2017-11-01 Fashion Magazine November 2017

November
2017
40
Y E A R S
of
S T Y L E
“she walks
in beauty,”
a Tulle
portrait by
Benjamin
Shine
To celebrate FASHION’s four
decades, we commissioned artist
Benjamin Shine to create a tulle
portrait of our cover model,
Amber Witcomb. This ethereal
fabric was created in the 1700s
in France, and since then it has
adorned the dresses we wear
for significant moments in our
lives. Photographer Owen Bruce
captures Amber’s beautiful
unveiling on page 85.
40Y E A R S
of
S T Y L E
Sh
e
model Amber Witcomb WeArs A

dress, price upon request, Chanel.
night
e the
k
li
Of cloudless climes and starry skies;
And all that’s best of dark and bright
,
u ty Meet in her aspect and her eyes;
walkS in bea Thus mellowed to that tender light

Which heaven to gaudy day denies.
One shade the more, one ray the less,

Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.
And on that cheek, and o’er that brow,

So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
— L OR D BY RON
armani-beauty.ca Cate Blanchett
HOLT RENFREW FENdi.cOm
Contents November 2017
style
36 Birthday Suit FASHION
kicks off its 40th-anniversary
celebrations by leaving more to
the imagination.
44 News Gorgeous new collab-
orations: Bulgari x Nicholas
Kirkwood and Sorel x Chloé; we
talk weather with Alasdhair Willis
of Hunter; the new Tiffany Metro is
a reminder of the jeweller’s 170-year
timepiece legacy.
46The List Ethereal tulle takes
AlwAys in fAshion
on an evening edge.
26 Letter from the editor

48 Exclusive Celebrating the
28 Behind the scenes
launch of custom Coach bags with
beAuty
30 Contributors
a special birthday one just for us.
70 Fix Hermès targets millennials
32 Readers’ letters 50 Read Writer Lou Stoppard’s with its new scent Twilly d’Hermès;
new book suggests the future of a natural-deodorant primer, plus
on the Cover fashion lies in collaboration. the future of eye serums.
Artwork by Benjamin Shine. 52 Culture A MoMA exhibit 72 Skin Is freshly made skincare
Photography by Owen Bruce. identifies the fashion items we with shorter expiry dates the better
On fold-out: Photography by Owen can’t live without. way to go?
Bruce, styling by Anna Katsanis, 54 Runway Fashion show producer 74Culture Meet the “skinfluencers,”
creative direction by Brittany Eccles. Alexandre de Betak celebrates more a new crop of Instagrammers who
Amber Witcomb wears a dress, price than 1,000 runway shows with a don’t just post pretty photos; they’re
upon request, Chanel. Shoes, $1,380, glossy new book. serious ingredient buffs.
Giuseppe Zanotti. Belt, $280, Zana
58 Technology When it comes 78 Skin Next-level cleansers are no
Bayne. Tights, $20, Falke. Hair,
to automation, fashion has lagged longer just ho-hum functional; they’re
Lucas Wilson for Home Agency/
behind other industries. Are AI as experiential as a mask.
photography by owen bruce
Bumble and Bumble. Makeup, Linda

80 Opinion We’ve seen more
designers the next big thing?
Gradin for L’Atelier NYC/M.A.C
Cosmetics. Manicure, Rieko Okusa 62 Predictions Six global trend change in the beauty industry in the
for Susan Price NYC. Fashion forecasters share their takes on past five years than we have in the
assistant, Alexandria Rudolph. what lies ahead. past 20. But where to next?
18 F A S H I O N | November 2017
culture
105 Interview Tegan
and Sara look back: What a
difference a decade makes.
Essay The future of
40 years of style
108
culture is as bleak (or hopeful) as
we want it to be. 119 Anniversary Special
It’s been four fabulously stylish
110 Mirror The entertainment decades since FASHION launched in
of the resistance.
November 1977. Join our party!
112Icon The Musée d’art 138FASHION 40 We don’t
contemporain de Montréal mounts an
have a crystal ball to tell us what’s
fashion ambitious ode to the late Leonard Cohen.
next for FASHION, but we do have a
85 She Walks in Beauty 116The Mood November just stunning Gucci crystal mask...and the
Photography by Owen Bruce. might be the bleakest month. future looks very bright indeed.
F A S H I O N | November 2017 19
CELEBRATED, CHERISHED
CERISE
VA N C O U V E R | E DM O N TO N | C A LGA RY | TO RO N TO
OT TAWA | M O N T R É A L | Q U É B E C | L E C R EU S E T.C A
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T H E N E W B I R K S B E E C H I C ® C O L L EC T I O N
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fashion editor-at-large zeina esmail contributing editor george antonopoulos
fashion market editor caitlan moneta associate fashion editor eliza grossman
features editor greg hudson
beauty director lesa hannah
associate beauty editor souzan michael
health and copy editor emilie dingfeld (on leave) assistant editor/research d’loraine miranda
editorial assistant lindsay cooper
associate art director nicole livey
photo assistant tiffany voiadzis
western editor joy pecknold
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editorial interns jacob newnham, lerisha spence
fashionmagazine.com
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lorca moore, chris nicholls, susie sheffman, olivia stren, stephanie thompson, natasha v., arkan zakharov
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EDITOR’S letter
ON tHe NYC Set
WItH COVeR MUSe
it was U.K. artist Benjamin Shine. My next task was to
send beseeching emails to Shine’s agent, Katherine Magin-
nis. She kindly arranged a phone chat, and, somewhat
AMBeR WItCOMB
miraculously, Shine agreed to take on the commission.
Even more miraculously, he ended up being in NYC the
day of our cover shoot with model Amber Witcomb. Shine
worked with photographer Owen Bruce to capture the
image that he used for inspiration. In “She Walks in Beauty”
on page 85, Bruce captures beautifully nostalgic yet modern
images of the season’s strongest looks. The title, which is
a line from Lord Byron’s famous poem, became the theme
for the shoot as well as the fashion film shot by Erik Swain.
The idea to use this poem as inspiration came from my
93-year-old father, Francis. On set, Swain suggested that
Witcomb read a poem, but none came to mind. I emailed
my dad—a kind-hearted fellow with a relentlessly poetic
view of the world—for a suggestion. His reply: “There are
many poems that capture a woman’s beauty and grace, but
this one from Lord Byron is among the best that I have read
or studied.”
Six weeks after our July 20 shoot, my husband, David,
and I picked up the portrait in NYC and transported it back
I
to Toronto by train. We will be auctioning the tulle sculp-
was more daunted by FASHION turning 40 than I was ture, and the proceeds will be used to launch a scholarship
when I marked that milestone. How do you possibly with The Suzanne Rogers Fashion Institute at Toronto’s
honour all the talented people who worked at this Ryerson University. Upon seeing the portrait, one colleague
magazine for the past four decades? The other daunt- said it reminds him of Evangelista, while another suggested
ing task was deciding who would be on the cover. it looks like Harlow. That’s part of Witcomb’s allure. Her
For the magazine’s 35th anniversary, former EIC Bernadette career is blossoming, but she told me that she will always
Morra brilliantly landed the iconic supermodel Linda remember this experience, as will I. From the tulle cover
photography: anne apor verner By Derrick van Der kolk

Evangelista. I tried for Shalom Harlow—who had her first- to the retro and future-inspired stories, our goal was to
ever FASHION cover in November 1990—but it was a no-go. mark the occasion with a touch of nostalgia and a forward-
On January 26, I saw an Instagram post from John looking sense of optimism and curiosity.
Galliano’s Spring 2017 haute couture collection with Maison
Margiela, and I was inspired/obsessed. Galliano had designed
a white trench coat that was intriguingly embellished with a
three-dimensional tulle sculpture of a woman’s face. “Why
isn’t this in my closet this morning??!!” I wrote in my regram.
I wondered who was behind this fabric artistry and—more
NOREEN FlaNagaN, EDITOR-IN-cHIEF
importantly—could this person be enticed to create a tulle follow me oN t wit ter aNd iNstagram
cover for FASHION’s 40th? A quick Google search revealed @NoreeN_flaNagaN
siNce its lauNch iN November 1977, the magaziNe has beeN helmed by a taleNted group of editors. turN to “40 years of style” (page 119) for their favourite
memories. from left: aNNe apor verNer, JohN mackay, tim blaNks, Juliet warkeNtiN, JoaN hartiNg, leaNNe delap, ceri marsh aNd berNadette morra.
26 F A S H I O N | November 2017 fashionmagazine.com

novemberbts artist beNjamiN
shiNe (oN leF t)
discusses the
cover coNcept
with photoGrapher
oweN bruce.
Tulle Time
FASHION celebrates a
major anniversary with
party-perfect tulle looks.
Get tHe look

Enigmatic drama
calls for opaque, inky
eyes and nude lips.
clé De peAu
beAuté lip-
sticK ($75 ) iN
“silK scroll”
IGK rich Kid

cocoNut oil
Gel ($35 ) VIctOrIA
becKHAm
eStée
lAuDer eye
iNK ($55 )
iN “blacK
myrrh”
model amber
witcomb does
aN impromptu
readiNG oF lord
byroN’s “she
walKs iN beaut y”
For a special
FashioN Film made
For this shoot by
eriK swaiN.
photography: mask photo by owen bruce
Shop
the mArc
cAIN
$400 SImONe
Shoot pérèle
$145
The key to
mastering a ASOS
$80 cHrIStIAN
mysterious look? lOubOutIN
Lots of dark, $1,295
dramatic tulle.

Contribs
Amber Witcomb
“I feel incredibly humbled. For me, the special moment
will be seeing my family and friends in Canada pick up
the magazine. It’s a massive milestone in my career!”
tHE SOCIAL LIFE
@amberwitcomb
Our favourite ’grams of our November cover star.
85 photography: witcomb and shine by owen bruce
SALI HUGHES bENjAmIN SHINE EL AN mAStAI OWEN bRUCE

@salihughesbeauty The @benjaminshinestudio @elanmastai We asked this @owenbruce “It was a
author of Pretty Iconic wrote Shine created the tulle portrait award-winning screenwriter privilege to collaborate with
about the future of beauty in of Amber Witcomb for our and author of All Our Wrong an amazing team,” says the
“Forward March” (page 80). 40th-anniversary cover. The Todays to provide us with a Brooklyn-based photographer
Aside from ethics and inclusiv- artist, who’s based in London, glimpse into what the realm who shot our 40th-anniver-
ity, she’d like better mascara. England, says he paints with of culture will look like in the sary cover. He counts this
“Seriously, try harder and fabric and tries to “capture or decades to come. See “Coming assignment as a “huge high-
bring me the good stuff.” celebrate a moment in time.” Soon” (page 108). light” of his editorial season.

THE BOOK
FOR MEN
Fall/Winter
2017 Edition
Available on newsstands or preview and order at
sharpmagazine.com
letters
R ea deR of the Month regrAm
Handle it:
I was delighted with your October issue! @FasHioncanada
What really impressed me was the interview
with Hailey Baldwin [“Hailey-lujah”].
The photography captured her beauty, but
what captured me [more] was the incredible
personal aspect that was conveyed with such
class and honesty. We are all finite creatures,
and yet it is so rare that fashion icons are
also left exposed, with grace attached to @kait_fowlie
their fallibility. Thank you, FASHION.

—Janice Lebow
THe reAl deAl After reading “Knocked of wearing a fake, was very informative.
Up” [September 2017], I was reminded of Go real or go home, as the saying goes!
the time in my life when I purchased my fair —Colleen (Kenora, Ont.)
share of knock-off bags in the alleys of many
U.S. cities. On the cusp of my 30th birthday, I mONey SeNSe The ethics of buying fake
thought: “Why and for whom am I carrying goods aside (“Counter Moves”), there is no @atouchofglam.ca
around these fake bags? If I’m trying to project denying the thrill of getting something for
an image, do I really want a fake purse to be less, even if it’s a look-alike. It’s very similar
part of that?” I decided to never buy fake to the high a “40 per cent off” sale sign can
again. Once a year, I treat myself to a new generate when it’s in the window of our
bag. When my daughter turns 21, she will be favourite store. Someone who can spend
the lucky recipient of my collection. She will $2,000 for a fake bag could likely have
be able to carry a part of me wherever she afforded the real thing. It’s not so much
goes, and I hope that is an image she can be about money, then, but about the incredible
proud of. —Laura (Toronto) attraction of a good deal, even if it’s too
good to be true. In general, though, the
JudITH ruleS! I just had to write in fashion world—and the world altogether— @thecollectivefashionblog
and tell you how thrilled I was with your could benefit from our spending more and
September issue. I have always enjoyed buying less. —Véronique (Toronto)
your magazine, but I really loved seeing T WeeTS
your model Judith Maria Bradley rocking “Just how gorgeous is our
the bold look and proving that fashion is for new wifey @haileybaldwin
all ages. (I am 58.) Keep up the good work. on the October cover of
The article “Counter Moves,” about the cost @FashionCanada!”
—@supermodelscom
“@FashionCanada
Janice Lebow won a Clarins (cl ArINS.cOm) @kdlang Thank you for this
prize pack valued at $231. We’ll give away powerful article/interview
another great prize next month, but you have to on and about k.d.”
write in to win: letters@fashionmagazine.com. —@nlees0607

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CAITLAN MONETA AND ELIzA GROSSMAN). BOOTS, $3,745, CHRISTIAN LOUBOUTIN.
EDITOR: JACQUELYN FRANCIS. PHOTOGRAPHY BY MARIE H RAINVILLE (STYLING,
A pearl of
wisdom
gleaned from
40 years?
Fashion may
fade, but true
style is forever.
We peeled
off layers to
reveal this
timeless truth.
fashionmagazine.com November 2017 | F A S H I O N 35

I
JUST
WANNA
SEE
YOU
IN
YOUR
BIRTHDAY
SUIT
We’re 40! Let’s get
NAKED, NAKED, NAKED.
Photography by Marie H Rainville

Styling by Caitlan Moneta & Eliza Grossman
Creative direction by Brittany Eccles & Nicole Livey
Bag, $2,100,
Salvatore Ferragamo.
Skirt, $50, H&M.
37
Shoes, $880, Miu Miu at Saks Fifth Avenue. Socks, $14 (for a pack of 2), Hue at Hudson’s Bay.
Bag, $3,630,
Burberry. Gloves,
$90, Wing & Weft
Gloves. Briefs,
$65, Fortnight.
39
Sandals, $1,105,
Proenza Schouler.
Tights, $14, Topshop.
40
Earrings, $330, Zimmermann.
Shoes, price upon request, Louis Vuitton. Socks, $13, H&M.
Dress, $1,780,
Simone Rocha at The
Room. Gloves, $305,
Wing & Weft Gloves.
Hair and makeup,

Sabrina Rinaldi for
P1M.ca/Oribe/Make
Up For Ever. Nails,
Leeanne Colley for
P1M.ca/Tips Nail
Bar. Model, Sam
Rayer, Elite Toronto.
43
stylenews
Boot tip
Every winter, we convince our-
selves that this is the year we will
breeze through the season in a
combination of sneakers, block
heels and rain boots. Trust us, the
Hand-held
slush is coming, so we recom-
mend the stylish SOrel x CHlOé
collaboration boot. It’s a riff on the
F
timeless Caribou style but marks
ootwear designer Nicholas Kirkwood has a very distinct the first partnership between
rugged, classic Sorel and cool
style. There is often a soft curve in the heel, a hidden
French-girl fashion house Chloé.
pearl detail and unorthodox colour combinations―all of
Snow, salt or sleet, we’ll be ready
which make his new handbag collaboration with jewel- and waiting. —C.M.
lery giant Bulgari intriguing. In preparation for the
designs, Kirkwood visited the Bulgari atelier in Rome, where
he viewed the company’s bespoke jewellery pieces. “I wanted
to create a collection for Bulgari that takes their classic Serpenti
insignia and gives it a contemporary feel,” says Kirkwood. “I
also looked at the hexagon, one of my brand’s insignia and some- AlAsdhAir
thing I noted on the head of the enamel snake on the Serpenti Willis
bag clasp.” The BulgArI x NICHOl AS KIrK wOOd collection ranges
from a black leather backpack to an elongated envelope clutch in
Crayola brights. The high-shine metallic hardware and all-over
enamel decorations look like they were lifted from a jewellery
box. “Although they are two completely different products,
handbags and shoes share similar ergonomics, especially in terms
of structure and silhouette,” says Kirkwood. “The process felt
quite familiar and natural to me.” Clearly, Kirkwood and Bulgari
had no trouble finding common ground. —Caitlan Moneta
well timed
With so much to admire in TIFFANy & CO.’s hal-
Weather Vain
by jacquelyn francis. photography: Willis by andreW Woffinden
lowed window displays, one can be forgiven If you’ve ever spent time in the United Kingdom, you’ll know its
for overlooking its 170-year tradition in watch- residents are as obsessed with weather as Canadians are. That
making. The new Tiffany Metro is a reminder helps explain why Toronto’s Yorkdale Shopping Centre will house
of this backstory. The timepiece includes a
the first HuNTer location in North America, says Alasdhair Willis,
round diamond crown, but the range of dials,
cases and straps lends it today’s requisite the brand’s creative director. “We celebrate the elements. This
personal touch. is something we―the Brits and Canadians―have in common.”
Most people know the iconic wellington boot, but since Willis
joined the company in 2013, Hunter has grown into a lifestyle
brand with two distinct lines: Hunter Original, for the fashionable,
festival-friendly consumer, and Hunter Field, with its emphasis
on technical products. “The Original boot, [launched in 1956], is
the very heart of Hunter and will always remain so,” says Willis,
who is married to designer Stella McCartney and often described
as one of London’s best-dressed men. “By expanding our product
offering and introducing new styles that include rubberized leather
backpacks, raincoats, pool slides and flip-flops, we have been able
to keep relevant in a fast-moving environment and grow.”

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styleexclusive
Carried Away
FASHION celebrates its
40th anniversary with a
Coach customization experience.
A
sk any ’90s kid
to describe her
dream closet and
she’ll probably
reference Cher
Horowitz’s from
the film Clueless. Remember
how she matched outfits and
then picked each look from a
rotating closet? On entering
Coach House, the brand’s global
flagship on Fifth Avenue in New
York, you’ll find Cher’s futuristic
concept on full display as the
Fall 2017 collection whirls in the
air above. And like Cher mix
ing and matching her wardrobe
from a desktop, Coach fans have
been able to give their purchases
some personal touches, too. Soon,
Canadian customers in Vancouver,
Calgary, Ottawa, Toronto and
Laval (Quebec) will be able to
do the same, choosing from three
bag silhouettes (the Saddle Bag,
the Dinky and the Clutch), a
long list of coloured leathers and
three embellishment options to
create a oneoff Coach handbag.
photography: bag by carlo mendoza; stars by istock
While working on our special

40thanniversary bag, we got to
perfect charm placement and
design digitally on an iPad. The
final product was made while
we waited and watched a Coach
craftsperson at work in the
workshop. We bet Cher would
approve. —Eliza Grossman
Coach is giving away two custom-

ized leather handbag experiences
(one in Vancouver and one in
Toronto). For a chance to win, enter
at fashionmagazine.com/contests.
48 F A S H I O N | november 2017 fashionmagazine.com

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styleREAD
CLoCKWISe (From LeF T): a ShoT
From The aNdreaS KroNThaLer
For vIvIeNNe WeST Wood SprINg
2017 CampaIgN FeaTurINg
The huSbaNd aNd WIFe duo;
rICCardo TISCI aNd marIaCarLa
boSCoNo oN The Cover oF dazed
& confused, oCTober 2011;
jeWeLLer ShauN LeaNe aNd
The LaTe aLexaNder mCqueeN
incredible silhouettes, but
if you’re unable to collab-
orate, it will never grow.”
Anderson works closely
with stylist Benjamin
Creative
Bruno. Other creatives
interviewed for the book
include Jack McCollough
Alliance
and Lazaro Hernandez
of Proenza Schouler and
jeweller Shaun Leane on
his relationship with the late Alexander McQueen.
photography: © FASHION TOGETHER: FASHION’S MOST ExTRAORdINARy duOS ON THE ART OF COllAbORATION, edited by Lou Stoppard, rizzoLi New york, 2017.
It’s also fascinating to see how each pair describes team-
A new book pays tribute to the work as indispensable to their process; it’s what pushes them
forward, inspiring them to grow and innovate. For example,
power of, and need for, collective Dutch designer Iris van Herpen, whose cutting-edge creations
rock fashion’s boundaries each season, has worked with some-
ingenuity in fashion. one completely outside fashion’s sphere: Canadian architect
Philip Beesley. “Collaboration can help fashion move forward
By Lindsay Tapscott because sometimes it’s so iso-
I
lated,” she says. “I think it’s very
n fashion, we tend to revere the star designer, the beautiful when it’s more interac-
star model or the star photographer. But in her new tive with the world around us.”
book, Fashion Together: Fashion’s Most Extraordinary The industry is taking notice,
Duos on the Art of Collaboration, 27-year-old British too. Vetements, the collective
journalist Lou Stoppard does a deep dive into that saw instant fame with its
something we’ve forgotten to uphold: collaboration. 2014 debut collection, comprises
“Fashion doesn’t work like that,” says Stoppard of the seven designers (Demna
one-star system. “You can’t do anything in fashion without a Gvasalia, his brother Guram and
group of people; every show is teamwork, every photo shoot five friends) who take pride in
is teamwork, every collection is teamwork.” working together. “It has to be
As the editor of SHOWstudio, the London-based fashion film democratic,” says older brother
from top: photograph © JuergeN teLLer, © matthew StoNe, © aNN ray.

and broadcasting website founded by photographer Nick Knight, Demna. “It’s the most efficient
Stoppard has spent years covering collections and conducting way to work.” And in late 2016,
in-depth interviews with fashion’s most famous. SHOWstudio global trend forecaster Lidewij
is devoted to revealing the creative process—literally “show Edelkoort spoke at The Business
studio”—and Stoppard’s work for it, she says, informed her of Fashion’s annual VOICES
book. “I’m interested in how people get to the final result—all the conference (think TED Talks but for fashion), detailing the
work and effort that goes on behind the scenes. Often it’s just as major changes she thought the industry needed to make in
interesting as the completed order to remain a forward-thinking agent of change. Among
garment or photograph.” them was a call to recognize the collaboration behind
This is also what makes every collection. “It’s unbelievable that in every movie we
Fashion Together so rich with see, at the end…all the names of the people involved in the
insights from the 18 design filmmaking are there. In fashion, there is only one name.”
duos Stoppard spotlights. Says She joked, “It’s very unfashionable, I think.”
Jonathan Anderson, of ready- As for what’s next? As younger designers emerge,
to-wear labels J.W. Anderson Stoppard says we’ll see even more partnerships between
and Loewe: “You can be people working in totally different fields. Millennials are
the most genius designer in more fluid in terms of how they define themselves and their
the world. You can make roles. “They’ll try new things and work with people who
the most incredible clothing aren’t necessarily from the same discipline. I think that will
and come up with the most lead to more interesting collaborations.”

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styleculture
PhotograPhy: Black dress By IndIanaPolIs MuseuM of art; WhIte t-shIrt By shutterstock/sfIo cracho; WoMan In Black dress By steve Marsel; red shoe By tanya hIggIns and fIona rutka; runWay By yasuakI yoshInaga;
Past Perfect
Jeans By levI strauss & co. archIves (san francIsco); scarf By neW-york hIstorIcal socIety; leather Jacket By schott nyc; all other IMages courtesy of the MuseuM of Modern art, neW york.
The items of clothing we can’t live
without become a new MoMA exhibit.
By Nancy Won
A
plain white T-shirt isn’t usually the kind of thing that gets
put on display, but this year, the basic crewneck will get
a piece of the spotlight as one of the star features in a new
exhibition at The Museum of Modern Art in New York City.
Items: Is Fashion Modern? (October 1 to January 28, 2018) is a collec-
tion of 111 pieces of clothing and accessories deemed by MoMA to be
important examples of modern design from the 20th and 21st centuries.
Surprisingly, it’s only the second fashion-focused exhibit to be put on
by the museum in its nearly-90-year history. “When I started working
at MoMA 23 years ago, what I noticed was missing was fashion,” Paola
Antonelli, senior curator of architecture and design, tells me. “There
was one garment that had been acquired in an almost haphazard way,
but that’s all. After a while it started to gnaw at me, because you can’t
really tell a history of modern design without talking about fashion.”
Antonelli began keeping her own list (which she called “Garments
that Changed the World”) and slyly adding pieces to MoMA’s
collections—a 3-D-printed dress here, a parka there—when
opportunities arose during conversations about technology,
typography and the like. One day, the director of the museum asked
if she had ever considered creating an exhibition out of that list. “It
started out as a feeling of necessity, of a need for MoMA, that then
became an actual exhibition and a manifesto,” says Antonelli.
Featured items range from Levi’s 501s to Yves Saint Laurent’s Le
Smoking to Spanx to an Indian sari. “We were looking for pieces that
were examples of good design but also had influence and relevance
and were of consequence—the feeling that if it didn’t exist, it would
be missed in the world,” says Antonelli, who defines “modern” as
an attitude with which a person establishes a purpose and pursues it
with the materials and technology available, having a desire to push
things forward even just a little bit. “So, modern to me can be a white
T-shirt or the Comme des Garçons Body Meets Dress collection,
which was revolutionary in showing people that bodies don’t have to
be a certain way,” she says. “Maybe only 0.0001 per cent of the popu-
lation had access to that collection, but that deep reflection percolated
down to other designers and then slowly but surely to mainstream
stores—and suddenly it was a part of the way everybody thinks.”
Antonelli’s hope is that visitors will leave the show thinking dif-
ferently about what they wear. “I want people to notice and be more
conscious about what they’re putting on their bodies, both stylisti-
cally and ethically,” she says. “I think what people will see from
looking at these items is that the issues and delights we have today
were shared in the past and probably will be shared in the future.”
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stylerunway
Fall 2017
CHRISTIAN DIOR
Project
Runway
Spring 2008
Alexandre de Betak makes magic
VIK TOR & ROLF

happen. Amy Verner speaks with
the legendary runway producer.
I
n the seconds before one of Alexandre can detect his stylistic DNA, he only says, “Whether special
de Betak’s runway productions begins, effects or pure minimalism, I think there’s a way of using those
his voice usually comes on the loud- chosen elements that make it a very de Betak signature.”
speaker with the same polite request for By the time you read this article, de Betak will have
the guests seated in the front row: surpassed an extraordinary milestone: 1,000 runway shows
“Ladies and gentlemen, uncross your and presentations produced around the world over the better
AlexAndre
de Be tAk legs, please.” Depending on the city, he makes part of three decades. Odds are, if you have attended a show
this announcement in his native French or in a in one of the four fashion capitals, you have experienced the
refined, barely accented English. Fashion show habitués might ever-changing ways in which he conjures up atmospheres—
say that this is the most obvious identifier in his high-impact from a vaguely retro explorer theme accented with global flora
approach to setting the scene for directional designers and and life-size cardboard-sculpted fauna for the recent Dior
photography by getty
brands such as Christian Dior, Calvin Klein, Rodarte, Mary haute couture show to the fluorescent tube lighting that
Katrantzou, Hussein Chalayan, Viktor & Rolf, H&M and reappears season after season on Rodarte’s runways. But you
Jacquemus. But once the lights go up and guests’ shoes are safely don’t need an invitation from these brands to watch de Betak’s
outside the photographers’ frames, the Bureau Betak influence spectacles; they have evolved in theatricality alongside
truly takes shape. Whatever the creative direction of a collection, technological advances such as live streaming so that anyone
de Betak adapts and makes magic. When asked whether guests can feel the frisson of the front row from their smartphones. »
54 F A S H I O N | novemBer 2017 fashionmagazine.com

Christian Dior Couture
Fall 2012: Flor al Fantasia,
part one Raf Simons’s
debut at Dior will be
remembered as much for
the salon walls panelled hussein Chal ayan Fall 2007
in blooms as for his deftly Catwalk cyclone. Thanks
reconceived classics. In to a fan, dry ice and hazy
collaboration with florists lighting, a manmade tornado
Mark Colle and Eric appeared to shoot up from
Chauvin, Bureau Betak a hole in a rounded platform
spent weeks constructing
irrigation and drainage Hot LigHts at the end of the runway. The
wind highlighted the volume
systems within steel Four unforgettable of the models’ dresses like
structures filled with water- ADB productions. a Marilyn Monroe moment
absorbing foam so that the amplified to the extreme.
roughly one million orchids,
mimosas and delphiniums
would stay fresh.
ViC toria’s seCre t 2005

Dolls gone wild. Amid
gigantic inflated teddy
bears, alphabet blocks and
Christmas tree ornaments,
the Angels entered the
runway from a gift box as
if they were animated dolls Christian Dior spring 2016: Floral
in a child’s nursery, only to Fantasia, part two Within the Louvre’s
assume human proportions majestic Cour Carrée, Bureau Betak
as they strutted the runway— transformed the facade of the custom-made
a provocative blurring of venue into a purplish-blue mountain planted
babes and babies. with some 350,000 delphinium stems.
Inside, the spotlights were rigged on tele-
scopic arms and clustered like blossoms.
Post-show, the public was encouraged to
pick away at the 18-metre-high creation.
Indeed, de Betak’s new, seriously slick monograph, Betak: de Betak to make something magical and memorable out of a
Fashion Show Revolution (released in October), confirms that mere 10 minutes—15 max. He acknowledges as much when we
this Paris- and New York-based creative mastermind and his speak by phone, while remaining unfazed by the unknowns. “I
namesake agency of roughly 50 staff deserve significant credit started my career addressing a very knowledgeable yet blasé
for transforming the conventional défilé into what is arguably audience of specialized press. And now you still have them, but
the most anticipated, pivotal and engaging aspect of a brand’s you also have the direct viewer and somewhat direct consumer.
or designer’s ongoing identity. Starting with an introduction Beyond that, and, more importantly, today, this is forcing the
by Sally Singer, creative digital director for Vogue.com, and speed at which the new revolution of fashion shows has to
ending with comments by huge names from both inside and happen. Digital media and social media have shown the brands
outside the industry (think Raf Simons, Michael Kors and that the viewer has changed and the traditional press is no longer
Kirsten Dunst), the book lays out the larger-than-life sets, the authority—that expectations are much faster and much
photography by getty
conceptual artistry and special effects that induce awe— wider,” he says, clearly aware of the changing landscape.
even among the most jaded fashion types. The current challenge, he suggests, is to be simultaneously
But as the industry’s inherent excitement gets increasingly exclusive and inclusive. “Before, when I did fashion shows, I
weighed down by the challenges of off-calendar scheduling, was always thinking of the inspiration of the season as well as
untested cycles (see now, buy when?) and the constant expecta- the history of the house,” he says. “Now, in addition to these
tion of shaking up the system, the onus falls more and more on two obvious objectives, we need to address a very wide range »

stylerunway
Spring 2015
CHRISTIAN DIOR
“We need...to give them a wider
point of view, a wider range
of emotion, something much
less dictated by the house.”
of audiences—wide in age, geography and sociological provenances—and
give them a wider point of view, a wider range of emotion, something much
less dictated by the house and much more raw. People want to see behind
the scenes; they want to see what happens and why it happens.”
But won’t all this access kill the cachet? Not when tackled innovatively,
de Betak argues. “[Fashion weeks] still need to surprise, and I think the
format has become too expected and not surprising enough,” he maintains,
adding, “I think there is going to be a full freedom of ways; soon enough,
houses will have the freedom of showing when they have to in the commer-
cial cycles but also when they want and where they want because they are
showing to everyone, regardless, all the time.”
When I suggest that this is optimistic, he replies: “I’m idealistic and, I think,
realistic. I believe that fashion shows are still a medium that makes people dream
and helps fashion and luxury brands. I believe that the emotion that comes out of
the live momentum is irreplaceable, but I also think there have been too many
of them and [they’re] too close together. Not everyone agrees with this, but the
traditional audience is no longer the one that matters the most. The live show
will still have a reason for existing, but [it needs] to reinvent itself.”
At this point, de Betak, 49, isn’t contemplating his own reinvention so much as
brand extension. (Somewhat related, earlier this year, Sofía Sanchez de Betak, his
Argentinian art director and fashion consultant wife, released Travels with Chufy:
Confidential Destinations, a book whose title is a nod to her well-known
nickname.) Complementing his book (which is nearly 300 pages) is a range of
“fashion show tools” and “survival gear” that includes pouches made by Comme
des Garçons and a special Caviar Kaspia box set containing vodka and a tin of
caviar (the restaurant is a legendary hangout during Paris Fashion Week), plus
less-decadent items such as sweatshirts, notepads and headphones—all of which
were developed by de Betak and launched at Colette for the September shows.
De Betak’s prophecy of what we might expect from fashion shows in the
near future reads rather safe, for someone so plugged into the industry. “The
photography by Daniel beres
basic elements of live human beings walking will, at least to a certain degree,
always be there, and the ways they are transmitted and seen and used will be
drastically different,” he says. “I think it will be a mix of both extremes; I’m
pretty sure of that.” Given that de Betak is already working with some brands
on their strategies through summer 2018, can he envision himself still going at
this rate well beyond that? “I mean, yes and no,” he answers. “I’m committed
to creating the next revolution. And then we’ll see.” After all, at the risk of
sounding clichéd, the shows must go on.

styletechnology
Mr. Robot
Are bespoke digital design
and automated sewing
robots the future of fashion?
By Caitlin Agnew
f you were to close your eyes and imagine

the clothing of the future, you’d likely
picture severe, angular cuts in synthetic fab-
rics, like something out of Blade Runner. Set in
2019, Ridley Scott’s ’80s version of the future
still seems very far away. In all likelihood, it was
Spike Jonze who got it right with his 2013 movie
Her. One of the most-talked-about aspects of the
film was the high-waisted pants, worn by Joaquin
Pheonix, that were at odds with the high-tech
world in which they roamed. “Spike liked to
describe them as your pants giving you a hug around
your waist,” costume designer Casey Storm told The
New York Times. “It’s an emotion that felt nice to us.”
This sartorial sentiment is echoed by Ministry of
Supply’s Boston-based chief design officer Gihan
Amarasiriwardena when he talks about his brand’s 3-D
blazer, a seamless garment that is made by a machine
in 90 minutes to a customer’s exact specifications for
$355. Customers say it feels like “wearing a hug,”
says Amarasiriwardena, adding that consumers can
now become more invested in what they’re wearing
and how it’s made. “It allows us to build a deeper
relationship with our products rather than just
something that you buy and then throw away.” An
MIT-trained chemical engineer, Amarasiriwardena
was lured into the apparel business by the prospect
of bringing professional workwear into the future.
“All of this performance existed in the outdoor space
and the athletic space, but so little of that has trans-
lated into what we wear every day,” he says.
photography by trunk archive
Unlike other industries that have embraced technical digital production is finally trickling into the fashion world.
manufacturing processes, mass fashion has chased cheap Last year, Jonathan Zornow created Sewbo, a process
labour around the world, moving factories from North that chemically stiffens fabrics to allow automated sewing
America to Asia, and now parts of Africa, instead of trying robots to produce an entire garment. A software engineer,
to find new, efficient and ethical ways to innovate produc- Seattle-based Zornow was inspired by an episode of How
tion. Because of its trendsetting nature, fashion typically It’s Made on jeans. “It seemed strange that we wouldn’t
focuses its energy on seasonal stylistic changes rather than have more automation in that field; I had assumed that
functional innovation. But the rise of automation and robots were making all of our clothes,” he told Fast

Company. With his new invention, this assumption Dutch designer Iris van Herpen sent her award-winning
may come to fruition. A 2016 study by The Brookfield couture down the runway at Amsterdam Fashion Week.
Institute for Innovation and Entrepreneurship found that Impressive feats of imagination they may be, but wear-
42 per cent of the Canadian labour force is at high risk of able they are not. Today, these otherworldly creations
being affected by automation over the next decade or two. are being brought down to earth by Canadian labels
One component of robotic production is 3-D print- like Sid Neigum, who in June won a $50,000 grant
ing. Typically thought of as architectural objets, clothing to explore 3-D printing. Even he was surprised by
produced by 3-D printers first made waves in 2010, when the soft, flowing fabrics created by the technology. »

styletechnology
From leF t: A looK From iris
vAN herpeN’s spriNG 2010
ColleCtioN; jewellery house
dANiel ChristiAN tANG uses
3-d priNtiNG iN its desiGNs.
Up to 30 per cent of fabric

is typically discarded
during the standard
production process, but
this is virtually eliminated
with digital production.
Spring 2016
“It’s not what you imagine when you think from rabid fast-fashion consumption. In March, Zara
of 3-D-printed garments, but I think that reported that profitability had shrunk to an eight-
this is a really interesting way to pursue year low. Anyone who has bought a $10 T-shirt on
what we’re doing,” he says. a whim can attest that fast fashion is not engineered
SId NeIgum
Neigum follows Daniel Christian for longevity—physically or emotionally. Being

Tang, a jewellery house run by two archi- invested in the creation of a garment that was made
tects and an engineer who print gold just for you brings feelings of attachment, which
and silver baubles from powder. Designer means you’ll want to wear it longer, while its techni-
and co-founder Mario Christian Lavorato cal or tailored production means that it will last longer.
predicts that digital manufacturing is poised For the consumer, ordering custom-made clothing,
to take over. “Right now, 3-D printing is still whether a machine or a human creates it, means a
kind of this new industry that’s finding its way in renewed involvement in the creative process. “People
medical and other industries but not really in retail are craving something that’s for them as opposed
and mass production,” he says. “Given the speed of to just this illusion of choice,” says designer Philip
this industry, it will become ridiculous. It’s eventually Sparks, who runs his namesake label out of a studio in
going to become the only way to produce products.” Toronto’s Junction neighbourhood. After creating sea-
It’s a process that’s currently being adopted sonal collections for eight years, Sparks transitioned
by notorious digital disrupter Amazon. In April, exclusively to custom tailoring in 2015. “I wanted
the e-commerce giant was awarded the patent for an on- to remove myself from the fast-fashion cycle where
demand computerized system of made-to-order clothing every idea that you have, that you produce, that you
that includes textile printers, cutters and an assembly line. make expires in four months or six months and is not
With Amazon’s clout in the online shopping sphere, it’s valuable at all anymore as opposed to making some-
only a matter of time before we’re all clicking to buy our thing that somebody wears and keeps and takes care
very own digitally printed wardrobes. of,” he says. His one-of-a-kind pieces, mainly suiting
The benefits of digitally produced, made-to-order and outerwear with price points lower than the big
clothing are multiple. Up to 30 per cent of fabric is typ- designer brands, take eight to 10 weeks to complete.
ically discarded during the standard production process, There are multiple fittings along the way, and the end odessA pAlomA
photography: runway and street style by getty
pArKer weArs
but this is virtually eliminated with digital production; result is nearly always an evolution from the initial A philip spArKs
it also means the elimination of overstock supply, since concept. His clients are extremely involved in the cre- suit At loNdoN
consumer-based ordering guarantees a buyer for every ative process, which is more open-ended than working FAshioN weeK.
item produced. It also reduces the amount of physical with a digital machine where you select from a series
manipulation required in the process. “The best part of options rather than come up with the idea yourself.
is, because it’s technology and you’re not really relying A seamless garment made by a high-tech machine
on a human, the amount of human error is almost zero,” may feel like wearing a hug, but it can’t replace the
says Lavorato. While there may be only one person love that goes into making something by hand. “I get
operating the machine—instead of many low-paid to make people feel really good about themselves,”
staff involved in high-volume cut and sew lines—he or says Sparks. “It’s amazing. It makes me feel like I’m
she is a highly trained technician, creating garments in doing something that matters. I think you’re getting
computer-aided design (CAD) and printing them live. more out of the experience with another person than
As shoppers, we’re already beginning to move away you are when you watch a machine do it.”

stylepREdicTiONs
Back to
the Future
One industry leader and five trend forecasters look ahead 40 years
and give us their predictions on fashion, beauty, luxury and more.
FORTUNE TELLER Noted futurist Faith Popcorn futurists across the globe (called her TalentBank), from differ-
knew early on that she had a knack for identifying trends. It ent industries. Based on their research, Popcorn and her team
wasn’t intuition or psychic powers, she says, but, rather, “an abil- identify the trends of tomorrow, advising Fortune 500 companies
ity to tie different trains and trails and strings together.” Popcorn on how to capitalize on what’s to come. Her work, which is con-
was set to become a lawyer at first, following in the footsteps of stant, takes her around the world—not that she sees any of it as
her parents, both attorneys. But, after college, she decided she “work.” “Everything I see leads to something else,” she says. Her
couldn’t bear another three years of school. She took a job in ad- big prediction for life in 40 years, based on what she’s currently
vertising, where she watched her colleagues sell clients a vision of seeing? “We’ll be augmented humans. We’ll have tweaked our
present day, completely missing, she says, “that the culture was DNA, so we’ll all look great.... Tech will take us to new realms
the media of the future.” She quit and started her own company, via manufactured memories... and ESP-like communications. It
Faith Popcorn’s BrainReserve, which, today, works with 10,000 will be an unnerving but amazing time.” —Lindsay Tapscott

stylepredictions
beauty In 40 years, everybody’s makeup

bag will be focused on skincare, which may or
may not be topical gels and creams; it could
be a mask that emits different lights or lasers
while you’re sleeping. And in 40 years, you could
WorK
Many of
be applying Botox topically instead of having it
injected, something that, today, is typically the jobs we
done at the dermatology clinic. —Amy Chung,
beauty analyst, NPD Group @npdgroup know today
will become
irrelevant.
AI and
autonomous
tech means
more jobs
shopping
In the future, we will likely will focus on
never be in a situation where human-centred
we cannot shop. As artificial
intelligence (AI) becomes abilities, like
more advanced, computers understanding
will be able to shop for us
before we even know we and feeling
need something. We don’t emotions.
yet know if people will want —Shannon Davenport, head of advisory,
this in their lives. The tech- US, Stylus @Stylus_LIVE
nology will be available, but
it will be up to consumers
to decide whether they buy
into it or not. —Sarah Housley, senior
lifestyle and interiors editor, WGSN @wgsn
education
More people will take their
photography: chanel by imaxtree; all others by istock
careers into their own hands.

Technology will give them even
greater access to intelligence
and education, resulting in a shift
away from outdated educational
programs and toward schooling
Luxury In the 17th century, people placed a high value on tulips.

that is self-directed and more
immediately valuable.
In 40 years’ time, we will look back at our obsession with things and —Shannon Davenport,
realize that it was another case of “tulip mania.” The growth areas head of advisory,
in luxury will be focused on the self and personal development, be US, Stylus @Stylus_LIVE
it wellness, education or real-time or virtual experiences. Rising
consciousness around responsible consumption will weed out many of
the brands we see in stores today. The majority of brands in the car
industry and the fashion and beauty worlds will no longer exist.
—Nicole Fall, founder, Five by Fifty @5by50Nicole

stylePredictions
PerFormance
Biohacking of
Designer the brain and
Jason grech’s
2016 colour
scheme was
body will gain
Directly
influenceD by momentum, and
ibm cognitive
technology. consumers will
crave results-
driven solutions
backed by science
and data. For
example, body-
Future tents Artificial care products
intelligence turns its mind to fashion. that help you
Dear fashion designers, your Black Mirror and Blade Runner nightmares
are coming true: Fashion has joined the long list of industries facing an work out harder
AI takeover, and the robot coup has already begun. From Amazon to
Google, tech giants are heading down the catwalk with trendspotting or prolong the
software and cognitive computing that can predict which colours and
styles will dominate consumers’ closets. How? With brain mimick- effects of exercise
ing: deep-learning machinery that can forecast the future better than
any high-fashion human. For sci-fi fans, this sounds like a spooky step
and muscle
toward technological singularity—the moment when AI transcends the
abilities of people. But the marriage of modern machines and couture
recovery while
creatives has its perks. Fashion houses have historically spent huge
amounts of time and money pulling information from social media,
also monitoring
runway shows and style archives to identify the next season’s trends.
AI is able to offer these same insights in a matter of seconds. So, if you’re
skin’s hydration
a multimillion-dollar brand, what are you going to trust more: your gut levels to optimize
performance
or scientific data? Australian designer Jason Grech of couture brand
JASONGRECH put his trust in the latter, and the gamble paid off. He
photography via @jasongrech
used IBM’s Watson, a cognitive question-answering computer system,

to influence his collection for Melbourne Spring Fashion Week 2016. will be a key area
The information he collected showed that there was a shift happening
in consumers’ colour preferences. With this knowledge, Grech traded in for new-product
his tendency for darker hues for pastels. And guess what? Sales spiked.
In an industry dependent on trends, insight is everything. But don’t development.
worry, fashion designers: Your jobs are safe. Technology isn’t taking —Theresa Yee, senior beauty editor,
over creativity—it’s merely informing it (for now). —Meghan McKenna WGSN, @wgsn
64 f a s h i o n | November 2017 fashionmagazine.com

35 of
Excellence in Service,
it in
Collections.
136 Cumberland St.

416.922.7702
www.avecplaisir.ca
IT WAS
TIME
FOR A
MAKEOVER.
W e’V e r e D e S I G N e D
FAS H I O N’S B eAuty AWAr D S
For more inFormation on HoW to enter
tHiS Year’S FirSt-eVer JUrieD ComPetition, ViSit
FASHIONmAGAzINe.cOm/2017BeAutyAWArDS.
OPPEN’S
Fashion Specialist for Sizes 12-26
4828 BO U L. ST-LAU RENT, M O NTREAL | 514.844.9159 | O PPENS.CA

Editor: lEsa hannah; photography by shalan and paul; drEss, $150, EvEr nEw.
sunglassEs, $470, gucci at shopbop. Earrings, $20, h&M; hair and MakEup,
diana carrEiro for p1M.ca/MakE up for EvEr; ManicurE, lEEannE collEy for
p1M.ca/tips nail bar; ModEl, alExa, ElMEr olsEn ModEl ManagEMEnt.
fashionmagazine.com
r e p ort i ng
on
t h e
n e x t
t r e n ds
a n d
BEAUtY
i n novat ions
is
40
nails.
this
November 2017 | F A S H I O N
wearing
and party
shades—
The future
bright, so,
yes, we are
of beauty is
69
beautyFIX
BIOtHErM blue EStéE LAudEr AdvANced
therApy eye-opeNiNg Night repAir eye coNceN-
serum ($69) feAtures trAte mAtrix ($88)
A formulA mAde of
AlAriA esculeNtA (AN
eye- uNdoes dAmAge cAused
by our 10,000 dAily
ANti-iNflAmmAtory
seAweed) ANd A
OpenIng bliNks with A bleNd of
visco-elAstic polymers
teNsiNg polymer the future of to eNvelop the eye
thAt lif ts skiN. use eye serums is AreA, wrAppiNg it iN
the hybrid ApplicAtor officiAlly here. AN iNvisible protective,
to Apply oN lAshes cushioNy shield ANd
for streNgtheN- two types of
iNg or the eye hyAluroNic Acid
AreA to depuff to hydrAte
ANd smooth. ANd plump.
French Prime Time

Twist
Finding an effective natural deodorant is an exercise
in patience and a lot of trial and error. Because
these formulations don’t usually contain sweat-
n
duct-plugging aluminum, you perspire more, which
amed after the slender silk accessory can lead to a difficult predicament. Made with plant
that women often wrap around their oils (including witch hazel, jojoba and tea tree),
wrist or bag handles, HErMèS Twilly MEOw MEOw t wEEt’s Underarm Primer ($22) detoxes
skin from product buildup and balances pH levels,
d’Hermès (from $76) signifies what
making your deo work better and last longer.
perfumer Christine Nagel describes as
an untapped niche within the esteemed French
by Souzan Michael. photography: productS by carlo Mendoza; runway by iMaxtree

luxury brand. “I was seeing young women who
appreciated the codes of the maison but were
doing different things with them,” she says.
“The idea of twisting the classic carré [scarf]
was interesting to me, and I thought that to
please young women, perhaps I could work
WInnIng Streak
Great news for your teenage
with raw materials that are at the foundation self: Thanks to the fall runways
of the house and also twist the monument of (see: Issey Miyake and Versace),
perfumery to say something else.” temporary-coloured hair streaks
And what Nagel says with the scent is are totally cool again and are
Fall 2017
unmistakably upbeat and discreetly flirty. By now as easy to change as your

extracting ginger while it’s still fresh (instead of lipstick. CL AIrOL’s Color Crave
Hair Makeup ($15) range offers
dry, as is the common practice) and boosting its
six metallic shades made of 3-D
ISSE y MIyAkE
presence beyond the usual trace, she has micro-crystals for a shimmering
nudged the familiar notes of tuberose and effect that’s applied with a cushion
sandalwood into a brighter register. The sweet- sponge (reminiscent of a bingo
ness is surprising, yet the result is restrained. dauber) for foolproof results.
Nagel points out that this mirrors her percep- L’Oré AL pArIS’s Colorista Spray
Fall 2017
tion of the house. “Once I finally started to ($17) comes in 10 shades, includ-
settle in, I discovered a world far more original ing sure to be millennial faves like
than I imagined from the exterior,” she says. “It rose gold and pink, that are each
was a world of fantasy and colour, and this was more pigmented than the last
vErSACE
captured by the world of silk.” —Amy Verner and come out in a single wash.
A R T D I R : PA U L M A R C I A N O P H : R AYA N AYA S H © GUESS?, INC. 2017
beautyskin
Fresh
photography by Fernando gomez / trunk archive
Direct
Is small-batch beauty
the best when it comes
to skincare?
By Tania Kwong

While the idea of kitchen chemistry isn’t new, the movement
toward freshness and customization takes it a step further. “You can
make a basic cream in a blender that you can sell at a farmers’
market, but in order to reach a level of sophistication in terms of
textures and ingredients, you have to go beyond being a kitchen
formulator to using the right tools and process,” explains Chitra
Desikan, a former aerospace engineer who is the founder of Subtle
Green, a Canadian brand that offers fresh bespoke skincare. Creams,
M
cleansers and serums are blended in her Montreal-based workshop
as soon as she receives online orders, which are gleaned from an à la
carte-style menu based on skin issues that customers want to
ost of us wouldn’t think address. The turnaround time is a mere 48 hours, and the products
twice about tossing out a last six to eight months, depending on what ingredients are used.
cont a i ner of Gre ek The business of small-batch beauty isn’t without its challenges,
yogourt when it’s past however. “It’s much more difficult to manage on the production
its best-before date, yet side,” says Bonnén. While Bonnén and Desikan can offer benefits
when it comes to expen- like ingredient transparency, they also rely on expensive natural
sive skincare products, preservatives like potassium sorbate (derived from berries, it helps
we hold on to them like prevent bacteria and mould growth) and pricey fresh ingredients
we’re hoarders. But even such as essential oils and anti-aging actives like vitamins C, A and
though a product might E. At Subtle Green, the bottles are hand-filled, which also drives
look, smell and even feel fine on the skin two years in, chances its costs higher than those of traditional drugstore brands.
are it’s not doing a whole lot beyond dressing up your vanity. Packaging, too, is more costly: Airless pumps and opaque bottles
That’s where the next-gen natural-beauty brands come in, must be used to prevent the products from degrading.
embracing freshness and transparency, including best-before As the natural-skincare industry evolves through innovation,
dates from as little as 90 days. It’s the beauty version of the there’s still a long way to go. “Natural preservatives are one of
cold-pressed-juice craze. “I like to use food as an analogy: A the largest growing subjects that cosmetic chemists are looking
peach is at its best when it’s fresh and so much better in taste at, and they still haven’t found the magic bullet,” says Dr.
and nutritional value than when it’s canned,” says Tata Harper, Jeannette Graf, assistant clinical professor of dermatology at
who helped pioneer the farm-to-beauty movement with her Mount Sinai Medical Center in New York. “When it comes to
eponymous luxe natural-skincare brand that manufactures its efficacy, synthetically preserved products are more stable, so the
own small (but growing) inventory each month. sooner natural products that are made fresh are used the better.”
The result of leveraging natural ingredients like cold-pressed Just like you wouldn’t eat a rotten peach for health reasons, don’t
oils and unrefined raw exotic butters and processing them in a put your skin at risk with stale skincare (which can usually be
deliberately fresh and fast way (Tata Harper employs minimal identified by texture, smell and colour). “If a product has turned,
processing for all its ingredients) is a more active payoff. “Fresher it can mean it has oxidized or grown mould, fungus or bacteria,”
products mean that ingredients are at their peak and there’s says Graf. “Using [stale skincare] is never a good idea, as skin can
much less risk of losing effectiveness,” says Harper. potentially develop irritation or infection.” A good rule of thumb:
Unlike in the food industry, expiration dates for cosmetics are not Just like food, natural skincare should be seasonal.
required in Canada (or the United States) and safety is the respon-
sibility of the manufacturer, which is where synthetic preservatives
like parabens and benzyl alcohol that extend shelf life come in
handy. “If you guarantee that your formula is stable for a minimum
of two and a half years, you can leave out the expiry date,” says Jasmi
SubTle GreeN
Bonnén, founder of Denmark-based Nuori, a premium natural- restorative &
skincare brand that touts the hashtag #fightforfresh. regeNerative NuOrI vital
moisturiziNg uNifier
Nuori blends new batches every 12 weeks with two dates ($59)
lotioN ($65 )
stamped on its minimalist-designed products: a “start using by”
date (which Bonnén says is the last day they want to see a product
in-store) and an expiration date. Bonnén had a light-bulb moment TATA HArper
10 years ago while she was working for L’Oréal. “I started won- Clarif yiNg
mask ($68)
dering what actually happens to the formula in the jar after two
and a half years and was shocked to learn how quickly some
ingredients, like vitamin C, break down,” she says. In other words,
stability and efficacy aren’t mutually exclusive. Vitamins like A,
C and E start losing benefits after they are blended into formulas
containing water. The other issue, says Bonnén, was preservatives
and stabilizers that prolong shelf life versus improve skin. “I
thought, ‘There is a compromised efficacy and purity that we
could solve if we started selling freshly blended skincare.’”

beautyculture
Skin Deep
Meet the future of beauty
influencers: skincare buffs who
seriously know their products.
By Souzan Michael
E
arlier this year, like a chill parent who sud-
denly takes on the role of bad cop, the U.S.
Federal Trade Commission issued warnings
about sponsored content on Instagram
needing to be clearly labelled as an #ad or
#spon. The concept is simple: Influencers and
photography (clockwise from left): via @sortofobsessed; via @hydratedho; via @roadtoglow; via @fanserviced
celebrities who are paid to promote a product
or service must be transparent about the fact that they’re making
money off what they’re sharing with their followers.
The new rule hasn’t been without repercussions. Beauty
bloggers, for one, have felt the backlash that comes with posting
sponsored post after sponsored post to such a degree that it has
led to the birth of a new subsection of beauty influencer: the
skinfluencer. These new social media personalities are gaining
followers by posting useful information about skincare routines
and products instead of overstylized photos paired with brief
captions that don’t say much at all. Their strategy is more along
the lines of “research, research, research” than “snap, filter, post.”
AdrI @SOrtOFObSeSSed
“Once I get into something, I want to know everything about
it,” says Southern California-based student Adri. “The name
‘@sortofobsessed’ fits into that.” With her beautifully lit photos
shot on a millennial-pink backdrop, it’s safe to assume that
her almost 32,000 Instagram followers come for the visuals
but stay for the info. Each caption includes the name of every
product, standout ingredients, likes and dislikes and whether or
not she’d repurchase. “I Google ingredients in my downtime,”
she says. “I want to know how things work.” Adri, whose
Instagram bio includes her skin type (“Oily T-zone. Slightly
dry elsewhere. Congested pores. Acne scars. Hormonal break-
outs.”), cites Jordan Samuel Skin as one of her favourite brands:
“Everyone needs to try them!” And while she only features
products she actually uses (noting either her first impressions
or even what she doesn’t like about a new product), she does
admit to having done two paid posts in the past. “I don’t have
anything against them,” she says. “I just want to do ones I truly
like, and so far there have only been two.”

SArAH BrOOkS @HydrAtedHO NAtAlIe Smy tH @rOAdtOglOw
“I can’t remember the last time I bought a “I do constant research,” says Natalie Smyth, the blog-
product without talking to someone who ger behind @roadtoglow, of her pre-posting method.
has used it before,” says Sarah Brooks (a.k.a. “[I read] books and scientific journals as well as articles
@hydratedho). “I’ll walk around Sephora and on FutureDerm and Paula’s Choice.” It’s obvious that
look up products on my phone. I’ve the skincare buff—whose daytime job is at an archi-
never purchased one without at least tectural firm—doesn’t skimp on details. “If I’m post-
Googling it.” Only three months ing a somewhat lengthy and informative post, I spend
after starting her account, Brooks, days compiling research and then a couple of hours
a student in Boston, has amassed writing the post [to make it] as easily digestible as I
over 6,000 followers and an engaged can,” she says. While a couple of hours spent crafting
comments section under her photos, an Instagram post might seem lengthy, one look at her
where she always responds. She cred- captions, which can be paragraphs long, explains it.
its the conversation with the fact that Smyth, who is based in Manchester, England, is the
consumers, like her, are becoming first to admit that @roadtoglow is more about facts than
ingredient savvy. But understanding pretty photos (her #RTGIngredientSpotlight posts, in
how to read the label on a product particular, include everything from history to scientific
is more than an Instagram strategy. studies), and she’s totally fine with that. “I tend to focus
“Once I began reading about how more on the information provided than how it looks,”
certain ingredients can benefit skin, she says. “I still haven’t found my perfect aesthetic.”
it made it easier to narrow down the Her 10,900 followers don’t seem to mind, however, as
products that would work for me,” every post garners hundreds of likes and dozens of
she says. She hopes to pass on that info—but questions and comments. “Most of the products I use
only if it’s honest. While Brooks accepts PR are products I have bought myself,” she says. “I feel like
gifts occasionally, it’s on tight terms. “I will it would be a disservice to my readers [otherwise].”
definitely turn down offers if they require a
positive review or a certain amount of posts
about the product,” she says. Needless to say,
she’s quick to reject sponsored posts. “I have
a lot of respect for bloggers who stay away
from that kind of thing, so I’m holding myself
to the same standard.”
trAcy rOBey @FANServIced

“I started out as a K-pop blog but
eventually abandoned it,” says
New York-based beauty and history
journalist Tracy Robey. Robey was
struggling with cystic acne, which forced her to rethink her
skincare routine. “Acne is a painful and highly individual-
ized problem,” she says. “I can help others with similar
skin issues on an emotional and physical level.” These days
her account, @fanserviced, has over 12,000 followers and
comprises no-nonsense product photos paired with honest,
funny reviews. (One memorable caption begins with “With
this product, I feel like the last person in the friend group
to have sex, the person who finally does what they’ve been
hearing about all this time, and my response is...that’s it?”)
That authentic tone is the cornerstone of @fanserviced. “I
don’t accept money for posts,” she says. In fact, Robey
declines almost all offered PR gifts. “I’d rather just buy
stuff,” she says. “My account depends on readers trusting
what I say, and people might feel betrayed by ad posts. I’m
always curious about whether the amount of money some-
one receives for [an ad] is enough to offset the lost followers
and the loss of [trust] from people who stick with them. I
just don’t think it’s worth it for smaller accounts like mine.”

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The Finer Po
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n with Dr. V
foremost d
ince Bertu
cci,
e rm atologists
with dermal fillers like JUVÉDERM®. in Canada,
to find out
more abou
dermal fille t
rs.
L
Let’s face it, when our
skin looks good we feel
great. But the ravages
of too much sun, stress
and, yep, one too many
mojitos, can take their toll, leaving us
wanting a little more help. It happens
to all of us as we get older – skin
98
OF WOMEN
% Q: W I L L T H E R E S U L
L O O K N AT U R A L ?
TS
A: ‘While dermal fillers were used

many years to treat specific line
wrin kles, today’s treatment app
considers the full face to deliver
natural, harmonious results. You
doctor will work with you to deve
for
s or
roach
more
r
lop a
naturally loses volume, leading to the LOVED THEIR customized treatment plan base
your own unique aesthetic goal
d on
development of fine lines, wrinkles and s.’
a slightly hollowed look. You can’t put RESULTS
your finger on it, but you don’t look as Q: A R E D E R M A L F I L
SO MUCH,
LERS SAFE?
fresh-faced as you used to, right? The A: ‘Your doctor will discuss any
safety
real question is, what can be done? concerns you have. JUV ÉDERM®
THEY WOULD fillers are meticulously clinicall
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Fillers like JUVÉDERM® could and when administered by a qua
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Also, JUV ÉDERM® is made from
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JUVÉDERM® naturally occurring substance
a
in your
body and the treatment is reve
rsible.’
fillers that revitalize your appearance,
helping you glow on the inside and
TO A FRIEND.
Q: W I L L I T B E P A I N F
UL?
out. Made of hyaluronic acid, a
A: ‘The smooth consistency of
naturally occurring sugar in the body, kid’s teacher to your neighbour with
JUV ÉDERM® allows your doct
JUVÉDERM® smooths out lines and the beautiful garden. But, thanks to or to
administer the filler easily. The
results that look more natural than addition
wrinkles and adds volume to your of Lidocaine, which is in most
products,
skin, helping achieve and maintain ever, it’s just harder to tell. So, with to reduce injection pain mea ns
a more
a fresher look. over 90% of women feeling satisfied com fortable experience.’
with their treatment, the question is
You may not realize it, but millions of what are you waiting for? Q: A R E T H E R E A N Y
SIDE EFFECTS?
women have already used JUVÉDERM® A: ‘Side effects rates are low, but
can include
dermal fillers. It just goes to show, Get back to looking the way you things such as temporary tend
erness,
this treatment isn’t only for celebrities feel by adding dermal fillers to your redness, swelling and bruising
on the
anymore. Everyone can do it – from your beauty routine. injection site – this is usually tem
porary
and will clear within a few days
.’
Q: H O W M U C H D O E S
IT COST?
TA K I N G T H E N E X T S T E P
A: ‘The price of each treatment
varies
according to the area being trea
ted
If you’re ready to find out more about unlocking your best self and the volume of product need
FINDING achieve the desired effect.’
ed to
with dermal fillers, book a consultation with an experienced
YOUR cosmetic doctor to create a personalized treatment plan.
COSMETIC Visit www.juvederm.ca to get a virtual makeover and find
DOCTOR a cosmetic doctor today.
Actual treatment results may vary. For more product and safety information, and to find out if JUVÉDERM® is
right for you, talk to your doctor or visit www.juvederm.ca. JUVÉDERM® is a registered trademark of Allergan
Holdings France SAS. © 2017 Allergan. All rights reserved.
beautyskin
L’OccItANe immortelle
diviNe foamiNg cleaNs-
iNg cream ($44) starts
OdAcIté greeN off thick aNd chaNges to
ceremoNy a rich lather.
cleaNser ($67 )
features pre-
mium matcha;
bleNdiNg a few
drops of water
Good
with a scoop
of the powder
creates a foam.
Clean
Fun
Bored with washing
your face? The
bOScIA charcoal newest cleansers
jelly ball cleaNser
($26) caN be lath- are about to
change that.
ered up or applied
directly to skiN. SepHOrA
cOLLectION
detoxif yiNg
By Lesa Hannah foam cleaNser
($20) is a cloud-
like mousse you
apply to dry
skiN aNd
theN riNse.
eve LOm gel

balm cleaNser
($72) goes from
clear jelly to
milky emulsioN.
C
leansing our face has generally been viewed as and morph into another. “I think the transformation adds a
a functional step at the end of the day. But the wow factor―a form of sensuality and fun―to the product,
humble face wash is in the midst of a change which we can all use a bit of in our lives,” adds Grandury.
photography by carlo mendoza
that is taking it from being a mundane, tedious Then there’s Boscia’s Charcoal Jelly Ball Cleanser. It has
task to a pleasurable and maybe even entertain- detoxifying and antibacterial properties, but its gelatinous
ing experience. “A lot of my North American clients tell me texture and spherical shape are what make it a kind of
that skincare is a chore,” says Valérie Grandury, the French cleanser rarely seen before. And that means you can expect
founder of Odacité. “The trend of creating a more ritualistic to see it bouncing around on an Insta story―another factor
skincare routine is also about teaching North American driving these experiential cleansers. “We’re making products
women that skincare is a pleasure worth taking time for.” that people want to share as well,” says Michelle Fry, product
While most cleansers foam, the latest crop transform in development director for Boscia. “That’s the reality of the
slightly more unusual ways; they start out as one texture time we’re living in today.”

hexavogue.com
Distributed by Hexavogue Group 1-800-881-4392
beautyOPINION
Forward
March
Over the past five years,
beauty has embraced
inclusivity, transparency
and instant results.
But where to next?
By Sali Hughes
M
y love affair with beauty began 38 years ago liquids to silken photo-finish powders. The Asian influence
as I sat on my grandmother’s bed and watched on Western brands has been disruptive, energizing and
her put on makeup. As she dusted Max Factor important, but now it’s time for the Eastern big hitters to
Creme Puff powder across her nose and slicked on acknowledge the universal appeal of their competitors’ products
waxy magenta lipstick, I looked on in awe, lost instantly to the and begin to cater properly to women of colour. In 2017, there is
cause. It gives me huge satisfaction and comfort to know that no justification for any major brand to offer 16 shades of foun-
now, at the age of 42, I can still go out and buy the dation and consider themselves close to done. I
same powder and then create similar magic on my adore beauty but only on the condition that
own face—especially since so much else in it is appreciated and valued in all its forms.
beauty has changed beyond all recognition. Women deserve respect for their dollar.
We no longer glance briefly at our faces Women also deserve the facts. Beauty
as we get ready to go out or take memory snaps fans now have an unprecedented level of knowl-
only on vacation. We now see ourselves constantly on edge, thanks to bloggers, online communities and
Instagram, Facebook, Snapchat and WhatsApp, hoping accessible brands with a clear mandate. The revolu-
to survive the unending forensic commentary from others. tion begun by The Ordinary, Beauty Pie and Paula’s
Once concerned primarily with everyday looks on everyday Choice is only just gathering pace. I hope and believe
women, the beauty industry is now catering to millions of we’ll see brands following their examples in labelling,
amateur models and makeup artists, each of us wanting claims, packaging and ethics. Furthermore, I
to appear flawless for our social media audience. believe that in the next two years we’ll finally
Base products must instantly perfect with no flash- see China change its unethical laws on
back; eyeshadows should blend as seamlessly as mandatory animal testing in cosmetics.
those of a YouTube vlogger; and lipstick no The global beauty industry wants
longer merely colours the mouth but, ideally, this change, and its consumers
enlarges it, mimicking the effects of the expect it. There is no longer
injectable lip fillers our online stars so any justification for animal
implausibly deny getting. As we approach the next cr uelt y in t he na me of
decade, cosmetic procedures will become ever more beauty or for microbeads that
sophisticated, accessible, affordable and imperceptible bring nothing to the party but sea pollution.
and brands will be under increasing pressure to compete And as for my own dreams? Chemical sun-
with their results. We have reached the end of the “see screens and primers that never peel or ball
effects in eight to 12 weeks” era and dispelled brand loyalty. during blending; lip plumpers that neither sting
The future of skincare is in high concentrations of actives, nor fizz; high-dose vitamin C serums minus the
fast, proven results and interval training, where consumers will grit; a mascara that lasts like a tubing formula but
hothouse a product and then move on to another at plateau. lengthens and flutters like a traditional one; the end
The Korean beauty industry, with its innovation, vision and of useless cellulite creams, bust gels and jar packag-
research tech, has arguably made as big an impact as the Internet ing; the return of extreme contouring to its birth-
that gave it its global audience of consumers. Thanks to South place in history; permanent grey-covering hair
Korea, Japan and China, we in the West are able to demand colourant without PPD; and a definitive cure for
more than ever from our products, from the finest-textured melasma. That’s not too much to ask for, right? I
SPFs to perfecting colour correctors to pigment-saturated no longer believe anything is far from reach.
80 F A S H I O N | november 2017
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of
Here’s to
moments.
our party.
Welcome to
fashionable
many more
Y E A R S
S T Y L E
40
November 2017
FASHION
000
S H E WA L K S I N B E A U T Y
What better way to fete our milestone birthday than
with the defining looks from the fall collections.
Photography by Owen Bruce

Styling by Anna Katsanis
Creative direction by Brittany Eccles
000
86
Top and skirt, price
upon request, Vera
Wang. Harness, $240,
Zana Bayne. Shoes,
$2,635, Giuseppe
Zanotti. Necklace,
price upon request,
Miu Miu.
This page:
Coat, $3,530,
top, $1,230,
shoes, $1,950,
and earrings,
$465, Balenciaga.
Opposite page:
Dress, $43,350,
jumpsuit, $8,545,
and mask,
$1,215, Gucci.
89
Dress and boots,
price upon request,
Louis Vuitton.
Tights, $20, Falke.
90
This page:
Dress, price upon
request, Chanel.
Cape, vintage
Gucci. Belt,
$280, Zana Bayne.
Opposite page:
Coat, $4,950,
shoes, $1,360,
and belt, $2,790,
CALVIN KLEIN
205W39NYC.
93
This page:
Top, $1,475,
and scarf, $1,260,
Issey Miyake.
Opposite page:
Dress, $9,330,
Lanvin. Hat,
$1,395, Eric Javits.
95
This page:
Coat, $10,240, dress,
$4,205, and shoes,
$1,635, Alexander
McQueen.
Opposite page:
Top, $4,215, Céline.
96
This page:
Coat, $6,195,
top, $1,550, shoes,
$1,425, and hat,
$965, Dior.
Opposite page:
Dress, $4,325,
Proenza Schouler.
Hat, $1,395, Eric
Javits.
99
Coat, price upon
request, Marc Jacobs.
Dress, $4,045,
Off-White. Earring,
$370, CZ by Kenneth
Jay Lane.
Hair, Lucas Wilson

for Home Agency/
Bumble and Bumble.
Makeup, Linda
Gradin for L’Atelier
NYC/M.A.C
Cosmetics. Manicure,
Rieko Okusa for
Susan Price NYC.
Fashion assistant,
Alexandria Rudolph.
Model, Amber
Witcomb, Want
Management.
100
000
Meet the
cReatIVe exploReR
Benjamin shine
Benjamin Shine doesn’t define
himself as an artist, a sculptor or
I
even a designer. “I don’t want to
fall
be boxed in by those labels,” he
says. “I think of myself as a ‘creative
explorer.’” He has worked with the
likes of Riccardo Tisci (when he
was at Givenchy) and John Galliano
to
(at Maison Margiela), but his most
recent “exploration” was making the
tulle portrait of Amber Witcomb for
FASHION’s 40th-anniversary cover.
Shine, who is based in London,
England, spent the day with us on
pIeces
set in New York and used images
of Witcomb to create his portrait.
“I strive to transcend the technique
and capture a sense of the person,”
he explains. “Amber emanates a
quiet and timeless strength, and her Tk tktktkk tktktkt
facial silhouette is captivating—it’s
Grecian Pre-Raphaelite.” tktkktkt tktktkkt tktk
Shine discovered his talent for tktktkktktkt tktkktktkt
Tk tktktkk tktktkt
painting with fabric when he studied
fashion at Central Saint Martins in
London. He began creating sculptural
pieces and artworks, but he didn’t
tktkktkt tktktkkt tktk
use tulle until over a decade later. “I
remember noticing how the sunlight
fell on this crumpled ball of tulle in my Photography by Max Abadian
studio,” he recalls. “I was intrigued by
the way it exposed the pleats, and I Styling by George Antonopoulos
wondered if I could manipulate the
fabric to create a recognizable image.”
His technique is time-consuming,
and the medium is unforgiving. Once
he moulds the fabric with his hands
and bonds it to the canvas with an
iron, it can’t be undone. The portraits,
which appear to be floating, have a
poetic lightness to them. “Working
with tulle is so different from other
media I work with—like marble, glass
and steel,” he says. “It’s literally kind
of there and not there, which gives it
a unique spiritual and ethereal quality.”
102
Meet the
MODeL
AMBER WITCOMB
always
Amber Witcomb is accustomed
to being photographed, but the
23-year-old model was a little
taken aback when she learned that
Benjamin Shine would be creating
a tulle portrait of her for our anni-
versary cover. “I’ve never seen work
quite like Ben’s,” she says. “It’s so
incredibly timeless and beautiful.
I’m sure I’ll always remember it
once my modelling journey is over.”
That journey started three years
ago when her agent, Sean Penhall
of Want Management, scouted
her at a music festival. “I noticed
this tall avatar flower girl walking
toward me,” he recalls. “I knew
right away that she was special. I
remember saying to her once she
signed that she’d be my first star,
and, sure enough, she was.”
The British-born, Canadian-raised
model has walked all the major run-
ways and shot campaigns for Céline
and Burberry. “I think the Burberry
campaign is my favourite memory
thus far,” she says. “When I saw the
campaign on billboards in London,
New York and Milan, it was surreal.”
Landing her first magazine cover
with FASHION was also surreal. “I
feel incredibly humbled,” she says.
“For me, the special moment will
be seeing my family and friends in
Canada pick up the magazine. It’s a
massive milestone in my career!”
Witcomb, who has a degree in
media and communications from
Brock University in St. Catharines,
Ont., also read the Lord Byron poem
“She Walks in Beauty” for the fash-
ion film created for this shoot. (See
fashionmagazine.com/fashion40.)
“I’m a romantic myself, so this poem
resonated with me,” she says. “It’s
incredibly beautiful to read aloud.”
103
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CULTURE
i de a s , i s s u e s , d oe r s a n d t h i n k e r s
Sisters,
Act II
Tegan and Sara Quin used to
run on fear. Now the pop duo
take risks at their own pace.
By Greg Hudson
W
hen a band seems to embody the zeitgeist
perfectly, it’s impossible to parse where
culture’s influence on the band ends and
where its influence on culture begins; it
looks symbiotic and inevitable. Only, that’s
hardly ever the case. Like with raising a
child (or electing a president), all sorts of factors combine over
time to create artists who seem perfectly of the moment. It’s
only in retrospect that you can see how it all happened.
Take Tegan and Sara. While it seems obvious now that the
world needs a pair of queer twins playing ’80s-inspired synth
pop, shockingly that wasn’t always the case.
The Canadian wonder twins of pop are looking back over
their career as this year marks the 10th anniversary of The
Con, an album that kind of sits at the fulcrum between their
early career and the beginning of their new one. It’s appar-
ent how the sisters have reflected on, and responded to,
culture over the years. “To be queer back when we
started—in the 1990s—you were fucked. Most people
were just like ‘Say hello to the underground because
that’s all you’ll ever have,’” Sara Quin tells me. “I
Editor: GrEG Hudson. pHotoGrapHy by lindsEy byrnEs
think we’ve lived through that and we’ve seen our-

selves break onto the pop charts and we’ve been
to the Oscars and we’ve had lots of mainstream
success.” But that mainstream success wasn’t
an accident. The sisters consciously changed
up their sound in a way that both required
and encouraged the critical reappraisal of
pop music. Tegan and Sara couldn’t have
happened at any other time, and these
times couldn’t have happened without
Tegan and Sara. We chatted with Sara
about how they got there—but first we
talked about caffeine. »

cultureiNTERViEW
Sounds like you’re making tea. “I’m actually pouring myself a being in the music industry. When we first started, we had
cup of coffee.” to push back so hard against the natural instinct to label us
or label our audiences or sort of put us in a box and make
Coffee, eh? I’m about to drink a Coca-Cola Zero. “ I got off
us unattractive to anyone but queer people. It was brutal. I
Coca-Cola in my early 20s, and I’ve never gone back.”
send people articles that I can practically remember word
Tell me more —this is important. “It’s very important. It’s a part for word, and they’re horrifying. Not just ‘Whoopsies, here’s
of my addiction trajectory. In our family, drinking Coca-Cola a little bit of homophobia’—they’re full-on misogyny and
was like drinking water. It was not uncommon to run into homophobia and, in some cases, vaguely threatening. But
someone from the family at the refrigerator in the middle there were lots of years when we really pushed back against
of the night drinking directly from a two-litre Coke bottle. this idea that our sexuality was relevant and that our music
When I moved out after high school, I remember the woman had some kind of categorization because of our sexuality.
I was dating was a dancer and a yoga teacher and whatever, What I started to realize, while [we were] becoming a more
and she was not shaming but she’d say ‘You’re drinking popular mainstream band and seeing our audiences diversify,
poison. Please, can you find something else to drink?’ So I is that I really want to honour that element. As we started to
got off it and I’ve never gone back. Just coffee and alcohol.” see more dudes in our crowds, or gaggles of straight girls at
a bachelorette party, I found myself wanting to be like ‘No!
I’m actually addicted to energy drinks. Most people are upset by We’re a queer band. Look at all our cool queer fans.’ So I
the amount of caffeine I ingest. “What do you do with all that think there have definitely been different cycles. You know,
caffeine? I’m just thinking about it because I only got onto coffee for most of our career, Tegan and I weren’t just queer women;
when I was 28, and it completely restructured my day. I was we were queer women who rejected the notion that we were
keeping a more stereotypical musician’s lifestyle. Then, when I hot lesbians. We didn’t wear makeup, we had weird haircuts,
started drinking coffee, it was like my whole body changed or we didn’t seem to bother with attracting the male gaze—and
something. I started getting up super-early, I wanted to go to bed I think that really pushed people away. It made us even more
early and then I became more of an active worker during the day. marginalized in a lot of ways. People always talk about how
I like to work on music and write songs during daylight hours things have changed and how we’re so much more accepted,
so I totally ride the caffeine wave in the morning now.” but there’s not queer women on the pop charts and there’s not
It’s like you grew up. [Laughs] “I did grow up—I mean, sort queer women on rock radio and there’s not really any queer
of. At the time, it felt like I was making an adjustment for the women breaking that glass ceiling that I think exists when
better. I know some people really hate astrological stuff. I find you’re not something to be objectified by men and women.
it all a bit ridiculous, but, unfortunately, as a Virgo, I do feel like One of my favourite things about our band is that we can
what is said about Virgos is really true: We’re anal-retentive always count on the queer community. Where it once felt
and structured and disciplined and organized. It’s like I’m only somewhat burdensome, I actually think it’s been a total gift
allowed to have one vice at a time—I can’t mix and match. and it’s why we continue to make music.”
When I did drugs, I did drugs. When I drank, I drank. I was
never really all over the place. And now, for the most part, I feel This is the 10th anniversary of The Con. One of the things I noticed
like I’m pretty well behaved. But I need to have something I’m when reading old interviews is that you always mention what a hard
always worrying I’m doing too much of.” time you had when you released the album. What does that mean?
What made it hard? “I’ve actually been thinking about this a lot,
I think that’s really important, actually. What’s one little vice? because obviously we’re revisiting that time right now, too. We
“Watch how I tie this into something that is relevant. It’s did feel like that was a hard time, but what’s interesting to me is
interesting as I get older, too. I realize that there are these that it’s not that the times have become less hard. At some point
preconceived ideas about what it means to work in the arts. in your adult life—or, if you’re really unlucky, earlier—people
I always sort of envied my friends who were creative types start to get sick or die or relationships break up or the reality of
who gave in to their darkest impulses: slept all day, did drugs life hits you for the first time. When we put out The Con, I was
and drank, didn’t have a home, didn’t have a moral compass. going through my first major separation. I had been partnered
That’s probably what people imagine I’m like, so maybe I with someone—we owned a house, the whole thing—and it was
should try a year where I just give in to all that. But it goes really like a divorce. I remember it was when we had started
against the grain. My life more closely resembles my friends to have a little bit of financial success in our lives—certainly
who are teachers than my friends who are musicians.” compared to our earlier records. So, all of a sudden there was
this weight of death and taxes. It was just like ‘Holy shit! This is
I like the idea of a structured year of rebellion. “ That’s another
photography by lindsey byrnes
life?’ I remember feeling an oppressive weight, wondering what

very Virgo thing. I can’t just let go and get out of control. I
this is all for. We’d already put out multiple records, and it was
have to schedule it all.”
sort of the same cities, the same clubs, the same days, the same
I’m half joking when I say this, but, while I always had my sus- nights. And I remember everything sort of hitting me around
picions, the first time I knew my sister was queer was when we were that time. We were 27, and I think a lot of people talk about that
on a road trip listening to Tegan and Sara and she seemingly knew being the first moment of realizing that’s just the rest of your life.
everything about each song. You’ve become a kind of signifier. And And then you figure out how to deal with it. Nothing has really
I feel like that’s a good thing. [Laughs] “I think it’s interesting. changed. I still have a lot of those same conflicts and struggles
I’ve had different feelings about it during the past 20 years of and existential worries, but I’ve learned how to cope with them.”

If you could go back, knowing what you know now, would those You have always seemed very rational about your career and the
problems still seem as large or have you learned to deal with them? degree of success you want. That’s surprising for rock stars. “It
“The one thing I wish I could change about that time—and it’s goes back to the whole idea that we’re Virgos. A lot of our
still something Tegan and I grapple with—is that we were ‘yes friends who are artists don’t want to talk about the business—
people.’ I don’t mean that in a martyrish way; it’s just the way especially if they came out of the ’90s, when everyone still
we always were. Our parents had incredibly high expectations worried about the idea of selling out. Tegan and I came out of
of us, and we embody that even as adults. I think we had this that scene. But early on, we became business people. At 20
paralyzing fear that if we admitted to having a threshold, we years old, we would sit down and say ‘What are our goals?
would fail or lose momentum and disappear. We were running What do we want to do? Where do we want to be?’ And that
on that fear for a long time, and The Con was a climactic wasn’t cool back then. I think it’s cooler now to be a business
moment for us because we took on too much and started crack- person, but I think back then.... We were talking about how
ing under that pressure. It really jeopardized the band and my much of what we were earning we would put into savings,
relationship with Tegan. There was a lot of conflict and fight- how much we would reinvest, how much we would put into
ing—physical fighting. We were just miserable. I really wish our RSPs. Those are the kinds of conversations we were
I could go back and tend to that person a little bit differently.” having, and it was an alien language to most of our peers.”
But what
aBout tegan? Since Heartthrob, you’ve
mentioned how you had
Interesting fact: It turns out
to work on your stage
that, much like siblings who
presence because you
aren’t also band members,
aren’t behind guitars
Tegan and Sara do spend
as often. What have you
time apart. Since we didn’t
learned? “It was a great
want Tegan to feel left out,
challenge, after nearly
we sent her some follow-
15 years, to have to try
up questions, which she
something new. Similarly,
generously answered.
it was a relief at certain
points in the set to go
Pop music seems to be
back to hiding. I think the
getting more respect
balance of projecting and
these days. I think Tegan
performing and hiding is
and Sara has both ben-
what creates a meaningful
efited from this critical
show for myself and the
reappraisal of the genre
audience. I still tinker with
and encouraged it. Your
thoughts? “When we sat the ratio — I just recently
down to work on what added the guitar back in
would become Heartthrob, for two songs because I
I think we saw a shift hap- felt it would create more
pening in popular music emotion in the set. And
toward hybrid pop/R&B/ it worked. I think we will
electronic and, lyrically, always be working on podcast, though, so I am
things just seemed more the balance.” still capable of tears.”
dense, deep and intimate. What was the last song It’s the 10th anniversary
That inspired us to try to that surprised you or musically, I end up feeling
of The Con. Do the
reach the mainstream and made you cry when you very attached. It’s easy for
songs still connect with
refine our production a little didn’t expect it to? me to play any songs from
you, or do you feel more
bit. Truthfully, we always “I can’t recall the last time The Con because they still
separate from them? “I
saw ourselves as writing music made me cry. Don’t resonate. I don’t know if I
still feel very connected
‘pop’ songs, but our earlier call me cynical, but I think could ever expose myself
to The Con — more than
production skewed more I’ve been having a hard [again] the way I did back
other records of ours
alternative. Heartthrob was time connecting to music then. I am more protective
from the past. I feel that
definitely an attempt to lately. Mostly, I’ve been now. But I am glad the
way about Heartthrob,
capture the new pop sound listening to music that is record exists. It’s a nightly
too. Often, when we have
and reach more people.” upbeat or just listening reminder to remain pres-
taken the biggest risks
to production. I did cry ent in the most human
listening to the Nancy of emotions.”

cultureessay
Coming Soon
Elan Mastai’s debut novel, All Our Wrong Todays,
is a time-travelling literary smash. On the occasion of
our 40th anniversary, who better than this award-
winning screenwriter to give us a glimpse into what
culture will look like in the decades to come?
I
n the future, the line between entertainment and You’ll experience immersive virtual-reality narratives
everything else will be a lot blurrier. structured to simultaneously tell you a story and also change the
Entertainment will be the engine of the econ- story to suit the ebb and flow of your attention span—tracked
omy, politics, education and community. It’s through your eye movements, facial expressions, body posture,
already a huge industry, and that will only acceler- heart rate, sweat production and sexual arousal—and the
ate over the next four decades. Your ultimate value content will be specifically geared to your individual preferences,
to the global economy will be something you don’t politics, identity, history, hobbies and kinks.
even think of as a commodity: your attention. Every story will be about something you’re interested in.
Your high school class clown was onto something. Forty years You will never be bored. You will never be required to watch
from now, billions will be spent on, and made from, concocting something that might upset or provoke you. You will never
elaborate and insidious schemes just to get you to pay attention. be asked to change your mind. The privilege you will pay for
In the year 2057, there won’t be a distinction between this is to never be challenged.
entertainment and the rest of your life. But you will still want Maybe this sounds awesome to you. Maybe it sounds creepy
to be told stories—people will always love stories. What will and depressing. Either way, by the time you get to 2057, it
change is how the stories find you. won’t be science fiction. It will be everyday life.
In 40 years, your presence both online and in the real world Over the next four decades, culture will get increasingly
will have been dissected, analyzed and wrung dry of every atomized. We’ll all exist in self-affirming pods of curated
last drop of information from your entire life—a robust data information and gentle reinforcement.
set comprising the totality of your personal choices. Nowadays, many of us look back at past eras of mass pop
So, when you want some kind of storytelling experience, the culture with nostalgia. TV shows everyone watched. Movies
artificial intelligence that runs the various systems you subscribe to everyone saw. Songs everyone heard. Books everyone read. The
will offer an appropriate option. And you will trust the algorithm. If idea that culture could get even more fragmented is distressing.
it says you’ll like it, you’ll probably like it. You’ll comfortably hand Except, of course, lots of us also look at that mass pop culture
over control of your taste to the companies that curate your enter- and notice not community and connection but isolation and invis-
tainment life. Because 40 years from now, you’ll have a different ibility. The faces that weren’t allowed on our screens. The voices
photography by Imaxtree
relationship with trust and taste than you do now—just as your that weren’t included in our harmonies. The fragmenting of
current ideas of privacy and identity are wildly different from culture might not seem so bad to someone who never got
how people thought about privacy and identity 40 years ago. to see their reflection mirrored back by pop culture. »

There has never really been just every snack into an opera, every
one culture. There have always fad or trend or vogue into count
been dense layers of overlapping In the future, less cultural forms—as many as
everyone will be
cultures within each of us. It’s just possible for as long as possible.
that in 40 years, every layer, no Get ready to be asked to enjoy
reflected back at
matter how niched or obscure, whatever you like right now for the
will be parsed by companies rest of your life. The fidget-spinner
trying to sell you something.
In the future, everyone will be themselves. In the musical will win a Tony one day.
Then again, that repurposing
reflected back at themselves. In
the future, you’ll pay to only ever future, you’ll pay to is nothing new. I had this story
idea I told some friends about—
see yourself in the cultural mirror.
The identity wars of our era only ever see yourself my ow n p r i v a t e o r a l s t o r y
telling tradition. I finally wrote
will continue, the clash between
identities of birth and identities in the cultural mirror. it dow n, a nd the novel —All
Our Wrong Todays — came out
of choice getting more fervid in February. Now I’m writing
and confounding as we all ask the screenplay for a Hollywood
ourselves: Who am I? Who was I? Who do I want to be? movie adaptation of it. When I signed the studio contract, I
But in 40 years, the real culture war will be about authenticity. had to negotiate terms for the possible musical, video game,
In our own time, the Internet has given us the entirety of TV series and so on. Even for the novelization of the movie
human knowledge at the click of a button—and it has also adaptation of my novel. True story.
created a mental state where fact and fiction collapse into This is standard. You always negotiate this stuff just in case.
information, where anything that is said has equal credibility, Because Hollywood knows that when you get a good piece of
where truth is a subjective choice rather than an objective reality, material, you wring it dry of every last drop of possible profit.
where we can cocoon ourselves in only what we already believe. It’s the same thing technology companies do with your personal
This will get worse. Reality will be further contorted into data right now—you’re just a good piece of material to them.
convenient narratives by politicians and corporations who Forty years from now, they’ll just be better at it. And 40
benefit when we can’t tell truth from lie. years from now, you won’t even care.
Over the next four decades, the job of culture will be to tell the But here’s the thing: I’m writing this on the back deck of a
truth however it can. Each of us will have to decide if we want to cliffside cabin looking out over the ocean while the sun sinks,
be braced awake by honesty or lulled into submission by a pop fat and fiery, behind the mountains that ring the horizon.
culture that assures us the system has our best interests at heart. This place has no WiFi or cable (it barely has cell reception);
Art and fiction will bear the burden of telling truths to audiences there’s an old TV and a stack of VHS tapes of hit movies from
who don’t particularly want to hear them. Music especially, with the 1990s. And when I’m ready to send this to my editor, I’ll
its direct emotional connection, will be a crucial way to provoke have to drive into town to do it from the local oneroom library.
and challenge—as long as it’s catchy enough to dance to. Culture isn’t just what we’re given, and it’s not just what
In 2057, books will still exist. Music will still exist. Plays and we take. It’s also what we choose.
ballets and operas will still exist. Movies and TV series will Forty years from now, maybe we’ll have had enough. Like lab
still exist but in less rigid forms, the screens expanding to fill all monkeys that pick the lock of their cage and escape even when
our senses. Which isn’t a bad thing. The length and structure they’ve never known anything else, in four decades we may be
of movies and shows have always been functions of how they ready to let the batteries of our devices run out, the screens go
were best sold, not how they were best told. Whatever we call dark, the endless blare fade away—and try to remember what it
it, storytelling with actors performing written scenes has been the felt like when only we knew what we wanted.
dominant form of entertainment for thousands of years. That’s not
going to change. But it will evolve, as it always has, chasing the cut
ting edge of technology while retaining its basic dramatic principles.
We like stories about people facing a crisis. We always will.
Usually we prefer those people to be attractive.
So, yes, actors will still exist. It’s just that to solidify
their celebrity, the ambitious ones will have to run for political
office to consolidate their fame. I’m so sorry to tell you this, but
in 40 years our political culture will be overrun by celebri
ties of every stature and vintage. If you feel even the slight
est goodwill for a celebrity, it will be harnessed into political
power—just as notable wealth or family name or military
valour was harnessed in previous eras.
Four decades from now, every cultural artifact you’ve ever
felt any affection for will be revisited, rebooted, reimagined.
Every toy turned into a movie, every TV show into a play,
every book into a video game, every song into a restaurant,

cultureMirror
No Escape
The anti-Trump resistance will draw
eyeballs to these must-see films.
By Michael-Oliver Harding
dee reeS’S POST-SeCONd

WOrld WAr ePIC, mudbound
he thin-skinned once and future reality-TV World War epic about two families grappling with
star wandering around the White House has racial violence in rural Mississippi that was sold
hijacked 2017. An endless stream of contro- to Netflix for a colossal $12.5 million at the Sun-
versial policies and obnoxious remarks directed dance Film Festival in January. Based on Hillary
at women, immigrants, Muslims, Mexicans, LGBTQ Jordan’s beauti fully written novel of the same
photography: Mudbound By Steve Dietl
people and countless others has triggered a concerted name, Mudbound features Carey Mulligan, Garrett
anti-Trump creative resistance. In times like these, Hedlund and a star-making (as an actress) turn
some escapist entertainment would totally be justified, from R&B legend Mary J. Blige.
but if you’re a member of the “woke” audience, you’ll Another book adaptation being hailed as a screen
want to watch films that echo ongoing anxieties and masterpiece is Luca Guadagnino’s CAll Me by yOur
highlight the plight of marginalized folks. NAMe , about a forbidden summer romance between
A number of visionary filmmakers have al ready a precocious 17-year-old (Timothée Chalamet) and
had their zeitgeist-tapping films praised on his father’s 24-year-old intern (Armie Hammer), set
the festival circuit, adding serious Oscar pedigree in Italy’s obscenely gorgeous Lombardy region in the
to their anticipated November bows. Chief among 1980s. Also starring breakout actor Chalamet is l Ady
these films is Dee Rees’s MudbOuNd , a post-Second bIrd , actress Greta Gerwig’s directorial debut about

IN JUST
tIMOtHée CHALAMet ANd ArMIe
HAMMer IN CALL ME BY YOUR NAME
4 WEEKS
YOUR LASHES
APPEAR
FULLER
THICKER &
reBeCCA HALL, Luke evANS ANd
BeLLA HeAtHCOte IN PROFESSOR
LONGER!
MARSTON AND THE WONDER WOMEN
BryAN CrANStON, Steve CAreLL ANd

LAureNCe FISHBurNe IN LAST FLAG FLYING
a rebellious student (Saoirse Ronan)

who enrols at a college in New York
to escape her stiflingly conservative
Sacramento environment.
The unconventional origin story
of DC superhero Wonder Woman SAOIrSe rONAN IN LADY BIRD
lies at the heart of filmmaker Angela
Robinson’s PrOFeSSOr MArStON ANd tHe
WONder WOMeN . The film is about a Tufts University
psychologist’s (Luke Evans) polyamorous partnership
with his wife (Rebecca Hall) and a student (Bella
Heathcote) and how this unorthodox dynamic sparked
the creation of a badass Amazonian heroine. She was
first introduced to readers in 1941, but Gal Gadot brings
her back to the screen this month in Justice League.
Lastly, proud Austinite and celebrated writer-
director Richard Linklater (Boyhood, Before Sunrise)
trains his lens on three Vietnam veteran buddies
(Bryan Cranston, Steve Carell and Laurence
Fishburne) grappling with a very personal loss of
life during the Bush administration’s Iraq War in
his lyrical road film L ASt FL Ag FLyINg .
Don’t count on Trump to pay heed to any of these
fine offerings, which he’d probably dismiss as hailing
from Meryl Streep’s coterie of “liberal movie people”
and “Hillary lovers.” But you certainly should.

cultureicon
Montreal’s native son by letting his influence speak for

itself. “Leonard was touched that an exhibition around
his work and his contribution as an artist to other art-
ists was under way,” says Zeppetelli. “He was really
pleased that he, as an 80-year-old man, was able to
inspire younger artists.”
At the time, Cohen had been focusing on his
final album, You Want It Darker—released less than
three weeks before his passing—but Zeppetelli and
Shiffman had his full support. “We had Leonard’s
and his manager’s approval to use any material the
artists deemed necessary,” says Zeppetelli. “They
Long Live
made available to us all of his music rights, all of
the literary rights.” The idea for the show had been
simmering for at least a year prior to Cohen’s passing;
it was originally slated as part of Montreal’s 375th
Leonard
anniversary. “That was really the idea: to celebrate
a Montrealer who became a global icon and who,
for 50 years, was continuing to make important
contributions to the culture, not just as a musician
but as a writer and a thinker,” explains Zeppetelli.
The singer, songwriter, poet and Cohen’s own self-portraits will adorn the entrances
to the gallery, giving way to the multidisciplinary
artist may be gone, but his influence exhibition that features an impressive roster of artists
is ever present—and will be from within the art world—Jenny Holzer, Jon Rafman,
Ari Folman, George Fok—and beyond. Moby, Ariane
on display at the Musée d’art Moffatt, The National and Jean Leloup, along with the
contemporain de Montréal.
Montreal Symphony Orchestra, will lend their voices
in a dedicated space called “Listening to Leonard,”
with covers recorded exclusively for the show.
By Ashley Joseph Installations range from virtual reality (VR)—
visitors will experience Zach Richter’s VR
experience, Hallelujah, which premiered at the
T
Tribeca Film Festival back in April—to dance,
he night the news of Leonard Cohen’s with a live performance from local choreographer
death broke, I walked the few blocks Clara Furey, to found objects and film.
from my apartment to join a crowd of South African artist Candice Breitz—who recently
Montrealers gathered at his doorstep, unveiled a project featuring Julianne Moore and
a vigil for the man we were all so Alec Baldwin at the Venice Biennale—will represent
proud to call one of us. Candles, let- the latter category with what Zeppetelli calls “an
ters, artworks, photos and faces encircled his home, anthropology of fandom.” A wall of 18 screens will
photography by Lorca cohen
the indelible mark he left on the city in full view. display individual recordings of male fans over the
This month, a year after his death, the Musée age of 65 singing the entirety of I’m Your Man in a
d’art contemporain de Montréal will pay tribute to professional recording, following along to the album
the poet, artist, writer and musician with A Crack in with earbuds. The individual videos will come
Everything, which explores Cohen’s legacy through together to form a chorus, joined by a single screen
the eyes of contemporary filmmakers, photographers, displaying earbud-sporting singers from the Shaar
dancers, musicians and conceptual artists. Co-curators Hashomayim choir (Cohen’s family synagogue), who
John Zeppetelli and Victor Shiffman set out to honour will chime in with oohs and aahs and lalalas. »
112 F A S H I O N | NOVEMBER 2017 fashionmagazine.com

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cultureicon
An installation by Canadian artists Janet Cardiff and George Bures
Miller will feature an organ that, instead of delivering music, will
play poems from the Book of Longing, recited in Cohen’s own voice.
Place a finger on one key and you’ll hear a single recitation; press
down on several simultaneously and the instrument will produce a
cacophony of Cohen’s words.
Zeppetelli hopes the exhibition will attract a new audience to the
museum, which sits at the centre of Montreal’s Quartier des spectacles,
the officially designated festival hub. It’s joined at the hip to Place
des Arts, which is worth a stop-in for the architecture alone, whether
or not you’ve secured tickets to one of the many performances taking
place on any given night.
“I want viewers to come away having learned something, having felt a
powerful emotion, having been moved and stirred by not only Cohen’s great
life and achievements but also all these people he inspired,” says Zeppetelli.
“If I can transmit even a fraction of the respect and admiration and devotion
that we have for these artists, then I think we’ve done our job.”
(A Crack in Everything runs from November 9 to April 9, 2018, at the Musée

d’art contemporain de Montréal.)
cohen’s Montreal
The fan guide to everything Leonard.
LEADING COSMETIC
SHA Ar served as its
DERMATOLOGY CLINIC
28 VAllIèreS St.
HASHOMAyIM president.
GIDON AESTHETICS SyNAgOgue, 450
keNSINgtON AVe., SHA Ar
& MEDISPA WeStMOuNt. HASHOMAyIM
Cohen’s family ceMetery,
synagogue, 1250 cHeMIN
SPECIALIZES IN
located in the de l A FOrêt,
AGING & SUN-DAMAGE neighbourhood OutreMONt.
TIRED OR ANGRY EXPRESSION of Cohen’s Cohen is buried
youth, is also in a family plot
LOOSE & SAGGY SKIN the oldest in this Jewish
LINES & WRINKLES Ashkenazi cemetery on
synagogue in the slopes of
BROWN SPOTS & FACIAL VEINS 28 VAllIèreS St. Canada. Both Mount Royal.
ACNE & ROSACEA Cohen’s his grandfather
Montreal home and great- (With files from
photography: 28 VaLLIÈrES St. By gEtty; MoIShES CourtESy of MoIShES

STUBBORN FAT DEPOSITS is an unassum- grandfather Eva Friede)
CELLULITE ing greystone MAIN delI Ste Ak
just off Saint- HOuSe, 3864
MOISHeS
Laurent Blvd. SAINt-l AureNt

and Parc du BlVd. Open
Portugal. from 10 a.m.
until 5 a.m.,
BAgel etc, 4320 this deli was
SAINt-l AureNt a favourite of
BlVd. Located Cohen’s for
just across its smoked
the street from meat.
Cohen’s house,
this funky MOISHeS, 3961
To book a consultation, diner was his SAINt-l AureNt
please call: 416.483.4541 preferred break- BlVd. Cohen
fast spot and used to dine
www.GidonAesthetics.com includes some at this classic
memorabilia, Montreal steak
1849 Yonge St, Suite 307 including his house several
Toronto, ON, M4S 1Y2 wool cap. times a week.

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fashionmagazine
culturethe mood
EvEry monTh has a mood , a feeling, some
combination of memories, moments and nostalgia.
You know it—you feel it—even if you’ve never
really thought about it. To help encapsulate the
moods of the months, we’re asking novelists to take
on the calendar and evoke the feelings of each season
through fiction, memoir or a mix of the two. Marni
Jackson’s debut novel is Don’t I Know You?
November
The darkest time of year.
By Marni Jackson
ctober can be so glamorous, in a lighthouse. You are supposed to bathe in this

with its lingering warmth and full-spectrum light for a half-hour every day—but
that late-afternoon liquid slant first thing in the morning so that it mimics an earlier,
of golden light. Autumn is like a kinder dawn. This tunes your pineal gland, or resets
hammock we can still swing in. your diurnal rhythms, or something like that. The
And then comes the light-starved only problem: Semi-depressed people don’t, as a rule,
mont h. Po et Em i ly Dick i n son get up at 6:30 a.m.
described November as a “granite hat” I would get up at 9 or 9:30 and slouch in front of
hung upon the “plush nail” of autumn. my light box, wincing at its brightness, waiting for
So perfect. Thank you, Emily. I suspect that the miracle to come.
you were an aficionada of Novembers, their terse clarity It never did. I tried for a few years and then gave up.
and the way the trees strip down to blunt, leafless shapes, The gym, friends and red wine address the November
like the lines of your poems. You also wrote about death, problem more efficiently—that and admitting that
and there’s nothing like the failing light of November to once again the dark month has come round and there’s
remind us of endings, of green worlds going to ground. nothing we can do about it. Might as well turn inward,
It’s a temporary entombment, November—or is that overwork, binge-watch the four seasons of Homeland you
overstating it? I suppose if you keep going to the gym, missed when you were out having fun in the summer
buy something cashmere (an oversized sweater, most and try to have faith that your former best friends,
likely, and socks) and a good book and have a warm August and October, will be back. In the meantime,
home and warm friends (preferably both), November November has moved in with its rough black coat, its
can be a tolerable placeholder month. chilly embrace and that tall granite hat. ■
But let’s not kid ourselves: It’s the darkest time of the
year. The weather is surly, noncommittal and not pretty.
I’ll take five Februarys over half a November any day.
November is the passage to winter that shrivels
optimism and brings on tunnel vision. Facebook/
Instagram turn cloying. Night arrives like a dinner
guest at the door before the table has been set. Rush
hour happens in the dark. Dinner is prepared with the
kitchen lights all blazing. Walking the dog becomes a
duty instead of a pleasant stroll through fallen leaves.
November feels brusque and premature in all its
illustration by Dave Hänggi
aspects because, once again, even though we didn’t mean

to, we succumbed to October’s treacherous brightness.
We lost track of the calendar and dawdled in the fall—
until the granite hat came down on all our heads.
Semi-depression is completely appropriate in November.
I try not to fight it. I wear the hat at a jaunty angle.
Sometimes I use a light box. I still have my first itera-
tion of it: a giant billboard of light as blazing as a beacon

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Y E A R S
of
S T Y L E
For the past four decades, FASHION teams have produced more
than 350 covers and 1,000+ shoots and edited a gazillion words
on the style, beauty and culture trends of the day. We’re proud
interviews by isabel b. slone
to share some of our most memorable moments with you. For

more tales and takes, head to fashionmagazine.com/fashion40.

I had no experience being an editor, but I
always had a feeling for fashion and style.
It was in my DNA. I loved mixing pieces.
I would take a pair of jeans and put them
with a Valentino jacket. Forty years ago,
people weren’t doing that.
A n n e A p or Ver n e r
f i r st fA sh ion e di t or f or t oron t o l i f e fa s h ion
I’ve been shot by some of the most famous

photographers in the world, but this picture
by Malcolm Batty is one of my favourites.
M Au r A (McGAGh e y ) GA h A n
f i r st c oV e r Mode l f or t oron t o l i f e fa s h ion (fA l l 19 7 7 )

Photography,
Malcolm
Batty; styl-
ing, Anne
Apor Verner;
hair, John
Steinberg;
model, Maura
Gahan (Fall
1977). “The
’70s and ’80s
were the
golden years
of modelling,”
says Gahan.
“You were
treated with a
lot of respect,
especially
if you were
sensible and
didn’t get into
the other side
of the busi-
ness, which
was drugs,
sex and rock
’n’ roll.”
THE BEGINNING, 1977

M
aura (McGaghey) Gahan was FASHION’s first that matched, and I thought, ‘What a stylish and beautiful
cover model. It turns out we were also the last woman.’” Apor Verner, who was writing the Super Shopper
magazine she posed for. “It was for your 30th column for Toronto Life at the time, agreed to take on this new
anniversary,” recalls Gahan, who lives in Mon- role of fashion editor at the request of then publisher Michael
tecito, Calif. “When you asked me to come de Pencier. “Launching the magazine was a bold idea, but I had
back to Canada for the shoot, how could I resist? Wow! Has it no hesitation about taking on the role because I loved the idea
really been 40 years already?” Gahan, who was born in New of being in the fashion world,” says Apor Verner. “For the cover
Brunswick and raised in Hamilton, Ont., was a famous Clinique shoot, Malcolm Batty told me that he would put together the
model from the late ’70s to the early ’90s. During her career, she team and book the model and that I was to concentrate on the
posed for Sarah Moon, Hans Feurer, Bruce Weber and Victor clothes. We were breaking ground, and it was exciting.” John
Skrebneski, but this shot by Malcolm Batty is one of her favour MacKay, who was named editorinchief in 1980, describes Apor
ites. “There’s a timelessness to it,” she says. “I can still remember Verner’s work as “visually extraordinary.” “She was one of the
that day, and I can even remember what Anne Apor Verner was few Canadian fashion editors whose work has reached the level
wearing. She had on a forest green cashmere top and bottoms of the very best. She could have been a Grace Coddington.”
THE ’80s w e r e a bou t pow e r , pa dde d shoul de r s a nd e xce s s.
This was the era of the working woman: the

woman who wanted a chic suit but wore
sneakers to work.
Joh n M ac K ay
e di t or -i n -ch i e f , t oron t o l i f e fa s h ion (19 8 0 –19 8 7 )
Photography, Jim Allen; styling, Jane Mussett; hair,

Dennis Campeau; makeup, Barbara Alexander;
art director, Brad MacIver (Fall 1982)
Photography, Chris Nicholls; styling, Catherine
Franklin; art director, Brad MacIver (February 1989)
John was about the working

woman, but I was thinking about what
the working woman might want to do
when she wasn’t working.
Ti m Bl a n k s
e di T or -i n -ch i e f , t oron t o l i f e fa s h ion (19 8 7 –19 9 0 )

THE ’80s w e r e F l a sh y, s t y l ishly bomb a s t ic a nd o t t dec a de n t.
Photography, Walter Melrose; styling, Catherine Franklin; fuchsia

satin dress, Alfred Sung; earrings, Fabrice; hair, Bill Angst; makeup,
Maria Verel; art director, Brad MacIver; model, Lana Ogilvie (Holiday
Edition 1988)
My parents came to
Canada so their children
could have a better life;
they didn’t even know
what ‘modelling’ was.
Most magazines didn’t
have black women on their
covers. When I landed
this, I thought, ‘Maybe
I’m changing the face of
fashion in this country.’
L a n a Ogi Lv i e
t oron t o l i f e fa s h ion c Ov e r g i r L (hOLi day e di t iOn 19 8 8 )

THE ’90s w e r e a l l HigH a n x ie t y, HigH wa is t l ine s a nd HigH c a mp.
Our team had an eye for spotting great

Toronto talent, and the features and imagery
we created together are some of the
favourites of my career.
Ju l i e t Wa r k e n t i n
During my tenure, there was

the beginning of the blending of fashion,
music and entertainment. We took a more
sophisticated approach without being elitist.
Joa n h a rt i ng

1 2 3
4 5 66
7 8 9
BEHIND THE COVERS 1.“I shot Shalom Harlow’s first-ever but it made for great shots.” 3. “Tasha [Tilberg] was awesome
magazine cover [November 1990],” recalls photographer [December/January 1996]. She was a little kooky. Once,
George Whiteside. “She had no modelling experience, but when we were shooting, she whispered in my ear that she
she had natural ability. The funny thing was they had also was a vampire.” 4. “I was excited that my parents could go to
booked my then girlfriend (Meredith Cooper). Shalom picked the supermarket and see me on the cover,” says Tricia Helfer.
up on the competition and started flirting outrageously with “It was a real notch on my belt in my career.” 5. “The Armani
me. Meredith was at the end of her rope by the end of the suit that Catherine Franklin picked was exactly what I wish
day.” 2. “Carolyn Murphy was super-playful [Summer 1992]. I owned at that time,” recalls Jayne Craig. Other Whiteside
When we were on the beach in Miami, she started feeding models: 6. Anji Featherstone. 7. Danielle Scott. 8. Tarina
seagulls and prancing around. It was never part of the script, Young, Emma Booth and Jill Jacobi. 9. Sara Bolduc.
THE ’90s w e r e a bou t a dv e n t ur e , inde pe nde nce a nd at t i t ude .
Photography, Michael
Williams; styling,
John Gerhardt;
makeup, Jackie
1 Shawn; hair, Fred Van
De Bunt (December/
January 1998)
Photography, George
Whiteside; styling, Catherine
Franklin. Shot near Douz,
Tunisia (Summer 2001)
Photography, George Whiteside; styling,

Catherine Franklin. Shot at the Hard Dunes
in Bechri in Tunisia (Summer 2001)
2
FABULOUS ROAD TRIPS AND Photography, Chris Nicholls; styling,

DIY STUDIO SESSIONS Catherine Franklin (March 1996)
1. “One of our most fabulous loca-
tion shoots was in Tunisia,” says
Catherine Franklin, who was fashion
director from 1987 to 2001. “We
went into the Sahara Desert, and it 3
was so beautiful—people were riding
camels. My favourite shot is of the
girl with the umbrella” [Summer
2001]. 2. “We always tried to capture
an image that was more than a girl
standing in front of a wall,” explains
Franklin. “We did one shoot with
Chris Nicholls about raincoats where
he created a fake shower and literally
drenched the model in the studio”
[March 1996]. 3. “For this shoot
with Daria, I wanted to recreate the
feeling of Richard Serra’s sculptures
on set, so I made these backgrounds
out of linoleum flooring that curved,”
recalls photographer George White-
side. “Daria was a super-smart girl.
I remember making her do crazy
things for shoots. She worked very Photography, George Whiteside; styling,
hard right from the beginning.” Catherine Franklin; hair and makeup, Simone Otis;
model, Daria Werbowy (September 1999)
THE ’00s W e r e a bou t bol dly e mbr acing t he ne W mil l e nnium.
One of the first things I did was hire

a celebrity wrangler. Celebrity
culture was taking over, and it was all
about who you could get on the cover.
Lea n n e DeL a p
e Di t or -i n -ch i e f , fa s h ion (19 9 9 –2 0 0 3 )
I was lucky to be there at a time

when Canadian models were big
international stars: Stam, Liisa Winkler,
Daria, Heather Marks and Coco Rocha.
cer i M a r sh
e Di t or -i n -ch i e f , fa s h ion (2 0 0 3 –2 0 0 9 )
Photography, Gabor Jurina; styling, Susie Sheffman; hair, Marco Greco; makeup, Simone Otis; model, Jessica Stam (February 2005).
“It was the first time that someone had approached Jessica in a beautiful, rather than eccentric, way,” says Jurina. “The collaboration
between Susie and Gabor was like the Ginger Rogers and Fred Astaire of FASHION,” adds Marsh.
THE ’00s w e r e e x pe r ime n ta l , op t imis t ic a nd glob a l .
1
1
Photography, Alvaro Goveia; styling, Susie Sheffman;

hair and makeup, Jenni Clark (October 2001)
Photography, Jason Wills; fashion direc-

tion, Susie Sheffman; styling, Tammy
Eckenswiller; hair and makeup, Hung
Vanngo; model, Heather Marks (May 2005)
Photography, Gabor Jurina; styling,
Susie Sheffman; hair and makeup,
Hung Vanngo (June 2006)
2 Photography,
Chris Nicholls;
styling, Susie
Sheffman; hair,
Chazz; makeup,
Diana Carreiro;
models, Yasmin
Warsame and
her son, Hamza
(November 2001)
Supermodel S and 3 Photography,

Gabor Jurina;
IConIC momenTS styling, Susie
1. “For our October 2001 cover with Sheffman; hair
and makeup,
Daria, we rented an old car and Greg Wencel;
took it to a parking lot on Jarvis model, Marie
and Front streets,” says former fash- Eve Nadeau.
Shot on
ion director Susie Sheffman. “After location in
that shoot, I knew she was going the Bahamas
to be somebody.” 2. “This shot was (Summer 2008)
taken on September 11,” recalls
photographer Chris Nicholls. “We
stopped after this one due to the
incoming news from NYC. At the
time, we didn’t know the huge loss
of firemen’s lives, but Yasmin’s son’s
hat ended up being disturbingly
poignant.” 3. “The shot of Marie
Eve [Nadeau] climbing the ladder is
a beautiful, serene moment, but it
was bedlam on the set,” says Shef-
fman. “My assistant and Gabor’s
assistant were throwing up over the
side of the boat.” Jurina remembers
they didn’t have the budget to rent
a boat. “We made friends with
some Austrians who had sailed
from Spain to the Bahamas,” he
says. “They let us use their boat,
and we were able to get this shot
just as the sun went down.”
THE ’10s w e r e a bou t soci a l me di a , se l f ie s a nd fa s t fa shion.
I had an exclusive sit-down

with Karl Lagerfeld when he was
in Toronto. The first time I talked
with him face to face was around 1990.
So to see this legend come through the
door and give me a kiss and a hug was
just a really special moment.
He was extremely warm and friendly, and it
was truly a highlight of my career.
Ber n a de t t e Mor r a
e di t or -i n -ch i e f , fa s h ion (2 0 0 9 –2 0 16 )
1 2 3
4 5
6 Photography,
Gabor
Jurina; styl-
ing, Susie
Sheffman;
hair and
makeup,
Greg
Wencel
(April 2011)
THE FASHIONABLE LIFE 1. “Linda [Evangelista] is an incred- cover shot—and Miley’s passport photos. “She hadn’t noticed
ible improviser,” says Morra. “She’s the Meryl Streep of model- that her passport expired,” he recalls. “She asked me to shoot
ling.” “This anniversary cover reminds me of the late David her, and then an assistant rushed the photos to the passport
Livingstone,” says executive editor Jacquelyn Francis. “David office.” 4. “It’s always a thrill to work with Natasha V,” says
wrote a beautiful story that captured Linda’s life and her love beauty director Lesa Hannah. “She makes products come to
for her son.” 2. “I was channelling ’70s Cher in this shoot,” says life.” 5. “Gabor always creates images beyond what I envisioned,”
contributing fashion editor George Antonopoulos. 3. “We shot Hannah added. 6. “This was my favourite shoot,” explains Morra.
Miley [Cyrus] 10 days after that crazy twerking performance “The model [Irina Lăzăreanu] impersonated a fashion editor. We
at the MTV Video Music Awards,” says Morra. “It was her got Jeanne Beker and Nicholas Mellamphy to participate, and
anti-Hannah Montana moment.” Chris Nicholls took the we recreated a fashion show with Irina sitting front row.”
THE ’10s de lv e d in t o v ir t ua l a nd augme n t e d r e a l i t ie s. # cool
2
1
Photography, Max
Abadian; styling, Photography, Yu Tsai; styling, Zeina Esmail;
Zeina Esmail; hair, hair, Bridget Brager; makeup, Mariko Sakata;
cover star, Kate Bosworth (October 2016)
Moiz Alladina;
makeup, Simone
Otis; model Daga
Zoiber (Winter 2016)
Photography,
Gabor Jurina;
styling, Zeina
Esmail; hair
and makeup, 3
Greg Wencel;
cover star,
Coca Rocha
(Winter 2013)
Photography, Chris Nicholls; styling, Zeina Esmail; hair and makeup, Sabrina
Rinaldi; model, Zo Nowak (Summer 2016). “A driver going by was distracted
when he saw Zo, and he hit a pedestrian,” recalls Nicholls. “Nowak thought
it was her fault and was trying to wake the guy up by shaking him. He wasn’t
badly hurt, but in the moment it was like an Italian dramatic opera.”
Photography,
Malina Corpadean;
4
styling, George
Antonopoulos; hair
and makeup, Susana
Hong; model, Herieth
Paul (November 2015)
Photography, Chris Nicholls; styling, George Antonopoulos; hair,

Marc Ramos; makeup, Pamela Cochrane; cover star, Lana Del Rey.
Shot at Casa Loma in Toronto (September 2014)
5 Photography,
Malina
Corpadean;
COCO, CAR CR ASHES styling,
AND GIRL POWER George
Antonopoulos;
1. “This was one of those days where hair and
everything worked out beautifully,” makeup,
recalls fashion editor at large Zeina Nicolas
Blanchet;
Esmail. “It was an edgier shoot for model, Liisa
us in terms of styling, but I loved Winkler
it.” 2. “We were shooting Kate (March 2017)
Bosworth, and our then art director
and I got stuck in the elevator with
the clothes for an hour. I was preg-
nant then! Luckily they managed to
get us out in time.” 3. “I remember
being on set with Coco [Rocha]
for a cover shoot,” recalls hair and
makeup artist Greg Wencel. “All of
a sudden ‘Vogue’ by Madonna came
on, and Coco threw down and did a
whole choreographed routine! Every-
one was in shock.” 4. “Lana’s unique
style and love of Hollywood nostal-
gia created a magical mood for our
cover,” recalls George Antonopoulos.
5. “Strength, beauty and freedom
were all words running through my
mind when we shot Liisa Winkler
for the feminist editorial,” says
Antonopoulos. “She’s the perfect
model, mother and activist.”
fashion40
t he f u t ur
e l ook s b
2017 invit
there was
ation featu
red an im
r igh t The enve
a vinyl re age of an lope for G
from Coc cord that ouroboro ucci’s Fall
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25-year-o : “What a e with th ng its tail
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whether
ld Spanis
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g to do w crawled m de,
it’s a ptured a ith all this essage
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nti m ent that w
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crystal-e r 40 years e — or pu ling,
mbellishe ? Another b li shing. W
dazzling d Gucci m five? For ill magaz
but unkn ask is a su me, this e ines
owable. A rre voca
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ro Miche nd, like th al metaphor for a fu tive
introspec le’s invite, it’s e m y thical ouro ture that
tion and re a reminde boros dep is
invention r that we’r icted on
. —Noreen e always
Flanagan in a state
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photography by owen bruce
ON tHe NYC Set WItH

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THE NEW FRAGRANCE

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November

model Amber Witcomb WeArs A

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