For his second seasonal capsule with Canada Goose, Creative Director Haider Ackermann deepens his exploration of the brand’s heritage through Snow Goose, the design-forward sublabel that reimagines performance wear through the language of avant-garde utility.
We are living in an age defined by fluid surfaces and imperceptible seams. Digital tools are designed to vanish, as extensions of the soma and psyche.
This past weekend Fashion Art Toronto presented its SS25 edition of 1664 Fashion Week, marking the platform’s historic 20th anniversary with a charged slate of designers who blurred the line between subversion and sophistication.
To speak of fashion in Canada is often to speak of the periphery. Not spatially, but semiotically. So much of the runway here is caught between emulation and longing, between the urge to participate and the need to differentiate.
On May 17, the Lower East Side in Manhattan pulsed with femme-laced grit as Emerson Isa launched her debut collection, Girls to the Front, with an event at Pianos, a storied venue on Ludlow Street.
The 1664 Iconic Accessories Showcase, presented during Fashion Art Toronto this month, brings together three of Canada’s most promising emerging designers for a singular runway event curated by Montreal’s influential fashion incubator Lignes de Fuite.
There’s a particular vibration in DIRT’s SS25 collection that resists reduction, an almost anti-linguistic quality that moves less like a narrative than a texture.
This May, Fashion Art Toronto marks two decades with its most expansive programming to date—a full month of runway shows, site-specific installations, boutique collaborations, and citywide pop-ups.
The promise of visibility, once associated with recognition, agency, even liberation, now arrives heavily mediated. To appear today is to be parsed: through lenses, platforms, and systems that do not look so much as scan.