doing frayed raw edges and making this the basis, then I thought to use a raw muslin type material, I also thought about raw meat a lot. In the end

Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? A lot of people will see it! If they like it they like it and if they don’t, they don’t.

robyn germanese

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morsus â&#x20AC;&#x153;The RAW theme is a great theme for me as I had been asking myself a lot of questions lately regarding physical pain, suffering, and the notion of beauty. How these things relate to one another. The Morsus collection aims to draw attention to the body as a living, moving, feeling entity, that pain is inescapable.â&#x20AC;? - ROBYN GERMANESE

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What is your experience as a designer? Formal Training/Education? Career/Work? I have studied in Toronto and briefly in Europe. I have worked and taught in many facets of Fashion for more than 20 years in the city I was born and raised. Now is my time to take the culmination of my dedication to my craft and of teaching, sharing and supporting learners to a new level. What made you be a part of Art of Fashion Design Competition? I have heard of this prestigious event in the arts community and have taken part in the festivities around the city. The theme this year â&#x20AC;&#x201C; RAW really inspired me and the tailored couture type garments that they were looking for are exactly my passion and what I have spent my career doing. This competition felt like the perfect fit for me and my work. What has been the process like as a contestant and now a finalist for the Art of Fashion Design Competition? This competition process seemed to flow very natural for me as I love the topic and the support team and timing all seemed to come together in a positive and exciting experience.

your pieces? I loved working in an innovative approach to a variety of Leather, Suede, Silks, and Wool. All natural fibers were essential to maintain the authenticity of the theme. What is most rewarding to you about designing clothing? It is the perfect blend of a medium to express myself as it is always changing to meet the needs of its wearers, the planet and the technological influences. Every day we must put clothing on to our bodies and most likely someone will see what we are wearing so our individuality is preserved and expressed. What has been your greatest success as a designer thus far? I have won other awards and accolades in Design and in Teaching but this one has particular meaning because of the responsibility that we have all become aware of to save our Planet and the maturity and level of skills I bring with me at this evolution of my life in Fashion. What sets you apart from the other designers in Art of Fashion Design Competition? I believe my passion and level of commitment to the art and to the industry are unsurpassed.

How would you describe the clothing you design? The garments I design are high quality garments for real people to express themselves whether in business, a special event or to solve their fitting needs. I would call my garment practical and environmental works or art for everyone to enjoy.

Which Canadian designers are your greatest influences? My greatest influences in Canadian Fashion designers are the many I have worked with but the true inspiration comes from the young designers who believe in themselves and the art to take this journey.

How difficult was it to incorporate the â&#x20AC;&#x153;RAWâ&#x20AC;? theme into your own aesthetic? Very simple! It instantly began the flow of ideas and the design process was in motion. I feel a very strong connection to my interpretation and it was my time to pay tribute to the planet.

Art of Fashion reaches hundreds of thousands of people, how do you think that will translate for your brand? I am looking to grow my brand at this time as I have my family and thousands of students. My passion, desire and creative spirit have yet to subside. So, I have come to the conclusion that this is who I am and this is what I should be doing I am Mary Duldouras Everything Fashion.

What materials or fabrics were used to create

mary duldouras

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raw planet â&#x20AC;&#x153;The inspiration for the 6 pieces I designed and produced was the RAW beauty of or planet and the natural elements found in it so the pieces are called Animal, Earth, Fire, Ocean and Wind. The RAW beauty of or planet and the natural elements found in it and I wanted to remind us all that we must preserve its integrity while moving forward in our creativity and our lifestyle. My pieces are very literal and say exactly what they represent. I have utilized the features or strength and aesthetic I find in each element and translated it to wearable art pieces made of natural fabrics.â&#x20AC;? - MARY DULDOURAS

Photo By: MPSG Inc. - www.mpsg.ca - info@mpsg.ca

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Cocktail party As the private cocktail party kicked off to the swarm of fashion hungry invited guests, Oval Square was quickly filled with Torontoâ&#x20AC;&#x2122;s most stylish individuals. Guests attending the event were welcomed with gift bags full of fashion goodies. As DJ Hennie V spun the hottest tracks, the flash from cameras lit up the room, the chatter of sophisticated fashion enthusiasts filled the atmosphere, and the taste of wine, the ultra-premium Minskaya Vodka and authentic Steam Whistle pilsner embellished the senses.

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fashion show Soon enough, the runway show started. Not a typical catwalk, all eyes were drawn to the top of the winding staircase, enraptured by the ten designerclad models above. Floating down the staircase in a way that would make Audrey Hepburn proud, one by one each model and designer had their chance to shine. With the announcerâ&#x20AC;&#x2122;s help, the audience was given a description about the garment they wore. At the end of their walk, the models joined their respective designers as spectators rotated around the room to get a closer eye on the creations. Using a QR code and a new online ballot system, event attendees voted for their favourite designer for Peopleâ&#x20AC;&#x2122;s Choice award, while the judges walked around the exhibit, taking notes and scoring each collection for the Most Promising Designer award.

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judges Some of the top luminaries of Canada’s fashion industry formed the judging panel at this year’s Art of Fashion Design Competition and Fashion Show: Designer & President of Jessica Jensen, Jessica Jenson; one of Canada’s most recognized fashion talents, Head Designer & President of Franco Mirabelli Design Inc., Franco Mirabelli; Editorial Director of Front Row Magazine, Michelle Bilodeau; Designer at Marie Saint Pierre Inc., Marie Saint Pierre; Fashion Editor of Anokhi Magazine, Jacqueline Parrish; Co-founders & Presidents of Rent Frock Repeat, Lisa Delorme & Kristy Wieber; Industry Mentor & Consultant, Norwayne Anderson; 2009 AOF winner, Mikhail Moudrakovski; Managing Director of TORO Magazine, Erin Hersh; Creative Director of Pencil, Pheinixx; Publisher of Trends Magazine, Kait Walker; The Bay’s Brent Weisgerber; and last but not least, AOF Most Promising Designer, 2011 Albert Yuen. Fashion Series got a chance to talk to some of the prestigious judges to get their take on Canada’s fashion industry, the challenges it presents to upcoming design talents, how to overcome such challenges, how Art of Fashion, as an organization, is helping designers surpass these challenges, and of course, what they were looking for in the designs of the Most Promising Designer at this year’s comp

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pheinixx As one of the judges for Art of Fashion Design Competition & Fashion Exhibition, Creative Director of Pencil, Pheinixx, welcomed the chance to get a firsthand look at Canada’s upcoming young designers. For her, AOF encourages Canadian creativity on the most perfect night of the year. “Every competition stimulates creativity, and I think it is perfect appropriate to showcase this creativity during Nuit Blanche every year.” When approaching the collections of the ten designers at the AOF competition, Pheinixx, a designer herself, based her judgement on the marriage of form and function. “I lookout for innovative design and the successful expression of the competition theme, alongside craftsmanship and the quality of the garments”. An avid lover of the Canadian design talent, she stated that, “Canadian designers pour themselves into their creations – and therefore there is a lot of personality in local fashion.” However, she loves and appreciates all the talent that comes out of Toronto. “In additional to all the young design talent that Toronto creates, there is the great talent of stylists, makeup artists, photographers and art directors that fuel this industry as a whole.” Despite all the overflow of Canadian talent, she pointed out that the biggest problem anyone faces within the Canadian fashion industry is one of size. “Our consumer market here is just not big enough to support the innovation of fashion-forward designs.” With the great amount of expertise and variety right here in Toronto, she believes that it is vital to seek and support all local talent in every industry. “We should, as consumers, make the choice to rally around our local designers – making purchasing decisions which in effect will strengthen our industry and our own economy.” To counter this problem, Pheinixx provided a very important twofold advice for new designers: “Firstly, understand that you are entering the fashion business – don’t’ forget the business side. Secondly take the time in the beginning to ensure you have your brand foundation in place: know what your label is truly offering consumers, and create that brand character with gusto.”

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jacqueline parrish Jacqueline Parrish, Fashion Editor at Anokhi Media loves the tight-knit community of the fashion industry in Toronto and Canada. “Everyone is very supportive, which isn’t always the case in this industry, so it’s really great to see that.” She does, however, admit that the industry is not easy to get into. “There’s so many people vying for so few jobs and it’s very competitive.” With the abundance of untapped and unrecognized talent in Canada and opportunities few and far between, she believes it is hard for young designers to make their mark in the industry. That’s why she vouched to be one of the judges for the AOF Design Competition and Fashion Show, which showcases and promotes the multitude of Canadian talent. “It’s fostering and supporting the creativity of unknown designers and bringing attention to the fact that there are some extremely creative and talented Canadians.” By offering exposure in a competitive environment, Jacqueline believes that, “for young designers who may not have had a chance to get their name out there, it’s exciting.” For her, promoting the growth and exposure of local talent is rewarding for everyone. “Who knows, we could be harbouring the next McQueen or Prabal Gurung, but without the opportunity to showcase their garments, we would never have a chance to recognize that talent.” What will make one designer stand out as the Most Promising Designer for this lover of avant-garde? It’s all about fresh, creative, cohesive and well-made designs. With years of experience in the fashion industry under her belt, she had some great advice for young designers. “Be creative, get the word out and self-promote.”

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kait walker Kait Walker enjoys the originality and design concepts in Canada. “We produce wonderful high quality garments that are superior to much of the off-shore products.” However, as the Owner and Publisher of Trends Magazine, the largest challenge she has faced is the declining number of manufacturers remaining in Canada. She believes that Canada is home to some of the greatest designer talent in the world and that we should be proud to promote Canadian talent and manufacturing. “There is a definite trend towards all things “ Made in Canada” and customers are willing to pay extra price points for garments that have quality and lasting power.” Proud to be a part of Art of Fashion judging panel, she says that “Art of Fashion is creating media buzz and awareness of the upcoming talent of young Canadian Designers and also offering them financial bonus to continue with their work.” For Kait, AOF competition encourages young designers to compete with their peers and go that extra mile to create a look and feel that is new and ahead of the curve and takes into account eco-friendly fabrics. As a deliberating judge, Kait looked out for distinctive flair and originality of design, along with the use of creative fabric and colour combinations. She also focused on practicality and the comfort of the designs. For Kait, designers trying to launch their labels should make themselves standout from all others “by using their imagination to create designs that are unique and one of a kind.”

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lisa delorme & Kristy Wieber For Lisa Delorme and Kristy Wieber, the supportive tight knit community that is the backbone of Canadian fashion industry has come a long way. “We’ve taken our biggest challenge as a country (a small market) and turned it into our greatest strength.” As a fashion industry professional, being new to the industry was a challenge in itself. “It seemed that getting to know all the players would take forever but we quickly realized that once we got out there and started introducing ourselves that we were accepted with open arms.” Lisa is a true believer in Canadian fashion. For her, promoting local Canadian designers is as important as promoting any Canadian endeavor. “We have amazing talent in Canada and we need to keep them local if we can.” She points out that, while it is known that, to make it financially, penetrating the US is key we don’t want to continue to lose our talent to the South if we can prevent it.” Showing support for our own is good for the economy so in the end we are also helping ourselves!” Recognizing the huge support gap for emerging talent in Canada, Lisa admires the Art of Fashion Design Competition as it provides the masses an opportunity to see the major upcoming players and provides these players a platform in the media. For Lisa, AOF provides the bridge between formal fashion education and the world of commerce. Other than a few fashion weeks across the country there isn’t a platform for emerging designers and the cost of entering can be prohibitive as well. “Art of Fashion, strategically taking place during Nuit Blanche, encourages the masses to come and see how vibrant our fashion landscape is. It reminds us that if we continue to support the creative talent that is out there we can be a fashion force to be reckoned with.” In determining who will score the most points for Most Promising Design at the AOF Design Competition, Lisa looked for creativity and design that was unique but still wearable. “It is great to see elaborate pieces but if you can’t picture someone actually wearing it we are losing the purpose of fashion design.” She states that, “if these pieces were meant to sit in an exhibition we would be looking for something completely different.” Lisa has some great advice for young designers: “understand all your costs and how you will compete on a wholesale level. The business of fashion is as important as the designs. Finding the balance between both is key to a successful launch.”

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michelle bilodeau Loving the small community of likeminded individuals in the fashion industry and the immense talent pool in Canada, Michelle Bilodeau, Editor of Front Row Magazine, is excited to be a part of it. While pointing out that being that it’s such a small industry here in Canada, we were hit pretty hard by the recession, Michelle remains positive. “But times of struggle breed times of creativity and the entrepreneurial spirit.” Canada is always called a melting pot for different cultures and Michelle thinks this is true in regards to the fashion industry as well. With designers who excel at androgyny, those that excel at dressing a woman’s body, those that are great with indie, cool-girl looks and those that can produce a fantastic commercial collection, she truly believes that, “we really do have the best of most worlds.” That’s why the tendency to only applaud designers who have made it in NYC, Paris, etc. needs to stop. “We need to start fostering our creative talent at home and keeping them here, in order to show the world that we’re a global power in the fashion industry.” For Michelle, the brilliance of the Art of Fashion Design Competition & Fashion Exhibition lays in the way they are helping to support someone’s dream through funds, providing them with a safe haven for them to display their talents as well as helping them garner exposure in the world of fashion design. As part of the judging panel, Michelle wants to see something fresh amidst the designs of this year’s competitors. “Something I’ve never seen before. But something that is also timeless and well-structured.” For those in the design world starting out, Michelle has a few words of wisdom that will help you advance your career in the cutthroat world of fashion. “Look to people you admire in the game already. Be it Canadian or international. Emulate the best parts of their business, while always staying true to your vision. And have someone you trust on the business end of things so you can concentrate on the creative. “

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Norwayne anderson As a Canadian, Norwayne Andersone loves the cool approach to the fashion industry in Toronto and Canada. “Knowing that we are as great as any other industry but being that little engine that could & can.” While Norwayne believes that standing out in the fashion industry is a challenge itself, he is more adamant about the lack of support and funding the Canadian government provides towards artistic endeavours. “Art itself, and the art of fashion, has to be first respected by our government and leaders as it is around the world.” Canadians need to encourage the business ideas of our own and to promote the idea that it is profitable to be in the art business. “We need the people of Canada to understand that there is a Canadian fashion & art [and] we need to start to support it.” For Norwayne, this doesn’t just mean ‘fashionistas’ but everyday Canadians whose cohesive voice will form a support system for the art and fashion in Canada, which cannot stand alone just as an industry. Promoting Canadian designers, for Norwayne, helps identify what is Canadian. “We don’t support or promote them well enough to give [them] that confidence to take the world stage.” That’s why he feels that most Canadian designers are lost or feel alone in their ventures. “We have to be leaders, not known as followers.” Challenges are something that we all need to stimulate and engage our minds. As such, Norwayne believes that Art of Fashion Design Competition & Fashion Exhibition encourages productivity and creates an identity by allowing “Canadians to personalize what it is to be Canadian through fashion and art”. As one of the luminary judge this year, Norwayne looked for consistency, cohesiveness, and a true sense of direction in the designs of the Most Promising Designer. Being a rebel himself, he was on a look out for a designer that has a voice, a sense of originality and a rebel with a cause. For Norwayne, personality goes a long way. That’s why he foremost advices designers trying to launch their label to be true to themselves and what you have to say you’re your art. “Step outside the box, awake your senses to want more – strive to make an impression, it [will] become your voice. He also advices designers to know the business side of things, to have a plan and to get a strong financial support. And lastly, to make sure you know that, “Failure is not an option…”

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FRANCO MIRABELLI Franco Mirabelli was asked this year to join the panel of judges during this years “RAW” themed AOF competition. As a designer himself he enthusiastically took up the opportunity to see what the featured designers of the national competition could bring to Canadian fashion. Franco has three corporate stores here in Toronto labeled Mirabelli featuring his upscale beautifully crafted designs. When judging for the event during this year’s Nuit Blanche Franco observes each designers collection and sees how closely they match the criteria of the judging process. As a designer himself he looks to the craftsmanship of the garments and how the form and function of the creations embody the “RAW” theme. His advice for upcoming designers is to follow your instincts and intuition while focusing on creating a visually appealing quality product.

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WINNERs This year’s competition brought in national designers that surpassed all Art of Fashion’s expectations. Chatting with both judges and event guests, each designer had their time to shine. From over-the-top gestures to letting their work and inspiration boards speak for themselves, each designer had a distinct way of drawing crowds in. While the final judgement was not to be announced till Art of Fashion had carefully calculated the votes and deliberation from the judges mid October, each designer waited with bated breath to hear feedback about their collections. Judging purely from the applications and sketches prior to the event, Michelle Planche had described this year’s group of designers to be really eclectic with a variety of backgrounds including experience in selling and marketing their own collections, international experience and a solid understanding of the business of fashion. “I would say that the applications this year have been better than ever and the competition will be close! And that it was! Due to overwhelming demand, and for the first time in Art of Fashion history, three designer champions were announced and awarded career launching prizes this year: AMY YUEN and her collection SIX ELEMENTS won the People’s Choice Award as voted by event attendees; RYAN JOELSON and his collection Rough Hewn won the title Canada’s Most Promising Designer; ANOUK MORAN and her collection the Resplendent Warrior was provided with an additional award as the Most Promising Designer Runner-up. “We have never experienced a race as close as this year’s RAW fashion design competition,” Michelle stated in a press release. Every year, Art of Fashion tries to grow their prize pack to include tangible tools that will help grow the designer’s business. “Before announcing the title we went back to our sponsors and board to create a third package because our judges and team felt so strongly about the skill and potential for our competing designers.” As the organization continues to evolve, it further looks for ways to mentor and nurture the designers throughout their career. This year, all three winning designers will receive professional photo shoots, grants, fashion industry memberships, fashion business mentoring, marketing and publicity support. With the organization’s goal to be a platform for buyers, consumers and the fashion industry to seek out new and undiscovered talent, Michelle would love to see AOF Design Comptetition and Fashion Show to grow into “THE” competition to be a part of and raise the stakes with their grant funding and prize package. With the success of the event and AOF’s ability to attract more than 10,000 fashion experts, lovers and supporters in one night, we would say both Michelle’s vision and the organization’s mission have been accomplished beautifully.