WAY FORWARD by FORWARD Fashion

FORWARD

Way Forward

Industry Experts On The Future of Fashion

FORWARD

Way Forward

Manjit Minhas Talks Entrepreneurship

FORWARD adverb • towards the front; in the direction, that one is facing or traveling • onwards so as to make progress; toward a successful conclusion. • towards the future; ahead in time.

FORWARD Magazine is a bi-annual publication. For information on our publishing cycle, please contact us via http://www.ForwardFashionToronto.com. 2021 Edition Way Forward -- Published February 2021 © 2021 FORWARD Fashion Toronto. All Rights Reserved. No part of this magazine may be reproduced, distributed or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. EDITORIAL OFFICE FORWARD Magazine is published by FORWARD Fashion Toronto. contact@ForwardFashionToronto.com Photography Yao Wang

Photographer: Olga Hutsul 3

FORWARD

Way Forward EDITORIAL

82 Mask for All

MAISON LOUISE

KÃ&#x2013;WLI

RUNWAY

180

STYLE REBOOT

152 Fashion Art Toronto

A Flight Through Time

108 102

New Years weekend at Home

Table of Contents MODEL TALKS' A message of hope from model Hanya Kizemchuk.

120 Karyn Inder On mental health, being a model, and on how modelling and fashion will change.

138 BEAUTY& STYLE

Self-taught makeup artist turned drag queen JAY JAY KINGS

TAJJ Cosmetics

214

40 Stylist Patricia TrĂŠpanier

SAINT Cosmetics

FEATURE

22 CANVAS Toronto

Let's get back to knowing WHO MADE MY CLOTHES!

88 114

Fanny Capuano Un brin de rien.

206

On the disappearing art of dressing well.

202

174 Henry Calderon talks fashion and what is to come

Aille offers the blind Fashion they can "see".

Roger Gingerich wants Fashion Industry to support its community.

INTERVIEW

Evolution of the manufacturing fashion industry

194

130 Santa Soul Swim

Susan Langdon on the way forward to the future of Fashion.

Liberty Truism

144 32

Flore Mirabeau

COVERS

54 48

EDITOR'S NOTE

On the COVER

OPINION

Manjit Minhas

Photography Corey Sinclair

Way Forward

Klaudia Capalbo

Photography Andrea Villegas Dress Lucian Matis Makeup Evgenia Ruban

Back Cover STEVIE CROWNE Photography Danielle Larson 8

190

10 Ivy Scarlett on Diversity

tevie

rowne

StevieCrowne.com @StevieCrowne

EDITOR's Note

WAY FORWARDâ&#x20AC;&#x201C; The Future of Fashion

he year of COVID-19 will be forever marked as a time that impacted every aspect of every individual's life in societyâ&#x20AC;&#x201C; from the way we work, live and learn. It reminded us of humanity's interdependence in this changing world. As we all continue to navigate our changing world, how the industries operate has changed and evolved following the global pandemic,

With the edition" WAY FORWARD," we bring hopes for the future of the fashion industry.

including Fashion. The industry has realized its shortcomings and has been forced to rethink, reset, and approach Fashion differently. And this is the way forward for the future of Fashion. However, how each individual, brand, or company chooses to interact with Fashion is different while still leading the way forward, coming together towards a more conscious and resilient future.

As the fashion industry reevaluates itself in the wake of an emergency, its interconnectedness poses a threat of forcing out smaller brands. To make sure the future of small independent brands is just as secure, we must support and take inspiration and pride in their views. FORWARD, as an independent magazine with an independent voice, we're allowed to recognize and endorse independent talents– voices with creative and forward ways of doing things. We bring all industry creatives together despite their size, volume, weight or status– because it is in individual creativity that we take inspiration from and believe is the way forward. We reach another milestone as we bring forth our special ISSUE that celebrates two alternate COVER for the same edition. We have never been more proud of the "diverse and all-encompassing content" we have put together. To ensure a fashion brand's success, we need to understand that the inspiration, creativity, and intuition of 'Fashion' is also an organization, strategy, and management. To focus on both the creative and the business aspects of Fashion, it only fitted to spotlight it with a special ISSUE that offered two alternate covers for the same issue. Cover Klaudia Zinaty-Capalbo, the FGI Regional Director, spotlights the Fashion Industry. She shares her insights on what to take away from this time and her industry expertise on the way forward to a more resilient, conscious, and sustainable future. To start a fashion business and become successful– it is necessary to think and behave like an entrepreneur. The coronavirus pandemic has demonstrated the challenges the Fashion would have in sustaining themselves or their creativity without the business expertise. Our alternate cover, beer baroness Manjit Minhas, the Maestro of

entrepreneurship, talks about entrepreneurship myths, what works, and why small-business growth is crucial to economic recovery from the Covid crisis. All creatives– Designer, Stylists, Influencers, Photographers, Artists, Models, and everyone in between–join their voices to tell us how their relationship with Fashion has evolved and how they see the future of Fashion. It is in the diverse and individual vision that we believe, and it is from each other we learn and grow, and together we will find common ground to define the future of Fashion. Annie Thompson reminds us to get back to knowing WHO MADE OUR CLOTHES. Susan Langdon tells us how we can't go back to the way it was, while Suneet Oberoi looks back at the manufacturing fashion industry's evolution. By talking about the need for more diversity, representation and inclusion in the beauty industry; and the need to allow everyone to tell their stories and experiences in their own words, and the importance of allowing everyone the same opportunities to create– we explore a future that doesn't leave anyone behind. What does the future of the fashion runway hold? We find out how the digital fashion shows will not replace the live fashion experience and still learn from digital runways. We also reflect on how dressing well is disappearing and share many more voices that look at the past, present and future of Fashion. WAY FORWARD looks back and reflects, lives and experiences the present, changes for the better, and moves forward into the future.

To Our Future! Ugyen Wangmo Editor-in-chief

FORWARD Editorial

asks For All

Presented by Fashion Circuit Series Photography Olga Hutsul Makeup MIller Manzo and team, Paolo "s Beauty Bar 13

FORWARD Editorial

D D

esign, and

ialogue

are components of the Fashion Circuit Series portfolio, which focuses on mental health and brings greater awareness to our community, supporting those in fashion and arts through dialogue and conference. In March 2020, our organization pivoted to help the community and answered a call to action to make nonmedical masks. Through the 'Masks For All campaign,' teams of volunteers and facilitators made many thousands of face masks and distributed them all over the Greater Toronto Area to various groups and individuals at no cost. Our initiative was to make sure nonmedical covers were accessible to all. On this journey through the pandemic, we were able to connect with our community. We learned a human story of emotion, challenge, isolation, fear and lifestyle change that we wanted to share through art and makeup of what is behind the mask. As we lifted the facial covering, a sharing of humanity showed itself. Not just through the lens of eyes but creatively. This portfolio shows the artistic beauty of makeup curated by MIller Manzo, Paolo "s Beauty Bar and her professional team. Through the visual lens of Olga Hutsul, we capture the essence of what is behind the mask."

Message from the President, Fashion Circuit Series, Leslie Silvestri.

FORWARD Editorial

Artist Miller Manzo

FORWARD Editorial

FORWARD Feature

et's get back to knowing WHO MADE MY CLOTHES!" With Annie Thompson

Human connection is a thing of great value, and so is the natural world.

Photography Gabrielle Adair (Mills)

FORWARD Feature

A 24

Photography Gabrielle Adair (Mills)

nnie Thompson has pushed the boundary of Sustainable Fashion for 40-years by creating unique conscious garments. Annie Thompson designs are armour with a soul- to defend against waste, provide comfort, enhance your personality, and with big hands (otherwise pockets) to hold things. As she exits her 40-year in fashion, she talks to FORWARD on how Age, stage of life, COVID and designing for four decades is pointing her sights in the direction of the 'here and now.' And, about her design approach going back to the simpler days when she first created, while continuing to move forward.

Photography Anna Perena/ Courtesy of Annie Thompson 25

FORWARD Feature

"I have exited my 40th year in fashion! I'm not sure how that happened! I guess having my blinders on and being in the studio for hours, days, weeks, months, and now a new year has made it so! Made it sew." recounts Annie Thompson, of her year that was 2020. Yes, we all know who Annie Thompson is, period. She is the 'Pocket Queen' as much as she is the 'Vanguard of sustainable fashion.' Annie Thompson Designs, the household name of sustainable wear, creates unique conscious designs – starting from concept, to sourcing, to production, to being as exclusive as her patrons' individual needs. Forty years down the road, the spirit of responsibility that brings the Annie Thompson designs to life still stands, if not stronger. With this pause in 'business as usual,' "I am less busy with the future than ever before," says Thompson (in a good way– happy face). "Age, stage of life, COVID and forty years designing for my eponymous label are pointing my sights in the direction of the here and now. More personal and individualized fashion, more meaning in the present moment, less scurrying around, more appreciation, more dance, more music, more woods, more friendship, more meaning, more depth, more peace." There are fewer new styles of Annie Thompson designs in each collection: 'Micro Sample Collections' to take individual orders instead of production of each style. Even though it is more labourintensive, it is a greener way - fewer emissions and nothing is heading to the landfill, she says. From now on, Thompson will only create new designs that inspire her to give life to because of a need for them – climatic or circumstantial – not because she needs twenty new styles for the sake of a new

seasonal fashion collection. Each piece has more reason for existing. They will be inspired and imbued with functionality and usefulness. When pieces' work' (deep pockets, two-way zips and more zips), they add ease to our days as manifested by the Thompson designs. With her selfimposed criteria for her best design, which is,–"It has to LOOK GOOD. FEEL GOOD. Fit, flatter, accentuate our best attributes and de-emphasize the lowlights." "Especially as we age, comfort is more important but not at the cost of looking good. I endeavour to strike a pleasing balance and use NATURAL and SUSTAINABLE FABRICS which feel the best against the skin." Many designers and manufacturers are rethinking their approaches and priorities– to produce higher-quality goods that last, can be passed down, up-cycled, worn longer and end up in landfills much less frequently. Although it may not be a good model for corporates and their profits, there are a handful of genuinely conscious corporations, on the one hand, building towards a more sustainable future. As far as Annie Thompson can see, the smaller independent designers are implementing sweeping mindful business practices. The virtues of 'local' are resonating more and more for many. She says that "knowing how much we have to do to make this planet liveable for our youngsters and all living

things make the 'A' word (Amazon) much less desirable." Are we purchasing with our morals intact? Conscious consumers dig to understand their favourite brands' sustainable practices, but valid information is not always at our fingertips. Due to COVID, many companies are rethinking their supply chain systems and reconsidering the values of producing locally. It is not an easy feat to dismantle supply/production and rejig everything. Having more control by producing and supporting local â&#x20AC;&#x201C;citizens and the economyâ&#x20AC;&#x201C; speaks louder now than before the pandemic. Many who appreciate good design also understand the costs associated with it (labour â&#x20AC;&#x201C; living wages for made locally/made in Canada) and will continue to support independent design when financially viable. Many value good things and want and need far less 'stuff,' so better and fewer purchases will prevail, affirms Thompson.

Photography Gabrielle Adair (Mills)

"Age, stage of life, COVID and forty years designing for my eponymous label are pointing my sights in the direction of the here and now. More personal and individualized fashion, more meaning in the present moment, less scurrying around, more appreciation, more dance, more music, more woods, more friendship, more meaning, more depth, more peace."

FORWARD Feature

Like billions of others, Annie Thompson was not immune to the impact and challenges of the COVID pandemic. Less travel back and forth to Toronto as the TO studio is no longer open. No more big shows. No more crossing borders with merchandise and boothbuilding components. That is Thompson during the pandemic, and her designs were less about sales volume, more about connection and adding value to our lives with each item. She is making the patterns, cutting the samples, and sewing, pressing and finishing them herself. Back to the good old days when she had her first big studio above a Shoppers Drug Mart on the main drag in downtown Peterborough, Ontario, she recalls. "Some of my local guy friends had a band, The Sea. They used to practice in my space till all hours of the morning, and I'd be there designing and sewing new products for my store, MMMongo, down the street. I felt so lucky that I could make things, and folks would come in and love them and buy them! I was happy and selfexpressed. I loved the whole process â&#x20AC;&#x201C; design things in my head, illustrate them, make the patterns, cut, sew, finish, press and sell them. It was so exciting and fulfilling to see new things transition from 2D to 3D. I wanted to master every aspect of fashion-making without the aid of a computer. Handson was my style and still is. My business's manageable small scale limited my profits, but I needed to remain independent, and I haven't followed the typical fashion business model. Photography Gabrielle Adair (Mills) 29

FORWARD Feature

I am thankful to have met many wonderful people through my work: some of whom I have now known and worked with for forty years! My very first client in Peterborough has been a dear friend since 1981, just after graduating from fashion design at Ryerson U. Making clothes for someone is a very intimate thing. You get to know folks. Let's get back to knowing WHO MADE MY CLOTHES!" Human connection is a thing of great value, and so, of course, is the natural world. Thompson points out that both may have previously been taken for granted a little too often. Besides fashion, she has been doing her version of art therapy with a few elderly folks with dementia. Engaging with them has been a blessing and a meaningful eye-opener for her. "Having a sense that what you are doing matters to someone is, I think, a human need," she shared. "I have felt a sense of purpose in my quest to make good clothing for people and have been so satisfied by the connections made with clients and associates through my work and travel in fashion." Now Thompson also feels that sense of purpose deeply in a new and different way while she uses her love of art, music, song, dance and outdoor fitness and exploration. Putting into practice what she could barely find time for during her forty years of designing, promoting and selling her wares is a great gift. At the dawn of the new era in fashion, for Annie Thompson, the Fashion Revolution manifesto still holdsâ&#x20AC;&#x201C; A global fashion industry that conserves and restores the environment and values people over growth and profit. Custom-made/bespoke swaps and repairs are part of the way forward, Thompson expressed. She wants people to get back to knowing WHO made their clothes, which is happening but only on a microscale, and wishes that it would be the only way people could buy new clothes besides making them themselves! "Let's have sewing classes (home economics) in schools again!" Annie Thompson. â&#x2013;

Photography Gabrielle Adair (Mills)

FORWARD Interview

Pandemic reinforced Flore Mirabeau's brand value of quality over quantity.

All Images Courtesy of Flore Mirabeau Photography William Bibet 33

FORWARD Interview

020 was the year that saw the fashion industry move at lightning speed to adapt while the rest of the world ground to a halt. So how will 2020 shape the future of fashion? In a virtual conversation with the owner of Flore Mirabeau, Solange Strom, FORWARD finds out that the pandemic hasn't changed much for the brand in terms of its values and beliefs. Strom shares her view on how the realities of the pandemic will shape the future of fashion.

How does the Fashion/Beauty Industry move forward in a world changed by pandemic?

Adaptability is key. I think the pandemic will force the industry as a whole to review its processes and habits. The future will be about buying better and less for consumers and producing less and higher quality brands. It has also changed how many of us view fashion, for instance, the increase in leisurewear versus dressy outfits. It has forced us to adapt. For example, women who have been in Birkenstocks and slippers for months will possibly decide to wear shoes that fit betterâ&#x20AC;&#x201C;I predict low heels will come back with a vengeance.

In what ways has your interaction with the industry changed?

I have always been about quality over quantity, so the pandemic hasn't changed much for me. It has helped reinforce my beliefs in producing just what we need in smaller amountsâ&#x20AC;&#x201C;exclusive and unique, allowing customers to have something that no one else has.

The challenges for Flore Mirabeau.

One of the biggest challenges is not being in close contact with our target audience. We usually offer trunk shows and private fitting sessionsâ&#x20AC;&#x201C;we believe that women must be appropriately fitted for their shoes to ensure the ultimate comfort and wellbeing. Not being able to do that has been difficult. But we have pivoted to virtual fitting sessions and delivered shoes to our client's houses within greater Toronto and picking up those that don't fit. It is costly for us but worth it if our clients find what they want, and they are always very appreciative of our efforts. 34

FORWARD Interview

What is the way forward for Flore Mirabeau?

We plan on staying very lean and focused on our core values of fit and comfort. We will continue to offer essentials such as the Madeleine in various colours and expand into limited-edition capsule collections. We love the style, but comfort and fit will always come first.

For the fashion industry as a whole, what do you think will be the future? I would like to believe that we will consume less and consume better. But that would mean that fast fashion brands would have to change their entire business model. You cannot call yourself a sustainable and fast fashion in the same sentence, while that remains the fact today. I hope that the pandemic will instill some strong values of conscious consumptionâ&#x20AC;&#x201C; whereby people think before buying and take inventory of what they need before buying yet another pair of shoes just because! However, a little buy from time to time can be great! I bought some of my favourite pieces on impulse.

What change do you want to see in the Fashion System?

What I like the least about fashion (but that I sometimes use to my benefit) is the neverending cycle of product discounts. Coming from the pharmaceutical & cosmetics industry, it is not something that I've ever had to manage. All our products were current, and we rarely discounted. Supply chains were controlled very tightly, reorders done when needed. With its never-ending cycle of newness, the fashion industry has a tough time anticipating what will sell or not and, therefore, ends up in discounts. But the consumer is also used to those discounts and holds off buying until it comes on sale. With today's data and analytics, the fashion industry can change its ways. It can anticipate better and can produce in smaller quantities to ensure that everything gets sold. Of course, that means perhaps paying a little more for the product and making less profit. But it is much better to manage your business, and it pays off in the long run. I always feel it's better to run out of products a few times until we understand our client better than have too much stock that gets discounted. It is the only way to get out of the endless discounting, which reduces the brands' value. For example, in the shoe business, many manufacturers in Italy have dropped their minimum order requirements to help brands ensure that all products produced get sold at full price, maintaining the brands' desirability.â&#x2013;

FORWARD Style

Pandemic made Stylist Patricia TrĂŠpanier realize the joy she got as a Stylist.

S&M Studio Montreal

ersonal fashion stylist for men in Montreal since 2008, Patricia Trépanier, specializes in men’s style. She offers styling services to men who are looking to improve their style. Her services are beneficial to busy men who do not have time to shop, men who do not have the budget to make poor style purchases or need an expert’s opinion on what suits them best. She fills the customer’s wardrobe with pieces that mix and match together for maximum effect with a minimum of clothing items. Stylist Trépanier likes to wear lots of hats, her signature look, but she doesn’t have a signature style for her client–she finds the best style based on the client’s complexion, body type, lifestyle and taste. Together with her client, she creates a style unique to each individual. Before COVID, her days consisted of a mix of shopping, client meetings, and less glamourous parts such as steaming clothes and doing returns. As a solopreneur, she also had weekly tasks such as accounting and marketing– blog posts, video editing, etc. She threw in e-commerce styling sporadically. The year 2020 started as her best year in 12 years of business, but then the pandemic happened, it showed her that one couldn’t plan anything. She tackled it day by day, focusing on the present and helping her clients daily. She continued to do the same things even though everything took longer and could only take fewer clients in a week. Like most businesses, she also suffered from a decrease in revenue, but most importantly, the pandemic made her realize how much her styling job made her happy. Stylist Patricia Trépanier shares with FORWARD how her interaction with her creative vision has remained the same despite this age of social distancing other than the fact that it took her more time to achieve them.

FORWARD Style

On how she decided not to restrategize her creative vision.

On the impact of COVID-19 as a stylist.

A big part of my clientele as a personal stylist are businessmen. A lot of them are now working from home. As a result, there has been a decrease in my client’s needs. On the other hand, my clients who have not seen a decrease in businesses and still have their jobs now find themselves with a higher disposable income. Some also feel the need for something positive in their lives after everything that has happened in 2020. Feeling good and confident in what you wear can help a lot with the mood, and people need to feel good right now. The pandemic won’t last forever, and my clients want their closet to be ready once social gatherings are permitted again. They say, “Shopping is cheaper than a psychiatrist.”

As opposed to most business owners, I have decided not to re-strategize. I have been building my business for 12 years, and I am confident that people will need a personal stylist more than ever. My services allow them to avoid putting themselves at risk by shopping in crowded malls while wearing uncomfortable face masks. Also, stores now have less stock due to past closures and a decrease in production. Therefore, it is now necessary to visit more stores to build a strong wardrobe. Not to mention that online shopping deliveries are becoming increasingly long. Therefore, these current challenges make a one-time visit to a stylist for a fully curated wardrobe very attractive for many clients.

On her realization of how being a stylist keeps her happy.

I realized how much my job makes me happy. Also, I think we all realized that we don’t need much to be satisfied. People are starting to be more careful about what they buy, which is how it should be. You don’t need a vast wardrobe to have style, just the right pieces with the right fit. I always worked in that sense, but it is now more critical than ever.

All Images Courtesy of Patricia Trépanier

Circular fashion will be the future, the way forward to a more resilient, conscious, and sustainable future for the Fashion and beauty industry, according to Patricia Trépanier.

I think people now understand that buying cheap is expensive in the long run and costs the environment. The fashion industry is hugely polluting, which is why we have to be careful and start buying less and choosing better. More and more brands are making clothes out of recycled and or eco-conscious fabric, and it is the way to go. Also, buying clothes with a high resell value can be a great way of doing your part for the environment. We have to work harder in making fashion circular.■ 43

FORWARD Interview

Photography Nick Merzetti

Roger Gingerich wants Fashion Industry to buy locally and support its community. 44

"We need to concentrate on celebrating uniqueness."

Roger Gingerich is a household name in the fashion industry with over 35 years of industry experience. What does he think about fashion shows going either digital or semi-digital, or what are his insights on the future of Fashion as we get closer to a vaccine? FORWARD finds out in an e-mail conversation with Gingerich on his views on the fashion industry's way forward. How is the fashion industry changing right now? In Toronto, and globally?

Toronto is no different from any other city in the world right now when it comes to Fashion. We face the same challengesâ&#x20AC;&#x201C; without public events and encouragement to stay home, consumers have shifted their short term response to Fashion. Loungewear and being comfortable in your surroundings have taken on a new life. Designers and online retailers that have shifted their focus to cater to this market have been successful.

What has pandemic taught you on the ways you interact with Fashion?

It has taught me to be more focused on what's important to me. I have a clearer understanding of social/environmental causes in brands and how I support them, along with my local community that is struggling and how better to promote them.

Talk about your most important realization from the pandemic?

Our world is full of mini-events that don't matter, we waste so much money and time on trivial things. We need to concentrate on celebrating uniqueness.

Your insights on how the fashion industry should approach moving forward? Baby steps. We're all hypersensitive â&#x20AC;&#x201C;Provaccine / anti-vaccine, social shaming for gathering with friends, emotional sensitivity is rampant, even with well-meaning intentions you are guaranteed to offend a specific group. So it is really to understand your target market and focus on them.

Canadian International Fashion Film Festival (CANIFFF) 2020, talk about its success. We were one of the top five most active Fashion Film Festivals in the world in 2020. We engaged with the industry and the consumer globally and promoted film genres to Canada's new audience. With over 160 fashion film shorts from 37 countries, we put Canada back on the global map with fashion film directors. Elaborate on the opportunities in the fashion and film industry? Our film industry is second to none here in Canada. We have four full seasons, a wide variety of landscapes, an incredible talent pool, a welcoming, safe country, and with that, an open door to the global film industry. Fashion has always played a second character in the film. It sets the tone of the characters. Designers, stylists, PR, the list is endless for those that want to work in the film market.

"Our world is full of minievents that don't matter, we waste so much money and time on trivial things. We need to concentrate on celebrating uniqueness."

FORWARD Interview

With fashion shows going either digital or semidigital, what, according to you, will be the future of fashion events?

Focused smaller audience. We will be a couple of years away from the epic 500-750 guest audiences at fashion shows, but designers and brands still require marketing to press, buyers and consumers. Audiences of 50 â&#x20AC;&#x201C; 100 will be made of hyper-focused guests. Digital for sure, but they have to be engaging.

How do you compare the online show with live shows? Do they exude the same level of charm and awe? Online shows will never be at the same level as inperson live shows. It can never replicate the ambience and energy, but in the end, it is about the experience both in the moment and what we remember afterwards.

Do you think [digital shows] will take over the 'live' shows?

Never, but digital shows are permanently part of our future. The challenge, however, is shifting the experiences.

What old practices do you feel the industry must move away from going forward? Mass production of fast fashion. We need to promote buying less but quality fashion. Media should reverse from concentrating on trends and exerting pressure on consumers to adapt to the newness.

"Buying local and supporting your community. We are storytellers; we want to buy into something that we feel good about and know has positively impacted our planet. This health crisis has been a reset in all markets and forced us to re-evaluate what we bring into our sanctuary, our home." Comment on how digital runway shows could be a sustainable way for brands to show their works? Financially more viable. Cost-saving is smaller to non-existent in in-person audiences who have to travel to the event. The cost-cutting allows a designer or brand to reduce their operating costs and, ultimately, their product's retail price to the consumer. Sustainable brands always struggle with added costs on producing their product, so any costsaving operations to offset these expenses' passing to the consumer is a win.

What will be the future, the way forward for the Fashion industry?

Buying local and supporting your community. We are storytellers; we want to buy into something that we feel good about and know has positively impacted our planet. This health crisis has been a reset in all markets and forced us to re-evaluate what we bring into our sanctuary, our home.â&#x2013;

Photography Nick Merzetti

Klaudia Capalbo says pandemic was a time for fashion to "Reflect and accept. To build and survive". Regional Director of Fashion Group International Toronto on how the industry can change for the better.

Image Courtesy of Klaudia Capalbo

FGI Toronto board of directors

Photography Nick Merzetti

s the Regional Director of Fashion Group International Toronto (FGI), Klaudia Zinaty-Capalbo thrives on elevating, educating and empowering the FGI members (her FGI family, she prefers to call them). Together with the Board of Directors, she spearheads programs and initiatives for the members and plans monthly events that would allow them to network, collaborate and learn from industry experts or new skills to enhance their business. When we spoke over the summer during the peak of our pandemic emotions, Klaudia Capalbo was busy assisting the Toronto fashion community in navigating through difficult times and initiating response measures to help them move forward. Through COVID-19 that completely changed our lives and forced us to evolve accordingly, the FGI Regional Director found a new normal to move forward. Klaudia Zinaty-Capalbo shares her insights on what to take away from this time and her industry experts on the way forward to a more resilient, conscious, and sustainable future.

How are your days different from preCOVID? My schedule is so different now that we have pivoted to a virtual world, balancing a work-from-home routine, family life, and planning FGI networking and industry panel events onto a virtual platform with the same engagement and personal connection with our members. As a professor at various colleges, it's keeping online lessons exciting and engaging with students, especially when trying to monitor major group projects, which generally was in-person. It's a learning process for both of us, really, and it's not the same as seeing my students and board members in person. Still, everyone's health and safety is our top priority, and my team and students are incredible in being so accommodating to our new environment.

platform is across seven countries with 26 chapters with access to over 5000 members and programs in each city. Our organization's strength is the ability to network with other business professionals in our fashion industry worldwide and provide leading experts/insiders to discuss important topics at the forefront of our industry. Our Toronto chapter has won numerous awards for its programs and initiatives each year, such as The Pitch and Mentor's Dinner, which provides financial support to our members and encourages them to connect with their peers. Besides, all members receive an incredible gift bag worth over $250 with each new membership and this year, we sent out gift boxes to our members to offer our gratitude and give them some holiday cheer during such a challenging year.

How are you preparing for the future right now?

We are already planning our events for next year, both virtually and in-person, with some of our most highly anticipated events returning next year, such as our Business of Fashion Industry Panel, The Pitch, Mentor's Dinner, and Visionary Awards, to name a few. I am also working on some new projects and businesses that I will be launching in 2021, so I'm excited to share the announcement soon. The future is full of changes, and change is always good; it's how we continue to grow and evolve personally and professionally.

How is FGI reimagining itself to offer the maximum value of its function? FGI's purpose is to provide value to its members through our programming, initiatives, mentorship program and networking opportunities. Our global

Photography George Pimental

In what ways has your interaction with fashion changed?

Transitioning our members' connection onto a virtual platform has changed my interaction with fashion in many ways. Our interaction and relationships have completely shifted remotely online due to COVID. However, we are continuing to find ways to create similar engaging experiences with our members through our Virtual Schmooze events, FGI Connects, Industry Talk Series and bringing the A-listers from the fashion industry to all of our virtual events. There are challenges as technology isn't always reliable with large online group chat applications. However, our members have been extremely understanding and accommodating, which has made it a positive experience for everyone.

How is the fashion industry, in extension Toronto fashion changing right now?

Photography George Pimental

The Toronto fashion industry is forced to change in many ways due to this pandemic, and it has brought greater awareness of sustainability and encouraged shopping locally. The industry was already voicing their opinion on changing the model of producing four collections a year to having one or two, with timing being more in line with retailers to benefit the designers and the consumers. As well, with so many small businesses suffering due to covid, there has been an outpouring of support from our fashion community in shopping local, promoting local businesses and collaborating. Most importantly, the recent Black Lives Matter allowed voices to be heard and for black-owned companies to be equally recognized and represented in reinforcing diversity and inclusion in our industry.

Talk about your most important realization and awareness from the pandemic?

Like many others, this pandemic has given me the time to slow down to enjoy and appreciate the simple things in life. Working from home has reinforced that all the beautiful pieces and collections in my closet are not necessities but underlined the importance of simplicity and comfort. Sometimes you can't control what happens in life, but you can control how you respond to it. My focus shifted to more self-care and wellness while reaching out to our members has also made me more aware of their challenges and needsâ&#x20AC;&#x201C;being available and helping others in any way I can have been the most important thing. "Being kind to others."

Your insights on how the fashion industry should approach moving forward?

Photography Brian Dirivera

Our industry will emerge from this more resilient than ever, more creative, determined, and stronger than ever before. COVID-19 has allowed us to reflect on our business and the industry as a whole. We understand our business model better, having been forced to pivot it with the influx of legislation. We will find innovative ways to promote, collaborate, market our brands, educate ourselves on different platforms and critical topics such as technology and sustainability, e-commerce and diversification. In simple terms, it has allowed us to stop, listen and learn. To reflect and accept. To build and to survive.

"With more awareness and consciousness of inclusivity, diversity and equalization in representation within our industry, there will be a greater acknowledgement and recognition of the success of minority groups that have previously been silenced." What will be the future, the way forward to a more resilient, conscious, and sustainable future for the Fashion and beauty industry?

The future of fashion will understand the new consumer and their purchase behaviours. Businesses will continue to develop new, innovative ways to create a similar personal experience online to generate sales and engage their clientele. Designers will be less inclined to follow the traditional runway collection schedule and create collections that make more sense with their business model and consumers. With more awareness and consciousness of inclusivity, diversity and equalization in representation within our industry, there will be a greater acknowledgement and recognition of the success of minority groups that have previously been silenced. With the excessive waste and destruction of our environment with fast fashion, many consumers will look towards quality vs quantity. I believe there will be less overindulgence with the new purchasing power post-pandemic as consumers shop for what they need vs what they want. I think that consumers will continue to support local businesses and retailers to keep our industry thriving, with many platforms being created to shop our local designers and retailers. Canadians support Canadians, which is what our industry does best. I have always believed that we rise by lifting others, and we need to continue to move forward and support one another.â&#x2013;

Photography Dave Laus

Manjit Minhas talks about the importance of entrepreneurial skills to be a successful fashion brand. Manjit Minhas is a woman who needs no introduction. The 40 years old Calgary native, this Petroleum Engineering student turned beer baroness, is a Dragon on the hit TV show Dragons' Den on CBC in its 15th season (for which she has been on for six seasons/years). Manjit leads a privately owned empire that had revenues over $210 million last year. As a venture capitalist, Dragon Minhas shares her knowledge, experience and expertise about being an entrepreneur with millions of Canadians each week. Today she brings that prowess to FORWARD.

o start a fashion business and become successfulâ&#x20AC;&#x201C; it is necessary to think and behave

like an entrepreneur. To ensure a fashion brand's success, we need to understand that the inspiration, creativity, and intuition that is fashion is also as much an organization, strategy, and management. Many fashion entrepreneurs are confronted with personal challenges and a multitude of external obstacles. To ensure a successful fashion business requires knowledge, intuition and skill. Entrepreneurship in the fashion industry is an essential concern since the fashion business landscape consists of many small actors that compete in the fashion market, generating value by providing consumers with products and services regardless of size and structure. Brands need structured and strong business foundations to survive the market's always-changing landscapeâ&#x20AC;&#x201C; socio-cultural, environmental, political and economic. The coronavirus pandemic has demonstrated the challenges the fashion would have in sustaining themselves or their creativity without the business expertise. There is no better time to talk about entrepreneurship than now. Who better than the Maestro of entrepreneurship Manjit Minhas to enlighten us about entrepreneurship myths, what works, and why small-business growth is crucial to economic recovery from the Covid crisis.

Photography Corey Sinclair

Fashion. What does it mean to you?

Fashion represents fun and life for me. I am alive and the most engaged with the world when I wear something that makes me feel more creative, interesting, more robust, or complicated. Everything feels new again when I change my outfits–it is the quickest route to feeling like anything is possible. Fashion makes me feel alive and present.

One fashion piece you can't live without? Dresses!

"Dress for success" what does it mean to you?

Your image is part of your brand–an outside indicator of who you are as a person. Dressing for success isn't just a buzz phrase. It's often a formula for prosperity. First impressions are always important–how people initially see you can influence your entire interaction with them. Your appearance educates others on how you want to be approached. Looking good also helps you feel good and more confident in your abilities and opinions.

What does it take to become a successful entrepreneur, regardless of the trade?

Grit is perseverance–it is the goget-'em attitude that we expect of entrepreneurs. Determination, hard work and perseverance, are what's going to take you far in the entrepreneurial world. Be passionate– love what you do. Don't do it if you can't commit and make sacrifices for your business. Believe in yourself. Listen to your intuition. Trust and believe in yourself, your ability and your skills.

How has your interaction with fashion changed during COVID?

It's become more relaxed from the waist down, but I try to dress up every day because it puts me in the right mindset to be productive and tackle the day as 'normal' as possible. I miss wearing heels!

The importance of entrepreneurial skills to be a successful fashion brand?

The fashion industry is a competitive arena to break into like every other industry. Hard work is vital in this industry, but so are having entrepreneurial skills to make sure you can compete and thrive. The passion for fashion and a drive, the ambition to succeed, is arguably the (most) essential element. Fashion is a people-centric business, so communication skills are vital to create and maintain a reputation for yourself and your brand. To be a successful entrepreneur in any industry, you must connect your vision with the people around them, get others to buy into it and build positive relationships. Take risks and have confidence in your abilities to do so. By taking calculated risks and knowing your risk appetite, you'll gain the confidence you need to identify when you should follow your instincts.

Courtesy of Manjit Minhas

You are someone who is always on the go– what did you make of this sudden stillness of life during the infamous pandemic?

Manjit Minhas Podcast happened. For a while, I wanted to start a podcast that discusses the ups and downs, tips, and challenges of being an entrepreneur and CEO. We don't talk enough about the hardship and the failures on the way to success. It is essential to celebrate the challenges just as much as we glorify success. This idea remained on the back burner between all the hats I wear (wife, mother, CEO/ entrepreneur, venture capitalist, tv personality, philanthropist, and board member) and all the travel. With pandemic, suddenly I had the hours back in my week– I decided to call some of my friends and chat about their journeys, and The Manjit Minhas podcast was born! I'm thrilled that it debuted in the Top 10 Apple Podcasts (available on Apple Podcasts and Spotify).

How do you maintain the right work-life balance?

I think work-life balance is bullshit. This whole thing of balancing life and work is something we all shoot for but not going to achieve. SO cut yourself some slack. Let's live in the moment wherever we are. Some days you'll crush it; other days, not so much (both at home or work). Balance looks different every day.

The global pandemic has forced most businesses to rethink their marketing methods entirely and the way they interact with their customers. How did your business adapt

There were many challenges for us as there were for most businesses during the pandemic. Specifically, it was the launch of our new premium gin – Artingstall's Gin– across North America and The UK with our partner Hollywood producer/director Paul Feign that saw rethinking. Almost two years in the making, the launch was set for April 2020 across Canada, the USA and England with an extensive press tour and fun 58

parties and launches at The Royal York in Toronto, Eataly in LA, Banff Springs Hotel, The Polo Bar by Ralph Lauren in NYC amongst numerous other locations. All that came to a halt when the pandemic hit, and we had to rethink our marketing and launch strategy completely. We focused on media outlets and did creative cocktail parties–we delivered boxes that included Artingstall's Gin and all the mixes to thousands of peoples' homes. We created watch parties to share a cocktail over Bridesmaids (one of my favourite movies, Paul Feig directed and produced). Artingstall's Gin launched at liquor stores across Canada and the USA–including the LCBO, BC Liquor Stores, Manitoba Liquor Marts, Sobeys Liquor Stores with unique online and social media Courtesy of Manjit Minhas

marketing. The digital strategy was new to us, so we had to be courageous in getting outside our traditional means of marketing and explore new creative paths such as micro-influencer marketing. Today we were thrilled that our hard work had paid off– Artingstall won double Gold (98 points) at Food and Beverage Awards, Gold and Best of Show at the WSWA Spirits Tasting Competition, Gold at the International Sip Awards, The Century Design Award, and 94 points in Tasting Panel Magazine. It's so important now and in the future to be flexible with your plans because you can't control all the aspects of business and its influencing factors. I believe in a business plan but always understand it will not end up where it started, and it's essential to embrace change and new ideas to be successful and create new brands and products.

What are the challenges faced by entrepreneurs in their attempt to create a well-established label?

Time management is one of the biggest problems faced by entrepreneurs who wear many (and all) hats. At the same time, cash flow management and delegating tasks are just as challenging for young entrepreneurs. Hiring employees –do you know who dreads job interviews the most? It's not prospective candidates — it's entrepreneurs. When choosing what to sell becomes a challenge, marketing strategy is crucial to maximizing investment return with efficient, targeted marketing. The earlier stages of an entrepreneur's life are when it is most uncertain. Self-doubt creeps in when something goes wrong or when you're not growing as fast as you'd like.

Photography Corey Sinclair

Your business advice to aspiring entrepreneurs who want to start a business, as well as to seasoned entrepreneurs?

Challenge yourself–my biggest motivation is to keep challenging myself. Treat life like one comprehensive university education, where you can learn more every day. Do things that you care about and work on something that you only believe in to be satisfied in your life. Take the risk. Unless we do it, we will never know the outcome of our efforts. You will not regret failure, but you would regret not trying. Believe in yourself. As Henry Ford famously said, "Whether you think you can, or think you can't, you're right." Believe that you can succeed, and you'll find ways through different obstacles. If you don't, you'll only find excuses. Have a vision. Keep your vision and desire to create clear at all times. It is essential to keep good people close to you. Who you're with is who you will become, so seek out people who are already the way you want to be. Face your fears. Overcoming fear isn't easy, but you must do it. Fearlessness is like a muscle–the more you exercise it, the stronger it becomes. Take action. Great ideas will become a success only through action. Start doing!

Do your time and be patient for your success. Every successful entrepreneur was once a beginner. Manage energy, not time–your energy limits what you can do with your time, so manage it wisely. Build a great team–no one succeeds in business alone, and those who try will lose to a great team every time. Make sure to build a team with character and values. Plan for raising capital–it's almost always harder to raise money than you think it will be, and it always takes longer. And Spend wisely. Know your goals –set goals and remind yourself of them each day. Learn from mistakes–they are the best teachers to bring you closer to success, even though you initially failed. Know your customer–Know those you serve better than anyone else, and you'll be able to deliver the solutions they need. Learn from complaints–Your most unhappy customers are your greatest source of learning. Let unhappy customers teach you to recognize the holes in your service. Ask for customers' input–Assuming what customers want or need will never lead to success, so ask them and listen to what they say and deliver more than expected. And most importantly, understand your industry–don't play games you don't understand! ■

"It's so important now and in the future to be flexible with your plans because you can't control all the aspects of business and its influencing factors. I believe in a business plan but always understand it will not end up where it started, and it's essential to embrace change and new ideas to be successful and create new brands and products." 60

FORWARD Interview

"We can't go back to the way it was:

Susan Langdon on the way forward to the future of Fashion.

The pandemic has allowed us to look back, reflect and change for the better."

Donna Santos Photography

xecutive Director of Toronto Fashion Incubator (TFI) Susan Keiko Langdon is an experienced industry leader who has nurtured over a thousand Canadian talents to start and grow their creative endeavours. It came as no surprise when Langdon was awarded the Order of Canada, one of the country's highest civilian honours, for positively impacting Canada's culture and economy. The recognition couldn't have come at a better time than now to leave behind a year stricken with pandemic challenges and pave the way into the new year with hope, encouragement and regard for being a leader. FORWARD congratulates Susan Langdon on her latest achievement. We are proud of the opportunity to talk about her initiatives during the period of COVID, how TFI stayed functional, and her insights on how Fashion has a chance to become more responsible, more resilient and more sustainable.

FORWARD Interview

You are not a stranger to the Toronto fashion industry; we know you in so many lights. But how do you describe and define yourself– professionally and personally.

I'm a third-generation Canadian and a native Torontonian who loves her country and all that it offers. I grew up on The Danforth, and later in Scarborough, but feel more at home downtown and living the city life. My friends would say that I'm hardworking, dedicated, goal-oriented, and responsible – and I am – but they would also say that I enjoy people with a great sense of humour and that I love to laugh. Having been trained as a fashion designer and having had my own line before being at TFI, I appreciate and understand how difficult it is to launch and sustain a fashion business and what it takes to be an entrepreneur. This understanding has given me insight into what Canadian designers need to succeed. It has always been the catalyst for many of the products and programs we have at TFI, such as our mentoring program, lists of contractors and sample makers, and our London Fashion Week export market initiative. If I were to leave my position, I honestly believe that only another fashion entrepreneur would successfully run TFI. Like the experts say to budding authors and screenwriters, "write what you know," in this case, it's "do as you know."

A brief background on the function of TFI:

The Toronto Fashion Incubator (TFI) is an award-winning, non-profit organization that inspires, mentors and educates fashion entrepreneurs about the business of Fashion. TFI is the world's first fashion incubator that's inspired over 30 cities worldwide to adopt its innovative co-sharing concept. Since TFI's launch in 1987, major fashion meccas, including London, Paris, New York, and Milan, have started a fashion incubator.

The role TFI played during the period of COVID, how did TFI stay functional.

TFI occupies a 5,800 sq. ft. facility at Exhibition Place, in a city-owned building. When mandatory lockdown began in March 2020, TFI worked with the City and ExPlace to implement a health and safety plan for everyone to follow. Only the onsite businesses working within TFI producing PPE were allowed to remain open, and all of their workers were required to check-in and out with ExPlace security daily. Our team continued to work from home– we developed webinars, applied for grants and made plans for 2021. Lockdown didn't allow other members into the TFI space, which resulted in a sharp decline in membership fees. From March to July, our revenue dropped 70 percent compared to the same period last year. Going back to work at the end of lockdown following the COVID screening protocol helped our membership numbers to rebound, but now that we're back in lockdown, it's difficult to predict how the second wave will affect us.

What is TFI excited about right now?

In July 2020, we surveyed our 8,000 email subscribers to find out more about who they are and what they're looking for from TFI. We were excited to share our findings–more than 80 percent of our followers constituted women-led businesses where over 30 percent had been in business ten years or more. A little over 20 percent self-identified as BIPOC and 15 percent LGBTQ2S. It was good to see that the established companies wanted to be a part of TFI and provide more services and programs. Almost everyone said that online/ digital services were vital to them. Looking forward to 2021, we're excited about embracing change and doing a better job of meeting our clients' needs as we plan for a new direction and strategy for our non-profit.

independent panel. Showroom Canada marks an exciting new initiative for Canada's fashion industry, bringing world-class Fashion to a global audience of 200,000 retailers. We will feature the digital showroom on JOOR, one of the industry's leading B2B wholesale platforms.

You work closely with emerging designers and fashion brands; how do you think emerging talent can find a path to economic recovery post-Covid-19 pandemic?

Canada House in London UK Image by KJ Creative

What new initiatives can we expect from TFI in 2021?

Digital B2B wholesale showroomâ&#x20AC;&#x201C;an TFI initiative developed in collaboration with the High Commission of Canada in the United Kingdom, Global Affairs Canada, Department of Canadian Heritage and the Canadian Apparel Federation. In February 2021, TFI is launching Showroom Canada, a digital B2B wholesale showroom, to help Canadian fashion brands accelerate their sales during these challenging times. Eleven apparel and accessory brands from Manitoba, Ontario, Quebec and Nova Scotia, with a strong focus on sustainable materials and innovative design, were selected by an industry expert's

Going back to the basic 4 Ps of marketing is always a good idea: Product, Price, Place and Promotion. Product: What are consumers buying now? Since there's no need for evening gowns, can you pivot and create elegant blouses instead? What about creating a line of stunning shawls that can be worn both inside and out? As a side note, this reminds me of an experience back when I was an evening wear designer. On a trip to Paris, I noticed how chic the women looked with shawls draped around their shoulders and over jackets. I took inspiration and made myself a black, wool-lace shawl with 6" fringe around the edges and wore it on my following trip to New York. From the moment I landed at LaGuardia, my shawl was a hit, and it even caught the eye of an accessory buyer at Bergdorf Goodman who ordered 75 pieces on the spot! So you never know what can happen when you keep your fingers on the pulse and respond quickly to consumer demand. Consumers are also interested in supporting ethical and sustainable brands. What can a designer do to make their products more ethical? Think about the production process and the after-life of a garment.

FORWARD Interview

Price: Many people have lost their jobs or are on wage subsidy support, so disposable income is down. Therefore, if you've typically been selling high-priced items, can you develop new products in your signature esthetic style that are less expensive? Place: What has a broad customer base that gets a lot of traffic? Selling digitally is more important than ever as there's been a huge uptake in e-commerce sales due to everyone working from home. Now is the time to set up a business Instagram account, set up a Shopify site or join an online selling platform. Promotion: Once you've chosen where to sell online, it's essential to let your target audience know where to find it and drive traffic there. Social media is excellent for this as well as placing online ads.

How is the fashion industry changing right now–in Toronto and globally?

The industry news site, Fibre2Fashion, predicts that it will take two years for the global fashion industry to recover from the downturn in sales caused by the pandemic. Fashion brands need to plan for a long term recovery and start developing a new, more resilient business model now. Consumers have changed their spending habits, so the industry needs to respond accordingly, whether becoming more ethical, more sustainable, more affordable or all three.

In what ways has your interaction with Fashion changed?

I've been lucky and worked full-time throughout the pandemic, so my income wasn't affected, yet I still found myself contemplating "buyer's remorse." I'd look at my closet filled with beautiful clothes and accessories and found myself saying, "Love it, couldn't wear it" (laugh!). I think I've bought only a handful of new things since March, with the hope that I will wear them soon.

Talk about opportunities in Fashion?

In general, the world is going digital, and the fashion industry will need to keep up, which opens up exciting opportunities in careers and technology. Plus, with many overseas production facilities in lockdown, there's an opportunity for local production and manufacturing to rebound, and that will create local jobs.

What old practices do you feel the industry must move away from?

Who would have guessed that we would see the demise of hard copy magazines and newspapers, land lines, typewriters, and fax machines in our lifetime? What stood the test of time for decades and generations have lost ground due to the internet and advances in technology. In Fashion, things that we thought would be around forever–in-person fashion shows, trade shows, fashion weeks– have already lost relevance and are evolving to a digital format. We can't get stuck on traditions or how things used to be done, but what we "can" hold onto are our ethics of hard work, authenticity and taking responsibility for our actions.

What will be the future, the way forward to a more resilient, conscious, and sustainable future for the Fashion industry? I wish I had a crystal ball and could see into the future to have the perfect answer to this question, but I don't. What I do know is that the pandemic proved that things could change in a second, on a global scale. The pandemic has allowed us to look back, reflect and change for the better. We can't go back to the way we manufactured, the way we consumed, how we disposed of discarded Fashion or the way we did business. We can't continue to abuse labourers in under-developed nations, and we can't continue to abuse Earth's natural resources. We have a chance to become more responsible, more resilient and more sustainable, but it will take all of us working towards these goals to make a difference. ■

FORWARD Beauty

June Smith wants to see more diversity, representation and inclusion in the beauty industry. 68

"All women should choose to be BOLD, especially women of colour," says June Smith, Founder of TAJJ Cosmetics. "Makeup is art, it's a part of our femininity, it's an enhancer, and it's a self-booster for women. Beauty has no rules. It builds self-esteem and boosts self-confidence. It gives women that feeling of control over how they look. It's the feeling of knowing you have the power to change how you lookâ&#x20AC;&#x201C; each day." Founded in 2008, TAJJ Cosmetics started with just one product, a niche product, The Toeriffic Toe Concealer, a product used to conceal discoloration on the feet caused by corns. After overwhelming customer responses and the need for more products for women of colour, following intensive studies into ethnic skincare, she launched a complete line of Makeupâ&#x20AC;&#x201C;developed and designed specifically for women of colour. June Smith shares with FORWARD how "Inclusion" is the approach the fashion and beauty industry should take moving forward. 69

FORWARD Interview

What was your vision when you initially created TAJJ Cosmetics? How has that changed over time?

We developed our first product because women all over suffer from "corn," a podiatric ailment that causes pain and is also unattractive. We decided to create a concealer, a product that would provide that instant fix to corns' appearance, yet one that offers long-lasting coverage, waterproof and lasts for up to 24hrs. With society's pressure to look good from head to toe, the Toeriffic Toe Concealer is unique in the cosmetics market and will give

women the self-confidence to expose their toes. TAJJ Cosmetics will continue to expand its brand. We will revolutionize the beauty industry, providing a range of shades and be the leading cosmetics company for women of colour.

As a result of the pandemic, how and what are the impacts your beauty brand is facing:

The Toeriffic Toe Concealer is our best selling product, our niche product, but due to COVID, we were unable to continue with production. Our manufacturer had to close down, and therefore we were unable to meet our customers

demand. We are hoping that things will get back to normal before the summer of 2021.

In what ways has your interaction with your creative vision changedâ&#x20AC;&#x201C; how has the way you approach your design process changed?

TAJJ's vision has not changed; however, our strategy has. COVID has allowed us to do things differently, but our company's vision remains the same. The lack of products for black women and the representation of women of colour remains a challenge, and our goal is to change that.

Your insights on how the fashion and beauty industry should approach moving forward? Inclusion! TAJJ Cosmetics represents a black woman. We need to see more representation of black women in the fashion and beauty industry and OWN what we produce and not piggyback on well-known brands.

What will be the future, the way forward to a more resilient, conscious, and sustainable future for the Fashion and beauty industry?

The only way for any brand to remain sustainable is to have diversity, representation and inclusion. The world has evolved. A lot has changed, and what worked yesterday will not work tomorrow. â&#x2013;

"Makeup is art, it's a part of our femininity, it's an enhancer, and it's a selfbooster for women. Beauty has no rules. It builds self-esteem and boosts self-confidence. It gives women that feeling of control over how they look. It's the feeling of knowing you have the power to change how you lookâ&#x20AC;&#x201C; each day."

"The only way for any brand to remain sustainable is to have diversity, representation and inclusion. The world has evolved. A lot has changed, and what worked yesterday will not work tomorrow."

FORWARD Beauty

Freedom is the right to tell our own story "We need to allow everyone to tell their stories and experiences in their own words, and allow them the same opportunities to create as everyone else" Jayjay Kings

Photography Ethan Hanzel 72

FORWARD Interview

ayjay Kings was born in high school as an escape online from his small, closed-minded hometown. Slowly Jayjay has evolved from club kid party promoter, Toronto fashion scene fashionista, to self-taught makeup artist turned drag queen! She's been on a journey, but it's a journey of self-discovery and appreciation. Here, we continue her journey as she talks about being an artist in the pandemic age, staying true to her creative vision and process, and the importance of an inclusive and diverse community.

On being a makeup artist and entertainer during COVID-19:

The year 2020 has been rough. It was supposed to be a year that I was excited about, pivotal for my career and passion for drag. I had just decided to focus more on my drag and mix it with my makeup and social media passion. I was proud and excited to travel and do shows, especially being so fresh out of the womb. Then Covid-19 happened. I was in Vancouver for a drag show when it started– as the lockdown began in March, I felt like I had lost it all. I wasn't working my full-time job and wasn't able to do what I had just worked so hard to do–Perform. Eventually, I took the time as a blessing to appreciate what I have and continued my journey through social media to pivot what I wanted to do. I achieved more than I would have given any typical year– I did the most partnerships and drag shows, also 74

If you make it an opportunity to explore yourself and your goals outside of this 9 to 5 world– you may find that change is what you needed to start fresh on your journey!

planned and spoke in a segment on Breakfast Television Toronto for Pride Toronto. Yes, it has been challenging. But if you make it an opportunity to explore yourself and your goals outside of this 9 to 5 world–you may find that change is what you needed to start fresh on your journey!

The beauty industry is changing in response to the coronavirus pandemic: The coronavirus's impact has been detrimental to all the communities I belong to, work or social. The beauty industry took their business online with partnership promotion and e-commerce. Beauty has always been forward-thinking in the social media side of advertising. The virus and social injustices forced them to put their money where the mouths are and to focus on those partners working towards a more inclusive and diverse future.

The pause helped me focus on my creativity and stay true to my message.

More than just a social media queen:

Beginning of 2020, I was pivoting my creative outlet to in-person shows. I wanted to prove to myself and everyone that I wasn't just a social media queen and use each show as a means of improvement. Unfortunately, the pandemic stole that vision away, so I had to re-strategize my concept to express my creativity in person back to online. I focused on making my virtual drag shows a form of art that communicated my message and the world. I wanted my audience to stop and think about what they were seeing and why! For instance, I covered Kesha's "Rich, White Straight men" to touch on the ideas of white supremacy, social injustices, and political power through childlike imagery. Recently I did a virtual impersonation drag show to Billie Eilish's "When The Party's Over," referencing the impact of Covid-19 and social media on my mental health.

FORWARD Interview

Re-discovering creative vision:

My creative process has always been the sameâ&#x20AC;&#x201C;I turn to music to inspire me. During this indefinite pause, I spent more time refining it and learned skills to better my work's quality and vision. My partner Ethan Hanzel helped me take my ideas and make them a reality, and for that, I am thankful! I listen to a song to understand how it makes me feel, envision the world projected in it, and source outfits to recreate the world perceived through my eyes. The only difference now is that instead, I have started being the person to create them. I know I am no sewist or designer, but having a hand in every aspect of my art makes it more authentic. The pause helped me focus on my creativity and stay true to my message.

Awareness of what it means to be equal:

Society needed the pandemic to help slow us down to focus on important matters. People were able to see our BIPOC brothers and sisters' social and criminal injustices. Those who have always had an excuse to play busy were forced to sit down, watch and listen to the community's pain. They had to choose to accept hate, keep playing blind, or finally listen and acknowledge privilege and take action. We slowly realize what it means to be equal, but we have so much work to do!

to speak for themselves. We need to enable these communities to tell their stories and experiences in their own words. Foster the same opportunities to create as everyone else! (I'm tired of old white cisgender privileged people telling the stories of indigenous people and then try to claim their clothing and culture.) We need to make space for them and all BIPOC people to do it themselves! â&#x2013;

Allowing the marginalized communities to speak for themselves is the only way FORWARD:

We need to continue to move towards an industry that is genuinely inclusive and diverse. I want people to look at the industry and see a community that fully represents acceptance, appreciates shared experiences and celebrates 'opposing' experiences. We have a lot to learn, and the fashion and beauty industries need to allow the marginalized communities

FORWARD Interview

FORWARD Editorial

Stepping Forward into a life full of changes Pause, Look Back to the Past to Reflect, Live in the Present, and Move Forward consciously.

MAISON LOUISE design by Tomoko Oxenfarth

Photography: Kit Chan Hair and Makeup: Julian Morellomua Models: Juliet Sora Harvey I Jessica Pinheiro 83

FORWARD Editorial

FORWARD Feature

Un brin de rien.

Fanny Capuano expresses the calm, the quietness, and the pause from the hectic everyday lives.

Capuano is a ready-to-wear and custom design brand based in Montreal. The brand is built on the belief that clothes represent what we are and what we want to be, by designer Fanny Capuano. The brand values and cares about the personality that they communicate. Produced in small quantities to avoid overproduction and waste, FCapuano encourages customization.

FORWARD Feature

he year 2020 was supposed to have been a great moment for me. I was finishing my fashion design studies, and to finally work full time on my brand. I prepared for my fall 2020 collection by buying my fabrics in February. About three weeks later, the entire world shut down, but thankfully I had some materials to work on after the semester ended. My fall collection, "Un brin de rien," was my outlet during the pandemic. The collection, which translates to "a bit of nothing," expresses the calm, the quietness, and a pause from the hectic everyday lives. The collection is reflective of my state of mind, the longing for calm and stillness that I needed very much after six years of fashion studies. I created a collection–simple and straightforward straight from my heart, without the expectations.

"Un brin de rien," which translates to "a bit of nothing," expresses the calm, the quietness, and a pause from the hectic everyday lives.

The fall collection evolved along with the pandemic, with ups and downs. The creative process drew me very close to it–I had the fabrics that I loved, and I just made the clothes. It was therapeutic to create spontaneously without having to draw out a concrete idea or without anyone expecting anything. The collection "Un brin de rien" is purely me, and my creative visions clean and unadulterated without the external noise. I still wanted to share the collection and did it with a very quiet launch and a simple photoshoot to connect with my clients and express my gratitude for all the support received through these challenging times. Lockdown has been a wake-up call and a significant experience in making us realize how broken the seasonal production system is and the future uncertainties. For instance, early in the year, I was very enthusiastic about what was to come and planned with shiny, fun fabrics for the Holiday collections. The decision I made ten months ago is impacting me now. So I decided to review my calendar thoroughly, and instead of seasonal collections, I will now be doing monthly drops of a few pieces. It helps me feel closer to and more relevant to society's needs and respond better to my clientele's needs. I re-visioned to co-create more with my clients, so it is more personal. As a small local business, I have to compete with real giants in the industry. However, I have the advantage of being close to the production process to change my course easily. I am close with my clients, and the pandemic made me realize the importance of intimate connection. And I hope this experience will be a step forward for the consciousness of this world. ■

Photography Kaven Tremblay Models Nadya Goorachurn | Lydia Houde Hair Nancy St-Gelais Makeup Luz Paradis 92

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KĂ&#x2013;WLI

Romanticizing Gypsies. Finding,

Joy in their nomadic and colourful lifestyle Beauty in their fashion and ornaments.

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Photography Omenut Photo and Video Service Models P Zakhrova | Blackiavalanche Makeup Saba Elyasi Stylist Arghavan Rouzbeh Fashion Kowli Shop 101

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Flight Through Time

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Photography Tiny Island Photography Model Steva Plain Wardrobe Art She Is Hair Kaitlyn Waluchow

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New

Years weekend at Home

A Woman will always find something to do at home.

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The world is your canvas Create something extraordinary. Create a positive influence. Show the world who you are. Show the world your strength.

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Canvas Toronto believes each individual can

create something extraordinary. Through their products and fashion accessories, the brand makes you part of the journey, transforming the arts and small things into an authentic story.

The founder Matthew Yuan started the brand in 2019 to create an affordable luxury/ streetwear brand. They focus on creating an authentic Canadian brand that combines art and high-quality material. With a mission to create an affordable Canadian fashion brand that genuinely allows people to express themselvesâ&#x20AC;&#x201C; "The world is your canvas" not only represents their mission statement but also represents the customers. The brand's goal is to impact people worldwide and stand firm to influence each other positively.

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Like the rest of the world, Canvas Toronto too suffered the wrath of Covid-19. All overseas suppliers had to shut down; the fulfillment warehouse delayed delivering packages, and they stood still at the onset of the pandemic. Canvas Toronto being an eCommerce business, is what rescued them. By April, their supplier, logistic company, and brand could adapt to the change and figure out the right way to serve the customers. As a brand with creativity that separates them from the rest, they strive to encourage everyone to make the world a piece of their canvas and take a little action to show people what one can do. Standing right to their values, Canvas Toronto helped give back to the community.

"The canvas is a metaphor of our society and the world. We truly encourage everyone to make the world a piece of your canvas, take a little action to show people what you can do"â&#x20AC;&#x201D;founder of Canvas Toronto, Matthew Yuan.

Through the initiative of Startup Fashion Week, they donated facemasks to the people in need. They demonstrated the importance of helping each other and how the fashion industry has played a vital role in producing PPE equipment. Matthew Yuan believes that startups have the potential to accelerate the transformation of the fashion industry.

"Creating a brand is a time-

consuming and lifelong process, but the beauty of startup fashion brands like us is we bring different values to the marketâ&#x20AC;&#x201C; culture, experience and values. I think in this ever-changing industry, young brands have a profound impact on culture, trends and consumer behaviour."

With its broken system and industry shortcomings, the fashion industry is a far cry from being stable. Yuan points out the industry's sameness, which suffers from excessive imitation. "From a creative standpoint, we should encourage authentic culture, which can relate to consumers. As we advance, we should promote more organic brands and designs," added Yuan. It is reassuring to see brands gradually moving towards more sustainable initiatives. He stresses that using sustainable materials, reducing carbon footprint and promoting more vintage shopping is the way to go. As online shopping is becoming a part of our lives, many brands now realize it is imperative to tell a story through online social media. As we all wait for the normal life we once knew to return, Matthew Yuan is hopeful for a future fashion industry that is more sustainable, resilient and inclusive. â&#x2013; Photography Yao Wang 117

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Influencer Shannon Isaacs Image courtesy Canvas Toronto

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Karyn Inder

On mental health, being a model, and on how modelling and fashion will change.

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Photography Ashley Savage

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Professional history and background.

I am a Model, Mental Health Coach and Host of The Model Tongue Podcast. Originally from Newfoundland, I moved to Toronto in 2014 to pursue my dream of becoming a model. Six years later, I am signed with Anita Norris Model Management in Toronto and Spain and Germany. As a plus-size model, I am so grateful to represent the 'inbetweenies' on this fight towards size-inclusivity. I've lived in New York City, walked New York Fashion Week and Toronto Fashion Week, worked for clients such as The Hudson's Bay Company, Joe Fresh, Knixwear, KOTN, Shapermint and most recently, a campaign for Reitman's. I started advocating for mental health in 2012 and use my platform as a model to change perceptions, fight stigmas, and support those living with mental illness. At 14 years old, I was diagnosed with Bipolar Disorder and Borderline Personality Disorder. I was later diagnosed with PTSD and Anxiety at 23 years old. Mental illness is highly stigmatized, and I want to change how mental illness is perceived and approachedâ&#x20AC;&#x201C; This was my inspiration when I launched The Model Tongue Podcast in March of 2020. It has grown into a platform that highlights others' voices, engaging in conversations to share awareness and strengthen communities. As a Board Member of The All Womxn Project, I oversee their mental health initiatives. As a Public Speaker, I visit schools and universities to discuss topics ranging from body image to self-worth.

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My regular day before COVID:

Not that much different than during COVID! As someone who struggles every day with mental illness, I am used to keeping a schedule and having frequent 'checkin's' with myself. My days would be layered with life-responsibilities and healthresponsibilities. It was updating posts on social media, making sure to have not too much screen time, taking calls with my agency and colleagues or making sure I am eating and drinking enough. Managing call times, being on set, scheduling guests for the podcast, shooting content, writing captions and working on some projects set to launch in 2021 is my life. It's still the same. It just looks a little different! My public speaking has gone virtual. There are fewer people on set and more posts directed towards mental health!

My schedule these days:

A lot of it is the same, but it seems so different now! Onset, Pre-Covid, there would always be so many people, we would be together, but now, team numbers are limited and socially distanced. I miss being able to talk to everyone! I have implemented a new schedule system to keep me on track and hold myself accountable at home. I try and keep a routine! Routines are crucial for my mental health. I also opened an Etsy store, which has been exciting! I love crafting, so it's nice to share the little things I have been making these past couple of months. Life is similar, but now I try to emphasize scheduling; so much is beyond our control right now, and it's important to keep structure!

Challenges of being a model :

A huge challenge is travel restrictionsâ&#x20AC;&#x201C;travelling to different locations and countries is essential as a model, limiting the work available. There's also a higher health and safety risk. It takes many people to make the shoot successful. Going into the

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future, models should have a backup plan to fall back on. More and more models will ensure they have a second form of income, a backup plan, and invest in 'at-home studios,' which I've seen happening for everyone in this industry. This pandemic has hurt so many sectors, including the arts, fashion and entertainment. People's livelihoods are at risk, so again it's about adapting and making decisions that will help in the long run.

The way I connect with fashion now:

It's been so long since I have dressed up and gone out, I miss picking my closet apart. That being said, I do love existing 24/7 in my KOTN sweatsuits. Fashion still excites me, and lately, that excitement has been found in cozy leisurewear. I also have a newfound passion for sustainably sourced brands and shopping Canadian- which is more important now than ever.

Photography Ashley Savage

My realization and awareness from the pandemic:

We need more accessible health care and resources for Mental Health Care. With increased jobs lost, decreased socialization, and therapies moved to virtual– people are struggling. People struggle because they can't afford to pay for their medications. They have stopped seeing a therapist because money is tight or they can't see their doctors in person, and group therapy has moved online. We need more resources and outlets for people to seek help and reassurance.

My insights on how the fashion and modelling industry should move forward:

"Like anything, it's about adapting. Fashion is the reflection of life, and life has changed this past year, so fashion has to adapt and change with it."

Like anything, it's about adapting. Fashion is the reflection of life, and life has changed this past year, so fashion has to adapt and change with it. We need to be more sustainable while sourcing materials and adopt sustainable production and practices. There has to be a careful consideration of (new) consumer needs and inclusivity. We also need to support local– local businesses, local talent, local everything. ■

Photography Ashley Savage

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Fashionable Heels You Can Rely on from Day to Night FLOREMIRABEAU.COM

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Santa Soul Swim

The Ultimate Swim wear seamless, reversible and multi-use

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The new reality pushed Santa Soul Swim to embrace innovative approaches as they start in the middle of the chaos that was 2020

he infamous COVID-19 is known for leaving no stone unturned to affect every life worldwide like no other. While it confined people to their homes and economies were paralyzed, the prospects turned grimmer than ever for small and independent fashion brands. As the outbreak continued to gather momentum, Santa Soul Swim, however, decided to go ahead with plans and launched in fall the ultimate swimsuit that every woman has been searching forâ&#x20AC;&#x201C; seamless, reversible and multi-use. As comfortable as it is versatile, they are not only your beachwear but also worn with pants, skirts and dresses. Santa Soul Swim will take you from the beach to your

desk and seamlessly transform you into a stylish fashionista. The challenging timing pushed them to think, create and communicate the brand in the most innovative ways ever imagined. Santa Soul Swim tells FORWARD how the new reality advanced sustainability, quality, embracing innovative platforms to create brand awareness and rethink brand values to remain relevant in the everchanging fashion industry and maintain its business plans. 133

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On how Covid-19 impacted Santa Soul Swim as a start-up brand:

The pandemic challenges pushed the brand and its start-up plans constructively. Most of our events were either rescheduled or cancelled; the site and product launch dates were delayed, and methods to engage with our community were interrupted. But with the newfound challenge, we got creative to find common ground, find innovative ways to communicate in ways that we never imagined. We find comfort that we'll be here to provide beautiful swimwear when it's safe to travel again and that it is more than swimwearâ&#x20AC;&#x201C;It is a versatile piece to wear with pants, skirts and dresses.

On starting Santa Soul Swim in the middle of the chaos that was 2020:

We expect to launch in February 2021 officially. When we started in September, the brand vision was to provide swim attire that made women feel comfortable and confident in their skin at home and travelling. Each piece created is designed with guidelines to ensure that we maintain the client in mind and offer them what they want out of their swimwear. Santa Soul Swim focuses on creating sustainable attire, multi-functional pieces with quality material and craftsmanship. Taking pandemic as an opportunity to

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develop the brand: The pandemic allowed us to scrutinize details of the brand that had room for improvement. With the restrictions that we all faced, we were preparing to launch products for those staying at home - and hopefully travel when safe to do so. We took this time to organize all elements, from the design portion through to the experience of receiving the parcel.

On realization of the importance of human connection:

We gained a newfound appreciation and value in the interconnectedness of society. We saw how important the opportunity to see and feel fabrics in person wasâ&#x20AC;&#x201C;the ability to show seamstresses the edits we have physically, and even when photographing pieces, helping the models with how we want the pieces to be showcased. We really will appreciate the inperson contact that we never realized was a privilege.

On how the future fashion industry should move forward:

There is so much room for the fashion industry to grow to be responsible and sustainable. Brands and consumers together should push for environmentally- conscious products and services. Pandemic has opened up the opportunities and possibilities to be aware of the planet for future generations. â&#x2013;

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H O P E

The pandemic will bring out the best in us. That is the hope. A message of hope from model Hanya Kizemchuk.

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Photography Andrea Hunter Photography Body suit RVNG Couture Makeup Cruella Crimson Model Jordon D Roy

anya Kizemchuk is a trailblazer who motivates others to redefine conventional wisdom. We admire her for her bold and fun energy, vulnerability and boundless curiosity. As a lifelong entrepreneur, real estate investor, model, and host of the "Talk the Talk" show, Hanya is on a relentless mission. A mission to empower women and inspire young girls to build a world where gender and age will not define how big one can dream or how far one can go. Pandemic or sanspandemic, Hanya Kizemchuk continues to BE and DO what she best doesâ&#x20AC;&#x201C; be fearlessly authentic and unfiltered.

It is incredibly gratifying to be working as a mature model representing a cross-section of our female population, giving them a voice and identifiable images. The pandemic has made us all reflect on our actual needs and aspirations. A major shift is occurring in how we live, how we correspond and what we hold valuable in our lives. Fashion has always been a creative outlet and means of expression. The industry comprises creative people who will continue to create despite the boundaries. Once pandemic becomes a past, there will be a renewed excitement in the air with a ferocity of spirit towards freedom and the creation of fashion that will uplift, recharge and renew. I am hopeful for a renewed sense of balance, primarily between men and women and a general acceptance of our wonderful diverse lives. The pandemic will bring out the best in us. That is the hope.

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FORWARD Interview

Liberty Truism

Stevie Crowne talks about his new creative journey with his move to London.

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Fashion is a way to make a statement, Stevie Crowne's message is one of an "endless possibility"–a style adventurer, a sustainable advocate, and a nomad chameleon. This Canadian native is known for reimagining, reinventing, and repurposing top quality vintage and thrift styles into newer, edgier and bespoke contemporary fashion garments since 2011. The last time when he spoke to FORWARD a summer ago, Stevie expressed his objective to achieve success in each major city in Canada and, one day, the world. He did just that, after conquering the major Canadian fashion cities– Saskatoon, Vancouver, Toronto, and Montreal– today Stevie Crowne wakes up to the crisp, fresh morning air of Marylebone, London. What makes his relocation to London even more exciting is his decision to move amid the COVID pandemic crisis in mid-October 2020. While the whole world lay low, Stevie advanced and chose to stay true to his belief in "endless possibility." He celebrated his successful new journey with his first London collection, "Liberty Truism." FORWARD applauds and supports his creative adventure with a heart to heart virtual conversation with the man of the hour himself.

Your move to London, tell us about it?

I always knew that fate would lead me internationally, but first, I had to tour Canada to build an experienced and robust foundation. I would've never been able to navigate London without prior experience from Canada. Every Canadian designer's dream is to get out of Canada, even if it's just for a vacation. However, for me, I am the type of person who doesn't like to take vacations. Instead, I move to different locations and create collections from those places with inspirations drawn from the culture and experiences. I chose to incorporate the Stevie Crowne Limited brand in the United Kingdom because this is the world's financial epicentre where the currency is the strongest and is closer to the best quality of businesses and supply chains.

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What excites you about London?

MY first London collection, "Liberty Truism," released on the 11th hour in December–the experiences, work that followed while also enjoying my holiday season is what excites me. It has been one of the most phenomenal experiences to check out the haberdasheries and vintage/thrift scene while sightseeing. The most exciting thing about living in London is knowing that I worked so hard to get here and that each day has endless possibilities, and it's just up to me to harvest them and choose which things I do that day.

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get in my way. I think it's when some of your worst nightmares come to fruition that there is a period of redemption and periodic change that will happen no matter what. 2020 just happened to be the year for me that ended up pushing me forward.

How is London different from Canada?

This city is a total 180 from Canada in every single way. From a fashion design/ thrifting perspective, this city has established some of the most outstanding suppliers in the world I have ever seen. I feel privileged and blessed to have access to these institutions and continue making UK collections so long as I live here and serve my North American clientele with nothing but the best! London's architecture is another one of my favourites. The most surreal moments in my experience here so far have been splurging in luxury jewellery and vintage stores around Marylebone, Knightsbridge, and Nottinghill. The west end since I moved here on December 1st has been treating me well, and I feel like I found my home after looking around for a few months.

Moving to London amid COVID was a very bold decision; share your experience.

2020 was the year that was beyond our control. Many felt hopeless and powerless, and I was no different. In these moments, I had to either face my demons head-on or let them destroy me. I was infected with COVID-19 over the summer. While in quarantine recovering, I realized that I had been stagnant even before the pandemic and how desperate I was for a change. I had planned to leave Canada in 2020 for many years, and nothing was going to

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How has the limitation posed by the pandemic forced everyone to be more creative?

I can only speak for myselfâ&#x20AC;&#x201C;even before the pandemic, I was forced to be creative day in and day out. I had to face discrimination, poverty early on in my life and career, income insecurity, and so on. It wasn't a new experience to move around money and pinch pennies to start investing and move forward during this time. It's never a question of IF, but it's a matter of HOW I can accomplish what I plan to do.

In what ways has your interaction with Fashion changed?

With my debut UK collection, It was imperative to be literal and to instil messages of hope and wisdom through my designs. The collection allowed me to be more direct with my message while also drawing from the aesthetics on which the brand's DNA is built. My mission statement has always been the same; I fight for equality, fight for inclusivity, fight for sustainability, and strive to do all of these things accessible.

How do you view it now, and how has it changed, if at all? As a style adventurer, a sustainable advocate, and a nomad chameleon, I know that my interaction with Fashion and style will always be genuineâ&#x20AC;&#x201C;from my heart, soul, and brain. However, it takes years of strategic dedication to take a pure and restless passion and refine it into a business model.

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How did you re-strategize your creative outlet or reimagine the way you do things?

Until now, I would do big concept runway shows with so much showmanship and theatrics that the message I was conveying got lost in the process. Today I want people to wear the messages on the clothing and take it to heart, just as I expressed.

How did your creative vision change?

My artistic vision is very similar, if not the same as it was. The values that I built my company on and myself on are based on truth and universal inclusion– and that remains true no matter the surroundings.

Talk about your most important realization and awareness from the pandemic? Human kindness is the only thing that matters! The ultimate realization recently was understanding that one of my biggest dreams that I ever had growing up came true–I finally went international and incorporated Stevie Crowne Limited on British soil! I plan to move on from this experience that is 2020 is to continue moving forward in compassion, kindness, love, and unity.

Do you think there will be a renewed appreciation for craft/ quality?

I will always have an appreciation for the craftsmanship and quality of garments. T-shirts and accessories can be the most wasteful and overproduced garments in this industry, and I have

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refrained from designing them. However, I saw the need to create a well-crafted quality piece with this pandemic, functional at home, and take it to the streets and still feel empowered.

Your insights on how the fashion industry should approach moving forward for a healthier future?

As a whole, big corporations should hold accountability for their actions–pollution, burning unsold merchandise, fast fashion factories with underpaid labours and toxic environments. On a personal level, I think we all need to start listening and believing in each other more. I would also say the second pandemic of 2020 would be racism, inequality and social injustice. The way that these issues intersect the fashion community is dire–reinforcing the phrase, "life imitates art." We have seen the modern-day cry for revolution. I hope more brands, individuals, and the fashion community as a whole continue the good fight so that a broad spectrum of disenfranchised and marginalized underdogs can feel heard and accepted by this community.

What do you want to take away from this period?

I'm always going to remember 2020 as the year that I didn't accept anything less than what I deserved, and I didn't stop until I got what I manifested. Societal underdogs heavily inspire me; those who defy all odds against them and who are authentically themselves 24/7. Those people are my chosen family, my clients, and my support system. These people are also my heroes. This year will spark some of the greatest and powerful activists, creatives, and freedom fighters that the world has ever known! ■

The Collection is available for purchase at StevieCrowne.com/shop Instagram: @StevieCrowne Tiktok: @StevieCrowne YouTube: StevieCrowne 151

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The digital fashion shows will not replace the Live fashion experience: says Vanja Vasic.

"However, we can learn from digital runways to incorporate elements into future live shows."

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n its 15th year of production, Fashion Art Toronto (FAT) is a multidisciplinary fashion event known for being an inclusive platform at the forefront of promoting positive body image, cultural diversity, and transforming gender norms. FAT is the first festival of its kind in Canada that presents a platform for provocative, experimental and avant-garde runway shows and presentations to create an immersive experience on the runway.

Vanja Vasic is the curator and founder of Fashion Art Toronto; as the Director, Vasic has become one of the leading forces in fostering talent in the art and fashion industries. During the last 15 years, Vasic has curated, promoted and presented more than 1000 designers and artists from Canada and abroad. FAT celebrated its 15thanniversary edition entitled 'We are all in this Together' amid the pandemic virtually. Is the digital fashion experience the same as the physical events? Vanja Vasic talks to FORWARD, digitally, about its 2020 edition, the future of runway, and how the year 2020 was an opportunity to reevaluate, reinvent, reflect and innovate.

Founder of FAT Vanja Vasic

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Theme and the significance of FAT VIRTUAL RUNWAY 2020:

'We are all in this Together'; is the theme of the 15th-anniversary edition we chose long before the pandemic. It is to celebrate our 15 years of diversity as a festival, our community and family of creative people, and express the importance of collaboration and working together towards a common goal. The 2020 theme reflects on the festival's accomplishment of creating a powerful platform for fashion designers and artists to show their work, building community and the broader notion of connecting, engagement and collaboration amongst artists and designers. Due to the pandemic, the theme "We Are All In This Together" was echoed in sentiments worldwide to express empathy, solidarity and community effort in response to the crisis. Now, more than ever, this theme is relevant in our larger Canadian fashion community. To thrive and grow, we need to build stronger support systems and networks through open dialogue, collaboration and exchange.

It was essential for FAT to go ahead with the show as a digital runway:

As leaders, we need to build our community and produce something innovative, positive and inspiring during this dark and unprecedented time. It was essential for us to continue because it was an opportunity to think outside the box, try something new, and keep our community active and supported. We are proud that we created something exhilarating, avantgarde, rebellious and original with Toronto talent on our beautiful city's landscape throughout many restrictions and uncertainty. Photography Tash Damjanovic

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togetherness with our participants and our audience through each designer's unique story.

The community's response: The objective of the FAT virtual runway 2020: To inspire while showcasing and highlighting our roster of Canadian designers by producing a beautiful story for viewers. It was a creative outlet for people to be hopeful and imaginative, and it kept our industry going during a challenging time. Ultimately, the event is an outlet for designers to promote their business while also promoting the city through fashion and the unique backdrops chosen for each designer.

The covid-19 limitation was a new opportunity:

FAT becomes a truly Toronto event as City and Fashion intersect. The COVID-19 limitation pushed us to invent new opportunities and ways of presenting fashion and led us to promote the city, highlight iconic locations, and explore the areas that lay hidden. The runway itself became a perfect reflection of the circumstance of isolation surrounding COVID – 19 – where the emotion of loneliness was felt in each show (because of the lack of audience and vast landscapes). We created a sense of community and

We had a really amazing response from our audience. People loved the accessibility of the shows, the ability to interact with the live event, and that they could visit our social platform to rewatch the runway films. Still, many expressed their longing for physical experience. As an event, our community engagement was not as robust as when it was the in-person event.

How does online compare with the in-person show:

The physical show is different from the digital presentation – each has its awe factor. The in-person show offers that physical experience –engaging all the senses in the fashion show's performance and theatrical presentation. You get to live the moment and have the immersive experience of sound, lighting, and the interaction with other guests. For the virtual event, we added awe in a new way to reflect the circumstance of the pandemic. The limitations required the shows to be mainly outdoors; we chose to have a unique background for each designer. Therefore the excitement was seeing each collection presented in a surprise location across Toronto.

" Storytelling is the future of fashion

runways. As we advance, the fashion runways will be about how we tell the brands'

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A sustainable way for brands to show their works:

The viability of the show depends on the production approach. One is not necessarily more sustainable than the other. Digital displays can be just as costly and involved as physical events. Even though you do not have a physical audience, designers still need to invest in the space, the production, the styling, the PR, models, crew. There is a lot that goes into every aspect. It's beneficial for them to be a part of a fashion week where many of those costs are subsidized, whether it be an in-person event or digital.

Experiences from live runways are hard to recreate with a digital experience:

Digital will never replace the Live-runway, but there is a lot to learn from the digital experience and incorporate into the live show. The excitement of the liveaction, the physical experience of being 'there' and in the moment, the social aspect, connecting with people and dressing up are all experiences that digital format cannot recreate. We are more present at the in-person show, more

immersed in the show's experience - the lights, the sound, and watching other people who attend.

The future of fashion runways:

Storytelling. As we advance, the fashion runways will be about how we tell the brands' story through the production, using incredible locations and staging to create experiences, connect, inspire and move an audience to awe.

Moving Forward:

A crisis is often an opportunity to reevaluate, reinvent, reflect and innovate. The way forward is to put efforts and attention into our local fashion community and help grow our Canadian fashion industry. We have to build excitement and interest in homegrown talents and become fashion innovators. â&#x2013;

story through the production, using incredible locations and staging to create experiences, connect, inspire and move an audience to awe.

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ANDY JONES

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Toronto Frontrow regular Henry Calderon talks fashion and what is to come. Photography Olga Hutsul 175

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o think of the regular schedule before

covid-19â&#x20AC;&#x201C;it feels like it never existed, except for the images that remind him of the art, creativity, and expression he always was a part of, says Toronto Frontrow regular Henry Calderon. He is a management consultant and advisor for fashion, politics and sports. An International Fashion Influencer whose relationship with the fashion industry goes back to his early years in South America, Lima Peru while growing up with a sister who was a fashion designer. As travel bans and quarantine orders restrict regular fashion events, Henry Calderon focuses on his health, mind and bodyâ&#x20AC;&#x201C; while tennis is his new routine. With fashion shows going either digital or semi-digital, he reflects on what it meant to be in the front row and considers the future of fashion events. "Being on the front row is a natural shot. You're there to appreciate the work of the designers. Your focus is on the details of the night, and being in the front row is a privilege that demands you to work harder to appreciate the beauty that goes into creating a fashion event." says Henry Calderon. Given the recent events, he expects more individual designers to do their own shows and be more in charge and creative in communicating their designs.

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Change is the future of fashion. The idea that traditional fashion is today will be a thing of the past.

The fashion industry has survived pandemics, the first and second world wars and had come back stronger with new creations, he shares. Likewise, today the fashion industry is restrategizing and reinventing to find new opportunities. For instance, designers create face masks, find creative ways to connect and communicate their brand; models reinvent themselves and diversify in other areas they're familiar with, like becoming designers themselves or becoming filmmakers. Calderon is expectant that the world will be back to some level of normality. When we do, the Industry will be more conscious and responsive to approach more sustainable perspectives. "Change is the future of fashion. The idea that traditional fashion is today will be a thing of the past. The new generation that prefers Change is future fashion." Henry Calderon. â&#x2013;

The new generation that prefers Change is future fashion. Henry Calderon.

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tyle

The pyjama fashion has taken over; itâ&#x20AC;&#x2122;s time to reboot our fashion style with Couture Culture and Arts (CCA).

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Models: Adam Bryl and Liu Yang Editorial Photographer: Olga Hutsul PR : Meghan Durnford Wardrobe: TFL Couture and Suits by Curtis Eliot Accessories: Jewels Box Videographer: Clarc Reno Manglicmot Dresser: Regine Claire Manglicmot Logistic: Reno Manglicmot Shoot Creative & On-Set Direction: Tristan Fiesta Licud Organizer and Creative Director: Claris Minas Manglicmot Producers: Couture Culture and Arts (CCA) and His and Her Models Location: St. Lawrence Market. Toronto.

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From Presence to Power, a new Leadership is on its way.

Ivy Scarlett is a seasoned freelance writer and contributor with an editorial focus on the fashion and hospitality industries and diversity and inclusion within the creative sphere. Eight years committed and still going, Ivy has contributed to several national and international publications, some of which include but are not limited to; The Fox Magazine (US), Glam Africa Magazine, Mith Magazine (US), West London Living, and Life Is Art Magazine (US).

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"We must not be mistaken; diversity and the lack of it not only affects minorities but also impacts on businesses as a whole."

he word "Diversity" has become a term that has accumulated much currency over recent years. The cultural reckoning we witnessed last year ignited by the Black Lives Matter protests in response to the death of George Floyd in Minneapolis, U.S. was the turning point and beginning of a longoverdue call of accountability. Brands, organizations and leading figures were at long last made to "pull up and speak out" against racism towards the Black community and their allies. Many brands and organizations did take a stance and spoke out against racism in light of the BLM protests. Nike & Jordan, PrettyLittleThing and Palace Skateboards, to name a few, took to their Instagram pages to show support to the black community and reiterate their stance against racism. All three brands pledged to donate to organizations fighting against racial inequality, including Black Lives Matter, NAACP and Blueprint for all (formerly known as the Stephen Lawrence Charitable Trust). Granted, doing something is far better than doing nothing. However, I cannot help but feel that big brands and corporations within the Fashion industry are still barely scratching the surface when discussing tackling and resolving systemic racism. Most Black employees you find working for big fashion brands are either in junior or lower-level positions. Usually, they have to undergo a

more vigorous route of proving themselves when considered for any promotion. With all that being said, following shortly after global-wide BLM protests, we did witness a couple of large scale announcements within the Fashion industry. The first was Samira Nasr, previously Executive Fashion Director at Vanity Fair, appointed Editor in Chief of Harper's Bazaar, making her the first Black woman to acquire this role in its 153-year history. The second announcement made last December came from across the Atlantic in the UK, with Edward Enninful OBE, Editor in Chief of British Vogue, appointed Vogue European Editorial Director. Although we applaud these brilliant milestones, we must still acknowledge the overall lack of Black representation at C-suite and Leadership levels within the Fashion industry as a whole. As Mecca James-Williams, Fashion Stylist and Editor once quoted, "If these brands are going to say that Black Lives Matter, they need to ensure that the Black lives within their institutions' matter." It is somewhat contradictory for businesses to be showing their support and pledging allegiance to the Black community if they are not even safeguarding and nurturing the black talent already existing within their organizations. In April last year, the CFDA Board of Directors revealed many initiatives to combat racial inequality within the industry. The first initiative listed was creating an in-house employment program, speciďŹ cally charged with placing Black talent in all sectors of the fashion business. The second initiative would see the development of a mentorship and internship programme focused on placing Black students and recent graduates in established companies within the fashion sector. However, some creatives did take issue with the CFDA's hasty response, criticizing the organization for not doing enough to "hold the industry accountable for hiring and promoting Black people." 191

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I strongly affirm that if the Fashion industry is serious about breaking down generational inequality, then the gatekeepers need to be vocal and transparent and held accountable for their actions. Regarding the CFDA and their initiatives, we must ask: will there be a way for us to track how many Black talent and professionals get placed in these jobs across all levels? And will the HR departments and leadership teams within these fashion brands be forthcoming in working with the CFDA's in-house employment program for Black people? How can we measure progress? The creatives who took issue with the CFDA's response, which was around 250 Black fashion professionals, released a strongly worded petition in June 2020 denouncing the CFDA's anti-racism initiatives instead of providing a more measurable alternative to fighting against systemic racism. Organized by editor Jason Campbell, Creative Director Henrietta Gallina and Writer Kibwe Chase-Marshall, presented the Kelly Initiative to the CFDA. The petition requested the organization conduct an industry census to gather data on employees' racial makeup at all levels of its member organizations and for the CFDA to ask its members to sign a pledge to create hiring opportunities for Black professionals. I think the importance behind signing the pledge is a perfect example of measurably holding our Fashion Executives accountable and calling out all leading figures within the

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industry who are not actively working towards improving workforce equality. We must not be mistakenâ&#x20AC;&#x201C; diversity and the lack of it affect minorities and impact businesses as a whole. When we think about fashion, past, present and future; Black culture has been undeniably instrumental in influencing trends worldwide and inspiring generations along the way. Post-Covid, what we need to see more of from the Fashion industry is fewer apologies and more actions and accountability. Diversity should not just be HR's responsibility; senior management and Executives need to be thoroughly involved in unlearning unconscious-bias. The Fashion industry is waking up and finally has its finger on the pulse of racial inequality within its seams. Reflecting on all that transpired last year and where we are now, I feel the word "diversity" moves away from being just another buzzword to steadily invoking real systemic change. I am hopeful for the future of the industry as we move from presence to power. The dynamics are shifting, and I believe that a new wave of leadership rooted in creativity and equality is on its way.â&#x2013;

Cosmetics With Conscience

Clean Beauty Luxury Performance

saintcosmetics.com @saintcosmetics

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FORWARD Interview

Looking back at the evolution of the manufacturing fashion industry to move forward with Suneet Oberoi.

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All Images Courtesy of Suneet Oberoi

Suneet Oberoi

n entrepreneur with over 20 years of experience as a Fashion professional and export/import business owner,

Suneet Oberoi, founder Purple Haze, Purple & Me Inc., and Co-founder Bay Street Diary. Suneet Oberoi is the cofounder of Bay Street Diary. Expertise in areas ranging from business administration to marketing, buying, and sourcing products and services and networking. Suneet Oberoi helps businesses grow from start-up to respective annual sales through effective business planning, creative sales techniques, innovative marketing, and proper execution plans. FORWARD finds out how the manufacturing fashion industry has evolved over the last three decades to give us an insight into the future of the fashion manufacturing sector.

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The evolution of the manufacturing fashion industry over the last few decades:

The manufacturing industry has seen numerous changes in the last few decades. Did you know that in the 1960s, dollars spent by an average man in proportion to their income was approx five times more significant? It was not because people bought more clothing then, but because Fashion was expensive and manufactured in America, mostly customized to its clients' needs and requirements. In the mid-1970s, factories opened in South East Asia to take on manufacturing jobs. By the early 1980s, 30 percent of the American brands outsourced their merchandise. By the early-mid 1980s, larger retail stores like GAP and JC Penney opened doors for manufacturing units to offshore production partners. Outsourcing changed the game, not just for the North American fashion industry but also for developing economies and countries like China and India. Fashion became more affordable, and import numbers went high. In the early 1990s, the apparel industry entered into a Golden Era with trade liberalization policies. In 1994 NAFTA ( North American Free Trade Agreement ) broke all bars by removing most restrictions and duties on apparel

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imports. Brands were looking for more and more offshore manufacturing partners to cater to America's huge market demand. The fashion industry was on a boom, cheaper than ever before, people started buying, somewhat over buyingâ&#x20AC;&#x201C; a significant era for the American Importers and their offshore manufacturing partners. But this was also when the American manufacturing sector could not compete and scummed to relaxed import policies and opened the gates for the manufacturing industry in South East Asia. Since the mid-1990s, India and China have been the key manufacturers for fashion brands in American and European Markets. In the late 1990s and early 2000s, numerous brands and labels were launched every minute with a potential market to sell in North America. And with good numbers, investors were looking to put their money on the right brands. This Era of Raising Growth Capital by businesses resulted in fierce competition and a profit-centric approach. The buyerseller relationships built over years of trust and understanding were now tumbling over negotiations happening on a few cents. American brands were in the survival of the fittest situation. Sell cheap, sell more, became the new policy for all businesses. On the other hand, manufacturing had been in developing countries resulting in per capita household income growing fast. The buying capacity of the common man in these developing economies was up and growingâ&#x20AC;&#x201C;this led to an increase in the minimum wage for workers, a rise in manufacturing cost, and increased selling prices. Then the deep recession of 2008/2009

happened, and the fashion industry was the first to get impacted by the market crash. It would not be wrong to say that the industry has never recovered since then. As an alternative to the Brick and Mortar business model's massive costs, ecommerce advanced. Initially, no one believed that it could replace the physical stores. With Brick and Mortar losing its grip from the market, Physical stores adopted an innovative approach to cut this competition. They introduced a new modelâ&#x20AC;&#x201C;lowered their order quantity and increased the number of styles. With new smaller collections launched to give a fresh look to the stores, they added more seasons. Today the biggest sales happen online, and it is a discount model that works best for ecommerce stores Globally. With Covid-19 spreading across the Globe, the impact on the apparel industry has been devastating. The last year has been challenging not just for Brands but also at the manufacturing end. It has been challenging, especially for the Retail stores with fixed operating costs, where space rentals contribute to nearly 35 percent of their total expenses. The most significant liability in the apparel business is overstock. Unfortunately, we are yet to see any brand or company that has a promising solution to this problem. But it is a chain reaction. All problems,

pressures and complex situations the Retail faces pass on to the manufacturing sector. Brands wanted to cut down on their expenses, and it reduced manufacturing costs. It opened China, and then it was India. Bangladesh soon became the hottest manufacturing hub for its Cheap labour. What start as a Designer's work has no demand in the market. Customers do not want to pay enormous prices for Fashion. Hence today, we have most brands producing affordable Fashion. Computer embroideries have now replaced talented Artisans working extremely hard to create an inspirational hand embroidered pattern. Similarly, Computer Screens have alternated the Hand Block prints. These artisans, who are large in number, are now trying to be a part of the small boutique fashion industryâ&#x20AC;&#x201C; which is not big enough to support all these artisans. The industry has moved to an ecosystem that does not permit changes to its already implemented policies and standard guidelines. New manufacturing sectors are being explored and added every year, primarily to reduce cost. Brands need to bet on evolving strategies favouring their businesses for them to survive in this fierce competition. Artisans continue to live in poverty, hoping that the industry would change and get more work and respect. Unfortunately, be it the Brands, the stores, the importers, the sourcing agents, manufacturers or the workers, they are all a part of this complex ecosystem that has formed over the years and offers no further flexibility for the betterment of the underprivileged artisans/workers.

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How has the designer and the wearer's relationship evolved from personal and intimate relations towards a more formal and impersonal exchange?

Designer and the Wearerâ&#x20AC;&#x201C;it once used to be a very caring relation. It was about personal comfort, unique looks with fabric and quality to suit the individual Customer. Now designers have changed their strategies. Their focus is bigger stores offering their collections to the masses made more affordable with a compromise on fabrics, labour facilities and a constant effort to lower manufacturing cost. The designers' main agenda has been to meet the stores' target prices to maintain their label's presence in their premises at various locations. The customers used to take manufacturers as their partners. But with the involvement of Growth Capital from Investors, the industry became more professional and profit-centric. On the other hand, manufacturing units started to cover their losses and reduced margins from their artisans and labour. So the personal touch has been lost.

The obvious question, what are the problems within the current fashion manufacturing sector?

The current Fashion manufacturing sector and manufacturing units work under the constant fear of being dropped by the customer/importer. With the increasing new manufacturing sectors in many countries, the competition is fierce, leading to a compromise on artisans' wages and facilities.

What is the story of "the untold stories of those who make the garments"? The Irony is that the artisans and sewers who provide unlimited 198

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inspirations to the designers for their collections are the ones who come to the cities from the suburbs and yet can barely make their ends meet. The designs that sell for thousands of dollars over the retail shelves in North America have been created by someone who gets paid less than US$ 4, working more than 10 hrs a day. That is the known untold story of the garment workers.

How did Covid make the industry realize its shortcomingâ&#x20AC;&#x201C; the major defects of the manufacturing sector that were magnified as a result?

Numerous brands and labels filed bankruptcy, and losses were transferred to the manufacturing side, making it difficult for units to sustain. It exposed the multiple shortcomings of the manufacturers. Where orders were booked with just word of mouth and raising of Purchase Orders, there was pressure from the importers and stores on manufacturers to work without LC's ( Letter of Credits ). The majority of manufacturers work without a Letter of Credit issued by the Importer's bank, exposing them to huge risks. When COVID happened, the manufacturing sector took the burntâ&#x20AC;&#x201C;the importers refused the merchandise and left the manufactured merchandise at the manufacturing ports.

How should the Fashion manufacturing industry move forward?

E-commerce is the future of Fashion. The brands need to build an excellent selling channel to survive the fierce competition of a fast-changing business. It is hard to change the parameters and guidelines created by the giants of the industry. But I still believe that we can make an effort to keep the art alive. The customers need to be aware that artisans who can barely make their ends meet are also the fashion industry's life. The importers should approach manufacturers based on production strengths and limitations, and most importantly, there needs to be good communication amongst every stakeholder of the fashion system. Clarity is the key. â&#x2013;

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FORWARD Feature

the disappearing art of dressing well.

Pat, 73-year-old Calgarian who documented 150 days of dinner outfits during the pandemic, reminds us of the joy of dressing up.

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All Images Courtesy of Pat

Tattered jeans, joggers, Pajamas,

leggings and more leggings are a common sight as we have gone from dressing to look good to dress to feel good. Slowly, over several decades, Casual Friday has morphed into casual anytime and come pandemic, the dressing down has taken a new levelâ&#x20AC;&#x201C; comfort. Pat, 73-year-old Calgarian who documented 150 days of dinner outfits during the pandemic, reminds us of the joy of dressing up. "Dressing well is a sign of respect," says Pat, a value her mother taught her growing up. "We wore our Sunday best to church; dressed nicely if a company were coming over; dressed appropriately for weddings and funerals. It was all about respect. I think that should still be the case." She believes that dressing well and appropriately helps boost self-esteem and creates greater confidence. For her, casual still means a three-piece outfit with jewellery, accessories and makeup, even if it is jeans. The ubiquity of denim must have something to do with us forgetting to dress up, Pat says. "Casual Fridays" made it acceptable to wear jeans to the office, although there wasn't much proof offered that they were more comfortable than other pants, she pointed out explaining that there were studies that showed productivity went down 30 percent on Casual Fridays. "I will be treading on dangerous ground here, but I also think the fact that as a nation we are getting heavier has something to do with it. Elastic waists, oversize clothes are more comfortable than things that dig into flesh. My own "middle-age spread" is evidence of this," opines Pat. When asked about her thoughts on the disappearing art of dressing well, she says, "the idea of dress codes fell into disfavour and perhaps rightfully so. They did disadvantage lower-paid workers." The pendulum has swayed way too far toward casual, and "my biggest peeve is women of all shapes and sizes wearing leggings instead of pants."

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In response to why she felt it necessary to document her 150 days of dinner outfits during the pandemic, Pat says she wanted to let women know that they could still wear all their great clothes despite being at home. It was the beginning of the lockdown when she heard several CBC radio interviews with women who were talking about working at home in their "jammies," no makeup, unwashed hairâ&#x20AC;&#x201C; "That disappointed me because I knew from experience that work productivity declines under those circumstances." shared Pat.

"When I started Dressing for Dinner, I had no idea it would go for 150 days because, in March, we had no idea how long pandemic restrictions would last. I picked several themes to keep things interesting. I used 'Bright colours", "Fancy pants," "Going to the opera," "Animal prints," "Leopard," "Calgary Stampede," among others. Here in Calgary, we have something called "June Dresses," where women are encouraged to wear dresses and skirts for the entire month. That was my biggest challenge, but I made it (I had to buy a couple of skirts, though.)" She added that even though dressing with joy is important to her, she agrees that how individuals feel about clothes, shoes, and accessories is personal.

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So what is fashion for Pat? She volunteers with Making Changes– an organization that helps women advance and find their future ( Making Changes Association recently merged with Dress for Success Calgary.) And she says, "the Walk-in-Closet, which is the part that provides clothing and accessories at no cost for lowincome women who are looking for work, is where the true fashion is. Many have never been shopping before; many don't know their size. Thanks to the generous clothing donations from the public and many retailers, we can provide them with this experience. We give them an outfit for an interview and a week's worth of mix and match clothing, shoes/boots, purses, a coat, makeup and jewellery." Fashion for her today is, "To see these women leave with their heads held high, with a strong sense of self-esteem and new-found confidence. Fashion is so much more than just clothes. It's an attitude." We have gone from dressing up to look good to dressing comfortably to feel good; what does the future of getting dressed look like? Pat shares her observation on how we already see changes– with clothing made from more organic material such as bamboo or hemp, or vegan leather. Clothes will need to be more comfortable, breathable, practical, but we shouldn't compromise style, she says. As we won't be going out as much to restaurants, cultural or sports events for a while, people will have to adapt to a new normal. Eventually, the pendulum will go back when society gets tired of not caring how they look. It will take a brave new down-to-earth fashion guru to lead the way! "Dressing up will continue to be an individual choice. I dressed up to write this response!" Pat. ■

"The pendulum has swayed way too far toward casual, and "my biggest peeve is women of all shapes and sizes wearing leggings instead of pants." 205

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o fers

the blind Fashion they can "see".

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lothes are one of our lives' necessities, and yet every morning, for millions of blind or visually impaired people, just putting them on is a difficult challenge. Over the past few years, designers have made great strides to ensure people with limited sight feel the beauty and luxury of fashion. Alexa Jovanovic, a Fashion Communication graduate from Ryerson University, has been incorporating Braille â&#x20AC;&#x201C; the traditional writing and reading system used by blind people â&#x20AC;&#x201C; into her designs to ensure that all people, regardless of disability, have access to experiential clothing.

As a child, beaded clothing was Alexa Jovanovic's favourite, and it's something she never grew out of. It took her just a sight of a beautiful beaded jacket during her stroll in downtown Toronto to ignite the eyes of her creative mind to revolutionize beaded garments beyond their aesthetic value. She saw function in beads; it reminded her of Braille and wanted to use beads to create legible phrases and empower an entire community of people. The concept of combining Braille and fashion became her final capstone project while studying Fashion Communication at Ryerson University. A white collared shirt with black beading was her prototypeâ&#x20AC;&#x201C; it tested the legibility and effectiveness of different bead sizes, spacing and fastening techniques. She built strong relationships within the blind and low vision community to understand better the impact this concept could have. In January 2020, the Braille in Fashion project rebranded as Aille Design, an emerging designer fashion brand changing the way society views inclusive design. In just one year, Aille Design went from having two research prototypes to effectively launching a thoughtprovoking fashion brand that received international media coverage and recognition from large corporations and trailblazers.

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Jovanovic explains that "Aille" comes from the French verb Aller, which means to move forward. Aille Design is actively working towards leading the way in making fashion a more inclusive industry. The specific pronunciation of the name Aille Design pronounced "I" and "eye" reflects the increased independence and empowerment the garments create. The braille reader can fully envision the garment without help from someone sighted through touch, explains Jovanovic. All Aille Designs are created in collaboration with blind and low vision individuals through a co-design process that involves the consumer, from product ideation to marketing materials to long-term strategy. "My philosophy behind the company is "good design shouldn't exclude anyone," she says, so by working through a co-design process and gaining that first-person insight, inclusivity becomes ingrained in the company culture. These co-design processes occur with a diverse group of individuals from both sighted and non-sighted communities to ensure the designs are fashion-forward and appeal to a more extensive fashion and sociallyconscious community. With the blind and visually impaired community, Aille Design discusses the legibility and placement of the Braille beading, different clothing styles, and the types of information and phrases to be included in Braille. They work with the sighted community to inspire garment aesthetics, perceptions towards blindness and disability and incorporate Braille beading into mainstream fashion to create more inclusive representation in the industry. During these co-design sessions, they discovered the functional value in creating garments with Braille beading that describes clothing characteristics such as colour, textiles, wash instructions, and fit. Besides, they also discovered the desire to create garments that highlight positive messages.

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Model Catherine Harrison Photography Julia Wagner 209

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Model Kassandra Hazlehurst

Model Julia Wagner

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Founder of Aille Designs, Alexa Jovanovic

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Fashion can unite people or separate people. Jovanovic observed that the conversations centred around inclusivity in fashion often focus on being sizeinclusive, although recently have emphasized race, gender and age. But even when the conversation is about inclusion and diverse representation, the topic of disability is still excluded, she stated. The fashion industry has recently become more aware of the importance of diversity, representation and inclusivity. According to Jovanovic, even though certain brands have done a phenomenal job instilling these values, the problem is when companies and influencers treat diversity and inclusion as a "trend" instead of incorporating it into their business model. Aille Design saw the opportunity to be the industry leader– in designing an effective solution for this underrepresented market. She justified her objective by explaining the common misconception of how individuals with low vision don't care about their appearance. She reiterates that everyone's relationship with fashion is different, regardless of their ability to see. We can enjoy fashion in many ways beyond seeing clothing–it is about presenting a unique identity. It's a social construct and says so much about who we are and what we value, says Jovanovic.

"When we focus strictly on disability and creating adaptive clothing that is functional, but not fashionable, we inadvertently make the disability the focal point of the person's identity. This lack of knowledge and understanding has led to creating products that aren't truly valuable to the end-user and completely misrepresent the blind and visually impaired community." Their products that appeal to a broader market of sighted and non sighted fashion lovers took charge to help eliminate stigmas surrounding accessible fashion. They seek to educate society about the importance of inclusive practice and take their product from a niche functional market for blind consumers to mainstream fashion for everyone.

This is not a full stop for Aille Design. While growing Aille Design to a level that brings inclusive design to mainstream fashion globally, they want to help normalize the inclusion of individuals with disabilities in all areas of fashion, from clothing design and modelling to accessible retail environments and experiences. Create a new standard of inclusion–that is the way forward for them.■

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S AI N T Cosmetics With Conscience

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All Images Courtesy of SAINT Cosmetics

SAINT cosmetics is a passion brand created by Joanna Montesano in 2014, inspired by the knowledge she gleaned from her upbringing and through her journey of embracing cleaner products to address her demanding skincare requirements. The holistic approach to beautyâ&#x20AC;&#x201C; treating the internal and external body as one connected partâ&#x20AC;&#x201C;is the only way she knows beauty. She grew up with a grandmother who taught her the beautiful and essential ritual of self-care, self-nurturing and healing oneself with ingredients straight from Mother Earth, using plants and natural ingredients to improve skin and boost health. By combining all these powerful lessons, Montesano created a beauty experience without compromising health or product performance while ensuring it is compatible with even the most sensitive skin.

"SAINT cosmetics is a leaping bunny certified clean makeup line made with antioxidant, high performing skin care ingredients and Ecocert minerals that transform skin for flawless results." We caught up with Joanna Montesano to find out how the brand re-strategized for the new challenges and moved forward with a more sustainable future. 215

What were the brand's shortcomings?

It has been such a difficult and unpredictable time for many small indie beauty businesses, with the makeup category hit the hardest. It has made me more cautious of my business decisions on where we focus our marketing dollars. As a brand, we realized that our attention pre- Covid was mostly on our brick and mortar retail partners, that we didn't spend as much time focusing on an excellent timeproof strategy for our dotcom. We have now increased our efforts to support our exposure online and drive brand awareness to our website and our retail partner's online sales. We are also launching a new and improved website soon, which will offer better shade matching and virtual consultations.

How did you re-strategize?

As a result of the coronavirus, how and what are the impacts your beauty brand is facing?

Being a makeup brand during COVID has not been easy and has had its challenges. One of the biggest challenges we have been facing is slower delivery times from shipping couriers and increased shipping rates. We have been absorbing the cost for the increase in shipping rates, but the delays in shipping the packages have left some customers frustrated, which sometimes can be quite challenging. Another challenge is forecasting production around new products and colour development. There have been many delays, but we're working hard to find solutions and bring new and exciting product offerings to our loyal customers as soon as we can. 216

We prioritized digital channels to capture and convert the attention of existing and new customers. Social media helped establish stronger connections with our customers and new and current audiences by communicating engaging content. We focused on improving our online website to offer custom shade matching consultations and samples of our complexion products. We are always revisiting our plans for 2021, forecasting to adapt to the current market situation, looking into new strategies to ensure projected revenue forecasts. We're focusing more on digital marketing, real people campaigns, and organic content strategy.

Your insights on the future of the Fashion and beauty industry?

Even before Covid, the beauty market was becoming more global and intertwined with individuals' sense of well being. So it's only natural that we saw a few trends speed up, such as the rise of self-care. Consumers across the world are showing with their actions that they still love the simple pleasures of life, such as "self-care Sunday" or a swipe of lipstick before a zoom meeting. The types of beauty products that consumers are purchasing are changing. Some cosmetic sales products have seen a steep decline due to social distancing and mask-wearing, while self-care products see a jump in sales. Experts in the beauty industry predict that micro categories of colour cosmetics such as concealer or eye makeup will begin to rise. The increase of e-commerce for beauty products, which is expected to rise, quickly adapts to new consumer needs and trends. â&#x2013;

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Press Release

Rising Star Chase Tang Gives Back to Alma Mater with Scholarship Endowment at the University of Guelph

The University of Guelph is pleased to

announce today that it has received a generous scholarship endowment from one of its distinguished alumni, Chase Tang, who is a rising star in the world of acting with his recent lead casting in a Netflix original series. The University of Guelph is known for producing numerous graduates who have excelled in the fields of Science, Medicine, and Engineering, as well as the creative arts. Born in Taipei, Tang moved to Bedford, Nova Scotia with his family when he was only 6 years old. After attending Sir John A. Macdonald High School, he joined the University of Guelph after receiving a $3,000 entrance scholarship. He graduated with a Bachelors in Commerce in 2016, with a major in marketing. He is also a Nova Scotia AAA hockey player. As part of his humanitarian endeavors, and also to give back to the place that influenced his life’s journey, Chase Tang has decided to give two scholarship endowments to the University of Guelph, which he has dedicated to the memory of his mother, Shu Wei Chan. These endowments will go a long way in helping many young people get through university and achieve something great in their lives. As someone who received an entrance scholarship to get into the University of Guelph, Tang realizes the importance of a good institution and education, which not only helps one get a well-paying job, but also guides their life’s journey to a great extent. Tang’s generous contributions for the University of Guelph will ease the burden and lessen the struggle of many young people, so that they don’t have to go through toils and tribulations like he

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did. Chase Tang speaks highly of the university and credits it as one of the best decisions of his life. He speaks highly of the professors and mentors that he studied under, and regards them for guiding him in his studies and life journey as well. After graduating, he found a well-paying corporate job, but soon realized that he is meant to achieve his lifelong dream of acting. After leaving his job in 2016, Tang decided to enter the world of modelling and acting, and started taking acting lessons to get the right start into this new industry. The first few years involved a lot of struggle, but Tang isn’t new to this, as he has faced his fair share of struggles in his life. When he was 17, his parents separated, and things took a downward turn financially as well. He kept working low-paying and minimumwage jobs to support his education and get by. As hardworking as he was, he finally managed to graduate from the University of Guelph and achieve success in the corporate world. Once he left it all behind, he was determined to make it big in Hollywood, and this was followed by three years of intense struggle, learning, and acting in many short films and TV series with uncredited roles. Some of the notable TV series where you can catch a glimpse of Tang are Designated Survivor, Suits, and Slasher. All of these TV shows were acquired by Netflix after running on TV for a few seasons. He has also appeared in the short films, Time, Space and Lee, View, and in the TV documentary series, Scariest Night of My Life. Finally, Chase Tang has gotten his big break, as he is casted in Netflix original series, Jupiter’s Legacy, a superhero TV series that is based around the eponymous superhero comic series by Mark Millar and Frank Quitely. Set to release in 2021, the series will revolve around the descendants of the world’s first

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superheroes, who struggle to live up to their ancestors’ legacy. Chase will be seen playing the role of Baryon, a Supervillain of Asian descent whose only task will be to make life difficult for the superheroes. He is over the moon about landing this role, which he considers to be life-changing and one of the biggest opportunities of his life so far. Needless to say, a phenomenal role on a Netflix series will certainly put Chase Tang on the map and propel him towards even bigger projects and roles. Although the show hasn’t premiered on Netflix as yet, Chase has already begun getting entertainment and endorsement opportunities from everywhere, which means that we will be seeing more of him in different films, TV shows, advertisements, campaigns, and much more. He is delighted to get a landmark role in a major series, as it paves the way for more people of Asian descent to work hard and achieve great success in film and television. He is also listed among the Top 10 rising Asian actors in Hollywood by the Internet Movie Database. His casting in Jupiter’s Legacy also brought about a campaign by fans of the Marvel Cinematic Universe, who want him to play the role of Namor, a submariner who hasn’t been seen in any of the MCU movies till now.

Many social media pages have been created by fans for this very purpose, and he is pleasantly surprised at all of the support he is getting. According to him, he has nothing on his resume to make him eligible for the resounding support. Apart from his acting career, Chase Tang supports many humanitarian causes and actively participates in activism. He is a vocal proponent of mental health awareness, and claims to have struggled with his mental well-being during his years as a student and in the corporate world. He talked on mental health at The Asian Mental Health Collective, and was also part of the “World Is In Our Hands” campaign by the UN Environment Programme (UNEP) for climate change awareness. This campaign also featured notable actors Antonio Banderas, Joaquin Phoenix, Rosario Dawson, and many more. The University of Guelph is grateful to Chase Tang for his benevolent and generous contributions, and wishes him all the best for his future endeavors. This scholarship endowment will greatly boost the university’s endowment fund, and help ease the financial burdens of more and more students. We encourage more of our alumni, and distinguished residents of the city of Guelph, to come forward and help us produce talented and successful graduates. .■ 219

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Photography Karl M. Lee