Montréal has long been the beating heart of Canada’s fashion scene, a city where European flair meets North American innovation. Known for its rich history as a textile hub and its vibrant underground culture, Montréal is where burgeoning talent finds its voice, and avant-garde ideas take flight.
This year’s Semaine de la Mode was no exception, offering a glimpse into the future of fashion while paying homage to its storied past. From Raphaël Viens’ exploration of identity through deconstructed forms to Tristan Rehel’s visual poetry of inner turmoil, or be it Sweeven’s nostalgic knits or 3 Dimensional’s stark futurism, the week was a testament to the city’s undeniable creative pulse. With an increasing pool of innovative talent and incubator’s like Lignes de Fuite providing the necessary platforms for young creatives to thrive, the city is quietly becoming a hub of talent with the power to influence the international fashion industry. Here are some highlights.
Conceptually, the collection evoked a probing of identity, transformation, and the passage of time. Viens’ use of unfinished edges and complex layering proposed a concept of fashion as inherently temporal, where garments are part of a continuous narrative rather than static statements. The restrained colour palette allowed the focus to remain on texture and form, inviting the audience to engage with the intricate details and the broader themes woven into the collection.
Tristan Rehel’s collection at Lignes de Fuite’s On Show for Semaine de la Mode, aptly titled “Overwatered Flowers Never Dry,” was an evocative journey into the depths of introspection, laying bare the invisible struggle against the inner saboteur. The collection masterfully translated this internal battle into a visual spectacle, where each garment became a metaphorical garden—one that Rehel admitted he “cannot stop watering.”
The pieces themselves were a striking embodiment of duality, oscillating between control and surrender, aesthetics and chaos. Voluminous ruffles and sculptural forms dominated the runway; there was an ostentatious absurdism that evoked the couture sensibilities of Viktor & Rolf here; the garments were billowing, sculptural and surrealist, as if they were in a constant state of bloom. The use of translucent layers and exaggerated silhouettes created an ethereal quality, giving the impression of delicate, fragile beauty struggling against its own overwhelming growth. Vibrant, almost fluorescent hues—ranging from acidic yellows to electric pinks—intensified this sense of tension, drawing the viewer into the artist’s internal landscape. In Rehel’s world, the garden is both a refuge and a battlefield, where the line between creation and destruction blurs, capturing the essence of the human condition in a way that was as haunting as it was beautiful.
Sweeven’s collection at Lignes de Fuite’s On Show for Semaine de la Mode transported the audience into an ethereal realm where craftsmanship met introspection. The collection, steeped in an artisan’s touch, featured hand-knitted garments that invoked a sense of nostalgia while pushing the boundaries of contemporary fashion. Delicately woven tops and skirts, paired with textural gloves and headdresses, created a visual dialogue between the organic and the constructed, where each piece seemed to grow from the body like a second skin. The collection played with the idea of fragility and resilience, with the intricate knits symbolizing both the delicacy of the human experience and the strength found in its interconnectedness.
The muted, pastel palette further emphasized the collection’s dreamlike quality, where each garment seemed to be bathed in a soft, diffused light. Sweeven’s work, reminiscent of the conceptual artistry seen in designers like Maison Margiela and Ann Demeulemeester, was equal parts conceptuality and interrogation of materiality. The collection was a poignant reminder of the power of slow fashion—where each stitch holds meaning, and every garment tells a story of time, care, and personal expression. Through this collection, Sweeven not only showcased their technical skill but also invited the audience to reflect on the emotional and tactile connections we have with the clothes we wear.
3 Dimensional’s collection entitled ‘Schema’ at Semaine de la Mode, which showed at an industrial warehouse-esque space in Montreal’s east-end, was an offering of restrained futurism, working within the confines of form and structure. The collection featured a series of stark, minimalist silhouettes, each piece rendered in monochromatic hues, primarily deep navy and black, which emphasized the architectural qualities of the garments. The models, faces obscured by oversized hats, donning 3-d printed lips, marched down the runway with a stoic uniformity.
This collection seemed to evoke the work of avant-garde designers such as Rei Kawakubo and Issey Miyake, whose designs often explore the intersection of fashion, sculpture, and architecture. The first model, stopping on an elevated platform was quickly surrounded by design assistants, moulding the dresses edges into a more sculptural silhouette; a commentary on the malleability of form. The precision and discipline in 3 Dimensional’s approach were evident in the meticulous construction of each piece. The collection’s exploration of volume, with exaggerated shoulders and angular cuts, created a sense of armour-like protection, hinting at a commentary on the human condition in an increasingly technological and alienating world. Through its fusion of modernity, uniformity and malleability, 3 Dimensional presented a vision that was both unsettling and irresistibly captivating.
Engulfed Englouti‘s offering for Semaine de la Mode, held at the historic Musée et Centre d’art de Montréal, was a profound exploration of sustainability, bridging the gap between couture sensibilities and the ethical use of repurposed materials. With a speech before the show highlighting the runway setting’s historical connection to Montreal’s industrial past and the painstaking hours of intensive work of the 19 artists participating in the collection; there was a deeply resonant atmosphere that underscored the dedication, craftsmanship, and cultural reverence woven into the offering.
Drawing inspiration from the rugged beauty of Canada’s East Coast, the collection brought to life a narrative of survival and resilience through meticulously crafted garments. Each piece carried the weight of the region’s harsh yet awe-inspiring landscapes, with the use of found materials adding layers of meaning to the designs. A standout look, for instance, was constructed from mussels, encapsulating the essence of the maritime environment and the resourcefulness required to thrive within it.
The collection’s commitment to sustainability was not merely a conceptual exercise but a tangible manifestation of repurposed elegance. The juxtaposition of raw, natural elements with refined couture techniques highlighted Englouti’s innovative approach to fashion. The textures and forms evoked the rugged coastlines, creating an immersive experience that felt both rooted in tradition and forward-looking. This thoughtful integration of sustainability into high fashion challenges the industry to rethink luxury, proving that beauty and environmental consciousness can coexist harmoniously in a fashion landscape often dominated by excess and waste.
Cody is the Editor in Chief and senior contributor at liminul.
He is a photography aficionado, fashion enthusiast, avid Lana Del Rey fan, and lover of all things aesthetically pleasing.
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