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.
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.
It seems we were expected to clap and cheer and act impressed by the fact that in a meeting of the editorial staff at Business of Fashion (BoF), only a “slight majority” correctly guessed which image of model Mathilda Gvarliani, provided by the Swedish multinational retailer H&M, was a photograph and which was generated by artificial intelligence.
On March 13, Donatella Versace announced her departure from her creative director role at Italian luxury maison Versace via Instagram post, and all hell ensued.
