A new Toronto fashion week is in the works.
Less than two months after Toronto Fashion Week announced it was shutting down, word comes that a new showcase will debut next year.
Organizers for Toronto Men’s Fashion Week announced Saturday that it would launch Toronto Women’s Fashion Week in February, but revealed no other details.
Advisory council member Roger Gingerich said Monday the plan has been “in the works ever since it was announced that IMG was pulling out of Toronto.”
“The second the announcement was made that (Toronto Fashion Week) was pulling out of Toronto, I received many, many phone calls from sponsors going, ’Roger, where do I move my sponsorship funds to?’
“And for me, that was a very reassuring comment — that the dollars were very much still in Toronto, dedicated towards the fashion community.”
North America’s second-largest fashion week collapsed in July with organizers citing a lack of local support.
Gingerich says the women’s showcase would likely run back-to-back with the men’s showcase, in February and August.
“There’s tons of support here in the Toronto marketplace and Toronto here as a whole,” says Gingerich, a fashion broker with more than 30 years in the apparel industry.
“The designers are world class, the media is here, the consumers are here, but the market is changing.”
He says the length of the new women’s week will depend on the designer lineup. But he says Toronto Men’s Fashion Week, also known as TOM, has a solid formula that could be applied — including parties, industry talks and a lucrative prize for an emerging designer, in addition to runway shows.
Veteran fashion journalist Jeanne Beker said she was excited to see TOM take the reins but hoped to see something both “fun and meaningful.”
“Fashion week really has to be rethought of as a real consumer event,” says Beker, adding that “fashion weeks are slowly going the way of the dinosaur.”
“The system has changed, fashion has changed, the business of fashion has changed, media has changed, retail has dramatically changed,” says Beker.
“I don’t even know if it warrants a whole week. That’s a long time. But I think just to have a few days where you really celebrate fashion, where people can have access to see some great shows and watch some great collections and find out a little more about what makes a big fashion machine run (is worthwhile).
“I would love to see seminars, perhaps, that kind of roundtable discussion about the state of fashion and where it’s going.”
She was pleased to see February as the target date, noting that Toronto Fashion Week’s March showcase was “far too late in the schedule” because it came after the buying season.
“Everybody’s so exhausted from hauling their butt around the world by the middle of March or whenever these fashion weeks were going on that Toronto was the last place they’d want to go.”
Susan Langdon, executive director of the Toronto Fashion Incubator, was at the Saturday runway show where the announcement was made via a terse screen projection. She says she was surprised by the news, even though she has served as a judge for TOM’s emerging menswear designer award for several years.
“I’m delighted to hear that someone has taken the initiative to resurrect Toronto Fashion Week,” says Langdon, whose non-profit organization nurtures Canadian designers and entrepreneurs.
Despite an apparent trend toward smaller, individual or regional shows, she says designers like to be under the umbrella of a big event that can build buzz and attention for their brand.
“One big event is going to draw in retailers and media from across the country and across the globe. They’re not going to come to see one show here, one show there,” she says.
“Toronto is still not a big destination on the global fashion scene, as much as we want it to be.”
Beker says she’s hopeful TOM can put a fresh spin on things, but notes it won’t be easy.
“Women’s fashion is a tougher nut to crack, I do believe. It’s just a lot more complicated. There’s a lot more drama in the world of women’s fashion than there is in the world of men’s fashion for whatever reason so they’re going to have some inherent challenges, no question.”Read more at:marieaustralia
For Harmeet Arora, her jewellery brand Rheet is all about celebrating traditional designs in a contemporary style. The brand that was launched in January 2015 is now known for beautiful metal-based handcrafted jewellery. "All the collections are trendy and traditional at the same time," says the Odisha-born designer, who is now based in Bengaluru. She likes to keep her creations simple and elegant, and lets the designs do the talking. "Since gold jewellery cannot be used for daily wear, I wanted to create jewellery pieces that were simple enough to be worn to the office and dressy enough for a wedding at the same time," she says. The hallmark of Rheet is the interplay of textures that she does in each of her jewellery pieces.
Harmeet, who pursued jewellery designing as a hobby while in the US, started making fancy jewellery pieces with beads and semi-precious stones after shifting to Bengaluru. She retails through her Facebook page Rheet and her collection includes earrings, rings and other jewellery pieces. She reveals that encouragement from friends, and her own need for a brand that was niche yet not too dressy, were two other factors that contributed to her launching Rheet. "I started small with earrings, beads and a few other simpler things. As people liked them, I started creating necklaces, bangles, anklets and bracelets as well," she says. Harmeet uses different materials in her designs, that range from traditional Indian style to middle Eastern, native American, Bohemian Gypsy, contemporary and modern. In tradition Indian jewellery pieces that she creates, Harmeet uses Rajasthani Meenakari, Kundan and Dori. "As colours impact designs greatly, I use a variety of them in every jewellery that I make. The challenge is to combine colour and design in the best way possible," she says. Harmeet handpicks her raw materials herself, often from her travels.
Her latest collection comprises stunning 'Jhumkas' that can be teemed up with both Western and India outfits. Harmeet uses Kundan, pearls, beads and polymer clay to fashion the ear pieces that are finally ornamented with 'Meenakari' (enamelling). She is also working on large necklaces and bangles that are created from silk threads, Kashmiri beads and semi-precious stones. The necklace collection also features Meenakari pendants mounted on silver, which are strung on rows of silk threads.
So how does Rheet stand out? "While there are a lot of similar jewellery being sold, I have always made products that are unique. No two designs in Rheet are the same. Every piece is unique and has got a story and inspiration behind it.
Often, I mix and match different styles or design traditions. I draw inspiration from nature, day-to-day life and other cultures. All the pieces are handcrafted," she says. Harmeet currently has dedicated customers both in India and abroad and among the various items, her earrings sell the most. "So, far the journey has been really good. I am planning to open my own jewellery store soon. I have sold some jewellery pieces in the US and other countries. It would be good to take the brand to different parts of world," she says. Harmeet, however, does not make customised jewellery. "Every thing that is created in my studio is from suggestions that customers make. I have been lucky that they are liking my work," she signs off.Read more at:green formal dresses | yellow formal dresses
Orapeleng Modutle's collection was inspired by a ''nautical glam" style - resort dresses made for affluent brides who prefer to get married in warm climates such as the Greek islands and the Seychelles.
Inspired by Gavin Rajah and Thula Sindi, Modutle's collection was filled with simple elegance and clean lines.
"We had to use flowy, feminine patterns with a focus on women's décolletage and a lot of beaded, luxurious fabrics," he said.
It's easy to throw the words ''culture appreciation" around in fashion, but Tina Ngxokolo used her heritage to great effect in her debut collection.
Like her older brother, Laduma Ngxokolo of the Maxhosa label, Tina draws inspiration from her upbringing.
"I was inspired by the desire to explore nostalgic moments I'd had with my late mother, my Xhosa culture, and beautiful African women," she said.
"The typical heavy and warm Xhosa costume (uMbhaco) was reinterpreted in lightweight fabrics without taking away from the authenticity of the traditional garb. The yellow background pattern is a collaboration between myself and Rufain Wentzel, who I met at university," she said.
The young designer's work also represents the ancient Xhosa people called Amaqaba.
"Amaqaba people are part of the bigger Xhosa tribe - this was my core inspiration when I did my final-year collection at university," she said.
"I love the culture and dress of ancient Xhosa people."
Tina knew she had to distinguish her debut collection from her brother's knitwear signature. ''I worked with different silhouettes, textures and patterns for the collection," she said.
"I wanted to challenge conceptions about fabrics like leather that are associated with winter, and design pieces using the material for summer."Read more at:cheap formal dresses