Taking into consideration a diverse range of factors from personal experience to cultural background, gauging accomplishment differs from one person to the next. Is it safe to say that in some industries, success is measured if you achieve certain benchmarks? As a fashion journalist, is my work really relevant if I haven’t been featured in Vogue? Have designers really made it when their creations aren’t framed within the glossy pages of world famous publications? Isn’t it all about meeting quotas, being featured during Paris Fashion week, and afterparty selfies with Jared Leto?

In this grand exposé, we feature exclusive insight provided by some of our favorite creative Canadians. We inquired about their personal experiences, career paths, their positioning in the Canadian marketplace, and the current state of the industry. A diverse range of realities are revealed from established designers, educators, and key players – shedding light on the Canadian fashion industry.

 

 

 

Living in such a hyper-globalized state, we are all so seemingly connected, operating vicariously through a virtual world: a synthesized (and often exaggerated) version of our best self (aka “living my best life”). We are constantly looking, commenting, comparing to what is going on around us, whatever the industry. There is a cross-market shift due to the massive millennial generation altering perceptions and practices across a multitude of societal components. This is a group of people who are extremely diverse yet all intensely connected. In 2017, it was “estimated that millennials in the U.S. alone [would] be spending $200 billion,” and by this year, in 2018, it was expected that millennials would have the most spending power of any generation (Forbes, How to Tap into the Millennial $200 Billion Buying Power with Social Media). It is this generation who has already begun to re-write the rules and have brands on a global scale re-calculating their strategies and re-evaluating their brand DNA.

With technology advancing so rapidly in a highly-visual realm of interconnectivity, the fashion industry in particular is now viewed in a whole new light. New age professions have emerged out of evolved communication channels: influencers, bloggers, and streetstyle photographers have indefinitely changed the fashion game. The system of the past and the industry “elite” have experienced a shake-up in the face of modernity. Infamous fashion capitals and internationally-renowned brands have adapted and included alternative modes of communication in order to maintain relevance in the marketplace. Heritage brands have discovered ways to stay top-of-mind, embracing everything from new designers to consulting with groups of millennials on the daily.

Changes across the fashion landscape have been unavoidable. Print media, for example, the once imperious force in fashion has suffered a major decline: even critically-acclaimed American Vogue went through a bout of layoffs this year (with rumors circling of Anna Wintour’s exit), and most recently, W Magazine was reported to be sold. With the imminent changes on the rise and with social media bringing connectivity to an all time high, the major fashion hubs of Milan, London, Paris, and New York remain steadfast beacons of style. As Canadians, we ask why and where do we fall short in the fashion industry.

 

In 2005, I left Toronto to satiate a desire instilled in me from a young age. I studied fine arts throughout high school right through university with the unfortunate looming reality that “art doesn’t put food on the table.” Before graduating from my BA, I had already applied to master’s programs abroad. In 2006, I graduated with an MA in Fashion Marketing from a prestigious school in Milan, made famous for alumni such as Maria Grazia Chiuri, the first woman to lead the ateliers and design teams of Christian Dior, and Pierpaolo Piccioli, the Creative Director of Valentino.

After over ten years of living and working throughout Europe in the fashion industry, I decided to return to Canada (a decision due to circumstance rather than will). I had a desire to experience fashion on a deeply-rooted cultural level, and I felt that Canada just wasn’t the place. The Business of Fashion founder Imran Amed summed it up best as quoted in Coveteur: “You have the major leagues and the junior leagues. Canada is not in the major leagues of fashion” (Here’s What’s Actually Going on with the Canadian Fashion Industry).

I wanted to play in the majors, with the best. I personally chose not to remain in Canada, as I believed that the art form of fashion, garments, and creation had to be studied in one of the birthplaces of the craft. Besides the plethora of iconic designers and creative minds from the country, Italy was the location I was sure that would educate me properly and allow me to fill my cultural luggage until bursting at the seams. Italians have a profound love of all things beautiful, a trait so heavily instilled in their culture from cuisine and taste to architecture, that it has become an essential way of life. As Fausto Puglisi explained so poetically in our summer issue, the importance of dressing up is part of “respecting the people you meet” in Italian culture. In a nutshell, I left Canada because I felt there was a lack of expertise in the fashion industry.

Surely, there are a variety of reasons why Canadians leave the country in order to satisfy not only academic needs but also for professional experience and cultural curiosities as well; as for myself, I left in pursuit of all three. The situation with young talent and curious minds moving abroad in order to satisfy needs in the fashion industry is a hot topic for Canada. “I think all creators should go somewhere else – there is no market here,” stated designer Denis Gagnon. Not only are creative minds leaving, but many don’t return. Lucian Matis emphasized the need for craftsmanship and that Canada is lacking in dexterity pertaining to master sewers and master pattern makers. He continued by recounting his own experience in the Canadian fashion education system: “[The Director of Fashion at Ryerson University] told me that half of my collection was completely cancelled because I [couldn’t] ‘steal the fashion show from the other students’… and I said, ‘This is my moment to actually shine and show the industry what I can do’… I had a story to tell, but I wasn’t even allowed to tell my story properly. And when I freaked out, they said that I [was] crazy.” Matis exposes a harsh reality and glimpse into homeland education and support.

The lack of knowhow in any field is obviously extremely frustrating and limiting, causing those in pursuit of knowledge to look elsewhere. The impression that “fashion is glamorous and fabulous is a mediocre perception for what makes the industry attractive as a career, especially considering all the opportunities in fashion that are stereotypically not glamorous, like sewing or pattern drafting,” Designer and Founder & Artistic Director of Indigenous Fashion Week Toronto Sage Paul astutely noted. Paul elaborated further that “those deeply committed to working in fashion are drawn to the industry as it provides a form of expression” (as opposed to its inherent luxury or glamour). Both Matis and Paul observed that Canada is lacking a portion of the fashion pipeline pertaining to craftsmanship and production: pattern making, marking, cutting, and sewing. Careers within the fashion industry are plentiful; however, in order to collectively address our industry needs, there must be viable options for learning at a scholastic level and rebuilding the desirability of pattern making and sewing. The future players of the sector need to be aware of all the career possibilities within the sector in order to create a solid foundation for the industry.

Despite setbacks, Canada is a rapidly evolving young country, and the fashion industry has definitely blossomed, having cultivated a variety of talents. A handful of brands have brought their names to international levels by penetrating the iconic fashion hubs abroad. Beaufille, Greta Constantine, Christopher Bates, and Tanya Taylor have all gained global recognition, and for many brands, acknowledgement away from home still signifies “you’ve made it.” For a vast majority, our country serves as a great brand incubator. “Canada is an amazing platform to launch a brand,” explained Rosa Halpern from the custom leather brand Namesake. Recognized as a fertile breeding ground, many who have begun their creative pursuits in this country do agree.

 

 

As the pros all weigh heavily on the quality of life in Canada with specific emphasis on being a great environment for start-ups, the cons of the fashion industry seem to be a more significant reality that many designers face. “There isn’t a ton of industry here,” notes Camilla James, Designer and Owner of swimwear brand Saltwater Collective.

What does a lack of industry really equate to? Many do believe, that what lack of industry means, is a general disinterest in fashion. The idea of “function vs. fashion” is a reality in Canada. Fashion itself is expression, an extension of art, craftsmanship, history, and so much more – could we essentially narrow the big picture down to culture? The art form of ‘dressing’, ‘first impressions’, and self-representation are perhaps not considered as important here as they are in places like Italy. Can we presume that fashion hubs like Paris, Milan, London, and even New York view personal style in the utmost regard – a reflection of your character? Dressing oneself in these particular places in the world are associated with career, social status, personal good taste, and more. Canada just doesn’t seem to be the place for this. The niche who do embrace fashion are limited to what is presented to them. From a consumer standpoint, the options are constrained. Naturally then, if the fashion niche is unable to satiate their style hunger, they simply look elsewhere (online retailers, shopping when abroad, etc.).
However, designers Tavan & Mitto made the observation that “it’s not a Canadian problem, it’s a money problem. The fashion industry is a big money game and it’s hard for all niche brands (in any country).”

With the amount of information thrown at consumers daily, the Canadian marketplace is miniscule in respect to the international fashion community, and the reality of consumers looking ‘elsewhere’ to satisfy needs is common practice. Shifting our concentration from within, one thing is blatantly obvious here and around the world: “The Canadian market is being infiltrated by big international retailers and while all of that product diversity is good for shoppers, it’s not necessarily good for our industry,” points out Susan Langdon from the Toronto Fashion Incubator. A global issue at hand, for the little guys this reality makes manufacturing, labor, and workers even harder to employ. Difficulties for any start-ups or local businesses then seriously struggle to compete to create their products, never mind the marketing and communication portion.

Besides creating immense difficulty for smaller businesses, the fast fashion conundrum not only is killing our environment worldwide, but it has tapped into this sense of constant turnover which makes it seem that we can no longer live without things moving ‘fast’. Fashion is a way to present who we are, what we are feeling, and how we want to be perceived in the moment. We live in such a visual world where “Instagram has more than 1 billion active users now… and [is] predicted to generate $5.5 billion in US ad revenue this year,” according to Forbes (How Instagram is Eating the World). Fast fashion seems to be quite fitting for a world that functions around immediacy.

Former fashion designer turned teacher and mentor, Milan Tanedjikov, commented that “the industry has completely transformed and it continues to evolve rapidly. Delocalization, fast fashion, overproduction, pollution, and the shift from offline to online retail have proven to be very disruptive.” Disruptive indeed. Whether a garment lasts more than one evening, two parties, or two years, we are emotionally detached and give little value to what we are buying because there will be another party tomorrow that will require a new party dress – the cycle just continues. Do we really need to consume constantly? No, obviously not. However, today more than ever, we are consuming beyond belief. Garments at one point were beautifully crafted to last years. Today, the price, quality, and trends are moving at blinding speeds that we feel compelled to maintain the rhythm… Oh, and to take a phenomenal selfie.

However, the industry is not solely to blame, as fashion designer and teacher Ying Gao noted as well that “the consumer should be ready to buy (a lot) less by paying (a lot) more for quality and sustainable products.” Particularly, Canadians seem reluctant to buy Canadian brands where clothes are made and produced in Canada. We need to begin now, to change our buying behaviour. We need to re-discover long-term relations to the products we purchase. In order to create such a shift in buying behaviour, we need to look at all the mechanisms involved.

 

 

The infiltrating fast fashion isn’t the sole culprit for disinterest in Canadian brands. In today’s hyper-technological world there has been a colossal shift in purchasing power, buying behaviors, and attitudes towards having caused companies to begin (if they already haven’t done so) to create omni-channel, multilayered strategies. Brands at all stages of their business models have emphasized the importance of innovative modes of storytelling, adapting to social media selling, and more. Catering to this tech-savvy generation is key, as well as proposing challenges on maintaining relevance in a marketplace with such an incredibly quick turnover.

For brands today, establishing a relevant brand DNA applicable to their consumer’s life stage has even begun to change the fundamentals of marketing (say goodbye to the old school demographical silos). With such paramount movements occurring, it’s laughable to even consider that “one of the best ways to get public attention is to have your products featured in a segment on popular TV shows such as Cityline, Marylin Denis, or Breakfast Television,” as mentioned by Susan Langdon who further explained that the cost implications are relatively low and the potential viewership being upwards of almost 800K per month.

As great as being on TV sounds, some key information missing. There is a need to be more critical with advice given, as it is essential to obtain more granular information like: Who are the viewers? What are their online behaviors? Is this channel of communication relevant to my band DNA, target market, and brand marketing strategy? Does that audience actually generate any kind of measurable Return on Investment (ROI) (depending on what your Key Performance Indicators (KPIs) are, would the audience of Breakfast Television increase your follower base on IG for example?). With the evident industry changes that are unfolding in this digital era, the suggestion of being on Breakfast Television, Marylin Dennis, or the like equates to new brand enthusiasm being deflated like air seeping slowly out of a punctured balloon. These types of marketing/communication/promotional advertising advice and decisions are common misconceptions and malpractices in Canada. Such examples, again make us wonder, how are the so-called business experts/mentors guiding fashion students and properly supplying them with the adequate tools to: run a company, formulate a business plan, create a marketing strategy, seek out investors, understand distribution channels (and more) in order to run a successful business. 

The serious dose of reality is that designers, stylists, visual merchandisers, whatever the field, we are all quite informed and even though it’s cute that your granny and her friends saw you on TV, it definitely isn’t giving you a cool factor, spreading brand awareness to the right individuals, and any kind of  ROI is questionable (depending of course if you are selling something that appeals to the millennial generation). “The key is being able to evaluate how a new technology, social media platform, or feature will elevate your brand and help you achieve your goals, rather than doing something for the sake of doing it,” stated Camilla James, Designer and Owner of The Saltwater Collective. For brands to be interesting to their desired demographics, they have to be applied to the correct mediums, speak the language, and be relevant (and so much more) in order to captivate their audience in such a crowded marketplace. Perhaps adding in such TV shows as an extension to your brand’s communication strategy could be a plus but should definitely not be at the core of your marketing strategy when we live in the age of social media.

 

 

Living in such a highly technological state has not only altered the fashion industry, but the media has also witnessed ground–shaking transformations. From the decline of print to how and where we absorb the daily news has all changed drastically over a brief amount of time. As the negative aspects to the industry are apparent, it is also easy enough to note that perceptions can be swayed through the media, by choosing what we want to communicate and promote. The fashion industry in general is quite well-known for certain mega media brands monopolizing the landscape – think Vogue, Elle, and Harper’s Bazaar in the publishing world. All things style and everything new pertaining to the fashion sector was found within the pages of particular publishers. Journalists and fashion ‘experts’ had a great deal of power and prestige, who were courted accordingly by those hoping for brand exposure and to spread brand awareness. Let’s be reminded, that this has changed: smaller publications are gaining traction. “Dress to Kill was founded on the basis of being an exemplary platform for Canadian brands,” stated the publication Co-Founder, Kathia Cambron. As a Canadian magazine founded on the philosophy of highlighting local talent, “We were kind of pushed to create Dress to Kill magazine. We had no place to be, no one was giving us a chance. We wanted to produce content outside of the industry’s required format – we wanted to do something else,” Cambron stated. Dress to Kill serves as a looking glass into what we are cultivating at home. “One of the big problems is that people are not willing to work together – there is a massive lack of support within the community. It’s like everyone is protecting their little parcel of whatever they have: a store, an event, a solution. I’m not sure if this is created by the scarcity of opening the door to someone else to succeed, by greed, to insure they remain on top, or by survival instinct, but it’s a real problem. The doors are closed to people who could actually make a difference.”

Today, brands are their own publishers. Social media has offered up tools, data, look-a-like models, and so much more in terms of publishing your own ads to managing your customer service all online. Channelling influencers and bloggers to endorse products has completely changed the way we communicate and trust in what we are buying. In regards to competing with the big international fashion houses on social media, Lucian Matis noted, “Look, we’re just as good. We don’t have huge budgets and hundred-year-old houses, but we’re going to get there.” Matis also noted that “the return of investment is very hard to calculate on social media.” So, the sobering reality is that paying for exposure through social media influencers may mean that millions of people see that garment, but that doesn’t guarantee that anyone will want to buy it. 

So, then what makes people want to buy? The needs, desires, and wants of today’s consumer have also evolved over time. Fashion, besides the functionality of something covering our body for survival, perhaps is heavily linked to emotion. In fact, Psychology Today wrote an article that highlighted studies that show “that when evaluating brands, consumers primarily use emotions (personal feelings and experiences), rather than information (brand attributes, features, and facts); the consumer’s emotional response to an ad has far greater influence on their reported intent to buy a product than does the ad’s content; ‘likeability’ is the measure most predictive of whether an advertisement will increase a brand’s sales; and positive emotions towards a brand have a far greater influence on consumer loyalty than trust and other judgments” (How Emotions Influence What We Buy).

What are Canadians buying? Seemingly, not Canadian fashion.

An evident lack of media coverage/interest and support from within is evidently a larger issue when it comes to really cultivating brand awareness. “What’s lacking in Canada is access to big international opportunities. Online retailers like Net-a-Porter and influencer media such as Vogue aren’t coming to Canada to see what Canadian designers are offering, so it’s necessary to go to them,” stated Susan Langdon. Again, the paradox that to make it big, it has to be outside of the country. Perhaps the approach that needs to be undertaken is to begin to praise our talents at home. Montreal, Toronto, and Vancouver have all been identified by all our interviewees as major fashion cities for diverse characteristics, however, “We aren’t doing anything mind-blowing in comparison to our counterparts,” explained designer Ellie Mae.

If the trick is to broaden exposure, Dani Matte from boutique PR firm NordströmMatte Public Relations summarized perfectly that, “We need buyers and retailers to invest in Canadian talent. We need to recognize that we have to support our own family by investing in collections and putting marketing strategies behind the sales order to help advance the careers of those we know are ready to be on an international platform.”

An additional point revealed by Langdon was that “there’s no regulation enforcing retailers to buy even a small percentage of Canadian-made goods.” Lucian Matis expanded on this point: “I don’t think made-in-Canada gets the respect it should get; actually, it doesn’t get any respect.” The system plummets deeper into a gaping wound for local talent; if retailers don’t even glance in their direction, if margins and minimums can’t be made, then sadly, it seems like the end of the road.


As the onset of technology has dominated and will continue to change the way we live, it has also indefinitely altered the way we shop. If retailers have no interest in Canadian brands, technology lends a helping hand extending itself to the endless possibilities to present your product to your desired final consumer. The importance of having an ecommerce platform integrated into your brand website is paramount in 2018. Retailers have been losing steam for some time due to the rise of a direct-to-consumer approach. “We don’t sell through any retailers – our online store is our lifeline. That being said, the main challenge with online is that people really want to see and touch the product and try it on before purchasing – we’re working on how to change the consumer’s experience,” exclaimed Rosa Halpern, designer at Namesake. In today’s world, brands have again become masters of their domains from publishing, managing their creative content, sending e-blasts, and organizing flawless digital boutiques. With the number of tools available, ecommerce is an extremely valuable platform and a simultaneous challenge. “It is difficult to sell clothes on orders with a three-week delay; we live in a world that wants everything immediately,” stated designer Markantoine. Understanding how technology can assist a brand all depends on the business model and strategy. One of the most evident challenges with selling fashion online is the absence of garment interaction: touch, feel, and fit. The technological world, however, is charging ahead to bridge the gap to make the online experience more feasible and as realistic as possible.

Even in the face of change, there are some significant standout retailers such as Simons and SSENSE, which are two significant players that embrace domestic talent. “SSENSE in Montreal tends to shed light on Canadian-grown talent and brands,” said designer Ellie Mae. “Simons is a good example of a Canadian company that is design-focused, fashion forward, and supports local designers,” Hayley Elsaesser noted.

Both retailers have done extremely well on an international level and making a Canadian mark on the industry; however, Canadian brand recognition is still extremely lacking.

The unfortunate reality is that the deeper you dive into the Canadian industry, you get a sense of the lack of support for what we cultivate here at home. “Just show up – that would be step one,” Hayley Elsaesser replied when asked how Canadian media sources can support the industry.

It is seemingly a vicious circle beginning with a lack of support from the media leading to limited or no brand exposure, leading back to limited brands to feature in the media, which only increasingly ostracizes Canadian talent.

 

 

 

As the fashion industry worldwide has been forced to adapt and present a fresh new approach on viewing collections and diversifying brand experiences, some of the most notable brands worldwide have evolved their brand spirit, applying new spins on their DNA. It is without a doubt that Canada is a very talented place. “We are not lacking in talent – I believe we need to find ways as a nation to encourage our Canadian consumers to discover and support our up-and-coming designers,” pointed out Vicky Milner, Co-Founder of the Canadian Arts & Fashion Awards (CAFA).   

From bespoke pieces created by Di Carlo Couture, such as the dress seen on Jessica Mulroney at the Royal Wedding, to divine gowns created by Lucian Matis, Canadians are quite unaware of the array of gifts we have here at home.

The emphasis here is clearly on “array of gifts,” as the perception of Canada and Canadian fashion is tried and true when it comes to certain products. “In my case of being in the outerwear business, I believe it is a great advantage to be Canadian because the world trusts Canadian coat brands due to our geographical location and ever-lasting cold winter,” remarked Bojana Sentaler, Founder & Lead Designer of brand Sentaler. If there is one thing we are on the map for, it is being experts in extreme frigid elements and the outerwear sector.

However, the general perception, even from within the country, is that Canada is all about “lumberjack flannel, beaver printed sweatshirts, and lots of toques,” says Hayley Elsaesser.

Again, we cannot compare ourselves as such a young country to the expertise of others, but we must be aware of where we are lacking in order to compete. Canada is lacking in support and cohesiveness from within. Perhaps not only does being recognized on an international scale signify ‘making it big’ as much as accepting outside players in the country as well. Fashion weeks around the world from Milan to Copenhagen feature brands that aren’t native. Instead of limiting, we could be inclusive during Toronto and Montreal fashion weeks as well.

There’s a lot of positivity surrounding the fact that this country is a great cultivator for small business, essentially a dream nurturer, and a place full of talent, but creativity is unfortunately dwarfed by simple disinterest, a lack of support, and a general lack of knowhow regarding the fashion industry. Embracing professionals from aboard, essentially diversifying our education (both tactically and emotionally) would perhaps keep students local and stimulated, and a range of worldwide brands could bring in foreign press… The list of possibilities goes on.

The Canadian industry needs some work if we’re to elevate ourselves to compete on an international level. Anika Kozlowski, Assistant Professor of Fashion Design, Ethics, & Sustainability at Ryerson School of Fashion noted that buyers and international industry officials are not sure which fashion week to go to: Montreal, Toronto, or Vancouver. “We are a huge country with a small population and end up with lots of fashion weeks in multiple cities with different MOs. This is difficult for small designers who can’t afford to participate in multiple fashion weeks across the country. Our fashion weeks have also sat outside of buyer’s ‘buying windows’ which means they’ve already spent their budgets elsewhere by the time our fashion weeks roll around… So, rather than being a showcase for buyers to buy, fashion week just ends up being a very expensive publicity event with no sales gains for designers… And our fashion weeks are really long comparatively but with far less designers showing.” Fashion week, a pivotal event for a plethora of brands worldwide, seems to be seriously lacking in Canada. “I feel that money should be taken and invested somewhere like New York to make sure we show up in the epicenter of fashion in North America,” stated designer Ellie Mae.

Sage Paul, Founder & Artistic Director of Indigenous Fashion Week Toronto, highlighted that currently it’s more advantageous to create intimate and loyal relationships between brands, consumers, and potential buyers, which fashion weeks can’t always achieve.

Milan Tanedjikov also sees the downfalls of fashion weeks, but had ideas for how to move them into the future: “The format could be improved to fit the expectations of millennial fashionistas, buyers, media, and designers. Perhaps we could have something else than conventional runway shows. We should also consider the immediacy of social media as well as the fact that designers work on many small product deliveries and not two big collections per year. Anyway, one thing that I know for sure is that young forward audiences are craving fashion experiences and they are eager to participate. Fashion week is not dead but it could be better!”

 

 

Returning to our initial opening statement: we live in a hyper-technological world. As Vicky Milner noted, this will “further decentralize the retail power with smaller creators being able to make their mark and the consumer’s desire for unique products,” providing hope and astute insight into the future of the marketplace.

Being a relatively new country in terms of the fashion industry, there’s still ample room for growth. With sufficient support, funds, and enthusiasm, it can be our time to shine, domestically and abroad. There are increasingly more business opportunities and funding currently available – it is time to leave the excuses behind and come together in order to succeed. Take the success of Christopher Bates as an example, who credits Toronto for that success: “It’s been a perfect incubator for developing my brand. Platforms like Toronto Fashion Week and organizations like CAFA, TFI, and FGI Toronto provide excellent opportunities for the industry.”

As an incredibly inclusive country and one of the most multicultural in the world, Canada is still very ‘young at heart’, when it comes to the fashion industry. “We are perfectly positioned to take advantage of all the societal cross-pollination that Canadians are exposed to,” said Milner, and indeed we are. As technology continues from speeding up production lead times to evolving 3D printing, Canada finds itself just in the right positioning and mindset to embrace such advancements. It’s expected that the apparel market in Canada will continue to grow. In 2016, the Canadian apparel market was valued at approximately 24.95 billion U.S. dollars and is expected to reach 29.66 billion U.S. dollars by 2020 (Statistica, Value of the Apparel Market in Canada from 2016 to 2020).

Milan Tanedjikov had some suggestions in order to get there: “Specifically, creative entrepreneurs need access to capital and opportunities for quality mentorship that will prepare them for international growth. If it was up to me, I would follow Antwerp’s fashion industry model. It appears to be a small market driven by young creatives, but beyond the surface, there are experienced professional and policy decision makers, from local or national governments that ‘get it’, and as a result, they support the right innovative projects. We need a creative hub.”

The issue then would be for the proper communication and support from our major hubs that fashion in Canada is in fact cool. We collectively need to get behind what is produced at home, starting with support and coverage by the media, streetstyle photographers, stylists, and influencers – we have so many brands worth being proud of. We are on the map for our phenomenal sports teams and award-winning musical artists, and now all we really have to do is dress them and start telling the world that we are a viable fashion competitor.

 

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