In recent seasons, fashion has become increasingly preoccupied with explanation. Collections arrive freighted with language before the clothes have a chance to exist on their own terms, accompanied by manifestos, mood boards, and conceptual frameworks that often feel more polished than some of the garments themselves.
If Part 1 of our favourite content creators list circled those reshaping fashion discourse, Part 2 is about those who understand dressing as authorship.
Fashion creators in 2025 are no longer defined by fits alone. The figures shaping the conversation now operate as commentators, analysts, performers, translators and community cultivators, people who don’t just wear clothes but explain and emblemize why they matter, who they exclude, and how meaning circulates around them online.
Holiday gifting always seems easier in theory. In practice, most of us end up circling the same familiar ideas, hoping they’ll feel personal enough to land.
There is a particular intimacy that happens when fashion enters the home, especially a home that feels slightly wrong. Our December cover starring Rebecca-Jo Dunham-Baruchel and featuring garments by Atelier Artifact leans fully into that unease.
Fashion Art Toronto has always been less about polish and more about possibility. It is one of the few platforms in the country where designers can experiment without the weight of commercial expectation, where collections feel closer to performance, gesture, or emotional artifact than seasonal product.
With “ABSOLUTE,” Ukrainian designer Irina Dzhus transforms trauma into a stark, sculptural language. The project began during a period when Dzhus, having fled war and survived family abuse, entered what seemed like a safe chapter that quickly unraveled.
There is a particular kind of jacket you see everywhere right now. On the metro, at the office, in line at the café: taped seams, matte shell, bungee cords cinched just enough to signal you know the difference between “water-resistant” and “20K waterproof.”
For Spring–Summer 2026, MRKNTN returns with SAINT-MAURICE, a collection rooted in the mythology, labour, and memory embedded along the Québec river of the same name.
Late afternoon light stripes the concrete at Lignes De Fuite studios on a rather hot late September afternoon. Pattern paper curls on a cutting table; a hem is pinned and unpinned; someone laughs because the zipper refuses to obey.