Montréal’s own Charlotte Cardin continues her remarkable international ascent with the release of The Way We Touch, a smoldering new single accompanied by a striking music video that deepens the singer’s signature fusion of intimacy, sensuality, and cinematic pop.
In DESIRA’s AMARA, the body becomes a threshold, wherein language recedes, narrative dissolves, and what remains is a symbolic choreography of gestures, textures, and psychic states that unfold like a ritual.
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.
For decades, Toronto’s fashion scene has occupied an uneasy position within the global industry. The city produces a steady stream of designers, stylists, and photographers, yet its infrastructure has historically lagged behind the scale of its creative talent.
Paris Fashion Week is no stranger to spectacle, but few shows this season felt as ideologically pointed as Matières Fécales’ Fall/Winter 2026 presentation, The One Percent.
Fashion moves in cycles of revelation. Each season, certain objects break through the surface tension of the runway and announce a shift that is already in motion.
Lady Gaga’s relationship with Alexander McQueen has always been more than celebrity styling, it’s a creative symbiosis between a pop auteur and a fashion house built on performance, futurity, and the spectacle of becoming.
Fine Chaos opened CIFF66 with ARA SOLIS, a sharply staged AW26 collection set inside The Dome, the fictional corporate city that anchors the brand’s growing narrative universe.
Since the rise of 3D design, artists and designers have been drawn to the strange, uncanny potential of digital materiality. Toronto-based designer Kerry Xu of Automara takes that impulse further with the Husk Collection, a sculptural line shaped by contamination, adaptation, and the tension between the human body and the digital processes that reimagine it.
Inside a former garment factory in Montreal’s Chabanel district, Rebecca-Jo Dunham-Baruchel sits across from Matteo Valmora, creative director of Montreal-based label Valmora, and names something that feels immediately true.