the beginning of a new era in Toronto Fashion

 

By Anthony O’Dell

 

Fashion Can combining the traditional runway format with a shoppable component, giving some of Toronto’s next generation a functional way to showcase there new collections. I got a chance to speak with three brands really coming into their own  about their collections, aesthetic and week itself.

 

Daniel Christian Tang

 

 

Favorite piece from the collection?

My Favorite piece from the collection is the Flow Bangle. It’s a design that I had been wanting to make for years ever since I saw Frank Ghery’s cuff at Riffany’s. It’s a completely different look that what we normally design. It’s sensuously bold with soft lines and a flowing asthetic that looks like it’s hugging the wrist.

 

New techniques you used for this collection?

Our techniques are still the same 3D printing process, although given the very smooth look of the new Flow collection there definitely was a learning curve on how the finishing was done so that it looked flawless. There was more prost production needed and hand buffing to produce the desired effect. This year we’re finally able to print directly into gold using a gold powder printer which has given us the opportunity to do some really exiting things in “Ultra-Lux”. These would be designs that would start at a price tag of 10-15k.

 

You had  a presentation at the last WMCFW but showed on the runway at FashionCan, how would you say these experiences compare?

WMCFW was definitely a one of a kind experience. It was big and bold with massive production value. Having said that, there was very little in a commercial follow through. The press that came from our debut show was incredible but we still found it hard to convert that press into actionable sales. FashionCAN, on the other hand, affords designers a chance to be in store and sell. I think that was a huge missing piece of the original Fashion Week canvas.

 

What’s the next step for your brand in terms of expanding out beyond just Jewellery?

We’re currently working on software that will allow consumers to customize DCT pieces online and in store with an easy to use digital interface. They can pull designs from a preset library of hundreds of pieces, change size, color, add crystals and have it sent to print. Our goal is to revolutionize the bespoke industry by removing the human variables that slow down the process. This industry has seen very little innovation and we see it as a massive opportunity to inject some forward thinking ideas into it.

 

Christopher Paunil

 

 

 Your both involved in the UforChange fashion program, what advice would you give students just starting out?

I would tell students to get ready to work hard.  Fashion is not something to take lightly, and running a business is a huge, long-term commitment.  I would also tell them to explore different areas in fashion.  Not everyone is cut out to be a designer, just like not everyone is cut out to be a buyer – it’s good to have some knowledge and experience in areas that take one out of their comfort level.

 

You have a lot of color in your most recent collection, what’s your take on an untraditional wedding dress?

I love when women are able to push boundaries and not do the “norm” or what’s expected of them on their wedding day.  A woman is still a bride on her wedding day regardless of the color she’s wearing.  I think that being able to showcase one’s personality through their choice of clothing on their wedding day can be inspiring and empowering.

 

You’re combined some traditional techniques with Chinese and Indian elements, in the past, would you consider exploring this farther and making it a bigger part of your business?

I think it’s important to keep an open mind when working in a creative field – I think that’s how people and businesses grow and push forward.  So, I would definitely consider exploring the use of Chinese and Indian elements in future work.

 

 

Jennifer Torosian

 

You’re known for exploring new fabrications, talk abit about the fabrics you used in this collection?

For Spring 2017 we used a blend of cotton and techno fabrics. Some examples of the techno fabrics we used are high performance jersey, 3-D stretch jacquard, and custom ribbing. I was specifically drawn to cottons that had something special to the touch; some being smooth/cool, others were light-weight and textured.

 

What are your new essentials?

Our new essential is the techno utility jacket which is our denim inspired piece made in a slick-handed fabric. It is a great weight for Spring as it is easy to layer and travels well.

And, our plaid faux-wrap dress with lace patches will be my go to dress for the season. I love the plaid cotton fabric mixed with the Swiss lace appliqué used as an accent.

 

You’re currently carried in a variety of stores across Canada, what’s next in terms of retail?

We have been picked up by some new retailers and are excited to announce that “La Maison Simons” is one of them!

 

Details are an important part of your asethetic, what are acouple details you wouldn’t know by looking at the runway?

The quality and finishing of our garments are just as important as the aesthetic of the collection. We take great care in how well the product is made. The fabrics are mainly sourced from Europe, so what you are seeing on the runway is a blend of Italian and French textiles, with lots of details that have been made especially for us.

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