I must say that I was very excited to do this interview because of my personal love of vintage fashion. Like a blind date, Diepo and I met at a coffee house (it begins with “Star”). I ordered and peaked around the corner to check out the creative masterminds behind this line that I am anxious to see later this evening. There they were, Justine Diener and Kristin Poon, both sweetly dressed in let’s welcome spring now attires.

This is the second time Diepo will be showing at Toronto Alternative Fashion Week. Last year they did a total of ten outfits with a 1920’s inspiration behind each piece. Plenty of silks, with more relaxed silhouettes, with references to garters and shape wear, spearheaded the collection. There were also some tailored pieces à la Diener, such as smoking jackets, that juxtaposed the underwear as outerwear mantra that Diepo holds true to.

Without giving too much away, Poon reveals to me that this year at FAT, they will revive the 1950’s with a more masculine palette with navy and browns, consistent through the collection. Expect to see their signature mix of lingerie, but do not be intimidated. Diener reassures that because the lingerie is vintage inspired, they are more modest, “Like an understated sense of sexiness…there are no thongs!”

When asked about their love for vintage, Diener admits that it has always been vintage for her and that she has never seen herself as a modern girl and has always been the type to romanticize the past. Poon adds, “This era was a very defining moment for fashion and the reason why it is never forgotten.” Indeed! Machinery evolved, the roaring 20’s, World War II, and because of that, women were finding their place in society.

Diepo was conceived by Diener and Poon while studying Fashion at Ryerson. The true belief that sharing means learning is what brought the two together. Diener explains that while in school, the competition is fierce and “People are at arm’s length of each other, because whatever you are working on is this big secret.” But it was not like that with Diener and Poon at all. According to Diener, “When you’re starting out, it’s hard to put your ideas out there unless you’re a very particular kind of person and I think neither one of us are. I really love the stuff that Kristin does and I found one of the hardest things in couture is the competitive aspect.”

According to the dynamic duo, another struggle as an up and coming designer is the support that Torontonians have towards their local fashion, or rather, the lack there of. It is the choice consumers have to make; whether or not they want to pay more for their garments. “The hardest,” Diener says, “Is the mass production places like H&M. It’s a force to be reckoned with. It’s just impossible to produce pieces for the price that they do.”

So what does Diepo see for the future? “We’re kind of still dipping out toes in,” they say. Poon and Diener are enjoying full creative control and hope to begin producing and selling their pieces. Retail success is something they hope to achieve, but the women agree that when the time is right it will come. Poon explains that they are not the type to, “Just put things out there”, if the piece is not ready; leading to her advice to other designers trying to make it, “Don’t get ahead of yourself; and keep people who are honest close.” Diener adds, “You have to have people around you who are constructive, otherwise you’re doomed!”

BY: KIM CUACHON

On the Eve of Alternative Fashion Week, the official count down has begun until the stilettos hit the catwalk. Alternative Fashion Week [FAT] is right around the corner, but FAT’s Michelle Reagan says, “It’s still surreal that it’s so close!”

FAT was launched by Vanja Vasic in 2005, and she seems like this fairy godmother to everyone who I have spoken to, so now I wait in bated breath to interview her post FAT (stay tuned). In its inaugural year, it debuted with (are you ready for this?) 12 designers, 10 visual performance artists, 1 band and 2 DJs. The turn-out was 800 people. This year is showcasing 45 designers, 40 visual performance artists, and 14 musical groups. The expected turn-out this year is four thousand.

Reagan is pleased to know that FAT will be touching this many people, but knows that there is still a misconception that the show is tres avant garde, not mainstream enough, thus shooing away potential attendees. “What some do not understand is that alternative doesn’t mean weird. It can be interpreted as an alternative to L’Oreal Fashion Week or even an alternative to what’s happening in the magazines and what’s really happening in Toronto.  We have really maintained a balance between the really super crazy things and the more, ready to wear collections.”

According to Reagan, this is the first time that FAT is happening over four days, “The response from participants has gone up.” Due to the eclectic mix, the four days have been broken up into four different themes; Home, Planet, Gutter and Beyond. It is without coincidence that Planet falls on Earth Day.

So, far Reagan says, “Things aren’t too crazy. I’m just keeping things organized, trying to keep up with emails and media requests. But, like all shows, there are always last minute things that will come up. But it’s exciting.”

When asked what is the best thing about FAT? Reagan replies, “I’m really looking forward to feeding off everybody’s creative energy. It’s amazing how so many creative minds, from all different artistic backgrounds come together for this event.”

There’s no financial reward at the end of the night, but certainly a reward that has a priceless sense of fulfillment in the four day celebration of art, coming together as each participant’s craft is being given a stage to express on! Bear in mind that these are the artists of the future, who will be changing fashion for all of us.

By: KIM CUACHON

When I talk to people about my passion for fashion, I always get the look and then follows, “Well, what are you doing here then?” But after my interview with David C. Wigley (trust me, remember this name), talking about his fabulousness, his new cIothing line Worth. and his in on Toronto Alternative Fashion Week, I know I’m in the right place.

As my interview with him was conducted via email, I sent my questions to Wigley after picking up as much info about him as I could Googling. Usually when doing such a thing you hit send and cross your fingers, with hopes that you receive something back that is usable. After reading all of my thoroughly answered questions, I felt as though I had been in the mind of a present day, young Karl Lagerfeld. The evolution that Wigley continues, so full of passion and perseverance; leads this triple threat – designer, stylist, make-up artist, to a career path destined for greatness.

PM: You say your style is “high fashion”, you hear that term thrown around a lot, elaborate.

DW: “It’s true, you do hear ‘high fashion’ all the time, and most of the time it refers to something that was thrown together using cheap fabrics and totally unwearable. To me, it’s more about luxury and fine finishing. I don’t think that it has anything to do with labels however, but more the craftsman ship behind the piece. My pieces are more about something timeless and classic; however it’s something that you’ve never seen before…I really think that clothing is a feast for the eyes. I love garments that catch my eye, and give me what I call a visual orgasm! A running joke among my friends is that Vogue is my porn, I get off over a beautiful gown more than I ever would over a beautiful man.”

PM: What moment was the “Aha!”? When you said, “This is it! This is what I want.”?

DW: “I don’t know if I’ve ever had the ‘Aha’ yet…I’m just like any designer…struggling and doing what I can. Every collection or piece that I create has its own ‘Aha’ moment, it’s amazing! When the sketch comes together, and it just clicks…It’s like falling in love over again…I could say more, but it may get pornographic.”

PM: What does it feel like to be named “Most Promising Canadian Designer” at the Canadian Fashion Design Awards three years in a row?

DW: “Hmm… that’s a tough one… the first year was exciting… the years after, not so much… It’s really just a title, but nothing more than words. In fashion you are only as good as your last collection. It’s flattering.”

PM: With that said, you have won and placed in many other competitions. When you prepare for such an event, what is your game plan?

DW:     “I create many looks, sometimes upwards to 50 little line drawings – just thumbnails, quick little sketches of things that catch my eye. From there I’ll go over those thumbnails for sometimes up to a week. Whatever still jumps out at me will usually move on to the next stage where I do a few more sketches and start to finalize the silhouette. Then I’ll do the final sketch; VERY rarely does the final garment not look like the final sketch. Seeing as how I come from an illustration background, my illustrations are a final look of the garment right down to stitching lines. When it comes to show time I don’t really think of it as ‘winning’, I just want to show what I can do.”

PM: What can we expect to see on the runway from you at FAT this year?

DW: “This collection is my debut collection. I’ve created a lot of garments, but never a full collection. So with creating a collection, I also created a company to go with it. Worth. (Wigley’s clothing line) is really about what knowing what you are wearing, and knowing what its worth. The collection is timeless classic pieces with a fashion forward edge, made with sustainable luxurious fabrics and finishes. One of my hugest pet peeves is one people pick up a piece of well made clothing, see the price tag and say ‘What the fuck! This is SO not worth ‘x’ amount of dollars’. My client is someone who understands and knows what their clothing is worth. Not necessarily that it’s expensive, but wants to wear a garment made of sustainable fabrics in a sweat shop free environment. And not only that, but they know what they are worth. Each garment is screen printed with a mantra, this season’s is ‘I am worth loving.’ Every season the garments will co-ordinate and work with previous and future Worth. garments. The mantras will almost work as a time stamp to show which season the garment is from, as each mantra is exclusive to that season.
On top of that you can expect an exciting and entertaining show! Coming from a theater background, and working as a visual stylist, I’m all about the big bang and first impression! I can’t say anything more.”

PM: What are your thoughts on FAT?

DW: “I’m SO excited to be a part of FAT. I feel that they have a great set of core beliefs, and what they stand for is just amazing. The whole idea of FAT is phenomenal! It takes all your pre-conceived notions of fashion, and throws them out the window. I feel like it is a socially responsible event, promoting green living and a healthy outlook on life. The models are more like real people, who essentially will be wearing the clothing, and create an image that’s attainable. At the end of the day I believe that designers have a social responsibility, and FAR too many promote unhealthy lifestyle choices. In fact, I read in Vogue the other day about a designer (won’t name names) who actually tailors his collection to fit a ‘modified’ body shape, essentially fake breasts. It’s disgusting and unnatural to me, to create a clothing line catered to people who can’t embrace what they were born with, and feel the need to surgically alter themselves to be beautiful. I feel that people look outward for beauty, when they really should be looking in, because really, we are all worth loving.”

Very seldom, do we come across a designer who is socially conscious and is stoic in believing that beauty must be organic. On many occasions such responsibilities are compromised to achieve haute-couture. Perhaps, this “Recycled Hollywood story…small town kid, moves to the big city, wide-eyed over fashion,” has it right. Sometimes you ought to be removed from the situation in order to see where you want to take it. Perhaps all of us living in urbania, take it for granted –all the little details. But through Wigley it all comes together. He may have been know as an “Über-geek” while growing up, but he could soon be known as an über-designer, encompassing the perfect ideology of the future of design, making a utopia of the art itself.

The city sets the stage for Toronto Alternative Arts & Fashion Week [FAT] Tuesday, April 21^st to Friday, April 24^th. The Distillery District will be feeling the pulse of Toronto’s avant-garde artists in a collaboration of music, video, photography, performances and fashion.

In its third year and running strong, Vanja Vasick, Founder and Director will be doing it all over again; the runway, the stage, the lights and the people. FAT will be showcasing more than 200 artists from all over the country and abroad, thus setting the runway for established and up and comings to show case and collaborate their talents.

FAT is sure to deliver an eclectic array; from the petit chics to the avant-gardes, are sure to make an appearance. So, wherever you fall in that spectrum, drop by, it will deliver something to talk about.

“Tall green tea please,” says the creator, designer, sales and marketing department, and model of Christabel Couture, Chris Cunningham.  Yes, I concur, the name does sound like a famous movie star.

 Dressed in dark washed jeans, layered jacket, stripped scarf, topped off with a poor boy’s hat, he stirs honey into his green tea.  The cool jazz styling of Ella Fitzgerald sets the canvas to his I just threw this on outfit.

 Cunningham is a friend of mine.  We met by fluke two years ago when both of us were training to be a flight attendant.  Clearly that gig didn’t take off due to bogus allegations and we’ve been friends since.  So, it excited me to hear that this Toronto fashion darer is finally showcasing his eccentricity along the runway of Toronto Alternative Fashion Week. (FAT).

 When asked on Cunningham’s thoughts on FAT, he said, “It is a great vehicle to promote up and coming artists.  This is an alternative fashion to what is happening mainstream – it is a rawer and edgier pulse.”

 As we talk about the costumes Cunningham is working on, he rubs his neck and explains that the pain is from sewing all day.  Cunningham begins, “The costumes are new, but the concept behind them all is the same.” He clears his throat, “My passion is in the obscure!  Out of this world couture.  I translate my warped perspective into something that can be worn.  Sometimes it’s comfortable, and sometimes you just have to watch how you walk in it.”  He chuckles – such an infectious sound.

 Laughing and sipping tea, yes like two true fashionistas, I pose the question of how Cunningham has found himself intertwined in this vicious web of design.  “Well,” he says conspicuously, “It started with mommy’s Sunday dress and dad’s suit, with grandma’s hat.  Soon enough when mommy’s pantyhose just didn’t do it for me it was the toilet plunger as a hat and pots and pans around my neck.”  We start laughing really hard because we both know that he still does that.

 “I love obscuring gender, human form and playing with lines and contours.”  Cunningham justifies.  Where do the ideas flow from, I ask?  “I get it from a the deep dark Netherlands within me.  It’s usually a 2 or 3 man trip and someone always gets left behind.”  I almost spit out my chai.  Interpret that answer as you wish.

Photo by: Nika Belianina

 Cunningham has just finished the costume design for a movie about a midget who falls in love with a stripper.  Along with FAT he is also working on a film called Butterflies of Trip City.  “The costumes are surreal,” Cunningham says.  “It is organic and earthy.  Cellular mitosis, cocoons and metamorphosis’ish.”  I see why Cunningham jumped all over this opportunity, as he did a show called Cellular Mitosis last summer at Circa Night Club.       

 As I watch Cunningham’s animated head movements and hand gestures I realize why he continues his career of in betweens and petite glitterati, but also why he remains such a great friend to me.   He is a constant reminder to those who naturally flock to him that there must be art in our lives and why the phrase “why not” needs to exist.  As Cunningham says, “You just have to go for it and do what speaks to you.”

 He reminds me and all of us that in those moments where we feel our craft is taking us nowhere; it is in fact allowing us to achieve the hardest goal in life, satisfaction.   As Cunningham says, “You have to push things to the side and unfortunately work on projects for free in hope that someone picks it up.  You hope it makes money and you get a piece.”

Cunningham continues to talk about his aspirations of one day working on a movie like Hellboy or Hellboy II, he adds that the story line was not so good, but the costumes – “Well done”.  Maybe one day George Lucas will allow him to design a creature of the galaxy and that Marilyn Manson or Björk take notice.  But at the end of it all, even if you don’t become famous, where Cavalli is asking you for design techniques, or rewarded by getting next month’s rent from your latest creation, “Continue to perservere.  You have created something.  You are living a life of creativity.  This is you.  You tested the limits and took a chance.”  Cunningham continues to live a passionate life with his, “You won’t find this at Winners” designs and his constant need to obscure the norm.

I’ve been bitching about the PR on this thing for weeks.

First, i hear nothing about the damn thing till the week off. Then, both EYE and NOW Magazine shit the bed on their “guides” to Nuit Blanche. I didn’t get a pocket guide till I was at an exhibit hours later.

Here’s a guide to the good and bad of Nuit Blanche.

Good:

The streets were filled with people. That was so gorgeous. Toronto can be so beautiful when we are ourselves. And i mean just lined with people. Old, young, fat, thin, teenage. Drunk, sober. Everyone taking pictures.

Exhibits worth checking out:

Katherine L. Lannin’s House of Leaves.

Which was basically a hallway with torn out sheets of paper littering the whole joint that made it look soft and breathy.

The Horridor at Union Station was my favourite. The longer I stood there surrounded by screams, the more impact it had. One side, all men, the other all women. The artist, Kelly Mark, in an interview mentioned that the men had much more range of emotion in their shrieks, whereas women almost always convey sadness and fear. I thought about that a lot while I stood there. You think it’s because men associate a wider range of emotions with screaming or because women are only ever written as victims? Ponder.

Other cool stuff: City Hall playing light ping pong and the general feel of the city as an art backdrop. Suddenly you look around at the whole city like it’s one big exhibit.

Shit:

Everything was a bit far apart and there wasn’t one good map that worked well enough. They shoudl have had signage on the streets and maybe a plaque or two that stated what the exhibit was, OR even a page number in the guide where you could find it.

Here’s some exhibits that sucked ass:

This is a balloon bell in the Eaton Centre. It is nothing more than that. It’s a long trek to look at a bell balloon no? I would have rather seen the whole centre filled with single balloons. The water fountain at the centre every day is more exciting than this thing.

Biggest Let Down of the night was this Talking Yogurt thing.

Maple Leaf Gardens was ten million times more exciting than watching two screens of robotic voices (that no one could understand) talking through milk to each other. Everyone stood around feeling nostalgic for the old seats. Know what would have impressed me in this space? Recreating the fan reaction when the Laughs won the Stanley Cup back in the 60s. Now, THAT would have been dope!

Honourable mentions in the Shit department: Security guards not knowing anything about anything at all to do with any exhibit, exit or any questions really at all around any exhibit. You couldn’t have given them a guide with a red circle around the exhibit they were near? The lack of bathrooms open tot he public, and drunk teenagers kinda everywhere ruining it for us respectable 30-year old drunks. Oh, and Boystown–seriously, that’s all you got? You are responsible for PRIDE!!!!! All you could come up with was a show that occurred once every ten hours (felt like it) and a few trees with green lights and smoke? Shameful.

***All Photos Except the Horridor and Bubbling Milk taken by Natalie Lisa Johnson***