Sustainability in fashion

In the fashion industry, innovation and increased production is a double edged sword. While it should objectively be a good thing, if production is handled irresponsibly, it can be devastating to the environment.

On one hand, it is exciting and refreshing to see so many creatives immerse themselves in the world of fashion design and the business of fashion. On the other however, there is an age old problem of unsustainable production and generation of waste. The fashion industry generates an astounding amount of waste a year and it wasn’t until recently that it showed signs of slowing down.

In recent years, sustainability has ceased to be a trend and has reached far beyond what used to be a niche. It has almost entirely been adapted into mainstream culture. It started as a way for brands to portray themselves and attract the attention of a market they were previously missing out on, the conscious consumer market. The conscious consumer is one that pays attention to their purchases and expects a brand’s values to align with their own. This is the reason why brands such as TenTree, which plants 10 trees for every item it sells, and CHNGE, which is rooted in ethical manufacturing and has strong societal messages, have become very successful, very quickly.

There are a few ways to be ‘sustainable’ in fashion. Ideally, a brand will cover all the bases and excel at sustainable manufacturing, ethical buying, and social responsibility. In other words, a brand will care about their people, their product, and everyone else.

1. Their people

A fashion brand will manufacture their products in one of two ways: overseas or in-house. Overseas manufacturing of course, means outsourcing to other countries which usually have very loosely worded, poorly regulated labour laws that allow wealthy western companies to exploit their population. To most, this wasn’t such a big problem since the argument was that in any case, individuals from developing countries were in need of jobs and this solved that problem. This of course, leaves out the entirety of the context in which both parties in this agreement operate. Developing countries are trying to do just that, develop and grow. It’s hard to do so when your job opportunities and salary are capped at minimum wage. Especially when for most developing countries, minimum wage is just a few dollars a day. To put this in perspective, in Canada, minimum wage is just below 14 dollars an hour and the average minimum wage job such as customer service representative is quite easy compared to the work that these individuals endure. Imagine working 10 hours in a factory with no air conditioning, little access to water, and absolutely no growth opportunities, for 3 dollars a day. 

A sustainable fashion brand, unlike every brand that falls under any of the manufacturing conditions mentioned above, cares about their people. Manufacturing can be sustainable in many ways but for the purpose of this blog post, i’ll refer to the social sustainability aspect of it. Sustainable manufacturing means, providing good working conditions, growth opportunities, and a reasonable salary to manufacturing workers. This is sustainable in the long run because in this case, everybody wins. The brand gets dedicated workers that are loyal to the business on the one end, and on the other, workers can enjoy a solid workplace. 

2. Their product

Most clothing companies will manufacture clothing with Polyester fabrics. The reason why this fabric is an all time favorite is that it is stretchy, comfortable, and durable. However, what doesn’t get mentioned very often is that Polyester is manufactured from crude oil and every time a piece of polyester fabric is washed, it releases plastic microfibres that contaminate our oceans. If you head to your favourite clothing store its pretty likely that you will see a percentage of Polyester on just about every item in store. So, what exactly can be done about this and how can we transition out of the excessive consumption of unsustainable fabrics?

From a companies stand point, they would need to transition to highly sustainable fabrics such as Linen which is made from fibres of the flax plant. Another option is to replace cotton with its organic alternative. Organic cotton eliminates the use of harmful chemicals and requires significantly smaller amounts of water to grow. A company can also invest time and money on garment technology but what has always proven to be a safe bet is recycling!

Brands like Ellen Fisher are innovative in their use of fabrics like cotton, wool, and cashmere that have been re-spun from old garments or cutting room scraps. Another example is Thought a UK brand that specializes in creating staples from fabrics like Ramie and Hemp.



3. Everyone else

Second only to oil, the fashion industry is the largest polluter in the world which shouldn’t be too surprising. What might be however, is that nowadays, companies are hiding behind words like ‘sustainability’ or ‘recycling’ to appeal to a consumer market that would have previously considered them too wasteful or harmful to the environment. Ultimately, they end up ‘green washing’ their own brands. Similar to ‘social washing’, ‘green washing’ refers to when brands spend more time and money telling consumers they’re green, than actually implementing new policy. While actual tangible proof that a company is sustainable is necessary, one of the most important elements of sustainability is transparency. The conscious consumer appreciates honesty over everything else. This is why, when H&M introduced it #Reworkit campaign asking consumers to return their used clothing for it to be recycled, the brand was under heat when it was revealed that less than 0.1% of the clothing returned is actually #reworked. While it is understandable that not all fabric can be pulled apart and re-spun, it doesn’t follow their promise of creating a closed loop system.

The issue with these campaigns is that they overpromise and underdeliver. Especially if they are created by an industry giant like H&M. Since they produce such staggering amounts of clothing every day, a recycling initiative is not what the conscious consumer expects to see.

We live in a time when thankfully, sustainability hasn’t been seen as a choice for a long time. Consumers now expect a brand to care about their impact on the world and companies are listening. Smaller, up and coming brands almost have no choice but to make their view on the environment very clear from the start.


SUNCUN Presented by Global Fashion Collective

A smoky runway set the stage for Chinese brand SUNCUN, creating an ethereal, dreamlike atmosphere. Adults and children modelled the new collection ‘FUSHENG’, with dragon motifs, metallic embroidery, and mandarin collars evoking a sense of the East. Wavy wisps of hair artfully framed the face and lips were painted a ‘lucky’ red colour.

Designer Yan Zhang integrated cultural elements with contemporary styling for FW19 using distinctive traditional features such as ornamental braiding, Chinese frog fastenings and Cheongsam silhouettes.

Smiling children clad in silk slippers brought the collection to life, illustrating the lively and carefree aspects of childhood that have inspired Zhang this season. Boy’s looks featured tunics paired with silk pants and regal robes. Girls were fitted in whimsical gowns with soft flowing trains, shimmering fabrics, and ornate embellishments that glimmered in the light.

Tulles with delicate hand beading and intricately embroidered appliqué showcased the incredible artisanal techniques of SUNCUN.

The colour palette developed from inky blacks through to pastel pink and sage green, before flourishing into brilliant whites. Zhang offered a fresh perspective on womenswear with a striking black and white contrast dress featuring beaded bamboo designs.

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A young boy named King Singh walked the runway in a tailored two-piece featuring a bird motif, known as a strong symbol of good luck. King came to SUNCUN through the organization A Free Bird; a non-profit that provides children diagnosed with cancer a chance to explore their artistic passion.

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The finale featured a duet of traditional male Changshan tunics and robes, both crafted in lavish gold silk; a masterful ending to a dramatic showcase representing SUNCUN’s dedication to bringing Chinese culture and fashion together.

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About Global Fashion Collective (GFC)

Global Fashion Collective is a platform supporting creative designers from all around the world. The collective produces runway showcases in different fashion capitals with the aim to accelerate the designer’s global development, increase their international media visibility, and open new markets. By presenting its designers in front of international media and buyers globally, Global Fashion Collective is an expansion of Vancouver Fashion Week.

Check out SUNCUN on instagram.

Global Fashion Collective at New York Fashion Week Recap

Global Fashion Collective showcased at New York Fashion Week for FW19, presenting 3 distinct runway shows. First up, 2 collective shows with 6 unique brands, bringing expressive colour palettes, artistic fabric manipulations, and vintage influences to the runway.

Photos by: Jonathan Lapada

First up, Canadian brand FAUN by Marisa P. Clark, brought a collection of elegance and subtlety to the runway, as an ode to the timeless, sophistication of New York City Style, referencing icons Audrey Hepburn and Blair Waldorf. Rich jewel toned fabrics, with elegant necklines and fluttering hems, effortlessly complemented intricate handcrafted pieces, such as pearl bralettes and opera glasses. Models carrying bunches of Baby’s Breath flowers stayed true to FAUN’s signature whimsical, feminine style.

Photo by: Jonathan Lapada

Photo by: Jonathan Lapada

A highlight piece - a colour blocked suede jacket in pink with yellow contrast.

Photos by: Jonathan Lapada

Thick structured leather, glistening silks, and opaque organza gave texture to an artistic collection by Canadian designer Kirsten Ley. ‘NAISSANCE’, representing the birth, or ‘rebirth,’ of her label as an official Parisian fashion house gave life to classical French couture techniques while maintaining modern, avant-garde silhouettes. The colour palette featured deep metallic blue with Ley’s signature crisp oxblood softened by whimsical sheer creams, manifesting the emotional dichotomy of a fragmented human psyche.



Kirsten’s signature sculpting technique can be seen in a deep purple leather skirt worn with an asymmetric top with layered, gathered organza. Iridescent fabrics add shadow and light, evoking a romantic escapism for the viewer.

Photos by: Jonathan Lapada

With a fresh take on tradition, Chinese brand ERXI X MRHUA MRSHUA presented a quirky unisex collection for FW19, with the cutest mini model leading the show. ‘Silk Road, Beijing Beijing’. told a story with ornate embroidery of traditional Chinese New Year symbols, and a vibrant colour palette of lemon yellow, silver, red and candy pink. Striking patent boots, bobble hat caps, exaggerated ruffles, and quilted fabrics added a modern and unique twist. Designer NiuNiu Chou’s statement eccentricity at its finest.

Photo by: Jonathan Lapada

Photo by: Jonathan Lapada

Photos by: Jonathan Lapada

To close the show, Canadian brand M.E. presented a collection of unique femininity in a selective black & white colour palette. Designer Michelle Elizabeth was inspired by Fashion in its highest state as the ability to present oneself, as a consciously constructed representation of who we are. A full length off-the-shoulder dress with an opaque layer over a digital print with the words ‘Art should comfort the disturbed and disturb the comfortable’ made a statement. Silky fabrics with inky prints in beige tied the collection together, with silver hook and eye fastenings at the neckline and cuffs beautifully catching the light.

Photo by: Jonathan Lapada

Photo by: Jonathan Lapada

A highlight look was a black long-length winter coat with white edging to panels, fitting beautifully at the waist in a flattering cut.

Global Fashion Collective II

The second presentation of Global Fashion Collective put the spotlight on exquisite elegant tailoring; the designers bringing forth an haute couture feel to the runway with careful craftsmanship and vintage influences.

Photos by: Giovanni Giannoni

Designer Tong Li for China based brand HIGHTLI was inspired by the video game ‘The Legend of Zelda’ in creating her FW19 collection ‘Melody’. The designs work as a ‘composed song’ that coordinate relevant yet differentiated elements in an unconventional manner. A caramel coloured silk shirt with flared cuffs, and high-waisted pants that cinched in the waist, gave a structured feminine look. Fabrics in herringbone, checks, and dogtooth added texture, and a cozy bold red fur coat created volume with oversized sleeves.

photo by: Giovanni Giannoni

photo by: Giovanni Giannoni

A deep burgundy cage-like structured button up cape worn over a silver silk two-piece with bird-cage motif formed a key look.

Photos by: Giovanni Giannoni

Chinese brand Queenie Zoe by Bomin Kim was inspired by Samiljeol (Independence Movement Day in Korea) and the start of modernization for Korean women. Creative director Bomin Kim has designed a series of gowns in a bold, feminine style. With references to traditional late 19th century silhouettes, elaborate empire line dresses with ruffled tiered godets and leg of mutton sleeves gave a sense of grandeur. Fur trims and large flouncy bows adorned the collection, and a velvet dress with exaggerated pointed collar brought beautiful contrast in black and white.

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The finale look incorporated a traditional Hanbok style dress with large oversized sleeves and patchwork fabrics.

About Global Fashion Collective (GFC)

Global Fashion Collective is a platform supporting creative designers from all around the world. The collective produces runway showcases in different fashion capitals with the aim to accelerate the designer’s global development, increase their international media visibility, and open new markets. By presenting its designers in front of international media and buyers globally, Global Fashion Collective is an expansion of Vancouver Fashion Week.

Stay tuned for our next post on SUNCUN, the 3rd GFC showcase at NYFW this season.

Interview with Spanish Couture House Yolancris



Spanish Haute Couture Brand

Fashion brand Yolancris originated in Barcelona in 2005 and has since grown significantly. In 2008, this fashion house debuted in the Gaudí runway shows in Barcelona and eleven years later they brought their Spring-Summer 2019 ‘Opera Prima’ collection to Paris. Since then, Yolancris has created a big name for itself, and has been showcased by many influential celebrities and artists such as Beyoncé and Lady Gaga.

The Yolancris show during Paris Haute Couture Fashion Week took place in a beautiful and ornate 18th century building; the Hôtel Le Marois- France Ameriques. We interviewed Yolanda Perez, designer and creative director for Yolancris, to find out more about the inspiration for this jaw-dropping collection and successful brand!

How was your Haute Couture Fashion Week experience?

Overall it was a very positive experience but certainly a test because of the pressure of competing on a platform with huge names like Jean Paul Gaultier, Viktor & Rolf or Zuhair Murad. But the experience has been very good and we are very happy.

This was Yolancris’ first show in Paris. What did this mean to you?

As a designer, doing a fashion show in Paris is always a dream come true. I admire classic creators and artists such as Balenciaga, Christian Dior, and Valentino. To be closer to them in any way is always an honour and an opportunity to learn.


What was it like growing up with a mother in the fashion and bridal business? How has it influenced the creation of your brand?

Our mother was head of production for bridal companies for many years and eventually opened her first store in 1985. From the young age of 7, my sister Cristina and I, would spend our time after school collecting needles at my mother’s store. We owe everything to her. She now works for the company and at 68 years of age, never missed a day!

What is it like working in the fashion business together as sisters?

We get along very well. I am the creative director and designer and my sister is in charge of the economic and commercial part of the business so our jobs do not interfere. We have a lot of faith and trust in each other’s work.

As two successful business women in the modern age, what is your advice for aspiring women designers?

I would advise them to learn a job, a craft. Paying for expensive bachelor and graduate degrees is one way to gain experience but it is not essential to dedicate yourself to fashion. You have to learn by doing.

"Walker, there is no path, the path is made by walking”

“Caminante, no hay camino, se hace camino al andar”

- Antonio Machado.


What does the word ‘craftsmanship’ mean to you in regard to your collection?

It is present in everything we do. We do not design digitally or sketch. We assemble each and every one of the pieces on a mannequin. We are guided by intuition and trial and error. Craftsmanship and proximity are some of the most important values of the brand which we believe translate into our designs. Many of them could not be mass produced. All of our production is made in-house in our workshop in Barcelona since all of the materials and fabrics are bought locally.

What separates this collection from your previous work?

This SS19 Couture collection differs from the others in that I've let explore freely and create without constraints more so than in my other collections.

Barcelona was an inspiration for this collection. In what ways does the influence of a location play an important role when designing a collection?

Everything that surrounds you inspires you. The place where you live certainly does and Barcelona is such a special city that it naturally happened that way. Art is very present in my collections: Art Nouveau, pre-Raphaelites, Surrealism, the light of Sorolla and so on.


The show took place in the Hôtel Le Marois- France Ameriques. How did you choose the location?

I saw it in a fashion show of a German brand and it was love at first sight.

The last Spanish designer to attend Haute Couture Fashion Week was in 2009. What is it like to be important Spanish designers at this time?

It's a big step. With everything being so ephemeral nowadays, you need to relativize. There’s work to do the next day.

How do you want your customer to feel when wearing your dresses?

I want her to feel powerful, elegant, and sophisticated. Most importantly, I want her to feel empowered. Femininity is a very subjective concept, but femininity as I understand it, is one of the pillars of my designs.

What are your future hopes and goals for Yolancris?

I started working when I was 16, so I would like to slow down a bit at some point in order to be able to combine work and family. For the time being, we want to keep doing as many new things as possible.

Your dresses have been worn by many influential people. How important is it while growing a brand to have celebrity clients?

Dressing celebrities gives you a lot of notoriety and it is always an honour that the best and most famous singers on the planet wear your clothes. However, we do not prioritise celebrities over any other client. It is as important to us to dress Beyoncé or Lady Gaga as it is to dress any anonymous client. The same effort and love is put into their designs.


At what point as designers did you feel you had become a successful brand?

I don’t think you're ever aware of exactly when you're at the top. You feel it, but in a way that makes it hard to grasp. We intend to continue growing and working on Yolancris.

Thank you for telling us about your journey and continuing to inspire young designers!

Check out the website here: Yolancris.

Written by: Abby Droeger & Jessica Haltrecht

Q & A with fashion brand YONFA



Japanese fashion brand

MM: Can you introduce your brand and yourself in a few sentences?

I was born and raised in Japan by Korean immigrants. My diverse cultural background led me to develop a strong sense of Japanese fashion and an appreciation for Korean production methods. It has been three years since I established my own brand, YONFA, in 2016. YONFA’s target consumers are mature women who love fashion and are open to trying new things and changing their everyday style.

MM: What sparked your interest in fashion design?

Like any designer, it started with wanting to make clothes that I love. I have loved fashion since I was a little girl. Growing up, I began experimenting with fashion and mixing pieces from fast fashion brands and luxury brands to create my own style.

One thing I always wished I could find was a brand that was affordable but that had the qualities of a luxury brand. One that would inspire confidence in women. Now that I’m designing my own clothes, this desire for affordable confidence inspires my creations. I hope my brand will be a breath of fresh air in the fashion industry!


MM: Can you describe your creative process?

The most important thing while I am designing, is to think about what kind of clothes I would personally want to wear. Mature women do not like clothes unless they fit them well, can be used in different ways, and are durable. I always think of their needs first and after that, find a balance between casualness and quality.

MM: Where do you find inspiration in your day-to-day life?

I get most of my inspiration from day to day occurrences such as looking up the sky when I wake up, eating meals, and seeing art in museums or listening to music.

MM: What kind of questions do you ask yourself when you begin creating a collection?

What would I want to wear? What kinds of materials would I want to have? What colours would I like to see? I consider my own taste while I design.

MM: How did you learn the business of fashion?

From my previous job at a clothing store, I learned customer service, visual merchandising, operations, and how to train staff. After that, I went back to school as a fashion business major and gained even more knowledge.


MM: How do you find working as a designer in Japan? Has the culture/surroundings affected your design aesthetic? Do you feel connected to your home?

I am very proud to be one of the many fashion designers in the world. In Japan especially, the standard for fashion is high so it is truly an honour. I also think the use of social networks has been a huge impact for me and expanded the reach of my brand.

MM: What is your favourite part of being a designer? What drives you to design?

My favourite part is when I put all of my ideas together and get positive feedback from customers. They love my collections and that motivates me!

Thank you for telling us about your journey into fashion design. We can't wait to see YONFA show at Vancouver Fashion Week for the F/W19 season.

Check out YONFA at: YONFA

The New Meaning of 'Made in China' - 2025

In 2015 Chinese President Xi Jinping announced a new ten-year economic plan called ‘Made in China 2025’. This plan is modelled, in-part, after Germany’s Industry 4.0 plan and is focused mainly on technology and robotics. A wider part of this initiative is the rebranding of Chinese industries from imitators to innovators. What does this have to do with the fashion industry? Well, it’s news to no one that China is infamous for their knock-offs. Simply search Beijing’s ‘Pearl Market’ and you’ll find hundreds of Youtube videos dedicated to finding and bartering for the best designer knock-offs China has to offer.

That reality has been shifting in China over the last ten years. There is a new generation of designers creating clothing for the insatiable and growing Chinese market. Initiatives like this one, which are only tangentially related to the fashion industry, help the global perception of China’s fashion goods shift from low quality clothes and high quality knock-offs to China as a new creative fashion hub. China’s designer fashion market is a Blue Ocean ready for fresh talent to wow the awaiting consumer.

As China’s fashion industry grows, the West can take note. China’s lateral movement into the open world allows for innovation not tethered to current practices or traditions. Chinese talent who in past have moved west to practice their skills are now staying in the mainland and flourishing in hubs like Shenzhen and Shanghai. These Creatives are starting their own labels and magazines. They’re designing for a Chinese consumer base that is ready to embrace and curate niche brands and smaller designers.

New projects like Rouge Fashion Book (a bi-annual coffee table fashion book) and established fashion houses like EPO Fashion Group (Home to Mo&CO and Edition) alike are able to find a home in southern China. Companies like EPO have been around for over a decade, but they’re recently getting the recognition they deserve. They play an important part in the rebranding China as a place for creativity and innovation. 

In addition to designers, Chinese editors and influencers are also making a stand in defense of Chinese creation. Leaf Greener a former editor for Elle China and founder of a WeChat based magazine, LEAF is among many whose work displays China as a place of creativity not just consumerism. As she covers fashion weeks around the world, she continues to defend China among them as a cutting edge player in the fashion world. 

We’re almost to the halfway mark of Made in China 2025 and what do we have to show for it? I can’t speak on robotic technologies, but we can see the fashion insiders of the West paying more mind to the rising giant in the East. More and more western publications are covering events like Shanghai Fashion Week. The Business of Fashion dedicated almost nine pages of their 2018 State of Fashion (only a 45 pg. document) to addressing China and the overall Asian market. The public won’t be far behind these insiders as they realize their favourite brands are not only being made in china, but also designed in China. 

Indeed, China based brands continue to grow in popularity both in China and in the West. Additionally, as events like Shanghai Fashion Week continue to grow and gain global attention, so will other Chinese designers and labels. Personally, I look forward to watching as the Chinese creative community shows the world what this part of the East has to offer. Enriching their designs with Chinese culture and tradition juxtaposed with a fresh perspective that remains unbound to the lines the West has been drawing within for the past hundred years. 

A day is coming when ‘Made in China’ will mean something much different than it does in the west today, and that day is coming soon. 

Haute Couture Paris Fashion Week Recap


The Micro Macro team was lucky enough to visit many incredible shows this season at Haute Couture Fashion Week in Paris! We saw elegant, breathtaking, and intricate gowns on the runway. Here’s a recap of three of the most talked about shows this season:


Celia Kritharioti

Celia Kritharioti’s catwalk resembled a carousel! Models walked to circus music, acrobats swung from the ceiling in ostrich plumes, a man danced in an oversized tutu, and a huge string of pink polka-dotted balloons made its way across the runway. The balloons held up the veil to a voluminous pink and white ballgown. Celia Kritharioti, owner of Greece’s oldest fashion house, created a circus dream this season at Haute Couture Fashion Week.

This show was striking; colours ranged from bright yellows to deep blues. Such a mix of intricate, and elegant dresses created a diverse display on the catwalk. The handmade fringe pieces and the use of beads and stones were jaw-dropping and represented sophisticated showgirl looks. Kritharioti used materials such as silk taffeta, silk tulle, metallic organza, and delicate lace in the collection to create bold pieces. She maintained incredible detail and precision up close. Kritharioti was a costume maker for Greek National Opera ballets, and her theatrical influence is very visible in her SS19 Haute Couture Fashion Week collection.


Yanina Couture

Yulia Yanina created a stunning collection for Yanina Couture this season. This Russian fashion house designer created gowns that would fit in seamlessly on the Hollywood red carpet. With petal and feather inspired pieces and strong black and white contrast dresses, Yanina’s collection was very feminine and dramatic. The black and white dresses reminded us of Audrey Hepburn; very Parisian and chic!

The collection showed a lot of skin yet remained classy; with slits, short hems, low necklines, and transparent fabrics. The metallic dresses fit the Hollywood theme as if they were enticing the Paparazzi’s cameras. With sharp silhouettes that impressed, the dresses’ colours came together to form a coherent and powerful collection.


Yumi Katsura

As a Japanese designer incorporating Japanese influence into Paris Haute Couture dresses, Yumi Katsura’s collection was very unconventional and innovative. It was one of the most impressive collections we viewed!

The traditional Kbi kimono belt in the dresses were very visible and it was wrapped around each dress in skilful, complex ways. Not only did the belt add to the Japanese authenticity, but the floral patterns and cherry blossoms remained consistent with the tradition.

Katsura specialises in a hand-painted dyeing technique which makes each textile more delicate and charming. The head nets add a greater couture aspect to the collection and bring out the colour of the dresses. The most striking aspect is the layering of different patterns and textures. Katsura combines stripes and florals, and layers them with ribbon and lace. Katsura meshes strong colours with subtle and fragile textiles perfectly. The neck pieces were a great addition to the collection as well, evoking drama and admiration.

Overall, we had an amazing experience at Paris Haute Couture Fashion Week and we can’t wait to see what these designers have in store for us next season!

Check out our favourite backstage shots- click the slider below

Q & A with Fashion Brand HAMON



Japanese fashion brand

MM: Can you introduce your brand and yourself in a few sentences?

The impressed feeling reverberates. Like a drop of water falling on the water will continue to expand with a beautiful arc. Both inside and outside.

MM: What sparked your interest in fashion design?

I felt interested because fashion reflects the spirituality of a person.

MM: Can you describe your creative process?

I visualize various conscious thoughts and emotions that I feel on a daily basis and I turn them into clothes.


MM: Where do you find inspiration in your day-to-day life?

I find inspiration within myself. I am constantly trying to see things from a different perspective.

MM: What kind of questions do you ask yourself when you begin creating a collection?

Questions of individuality and diversity. Thoughts and emotions come from the same place. Don’t they? View yourself from different points of view. Lastly, do I have to make it or do I want to make it?

MM: How did you learn the business of fashion?

I am learning from various individuals I have met through my work. Everyone gives me advice and shares their opinion from their point of view. I am really interested in hearing everyone else’s perspective.


MM: How do you find working as a designer in Japan? Has the culture/surroundings affected your design aesthetic? Do you feel connected to your home?

I started making clothes by myself. As most people know, Japan has a very unique culture. I design without intention. I think that overthinking the design process interferes with creativity. Through clothes, I connect with different individuals in society.

MM: What is your favourite part of being a designer? What drives you to design?

Being able to bring an idea to life.

MM: What is the inspiration behind your F/W19 collection to be showcased at Vancouver Fashion Week?

Regeneration. The leftover fabric after making clothes, fragments of woven fabric being repurposed. This collection celebrates accidents and the inevitability of life by focusing on the power of your mind to create.


MM: What is your favourite piece from the new collection?

The Two Sided Dress (pictured above).

Thank you for telling us about your journey into fashion design. We can't wait to see HAMON show at Vancouver Fashion Week for the F/W19 season.

Check out HAMON at: HAMON Clothes

Q & A with Fashion Brand Emelia's Swimwear

Emilia's swimwear draft 1.jpg

Emelia’s Swimwear

Toronto based fashion brand

MM: Can you introduce your brand and yourself in a few sentences?

I’ve always considered myself to be a ‘Follower of Sunshine™’, and the Followers of Sunshine™ are who I create my swimwear for. My brand focuses on quality, comfort, function, and of course, style with an emphasis on environmental stewardship. 

MM: What sparked your interest in fashion design?

I was travelling to many beach destinations and I found that there was a lack of  high quality, functional, and cute swimwear. I wanted to create a bathing suit that would be all of these things and also last for many swimwear seasons to come. 

MM: Can you describe your creative process?

My creative process is always different.  I am continuously asking other women and men what they would like to see or have in a swimsuit. 


MM: What kind of questions do you ask yourself when you begin creating a collection?

What makes one feel beautiful? What makes one feel confident? What’s going to make others turn their head when they see someone in Emelie’s Swimwear? What activities is one going to want to do while in swimwear? 

MM: How did you learn the business of fashion?

I am self taught and studied other designers and felt that many aspects of the bathing suit could be approved upon without sacrificing cost. 


MM: How do you find working as a designer in Canada? Has the culture/surroundings affected your design aesthetic? Do you feel connected to your home?

In Ontario our summers are short but the time is well spent with outdoor activities and soaking up as much sun as possible. I take this into consideration when designing swimwear as I want my pieces to be practical and functional for the many summer actives but I also want them to be comfortable and stylish. I live in Wasaga Beach, Ontario, I truly love it and feel very much connected to my home. However, as a Follower of Sunshine™, I find a little bit of ‘home’ wherever I travel. 

MM: What is your favourite part of being a designer? What drives you to design?

My favourite part of being a designer is the satisfying feeling of seeing women in my swimwear and seeing how their inner confidence and beauty truly shines. Helping make women look and feel good is what drives me. 

MM: What is the inspiration behind your F/W19 collection to be showcased at Vancouver Fashion Week?

Health and wellness has become a big part of today’s society and is my inspiration for my F/W19 collection. Introducing daring reds and confident blues represents the attitude behind the new collection. 


MM: What is your favourite piece from the new collection?

If I had to pick just one, I would say my new ‘Marcella’ mesh onesie. The back detailing is so flattering and is very beautiful. 

Thank you for telling us about your journey into fashion design. We can't wait to see Emelia’s Swimwear show at Vancouver Fashion Week for the F/W19 season.

Check out Emelia’s Swimwear at:

Style Chronicles: Alexanne Wagner

I’m Alexanne Wagner, an actor, producer and fashion content creator. I reside in Los Angeles and have French Canadian roots. Style is a priority for me and I create content to highlight my personality through affordable yet stylish finds, showcase those high end vintage gems and those investment pieces I'll pass down to my kin. Style means a whole a lot to me, I’ve always had a deep passion for fashion and live by the quote “Dressing well is a form of good manners” by Tom Ford.

The majority of my content is shot around the historic streets of Los Angeles. I live in one of the most famous cities in the world and love all the unique little nooks I find. I scout locations while I’m running around town and will write the street names in my notes to go back there later to shoot.

I have a bit of an east coast style that makes me stand out in the west. I’m obsessed with fall fashion (which is odd since I was born in the summer and it's always so hot here). I really feel that I bloom in the fall. From trench coats, to knee high boots, leather jackets and panty hose, I love it all.

Though when I travel, I recognise the style of the city i'm in and adopt it into my wardrobe while i'm there. Like the Romans said “Veri vidi Visa!” I came, I saw, I did a little shopping!

Or maybe that was Tom Ford too. But really, embracing the fashion while I’m in a new place is fun and helps me take a deeper dive into the local culture.

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Thank you Alexanne, you’re one of our favourites! French Canadian meets L.A cool, we love your style. Readers follow Alexanne here @alexannewagner.

Style Chronicles: Liliana Garcia

Fashion, street style, and music are my daily inspirations. These are the things that shape my mind when I have to decide what to wear. I like formal-looking clothes, as well as cooler, more relaxed and grunge stuff. I was born in 1979, so the grunge scene and rock n’ roll from the 80’s and 90’s are present in my style with laid-back looks or edgy rocker-chic style.

I worked in Public Relations in “Casino Lisboa” and I had to look impeccable every day with a classic look. But now I don’t have these rules and I have my own style because I’m totally dedicated to my blog. Lisbon is a city that inspires me to have my own style but with influences of what surrounds me. In Lisbon, I like to play with tiles. Lisbon has amazing tiled façades in Alfâma, Bairro Alto…

After ten years living in a city I moved to the countryside (my birthplace) and it was a good change because here I have more time to relax and think more clearly without the stress of a city. But Lisbon is my lover.

When I travel to other cities/countries somehow I feel the vibes of that place, the culture, the music. In Paris, for example, I would avoid wearing clothes or accessories with the name of the brand. I don’t like the big logos, it’s a little bit extravagant and out of style.

When wearing something chic, I do natural makeup, and if I'm wearing only a shirt and a pair of jeans, a red lipstick will do the trick. I think lipstick can be used like a bold accessory.

Thank you Liliana for giving us an insight into your style! Readers follow Liliana at @umblogfashion.

Style Chronicles: Tara Monfared

My name is Tara Monfared from the IG account @styledbytara.m

My blog and IG channel started as a creative outlet during my career working in finance for the Federal Government of Canada. I always dreamed of working in the fashion industry since it has always been my biggest passion, but living in Ottawa, Canada my options were limited which is why I decided to take it online. StyledbyTara has since grown into a visual diary where you will find a collection of style inspiration, life experiences, travel adventures, and beauty tips.

Fashion has always been an important part of my life. It has accompanied me since a young age and has shaped my life. I believe fashion is a statement. It’s versatility enables you to express yourself in who you are.

I believe personal style evolves as you learn who you are, what you want, and what you love and much like my blog, my style has evolved a great deal over the years.

Although I’ve always leaned towards the trendy side of things, I still try to keep it timeless. I rock trends like fanny packs and chain belts but use them to compliment an outfit rather than making the pieces the main attraction. I love mixing modern embellishments with classic items.

As much as I love my city, I have to admit fashion is not most people’s priority here so I have always found inspiration through other means like travel, social media, and good old fashion magazines. I spend a few months of the year in Europe which is where I find most of my inspiration. I love street style fashion the most and I always get inspired by the diversity of people’s style and in turn this influences me to unleash my creativity and have fun with fashion rather than to tame my style solely because of the conservative style of my city. I feel content dressing the way I feel best even if some of the items I wear may be ‘too trendy’ for where I live.

Thank you Tara for giving us an insight into your style! Readers follow Tara at @styledbytara.m.

@helananas on Fashion, Ambition, and the Power of Colour

London-born Visual artist Helen Anna is highly sought after for her aesthetic and knack for storytelling.  Helen has a postgraduate in design and has also studied language, silversmithing and textile design. As a freelance creative in Vancouver, Helen’s fashion clients span everything from backpacks to bridal couture. We sat down with Helen on the front row of VFW to talk Vancouver fashion and style icons, and to dig deeper into Helen’s fascination with the power of colour.

What are the cons of freelance?

You have to be really motivated and you have to be really driven.  Time management can be a problem - not for me, but I know people that have struggled with it.  You also can’t be shy - you have to be ready to put yourself out there and tell people what you do and show them that you believe in yourself to convince them to put their dollars behind you.  Overall, though, there are very few cons - it’s mostly a lot of pros!

What are the pros of freelance?

The biggest pro for me is being able to work whenever I want.  Creativity ebbs and flows, and as a freelancer, you can work within your rhythm, and take time out when you’re not feeling so creative. It’s great to be able to fit my work around my life, rather than vice versa!

Another pro is that you get to learn about your clients and their industries. Not learning anything new had been a challenge for me in my corporate past life, so I really appreciate the opportunities I get now to keep expanding my knowledge.  

How would you describe your personal style?

It’s a bit of an eclectic mix.  I do love designer brands - which would be something I would have never said even five years ago. As I’ve gotten older and been able to afford labels a bit more often, I’ve just realized the quality is just so much better.  If you compare it with fast fashion, one will be in the trash in six months, and one will still be loved for many years to come. I also think the way you treat your clothing changes when you’re investing a little more in it - it becomes a precious object.

What inspires your style?

I find I admire women from the past!  Jackie O, Audrey Hepburn, Francoise Hardy - if you look at their outfits, and the look is still good today,  that’s a good sign that that silhouette is on point.

What’s your favourite decade?

If I had to choose it would be the 60s.  There was also a lot going on socially and that turbulence showed up in fashion. Social trends materialise into fashion years later - the hippieness of the 60s really materialised into fashion in the 70s!

Who is your biggest style icon?

If I’m in a rut, the first person I’ll look up is probably Alexa Chung.  She’s really beautiful and her care-free attitude comes through in her clothing.  She’s very magnetic and charismatic, and I love that.

What is it about colours that interests you so much?

I remember in my first year of design school they wouldn’t let us touch colour at all - everything was black and white in order to learn the basics of design, form, and shape.  I remember complaining to one of the older students that I wanted to get my hands on colour and he turned around and clapped back ‘you’re not ready for colour yet.’ That comment always stuck with me because at the time I remember thinking: ‘buddy, you don’t know how wrong you are. I’m SO ready for colour.

I run a colour series on Instagram where I ask the same question (what does this colour make you think of?) to hear how people respond to different colours.  It’s always so interesting. Someone might answer that it makes them feel ‘bored’ and someone else might say ‘it reminds me of a stormy day at my grandma’s house.’  People can have such different interpretations.

Have you noticed any patterns in people’s answers?

There are certain colours that are so ubiquitous.  If I post a colour that is used by a brand, for example, people will always comment that it made them think of the brand.  One thing that’s surprising to me is that when I post a new colour I always have a very clear idea in my mind of what that colour is and means, but no one has ever said my answer ever.  It just goes to show how subjective the whole thing is.

What is your favourite colour?

I really love International Klein blue.  It’s close to the colour that Matisse used in his blue nudes.

What is the most positive response you’ve gotten to a colour?

I get a lot of positive responses to that sunflower-y kind of yellow.  People share lots of childhood memories with that colour. It always amazes me how personal people will get when I ask what a colour makes them think of.

What do you think will be a big trend this year?

There’s an accountability in fashion now that we didn’t feel even just a few years ago.  I remember working in fashion a decade ago, and sustainability and eco fashion was kind of like this niche pocket that felt a bit granola-y, whereas now its more of a mainstay: more consumers are asking “where is this piece coming from”?  I believe the more we as consumers ask those questions to designers and brands, the more that question is attended to by their shareholders, and the more it is taken seriously. We have to find resourceful, healthy ways to produce our clothing that is going to benefit the planet and benefit people - and still look bomb as well!

Thank you Helen for giving us an insight into your world. Readers- take a look at Helen’s beautifully curated Instagram here.

Global Fashion Collective at Amazon Fashion Week Tokyo

Unique fabric manipulations, casual silhouettes, and creative colouring were brought to the forefront of the first show from Global Fashion Collective. Three creative brands from around the world showcased emerging trends for the SS19 season on the Amazon Fashion Week Tokyo runway at Shibuya Hikarie Hall.

First up, Atelier M/A showcased ‘Oneness’, their debut collection. ‘PAST’ and ‘FUTURE’ lettering spelled out the concept that ‘everything is one’, as Japanese designers Masato Koide and Azusa Koide presented a ‘coexistence of diversity’ by combining traditional hand sewing with digital print work and recycled plastics. A soft polka dot motif and colourful patterns created from strips, gave a beautiful naive style. Short-cut high-waisted pants worn over printed tights, lightweight raincoats, knitted jerseys, and sneakers made for casual styling. A key look- a grey checked suit with white contrast polka dots, worn with silver brogues made a slick and stylish statement. A wearable yet creative line, the collection drew attention to the designers intuitive approach to design.

Next, U.S brand The House of AmZ presented a collection fragmented into capsules: Winter, Neutral, Lotus, Blush, Amalgamation, and Finale. Each capsule developed the concept ‘Self_ An Amalgamation’, reflecting the various emotions and responses to situations as we bloom into ourselves and grow, not unlike the way of the Lotus flower. Designer Alexandra Marie Zofcin utilised fabric manipulations to create shape, with pleats, gathers, and woven strips forming the silhouettes. A selective colour palette of sage green, beige, pastel pink, navy, cream, grey, and burgundy enhanced feminine cuts. A delicate raffia gilet overlay added texture, and beautiful Shantung fabric, iridescent in colour, beautifully caught the light.

German designer Annika Klaas brought shades of sunshine for Spring/Summer with monochromatic collection ‘Jaune’. In different tones of yellow, textured knits were folded, pinched, and pleated to create structured looks. The painterly palette crossed from brazen canary to lighter lemon with soft matching bags and knitted-in pockets adding dimension. A seamless collection, Annika developed a new production technique by imagining a digital knitting machine as a 3D printer. A wrap over skirt in a warmer tone, was paired with a strapless top with large loose pleats creating a soft and natural form.

The second presentation of Global Fashion Collective at Shibuya Hikarie Hall highlighted an artistic expression, with edgy, feminine and quirky styles for Spring Summer 2019 presented by three North American designers.

EmulEos packed a punch to start off the evening, with models full of attitude sporting diamond encrusted boxing gloves and visors. North Carolina designer Emily Prozinksi was inspired by female boxers for collection ‘Tougher Than Diamonds’. Silvers and shades of black dominated throughout with oversized hoods, metal chainwork, studded boots, and faux snakeskin creating an edgy style. Diamonds and beading glistened under the light, while chiffon and georgette shimmered at the slightest movement. A key look featured mid-length balloon pants with a grey zip-up jacket, with silver chains adorning an oversized hood.

Alicia Perrillo brought a whimsical colour palette and feminine gowns to the runway with collection ‘Sans’. Techniques such as painting, beading, crochet, and embroidery paid homage to the Chicago based designer’s late grandmother. A soft muted colour palette in lavender, periwinkle, dove grey, pale pink, gold, white, and black graced figure-flattering dresses, enhanced with beading detail, smudges of gold, and black floral appliqué. A white long sleeve fishtail dress with soft pink painted effect and pale blue frills was accessorized with handmade tassel earrings. Asymmetric hemlines and layers of ruffles created shape across the line. The showpiece- pale layers of sheer over a full-length gown with shoulder cutouts and long flowing sleeves, complete with tiara and veil making a strong feminine statement.

Quirky printwork by Canadian designer GRANDI brought a fun feel for Spring/Summer 19. ‘PRISMANIA’ a demi-couture collection featured a pop art interpretation of the chinoiserie decor style with a large scale surrealist graphic print incorporating bananas, leaves, and donuts. Colour blocking broke up the pieces with bold yellow, blues, greens, and pinks, and dramatic eyewear by Black Iris with tassles and embellishments completed the looks. Classic cuts in A-line skirts, cigarette pants, and fitted jackets made for stylish wearable pieces. A key look featured a silk strapless dress with fitted bodice worn over a printed shirt with contrast cuffs and collar, showcasing designer Grandy’s eye for styling. An artistic collection to close the shows.

Photos by Arun Nevader for Getty Images.

Louis Vuitton Space Girl

Paris Fashion Week

Louis Vuitton’s SS19 collection is an Influential Fusion of 80’s Puffy Sleeves and Chic Space Girl

Eighties fashion is revived! Puffy sleeves, padded shoulders, and vibrant prints paraded the catwalks this season at Paris Fashion Week. Spandex shorts are already sweeping the streets, and now Paris Fashion Week brings back some more forgotten treasures. We were dazzled by these comeback retro looks. The Louis Vuitton women’s SS19 collection by Nicolas Ghesquiière, impressed as it successfully mixes eighties looks with captivating, futuristic themes.

Ghesquière, the Artistic Director of Women’s Collections at Louis Vuitton, uses exaggerated and geometric silhouettes in his new collection. Blazers are oversized, with large shoulder padding and peaked lapels. The most emphasized aspect of the collection is the wide, blouson sleeves. These large, amorphous sleeves dramatize the pieces and make them so memorable.

The collection ties outer space influences with vibrant colours and bold abstract prints which makes the 80’s classics more refreshing. The splatter paint prints, the neon colours and the strong patterns are striking. The fringy metal epaulettes on the flocked velvet, and the fantasy pauldron looking shoulder shapes would be seen on the trendiest spaceships in the galaxy.

The embroidered mesh and plastic for the dresses and sleeves add another sci-fi dimension to the collection. The futuristic motif continues as there are incredible, flying saucer shaped purses, and fine-lined, bonnet looking utopian hats that would pair great with a space suit.

Finally, the collection includes utopian, neoprene pieces. These youthful, sporty looks are subdued in soft toned colors with camouflaged buttons. The main body of the pieces are simple highlighting the fabulous block-printed sleeves. The sections balance each other out and come together to form an incredible striking look.

Louis Vuitton impressed, like always. Getting a real close up look at the meticulous beading and embroidery made me appreciate the fine materials and details even more.

By: Jessica Haltrecht

Images: LOUIS VUITTON Women Collection Fall-Winter 2016/2017 © Louis Vuitton Malletier – All rights reserved

Day 7 at Vancouver Fashion Week S/S19

Sunday, September 23rd, 2018 – Vancouver, BC – VFW closed the week with an extraordinary line-up of local and international designers.

Alex S Yu opened the final day of shows with ‘The Abnormal Symmetry’ collection. Featuring a plethora of navy and white stripes, denim, asymmetrical hemming and peplum detail, the Canadian based label expertly played with proportions, patchwork, and layering.

Canadian designer Evan Clayton took the runway by storm with his eccentric collection, ‘Ego’. Placing the main focus on branded underwear sets, models clad in crotchless slick patent trousers, skin-tight bodysuits, sheer kimonos, and glossy plastic breastplates delighted the audience. With help from drag queen trio Gia Metric, Jane Smoker, and Kendall Gender, and his initials garishly glittered across most of the collection, the designer no doubt left a lasting impression.

For SS19, Jessica Tierney for Chained Couture presented her NYC inspired collection, ‘CHAINED’. The Australian designer’s all black line featured shoulder padded duster coats held together by metal loops and chains, oversized silver belts, satin flared pants, and faux fur shawls, leaving a gothic atmosphere hanging over the runway.

China based brand Wan Li put on a display of intricacy and craftsmanship with their showcase of traditional Chinese Cheongsams. Splitting their show into three sections, the designers sent a rainbow procession of gowns down the runway each accented with oriental style stitch work. Using mature models to showcase their collection, the label succeeded in bringing China to BC.

JPK channelled the streets with a collection of monochrome and futuristic multipurpose clothing. Based in the UK, Jan-Philipp Kosfeld presented a unisex line built for core functionality with concealed pockets in oversized metallic blazers, PVC duster coats adaptable to changing weather, and pre-crinkled trousers. With muted colour palettes and corn-rowed models, the collection achieved its goal of interlacing timeless elegance with Hip-Hop culture.

Shades of yellow from Canary to Lemon shone through collection ‘Jaune’ by German designer Annika Klaas, winner of the European Fashion Award FASH 2018. With a focus on knitwear processes and seamless technology, collage-like outfits created a deconstructed feel. With colour graded layers and see-through structures, the knitted fabrics emphasized experiments in textures. Beautiful colours in dreamy soft knits made the crowd swoon.

Japanese brand THE MONGOLIAN CHOPPSSS showcased a quirky unisex collection for SS19. The collection theme ‘Precious Love’ was expressed through positive messages such as ‘I am happy’ (in Japanese) and ‘Happy Sushi’ creating a fun feel. Camo print, oversized patch pockets, and long fluoro green socks made for carefree styling. A key look for men- a casual sweater featuring rainbow colour blocking paired with grey shorts. A youthful line disseminating fun or ‘TANOSII’ for all to see to close the night with colour and happiness.

Photos by Arun Nevader for Getty Images

For more information, please visit:

Vancouver Fashion Week

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Day 6 at Vancouver Fashion Week S/S19

Saturday, September 22nd, 2018 – Vancouver, BC – A real mix of design aesthetics for day 6 of Vancouver Fashion Week.

Shamsha Hashwani, a luxury contemporary womenswear designer from Pakistan, opened the evening with a tribute collection to her late mother ‘Shanaz’. Inspired heavily by merging tradition with modernity, the line featured an array of bejewelled silk gowns and jumpsuits in emerald green, deep fuschia, and royal blue. With an atelier in Karachi, the label showcased skilled intricate workmanship with 3D embellishments and cut-work appliqué. Beaded floor length sheer sleeves and masterpiece shawls stunned the crowd.

Local brand Studio Jason Siu presented new menswear collection ‘Ecdysis’ taking inspiration from the processes of an insect’s life. With refined tailoring, delicate butterfly prints on white shirts, and a reversible metallic raincoat hinting at the insect’s jewel tones, a cohesive theme was developed. A deconstructive concept was pushed with the use of a collared shirt hanging against the body with straps.

Oxygenated crimsons, rich dark blues, and bone colours from the human circulatory system made up the colour palette for Canadian designer Kirsten Ley’s conceptual new collection MITØSIS, about the division of self. Printwork of anatomy diagrams incorporating florals created visual intrigue, offset by sculpted leather silhouettes. Magnificent textile manipulations made for an artistic collection.

Moquo stormed the runway with wacky outrageous prints in vibrant colours. The French label designed by Manon Parisot brought a fun flare for SS19 featuring animal stripes, jungle leaves, abstract shapes and Aztec inspired patterns.

From Trench to Duster it was coats galore with Lorem Ipsum. Based in British Columbia, the brand added a level of sophisticated simplicity to proceedings with Jessica Lee’s take on classic outer layers. Featuring a variety of lengths in muted tones, tie up belts, tartan accents, asymmetrical hemlines, and double-breasted lapels, the collection did not disappoint.

Taiwanese label Loop Theory presented their thought-provoking collection of deconstructed pieces representing different corners of the world. Elizabeth Peng aimed to symbolize diversity with her panelled baby doll dresses and skirt sets by seamlessly stitching clashing prints of city/nature landscapes together. The designer pit strong and pastel colours against each other by pairing each look with tights in electric blue, shocking pink, and blood orange.

To end the night, Japanese women’s apparel brand eimy istoire, known for their mixed-materials and cutting-edge designs, presented a pretty pastel pink and grey collection with ruffles, tulle, and feathers. Feminine silhouettes were structured from peplum waists, drop shoulders, and voluminous skirting. Velvet, silk, and lace created texture. A serenely feminine concept for SS19.

Photos by Arun Nevader for Getty Images

For more information, please visit:

Vancouver Fashion Week

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Day 5 at Vancouver Fashion Week S/S19

Friday, September 21st, 2018 – Vancouver, BC - Friday night was a night of edgy, experimental, and sophisticated styles on the runway at Vancouver Fashion Week.

NOT DEAD YET started the shows with a twist on the grunge aesthetic, designer Adam Lin-Bungag’s signature. The 2018 Nancy Mak Award Winner, showcased oversized sleeves, raw edges, combat boots, hanging chains, and studs. Red and yellow plaid was contrasted with plain black and transparent PVC. Drawn letters spelt out SHAME on the side of sneakers, and printed words on graphic tees hinted to the theme ‘Eulogy'- the understanding that in order to move forward we must acknowledge, understand, and learn from our past.

B.C.’s Anelia Basson of Anelia Art debuted her ‘Explore the Journey’ collection for SS19. Each piece was a wearable work of art with unique tribal influences complemented by a simple topknot hairstyle with feathers and beaded accessories. Basson’s colour palette was bright and playful with detailed prints on UV safe and environmentally friendly fabrics. Each garment flowed with the model’s movement which was further highlighted with an interpretive dance that delighted VFW fashion-goers. From versatile dresses to fun swimwear, Basson’s pieces will be sure to instil confidence and capture the individuality of the wearer.

Belgium’s Maxime Edward’s ‘UCHRONISM’ collection combined elements of metallics in a display of sporty, theatrical, and edgy looks. With the use of black, silver, bronze, and flashes of teal, Edward finds strength and coexistence in the structured cuts of his pieces and austere aesthetics. Inspired by the vision of the harmonic evolution of the human species, Edward pushes the envelope with his garments in an evocative way; teetering on sobriety and fantasy with each piece prompted by an emboldened view of mankind.

Apparel Magazine, one of New Zealand’s premier fashion publications presented an exciting trio of designers for SS19. First, Christchurch’s Shannon Thompson of Out of Comfort displayed a collection with relaxed silhouettes and immense depth utilising earthy tones and functional accessories like hiking boots and bucket hats. Next up, Auckland’s Doris Lu depicted a feminine strength and confidence in her collection with Japanese-inspired elements, reimagined white dress shirts, and samurai-esq wrap jackets. Finally, Auckland’s Kate Fisher presented electrifying pieces that were gender non-conforming in their presentation. With a mixture of black, white, and red chiffon blouses, and metallic elements scattered throughout, Fisher demonstrated the versatility of her capsule collection. These three New Zealand designers showed their collective strength at Vancouver Fashion Week.

Designer Javier Giron for Spanish based brand JNORIG presented a new kind of ‘Complex Minimalism’ refreshing the idea of merging two opposite cultures; the simplicity of Amish lifestyle with the complexity of Indian Tribes. Graphic prints, designed in collaboration with Graphic Designer Barthelemy Vielle, lifted a heavily contrasted palette of black, white, and red. A modern deconstructive feel was expressed through structured jackets, hooded sweaters, and oversized knits with long hanging sleeves. A distinguished look for women- a red collared shirt worn with black ¾ length shorts and long black socks, topped with a black felt hat.

Class, elegance, and timelessness are three words to express the refined collection presented by Australian brand Lena Kasparian. ‘After 5’ featured formal wear and cocktail pieces for men and women in an oh so glamorous style. Deep rose pink silk and sequined gowns with couture detailing and luxurious fabrics set an opulent tone for womenswear. For men- chic grey and navy suits, beautifully tailored, were worn with crisp white shirts. A sophisticated collection.

Photos by Arun Nevader for Getty Images

For more information, please visit:

Vancouver Fashion Week

Instagram: @vanfashionweek

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Day 4 at Vancouver Fashion Week S/S19

Thursday, September 20th, 2018 – Vancouver, BC –Thursday marked an international day at Vancouver Fashion Week with designers featured from across the globe.

Kicking off the show, four talented students proudly represented NABA (Nuova Accademia di Belle Arti), an Italian education Academy focusing on art and design. First up was Anna Bonifazi, opening a dark collection with a provocative white evening dress paired with opera length gloves. Next, He Yan hit a playful note, showing structured vinyl suit jackets in an array of candy colours. Yeqi Tang followed with a striking display of artsy prints on flowy, oversized dresses. Gaoming Chen closed the show with an intriguing line of experimental pieces, contrasting the predominantly white palette with pops of cherry red buttons and deep blue piping. These emerging designers proved their impressive talents are a force to be reckoned with.

Elena Pignata of the Italian brand Ombradifoglia showcased a very personal line of avant-garde looks, styled with a rigorous femininity. An impressive volume of delicate fabrics in a surplus of patterns saturated the runway for the S/S19 season. Plaid trousers, culottes, and chinos paired with bold red tops, full maxi skirts topped with airy overcoats, and confidently striped pantsuits were abundant. The finalist of Project Runway Italy’s inaugural edition demonstrated great versatility with her mix-and-match line.

Italian designer Giulia Solda’ of Maatroom brought her fuss-free aesthetic to Vancouver with her newest collection, ‘Then Comes the Sun.’ Maatroom utilizes an obvious simplicity to showcase the high-quality Italian fabrics and attention to tradition in a monochromatic scheme of black and white. Flared jumpsuits, oversized button-ups, and a plethora of crisp white dresses in various silhouettes were both assured and inviting. Sleek low ponytails complimented the minimalist vibe with a reserved attitude that pervaded the runway.

Japanese brand thibaut presented ‘Annie Vibe,’ a collection of loungewear inspired by the white linens and posh dresses from the 1982 movie Annie. With a background in choreography, Meiko Ban epitomizes the balance of life: messy but clean, relaxed but anxious, rough yet still soft. Barefooted models wore loose knit pullovers, waffle knit leggings, and ribbed camisoles. A lingerie inspired teddy in white lace was styled over a disheveled button-up shirt. Delicate ruffles were a theme in a predominantly neutral colour palette, all coming together for a show that was charmingly sensual.

Mexican brand Kan by Paulina Hernandez showcased the swimwear collection ‘Temiqui’ full of colour and life, with inspiration taken from the Mexican ethnic group Huicholes, and the Wixárika culture and their art. Hot pink, cyan blue, and green graphic printed women’s bikinis and men’s swim shorts were paired with fringed hooded ponchos and striped coverups.

‘FOREVER CUBA’ the colourful collection from Miami based designer Yas Gonzalez, is a nostalgic glimpse into her childhood in Cuba - with printed fabrics featuring memories of great grandmother’s kitchen tiles, the family church, and parks where she played. A delightfully ostentatious collection with rich vibrant fabrics, peacock feathers and floral embellishments accentuating the female form. A green corseted bodice with voluminous skirt in bold blue and oranges took us right to Havana.

Erin Clare Bridal, from Australia, showcased the Eclipse collection, in a soft white palette with ivory and a range of nude tones. Unique laces embellished with feathers, flowers, leaves, stars and butterflies appeared like delicate paper cutouts on beautiful wedding gowns. Models with plaited updos wore feminine A-line silhouettes with accentuated waists and sheer sleeves. An exquisite and romantic collection.

Photos by Arun Nevader for Getty Images

For more information, please visit:

Vancouver Fashion Week

Instagram: @vanfashionweek

Twitter: @vanfashionweek

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Day 3 at Vancouver Fashion Week S/S19

Wednesday, September 19th, 2018 – Vancouver, BC – Wednesday was a night to highlight the local talents from Vancouver and Canada as a whole, complemented with a few from further afield.

Meghan Buckley of MGHN kicked off the night with ‘WHOOPSIE DAISY’, a collection inspired by creative imagination and childhood emotions. Building on MGHN’s characteristic clean lines and minimalism, the Vancouver designer took a more playful approach for the S/S19 season. Exuberant colours were tied together with silky bows, and almost-campy pom poms embellished clean white silhouettes, all of which were topped with soft felt berets. The result was a show that was equal parts cute and quirky.

Vancouver designer Wade Shapely of W/S brought New York punk to the runway. The VCAD graduate’s newest collection, ‘Dress to Kill’ pushed a rebellious vibe bringing together classic rock pieces with couture elegance. Drenched in edgy prints and bold textiles, the looks were complemented with heavy makeup and strappy stilettos. Leopard prints were topped with gold studded leather jackets. A metallic red top was paired with a zebra patterned pencil skirt, covered in PVC plastic. The showstopper: a long, dazzling beaded evening dress held together with a leather harness and choker.

Vancouver designer Casey Lamb of KSLAM transported the audience to a 1985 roller disco with ‘Vapour Wave’. The self-taught 21-year-old was inspired by 2000s internet memes, 80s art and 70s new wave music to create a collection that critiques modern consumerism and pop culture. A neon palette of both used and new fabrics was accented with car seat buckles, chains, and rainbow printed platform sneakers. Models wearing hot pink suits, royal blue rompers, and slinky green party dresses carried disco balls as handbags. Fusing elements from multiple decades, KSLAM’s vintage reworks bring a unique take to modern streetwear.

Jacqueline Au from Toronto showcased an art-to-wear collection ‘Cloud Forest’ inspired by a conservatory in Singapore and the complex nature of the mind in its hazy mixture of tangled ideas and thoughts. A gradient grey colour palette contrasted with navy, baby blue, and teal was used in soft structural textures, with wool, quilt, mesh, and fur. A key look: a high neck dress with uneven sleeve lengths and an organic shaped hemline. Metallic clasps caught the light, and ribbons, weaved wool strips, and string cords created visual intrigue.

Scottish brand imi presented ‘Reconstruct My Flesh’, a realisation, through clothing, of society’s obsession with physical self  ‘improvement’. Designer Imogen Evans uses deconstructed silhouettes, layering, and embroidery to portray this concept. Embroidered face coverings, hanging strips, and clever elements such as a triple hooded jumper, stacks of collars worn on the arms, and experiments with eyelets brought about an unusual twist.

ESMOD Dubai design graduate Manon Pradier, a menswear designer based in Shanghai, presented the ‘a.LIKE’ collection inspired by nature and architecture, recreating the repetition in both fields. A wearable collection of classic garments such as coats and jumpsuits has been modernized be reinventing their shape and incorporating a fresh selective colour palette with dark teal merged with grey. Graphic prints lifted the minimalist collection.

Photos by Arun Nevader for Getty Images