Being a writer, poet, or artist is having a massive moment. Pinterest has predicted “poetcore” as a defining trend for 2026; a new “literary it girl” seems to emerge every few months, each with a breakout bestseller; the aesthetics of the “writer in Paris,” the “weird art school girl,” circulate with increasing velocity online.
In a world where most new art feels sanitized, created to appease algorithms and be consumed through a screen, Montreal-based artist Tomas Dessurault is the antidote.
In the past few years there has an indelible rise in gothic aesthetics. From Yorgos Lanthimos’ whimsical Poor Things, to Robert Eggers’ exploration of female desire in Nosferatu and his upcoming folk-horror take on medieval werewolf mythos The Werewulf, to the controversial Emerald Fennell adaptation of “Wuthering Heights” released earlier this year.
It’s rare to find a story of friendship as the binding force behind an exhibition, as is on full display in Azzedine Alaïa, Thierry Mugler 1980/1990: Two Decades of Artistic Affinities.
Warhaul Studio came to life through a creative spark between friends, says Wess, Music Producer and CEO of the creative collective – fueled by music, art, and a shared vision to build something powerful in Toronto.
With Echoes of the Disposable, John Londoño reminds us that photography is a melancholy kind of magic, conjuring people and places beyond our grasp.
“There are no paved roads here to follow. There is no road map.” (p. 151) This quote from Grace Nichols, the former chief executive of the Victoria’s Secret stores division, sums up the revelations shared by Lauren Sherman and Chantal Fernandez in Selling Sexy: Victoria’s Secret and the Unraveling of an American Icon.
This past weekend, 11,000 dedicated fans of Los Angeles-alternative rock band Wallows filed into Budweiser Stage as they touched down in Toronto as part of their MODEL Tour.