FASHION Magazine

After Denis Gagnon’s stunning spring 2011 fringe fest, the fashion pack has been patiently awaiting his follow-up performance. True to form, Gagnon churned out his signature unconventional silhouettes and heavy hitting hardware (industrial-strength exposed zippers zigzagged down many a top and dress) for fall 2011. But this time around, the hits were sprinkled throughout his collection, which called for a round of “I-spy-the-editorial-pieces”.  While the brightly coloured (dare I say clownish?) tulle trim verged on distraction, his texture message was at its best when tough utility jackets were paired with soft pleated maxi skirts. Known for his love of noire, Gagnon introduced a few hot hues into the mix, (blush, orange, fuchsia) which brightened up his overall dark, somber mood. Highlights included his incredible sculptural details seen on his bomber jacket, the cool leather and chiffon mixes, the oversized cobweb knits and his statement tribal-inspired accessories (a collaboration with jewellery designer Dandi Maestre).

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Cue the video! Our naked protagonist pulls on her tee and leggings strewn across the floor and ties her cardigan around her waist. Hair still in last night’s rat’s nest, she grabs her boots, poncho and bag, before taking the walk of shame… straight onto the LABEL runway. Sure to be a hit among the young, downtown grunge kids⎯as only they can truly pull off crop tops, baby dolls, band tees and elastic-bottom velvet pants⎯the collection was heavy on ‘90s nostalgia. Styled with sheer insouciance, henley tees were layered over leather leggings, and oversize tops with cable knit hot pants. The broken zipper on the cream slip dress almost seemed intentional. And perhaps it was… in the world of the morning after.

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I didn’t attend LG Fashion Week last night and therefore, did not poke around backstage 
at IZMA to grill the L’Oreal Paris hair and makeup teams about what they
 were whipping up to complement the ultra glam collection, but damn I wish I
 had.

The post Video: IZMA’s Adrian Mainella talks fur, fur, and more fur! appeared first on FASHION Magazine.

Brother and sister team Jamil and Alia Juma closed out day one of LG fashion week last night, sending those of us still standing (at 10:15pm) home to bed with dreamy visions of long fluid layers, slouchy silk pyjama suiting, and their signature tribal prints. Known for their flare for the exotic, the duo took to Thailand and Tibet for this season’s inspiration, incorporating silk-screened native tapestry designs and brightly patterned body hugging knits among a base collection of black and charcoal layering pieces. Standouts included a midnight blue and tangerine silk crop jacket and a double-layer geometric print skirt.

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For its sophomore runway spin, Holt Renfrew opened LG Fashion Week with a killer Canadian designer line-up, which included Todd Lynn, Denis Gagnon, Smythe and Jeremy Laing. Starting off the show with an adorable video rendition of Holts employees singing “Taking care of business” filmed by Justin Wu, the show was a lighthearted ode to this country’s talent. Staying true to HR’s “can’t live without” theme, this fall what we really can’t live without is a Greta Constantine maxi coat (quelle drama!), a Pink Tartan cable knit dress (perfect for skating figure-eights around the competition), Lida Baday’s wide-leg trousers (retro done oh-so-right), Jeremy Laing’s sleek moonscape dress (for the celestial body) and Todd Lynn’s fox fur jacket (luxe with a capital L). A winning start for the true north strong and fashionable.

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On the international fashion scene, fur is having a major moment. From New York to Paris, it seemed as though the runways were rife with the fuzzy stuff. Serendipitous then, for Izzy Camilleri and Adrian Mainella of IZMA for whom fur is forte. And these are definitely not grandma’s fur coats. For fall, entirely modern bits like thick bands of gold studs, copper foil linings and micro mini hems, were mashed up with seriously ‘70s undertones such as evergreen furs, jumpsuits the colour of roasted squash and sheer burgundy velvet burnout.

There were highs—the colour blocked fur coats—and lows—an unflattering tuxedo onesie with voluminous pant, and unfortunate metallic sequined leggings. Should you happen to be invited to a black tie gala in an ice palace, the finale look would have you covered in a floor length fur gown complete with train and jeweled straps. Let the fur fly!

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View the IZMA runway video »

See IZMA backstage beauty »

“The makeup has a cold feeling,” said M.A.C Cosmetics Senior Artist Melissa Gibson backstage at Greta Constantine on Friday night. Fitting since, “backstage” was actually the frigid basement of the Audi dealership. With references that included Tibetan children and Tilda Swinton in Orlando, Gibson created what she called “almost a non makeup, but there’s kind of this wind burnt lower cheek.” In addition, pictures of Renaissance women that she found online as part of her research compelled her to put “some redness around the eye,” but was quick to disassociate it from the kind one develops from too much partying. “It just gives a pure look to the face.” To mimic the “really ruddy, great skin” of the Tibetan tots, Gibson mixed M.A.C Cream Colour Blush in “Premeditated” and “Movie Star Red” and deepened it with “Root”. On lids, she applied M.A.C Eye Shadow in “Coral” and “Orange”, layered it with “Sushi Flower” and softened it with M.A.C Mineralize Skin Finish to make it look more “fleshy”.  Lashes were left bare, and lips muted out with a touch of concealer.

There’s nothing like a Greta Constantine show to bring out the fashion pack (and the mystery-pack, including a veiled front-rower?) In a departure from their standard fare, designers Kirk Pickersgill and Stephen Wong debuted a wrapped, layered and shrouded nomad-like collection that looked like it came from Japan via Russia. The blinding spotlight that followed each model’s walk illuminated exaggerated sleeves, sumptuous brocades, obi belts, luxe fur trims and velvets as sinuous as their signature jersey that decorated dresses, pants, coats and capes galore. Their louche urbanites were cocooned in shades of crimson, charcoal, cobalt and eggplant in separates ranging from fiery wide-legged pants to prairie princess tiered skirts. The jersey dresses that are Greta Constantine’s bread and butter were winterized with floor sweeping coats for a dramatic ending amid blasts of powdery white flakes coughed out by the snow machine.

View the Greta Constantine photo gallery »

See Greta Constantine backstage beauty »

After declaring bankruptcy in a recessionary-steeped 2008, Toronto designer Arthur Mendonça is back, and talk about a triumphant return. “I knew I always wanted to be in fashion and then this opportunity presented itself with a new manufacturer here in Toronto and, why not?” Held at the Trump International, the show opened to the beat of a remixed “Let’s Dance” by David Bowie. Models took to the runway with high-gloss, high-drama slicked-back hair and dark red lips accentuated by poignant silver and gold hardware by jeweller Dean Davidson. The ’70s remain an intoxicating presence for fall 2011, and Mendonça is clearly under the influence. Slinky ruched column dresses, Le Smoking-style tuxedo blazers and flowing chiffon evening capes were paired with floppy fedoras (think Marianne Faithfull) and turbans, the latest in It headpieces. As with most things, the beauty was in the details. Black coyote and goat hair collars, exposed zipper accents, ostrich feather wedges and exquisite beading all make this collection require a second (third, fourth, fifth) look. And nothing says “I’m back” like a shocking purple tuxedo pant.

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The post Video: Mikhael Kale and Mark Fast talk leather, silk and a wolf in sheep’s clothing appeared first on FASHION Magazine.

In sharp contrast to his ethereal spring collection, Paul Hardy brought a masculine touch to fall 2011, sending silk camouflage prints, a must-have grey flannel tux pant and menswear-inspired suiting down last night’s runway. While we weren’t fans of Hardy’s footwear choices⎯the bowling shoes were more “strike out” than strike⎯or of the many oddly placed embellishments, we did find ourselves fancying many a shearling vest and Hardy’s sequin bomber jacket had us giddy. Held at the National Ballet Company’s Currie Hall, it would have been a shame if there wasn’t at least one dance number, and Hardy didn’t disappoint, pivoting once again to produce a finale series of floor length ostrich feather skirts fit for a prima ballerina.

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