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.
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.
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.
If Part 1 of our favourite content creators list circled those reshaping fashion discourse, Part 2 is about those who understand dressing as authorship.
Fashion creators in 2025 are no longer defined by fits alone. The figures shaping the conversation now operate as commentators, analysts, performers, translators and community cultivators, people who don’t just wear clothes but explain and emblemize why they matter, who they exclude, and how meaning circulates around them online.
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.
There is a particular intimacy that happens when fashion enters the home, especially a home that feels slightly wrong. Our December cover starring Rebecca-Jo Dunham-Baruchel and featuring garments by Atelier Artifact leans fully into that unease.
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.
Some artists spend their lives mythologized by others. Few take the risk of narrating their story themselves. Simon Raymonde has always been the quiet engine behind some of the most influential sounds of the late twentieth century, shaping entire textures of dream pop through his work with Cocteau Twins and shepherding new voices into the world as the founder of Bella Union.
With “ABSOLUTE,” Ukrainian designer Irina Dzhus transforms trauma into a stark, sculptural language. The project began during a period when Dzhus, having fled war and survived family abuse, entered what seemed like a safe chapter that quickly unraveled.