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.
Holiday gifting always seems easier in theory. In practice, most of us end up circling the same familiar ideas, hoping they’ll feel personal enough to land.
Fashion Art Toronto has always been less about polish and more about possibility. It is one of the few platforms in the country where designers can experiment without the weight of commercial expectation, where collections feel closer to performance, gesture, or emotional artifact than seasonal product.
For Spring–Summer 2026, MRKNTN returns with SAINT-MAURICE, a collection rooted in the mythology, labour, and memory embedded along the Québec river of the same name.
Semaine de la Mode Montréal FW25 unfolded less like a week of runways than a palimpsest, layers of history, material memory, and cultural contradiction inscribed into each collection.
A snag in the season’s grip, cool points of precipitation on glassy skin, glistening like blips of light in the distance that take us where we want to go.
There’s a distinct kind of silence in the parts of a city not meant to be seen. The loading dock behind a shuttered shop.
This past weekend, Lignes De Fuite hosted their SS25 ONSHOW, a runway offering by the Montreal based fashion incubator which platforms promising, emerging designers’ work.
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.