During the 1980s, the Vaughan community was nothing but tomato-farm fields as far as the eye could see. In 1988, while the community was still establishing its roots, a charming men’s clothing store opened its doors on Weston Road at Highway 7.

What the community did not know was that the same clothing store would go on to become a men’s fashion institution.

“Everybody who walks into PER LUI is treated like a celebrity. Everybody’s unique and we treat everybody with respect. It’s our service, honesty and passion that sets us apart.”

Thirty-five years later that store, known as PER LUI, has become a pillar of the community due to its owners’ passion and ambition.

Residents living in neighbouring communities in York Region go out of their way to spend their money at the one-stop shop created just “for him.”

Everybody who walks through the front doors is welcomed like family, PER LUI style, greeted with a smile, handshake, and an offer of espresso.

“Our family business has grown with other families. It’s not about making the sale. It’s about making long-lasting relationships,” says Sandy Mirotti, co- owner of PER LUI along with his brother Tony Mirotti and Paul Aureli.

Sandy has always loved fashion. Even as a child, he enjoyed dressing up to impress. Most of all, he was fascinated not just with unique styles but how people truly feel their best when they’re “dressed to impress” according to their own unique style. Growing up in an Italian family that stayed true to its culture and travelling to Italy every year with his parents further fuelled his passion for fashion.

“We must admit the best clothing and best designers are all from Italy. Giorgio Armani, Salvatore Ferragamo, Valentino, you name it. Italians passed things on from generation to generation over hundreds of years. For me, they make things last because there is so much pride and respect for it, and we embody those same values here,” says Sandy.

Today PER LUI is at the forefront of men’s fashion and offers an evolving collection that represents the latest styles from around the world. The range of items they offer is extensive, but everything they select provides both exceptional quality and value. What was once a small and quaint store is now a 3,000-square-foot state-of-the-art men’s clothing store containing apparel and accessories from the most sought- after brands in the world. Additionally, they offer made-to-measure suits that are tailored in-house to your exact specifications. So, whether you are looking for a fine suit for work or a casual outing or your wedding day, the PER LUI team can help you to create a look that perfectly reflects your style.

“Everybody who walks into PER LUI is treated like a celebrity. Everybody’s unique and we treat everybody with respect. It’s our service, honesty and passion that sets us apart. What is most important to us is that you look and feel good when you walk out,” says Sandy.

PER LUI proudly celebrated the grand opening of their newly renovated store on Oct. 9, 2023. Members of the community attended the exciting occasion to show their support and admiration for the PER LUI team, as they have all grown together over the decades of their success. The sons of gentlemen who purchased their wedding suits 20 to 30 years ago are now walking in for the same reason.

“I am very happy and proud of myself and the entire team for everything we accomplished. Together, we’re one big family,” says Sandy.

PER LUI and its team have set the standard for great style. Their reputation for creating looks that others admire and appreciate has been unmatched by all who attempt to imitate them. Their style of service reflects who they are and their values. They are class-act gentlemen who are committed to your style and confidence.

So, what are you waiting for? Go there and relax in luxurious surroundings, sip an espresso, and let them help you unleash your style to the fullest.

The post Per Lui: The Legacy Of Men’s Fashion appeared first on City Life Toronto Lifestyle Magazine.

With an escapist mentality, desire for adventure and a sense of freedom, Ahiri has launched its 2023 Spring/Summer collection. The Toronto-based fashion house that was built from its inception on elevating wardrobe essentials with a contemporary twist has brought the city some exciting looks for summer!

This playful take on Y2K fashion features a collection of 41 pieces carefully curated in an array of pastels, featuring hues of pinks, blues and soft purples.

Launching exclusively online, the collection makes use of holographic prints and two-tone yarns to create engaging garment illusions and fun silhouettes.  

The collection is the first of its kind, with the brand venturing into the change of season, bringing dynamic designs and a fresh take to the S/S fashion scene.

With a moody and mysterious esthetic, tactile fabrications and signature Ahiri flair, the eye-catching collection tells the story of a feminine escape tailored to each individual’s beauty.

We always strive to maintain a grabbing juxtaposition between hard and soft

Michael Jafine, head of design at Ahiri, spoke about the new line. “We always strive to maintain an attention grabbing between hard and soft.” In keeping with the brand’s esthetic, he shares how Ahiri is solidifying its image and crafting a signature formula for each of the brand’s looks. “This season, we’ve carried forward key motifs from our debut collection and presented them in innovative ways. An example of this is the space cowboy inspiration from Fall/Winter ’22. We took Western elements from our previous collection and elevated them with traditionally feminine colours and silhouettes.”

With a commitment to crafting quality garments, Ahiri has introduced longer-lasting pieces that make use of natural fibres and materials, such as 100 per cent cotton, and denim products made of only TENCEL fabrics.

Featured favourites include the black and white Western Tennis Shirt Dress, Sheer Shirt and Pleated Midi Skirt in pink. From a fashion editor’s point of view, shoppers should definitely keep an eye out for the Square-Neck Long-Sleeve dress print reintroduced in the form of two new knit dresses, a knit skirt and a top.

Excellently crafted with the Canadian consumer in mind, Ahiri’s collections make up a very realistic day-to-day wardrobe that can be dressed up or down with a premium feel and an affordable price tag. The flexibility of the designs is easily integrated into today’s fashion and can be worn from season to season, with the ability to be layered at the same time.

Look out for more to come from upcoming designer Jafine and his collection of designs for Ahiri.

The post Ahnaf Ali & Michael Jafine: Toronto’s Latest Contemporary Fashion House appeared first on City Life Toronto Lifestyle Magazine.

Born and raised in Mexico, Alexia María’s love for fashion stems from when she was a little girl. “My earliest fashion memory is playing dress-up in my mother’s closet. She is very fashion-forward, so it was always a fun time looking through her wardrobe and trying on one of her fancy hats or pair of kitten heels.” It was through playing dress-up and growing up in her grandmother’s atelier that she really learned the ins and outs of the design process. “I learned first-hand the art and craftsmanship behind designing and creating a garment along with all the inner workings of an atelier.” We learn more about Alexia María’s inspiration behind her brand, her deep admiration for fashion icons of the 1950s, and her favourite part about being a designer.

Q: What do you love about the golden age of film and fashion?
A: I love the elegance and glamour of that era. I have always been enamoured of style icons like Audrey Hepburn and Grace Kelly. From the movies they starred in to their personal style, they always managed to look effortlessly chic.

Q: Did growing up in Mexico influence your collections in any way? If so, how?
A: When I design, I think about the women in both Mexico and the U.S. They have distinct taste and style, so my collections reflect an array of designs that cater both to American and the Latina women I grew up with.

Q: How do you describe Alexia María in three words?
A: Elegant, feminine and timeless.

Q: How do you continue to stay inspired, and what are your favourite sources of inspiration when it comes to fashion and creating your brand?
A: My inspiration is deeply rooted in the style icons and films of the 1950s. Women wore dresses with structured details and feminine silhouettes. Overskirts were very popular back then and I love incorporating that idea into my designs.

“I want women to feel beautiful and confident. I want my designs to be a reflection of their inner beauty and personality.”

Now that you’re California-based, what’s the best thing about living in California?
A: The best thing about living in California is the amazing weather and being able to enjoy the beach all year.

Q: Who have been the most interesting people who have worn your collection (including celebrities)?
A: Gwen Stefani wore our Silk Faille Convertible Skirt during the recording of her live music video at the 58th Grammy Awards. This is one of the most interesting and favourite moments because it was a live wardrobe change where she steps out of the skirt, truly showing the uniqueness and versatility of the piece!

Q: Throughout your fashion career, what has been the most valuable lesson you’ve learned?
A: The most valuable lesson I have l learned is to trust my instincts, whether it be in design, or business, to always trust myself.

Q: How is working in fashion different today than from when you started in 2014?
A: Technology has completely changed the way we work in fashion. Today’s digital space makes it easier than ever to connect with industry professionals and customers from all over the world.

Q: Your designs transcend trends and have a timeless look and feel. That being said, what is your take on trends?
A: Trends are fleeting and I design with the intention of creating timeless pieces that can be kept in your of the 1950s, and her favourite part wardrobe for the years to come.

Q: What is your favourite part about being a designer?
A: My favourite part about being a designer is hearing how women wearing my designs. Women shop with us for some of their most special occasions in life and it brings me so much joy to hear how they feel wearing Alexia María.

Q: How do you want women to feel when wearing your collection?
A: I want women to feel beautiful and confident. I want my designs to be a reflection of their inner beauty and personality.

Q: What advice would you give to young designers just starting out and hoping to make it in the industry?
A: One of my biggest pieces of advice for young people who have worn your collection for young designers is to always stay true to yourself. To trust your talent, believe in yourself, and never lose sight of your dreams. In a creative industry such as fashion, there will always be different opinions, so it is essential to never lose faith in yourself and stay true to what makes you unique.

Q: What is your definition of success?
A: My definition of success is loving what you do and being passionate about it.

RAPID FIRE

Q: What does your morning routine look like?
A: I like to spend my mornings with my daughter and husband. We usually have breakfast together and take a morning walk before I head off to the atelier for the day.

Q: What’s your best style advice you’d tell your friends?
A: The best thing you can wear is your confidence.

Q: What’s your favourite fashion accessory?
A: A pair of statement shoes. I love wearing embellished pumps.

Q: Who are your ultimate fashion icons?
A: Audrey Hepburn, Jackie Kennedy and Grace Kelly.

Q: How would you describe your personal style?
A: Feminine with a modern twist.

Q: What are your fashion staples?
A: A crisp white shirt, a pair of black cigarette pants, a versatile evening gown, and a pair of satin pumps.

Q: What is your ultimate beauty secret?
A: Staying hydrated! Water will work wonders for your skin.

Q: What are three products you cannot live without?
A: Moisturizing Soft Cream by La Mer. Olivia Palermo lipstick in the shade Rosebud. Eau Duelle perfume by Diptyque.

Q: What is your favourite meal?
A: Sushi

Q: What is an indulgent beauty habit you take part in?
A: Facials for an extra glow.

Q: What is the last thing you do before you go to bed?
A: Write my to-do list for the next day.

The post Alexia María: Timeless elegance meets classic romance appeared first on City Life Toronto Lifestyle Magazine.

WELCOME TO A WORLD WHERE DESIGNS CAN LAST A LIFETIME WITH HOUSE OF DAGMAR.

The House of Dagmar’s three founders, sisters Karin Söderlind, Kristina Tjäder and Sofia Wallenstam, infuse their latest collection with the essence of Stockholm. “We are very close to nature up here and the way of life we have here is really what we are trying to make clothes for,” says Wallenstam.

Not only does each design reflect the simplicity and timelessness of Sweden, each is made in a way that respects both planet and people. House of Dagmar works to understand supply chains and ensure workers’ rights are meeting the brand’s values.

The post Scandinavian Esthetic appeared first on City Life Toronto Lifestyle Magazine.

Canale was still in the midst of the pandemic when she had to prepare the costumes for season two. She turned to books and paintings, and she drew from her own time in India as a source of inspiration for the outfits.

The costumes play a vital role in transporting viewers to the whimsical world of the Bridgertons. Dolce had the pleasure of chatting with Bridgerton’s costume designer Sophie Canale about how she used clothing to match the characters’ emotions, and she gave us insight into some of the most stand-out looks of the season.

Where did you source the materials for Kate and Edwina Sharma’s outfits?
SC: All over. Most of the jewelry was made in-house by the jeweller. But, for the fabrics, we sourced fabrics from all over the world. I do have contacts in India, from which people buy embroidery, but for all the fabrics, I get from mills in France. I chose the colours, for instance, of Kate’s green royal-like dress, which has an art deco-inspired embroidery; I chose the colour of that velvet. Then, I chose the thread colour, and then we had that design woven on it in France. But, Italy, Spain, we get fabrics from all over Europe.

How did you use the outfits as a tool for storytelling?
SC: I think the colour palette is really important for me for emotion and the weight of the fabrics, as well. You can portray emotion using heavier fabric. When we first meet Kate, she’s got her defences up. She’s a strong character. Having a heavier-weight-taffeta silk kind of has her armour on, and, as the season progresses, we see her going into her softer fabrics, as well. So, you can use the type of fabrics, the colours and the distinctive patterns, as well. 

Can you tell me the design inspiration behind Edwina’s wedding look?
SC:  I chose a French lace. We had to make three wedding dresses, as well, because Teresa needed two as Edwina because she wore them for so long. And then, obviously, Kate is also in the same fabric. So, using a French lace, it was quite delicate. It was a floral design, but also in an Indian kind of shape. So, just kind of using the Regency period card, but also, I wanted it to have a very long train, as well. I wanted the drama because she ran back up the aisle. And so, naturally, on the width of lace, you know it’s very narrow on the loom. So, there was a lot of work into detail of how long the train could be because of all that was cut and pieced together to make the train a lot longer than the fabric allowed. So, you know, there [were] many hours of work into piecing all the lace together. 

And there was a moment when Anthony looks at Kate and sees her in a wedding dress. Is it the same wedding dress?
SC: No, it’s a different wedding dress. So, Anthony’s seeing her as Edwina. But it’s the same fabric, but the cut is slightly different. It’s lower in the neckline, and it’s shorter in the sleeve. It’s a little bit sexier than Edwina’s dress was. And that’s kind of how we wanted to portray Anthony’s vision of him looking at Kate, seeing her, you know, sexier than he sees Edwina because he’s lusting after her. So yes, it is the same dress to a certain extent. But it shows more skin, and it’s just a slightly different cut than Edwina’s dress.

In the first season, Daphne’s seen wearing that powder blue shade a lot. But, after she’s married, she’s not really seen in that shade. Was that intentional?
SC: Yeah, definitely. She moves into the mauves as she becomes a lady. Yeah. And also, then I brought quite a few blues into Eloise’s colour palette, as well. The first time we scale away at the ball, I consciously put her in blue because she’s a Bridgerton. And it’s Bridgerton blue so that gave another colour to Eloise’s colour palette.

So, were tiaras a common accessory during that time period? Or was it just because of the show that they were all constantly wearing those crowns?
SC: Yeah, it’s a tiara. So yes, tiaras showcase social status. Yeah, these women are of the highest society in London, you know, there’s a lot of money. You know, I think if you went to high society in London now to some balls, they would still wear tiaras now, right? 

They’re doing it to find their husbands, potentially. It’s a social scene, and it still does happen, to this day, that women will go to parties, and they want to present themselves at their best. And obviously, it’s Bridgerton, so it’s heightened. So yeah, we have that distinction with day wear and evening wear. Even when we have scenes in the evenings, they wear headdresses and hair decorations, but it’s only when they’re at the balls that they wear the tiaras. They’re all dressed to their finest.

Can you explain why cleavage is so popular during the regency era and why, in certain moments, you decided for the characters to be showing cleavage and sometimes they’re not?
SC: So, naturally a corset would push your bust up. Even if you’re looking at Regency corsets to Victorian corsets, that’s naturally how your body shape changes shape. That’s a reason for a corset during the Regency era. It’s kind of taken from the Empire line, and it’s taken from the Romans, in the sense that it’s about the women being sexy, that’s how they are portrayed. And also, I think there is a difference between characters and busts. I think you’ll notice that Kate, we distinctively gave a higher neckline. So basically, the bodices are different. They all have corsets on, but they’re slightly different measurements, so you can either see their bust or you can hide it. Yeah, so yeah. Maybe, as we go further along, we will see a little bit more bust, but yeah, it was a choice made that we wanted to not portray her in that way. Because it’s a journey that she’s going on. We didn’t want her to instantly be sexy.

I think that naturally when anyone’s in love, they hold themselves in different ways … even if they don’t even know they’re doing it. They naturally evolve. They’re different. You know, their confidence changes, there’s lust and love so … so we tweak those little things in the costume just to visually help the audience.

The post �������岵����ٴDz�’s Costumer Designer Reveals the Details of Kate Sharma’s Wedding Look appeared first on City Life Toronto Lifestyle Magazine.

Photo: Benjamin Kaufmann.
Production/Styling: Oliver Rauh.
Digital Operator: Vincenzo Buscemi.
Makeup/Hair: Vangelis Tzimikas / Fame Agency.
Muse: Vicky / Miha Model Management

The post Breath Of Inspiration appeared first on City Life Toronto Lifestyle Magazine.

Lifelong friends and businesswomen Julie Kalinowski and Angela Pastor love designer clothing and have found a way to make it accessible to everyone who appreciates luxury fashion. The duo met in kindergarten and became business partners in 2011 when they started doing seasonal pop-ups throughout Toronto. After many of their customers shared how they wear their formal pieces only once, they decided to test out a rack of rentals in their final pop-up shop. The rack of rentals was a success, and the pair decided to open Fitzroy Rentals in 2016, a rental dress company with pieces from prestigious designers that are available for consumers to rent. We had the chance to chat with the duo about how the pandemic has affected their business, the fashion industry and what style means to them.

Q: With second-hand clothing becoming increasingly popular, have you seen more people wanting to rent rather than purchase?
J&A: Yes, definitely. There’s a huge appetite for sustainable fashion and supporting brands that are transparent with how they source and produce their garments. The wasteful and harmful fast fashion practices have really turned consumers’ heads to second-hand and sustainable choices like renting clothes, as they give garments multiple lives and provide access to pieces you wouldn’t otherwise buy.

Q: How has the pandemic affected your business?
J&A: We rent special-occasion garments (everything from cocktail to formal gowns) so with all events being cancelled, we hit a major standstill in 2020 and the beginning of 2021. We, thankfully, saw a huge upswing in the summer of 2021 with the return of social gatherings and, more importantly, customers really wanting to dress up again after wearing sweats for a year and a half. It was amazing to see the pieces that we were renting were some of our most colourful and fantastical pieces. We saw this great resurgence of people wanting to celebrate and wear joyful and fun pieces to counteract the doom and gloom of it all. It also gave even more merit to not needing these formal-wear pieces in your wardrobe. They are truly one-time-wear pieces that you don’t need to have wastefully collect dust in your closet.

Q: Do you think Instagram has contributed to how much people purchase clothing and their increased interest in renting?
J&A: Absolutely. People want to show the best possible version of themselves on social and not repeat outfits, which has definitely helped the popularity of rentals. Renting clothes allows you to affordably wear a different outfit to every event while still being sustainable. It also gives you access to designer pieces that you might not normally have access to or be able to afford. It’s a win-win on all fronts.

Q: What is the biggest challenge of running a business in the fashion industry?
J&A: There are a ton of logistical challenges specific to the rental business, from inventory management to managing returns to cleaning garments and turning them around in time for the next rental. It’s something no other fashion business has to deal with. I think, in general, though, fashion businesses have the challenge of constantly keeping up with the trends and turning pieces around quickly, but the flip side of that is being able to get multiple uses of those garments and prolonging their life cycle through renting.

Q: How do you pick the new pieces of clothing that become available to rent to the public?
J&A: We select all our pieces directly from the designer or brand. It’s one of our favourite parts of the job! Over the years, we have really developed an understanding of what women want and what works for various body types, so we can quickly narrow down to select garments and fabrics that we know will work.

“The wasteful and harmful fast fashion practices have really turned consumers’ heads to second-hand and sustainable choices like renting clothes”

Q: What inspired you to start renting bags?
J&A: We wanted to be able to offer the full outfit, so bags are an obvious addition to an evening look. Evening bags are also the same as dresses in that you don’t need to own them. They are interchangeable items to go with the specific outfit and are not for everyday wear so they lend themselves perfectly to rentals.

Q: Favourite customer story?
J&A: There are so many! One of our favourites is always the last-minute bride, who is either eloping or had an issue with their dress not arriving in time or not fitting correctly. They usually come to us stressed out and in a panic, naturally, and leave absolutely thrilled to have found a gorgeous dress to get married in at a fraction of the cost of a typical wedding gown. When they come back after and show us the pictures from their special day, it gives us all the warm fuzzies.

Q: Who is your favourite designer?
J&A: We always love Elie Saab on the red carpet. Monique Lhuillier is another favourite; we actually carry her contemporary line in our collection.

Q: Which dream celeb would you want to work with?
J&A: There are so many! Zendaya would be an amazing one.

Q: What is your definition of style?
J&A: Feeling super-confident in your look. �������ϲʿ���ֱ�� to us is not about following trends but dressing in something that makes you feel like the most elevated, powerful and beautiful version of yourself.

Q: What is the most memorable outfit you’ve ever worn?
J&A: Our matching Hebe Studio Italian suits to fashion week. Rentals, of course!

Q: What are the three must-haves for spring/summer 2022?
J&A: Brights, a dreamy boho go-to dress and a killer jumpsuit!

Q: What are your future goals for Fitzroy Rentals?
J&A: Expansion, for sure. But, you’ll have to stay tuned!

The post Angela Pastor & Julie Kalinowski: Meet The Founders Of Fitzroy Rentals appeared first on City Life Toronto Lifestyle Magazine.

Continuing its hallmark program for students and alumni ready to take the initial steps forward in their fashion careers and practice, the Suzanne Rogers Fashion Institute (SRFI) at the Creative School at Ryerson University recently announced its fifth group of fellows entering the program. Recent Ryerson fashion design graduates Nadine Mosallam (2017), Curtis Oland (2016) and Wanze Song (2016) will be joining the institute as part of the next generation of leading fashion designers.

Founded in 2016 and made possible through ongoing support from the Edward and Suzanne Rogers Foundation, the Suzanne Rogers Fashion Institute at the Creative School is a program dedicated to supporting emerging Canadian fashion designers nationally and internationally. Since its launch, the SRFI has contributed more than $600,000 to directly support the careers of the fellows. Serving third- and fourth-year Ryerson fashion design students and recent graduates, the institute educates new talent and provides them with mentorship, awards and international opportunities, all of which are critically important for emerging designers in the exceptionally, and increasingly, competitive world of creativity.

Nadine Mosallam, based in London, England, is the founder of the womenswear label Nadine Mos. The label’s ethos is representative of Nadine’s beliefs that fashion should be ethical, accessible, supportive and slow. The label is a celebration of femininity, subtlety and a sense of beauty within everyday life. Her work has placed a strong emphasis on the comfort and power of “home,” and she has always encouraged a conversation with her audience through connection and reflection.

Curtis Oland is a Lil’wat-Canadian garment designer and interdisciplinary artist from the Okanagan Valley and is currently based in Vancouver. Having created an essence of subdued wilderness that celebrates and honours land, spirit and materiality, he brings to his designs his personal connection to his Indigenous heritage, the mountainous landscapes of his homeland, the supernatural, and his vast experiences as an international nomad.

A graduate of Ryerson University, Wanze Song is a Chinese-Canadian based in Toronto who has already worked globally under international brands including Kiko Kostadinov, Xiao Li and Canadian brand/label/designer Beaufille. Using her extensive worldview already obtained, Song is in the process of establishing her own namesake brand, focusing on innovative pattern cutting, quality and functionality while taking a patient approach to design.

“We are excited for the unique perspectives our new fellows bring to the SRFI,” says Robert Ott, director of the SRFI. “Our program has evolved since 2016 and has become a unique entity with the potential to be transformational for our fellows. Now more than ever, the fellows are looking at the industry as entrepreneurs, energized by the changing world around them and ready to make positive impacts.”

Nadine Mosallam, Curtis Oland and Wanze Song enter the program alongside five current fellows: Alexandra Armata, Sara He, Lynda Hey, Stephanie Moscall-Varey and Olivia Rubens, all of whom benefit from the incubator that is the SRFI in promoting and supporting the next generation of superstar Canadian fashion designers.

The post The Suzanne Rogers Fashion Institute Introduces Three New Fellows appeared first on City Life Toronto Lifestyle Magazine.

We spoke with the Canadian fashion designer from her atelier in Montreal, broaching topics such as how her Italian grandmother, whom she calls “the goddess of the sleeve,” has greatly influenced her collections, her fascination with Valentino and Missoni starting from an early age, dressing stars such as Angelina Jolie and the power of thinking simplistically.

Q: Your clothing celebrates femininity, while combining both comfort and refinement. Have you always wanted those qualities to come through in your style?
NT: It really started when I was young, when I was home. My parents were working, and I was always with my Italian grandmother. My grandmother actually had a house of couture in Italy, in the ’30s, the ’40s. And she came here, and she taught me what was refinement by doing incredible things, handmade, just out of the ordinary, very beautiful things. It all started there.

Q: Can you tell us what your nonna was able to teach you that you weren’t able to learn in school?
NT: To me, she was the goddess of the sleeve because, in the early days, the jacket, if you look at the ’30s and the ’40s, the women’s jackets were so well-constructed; the shoulder pads were very particular after the Second World War. She used to dress the German soldiers’ wives in Italy, during the war, even after the war. Those jackets, like you see in the movies, were so perfect. She taught me the sleeve. Th e sleeve is something that not many people can master. Not even at school, believe me. Even today, it’s still a big challenge for me, and I always rework it, rework it until it’s … is it perfect? I don’t believe in that. I try and that, to me, is the first thing that I remember.

She was a bit of a rebel. If you would say “white,” she would say “black.” She was always the opposite of everything — a rebel, I guess. She used to cut in the fabric with no pattern, and I’m like that. When I do my collections, I don’t make the patterns. You usually are supposed to make a pattern right away. I open my roles and I just cut. It’s a little crazy, so she taught me that.

Q: What did your path look like in becoming a designer? Did you always know you wanted to pursue this while you were in school? Was your family supportive?
NT: I have an artistic family. In some ways, everything was homemade. My father was an engineer and made everything with his hands. He built our country home; it took him 20 years. My mother is a ceramic artist. She does ceramic art, and, so, my whole family, even the lampshades were made in crochet, everything you could imagine, so I grew up in that surrounding, and, I guess, a big influence for me on my future. I guess they helped me very much, not financially. I started from scratch.

Q: You say that when you were a teenager, your room was covered with photos from the collections of Valentino and Missoni. There’s obviously a clear pattern with those designers; they have the knitwear and the jacquard. Was that something that you were drawn to because of your grandmother?
NT: I think so, yes. She always made things not in the norm. She would cut special cuts. For example, she would cut a jacket and she would make one side of the collar as a normal collar, and the other one she’d go wider. She was very not of her time, avant-garde. I love that, and that’s what made me be different. Missoni was a big influence, still is a big influence, for me. I always believed it.

I remember when I did my first show in 1989. I remember I had done some jackets, because you’d actually go with “la société,” you go with what’s in the trend, what’s in. And at that time, jackets were so in, very constructed, shoulder pads. I remember doing my first collection, but it wasn’t me.

Then, in 1990, I did fashion week in Toronto and I did knits, and buyers did not understand, believe me. They didn’t get it. Everyone was so structured, and then I come out with a collection full of knits that I weaved here in Montreal and I continue doing that. So, I could say that I am the revolutionary Canadian designer in knitwear in the ’90s, for sure, and I still am. And more and more, I started to abandon the structure, the jackets, the pants — it was not for me. So, I think, the important thing is to continue to do what I love and what my heart says. I don’t look at other collections.

Q: Can you speak on the “zero kilometre” concept and how this contributes to your company acting sustainably?
NT: We all need to work for a better world. We have to be more conscious. A lot of people are not conscious enough these days. It’s one, it’s a lot of things; it’s not just one thing. I do try my best for our environment here at the atelier. I’m close to Charbonnel, so everyone is around here, so everything is made here. I believe in that so much, and I always did. Today, I can see the demand, also from the buyers and stores, to buy Canadian.

Q: Can you also tell us about the scrapping process that you’ve implemented?
NT: Yes, we used to throw out our fabrics. There are so many scraps. So now I’m helping out these young designers that make recycled collections.

Q: How has the pandemic affected your business, as well as your views on life?
NT: At the beginning, I felt a little anxious because it was an unknown for everybody. We didn’t know what was going to happen to the world … That being said, it gave me an incredible energy of survival, in a way. With that energy, we have done spectacular things that I’ve never done in my 32- year [career]. I am very excited for our spring/summer 2022 collection. We worked harder because of that energy, so it made us evolve even faster. We created incredible things we haven’t done in the past. The online business boomed unexpectedly. We are shipping everywhere around the world … from Russia, to Australia, to Japan, everywhere. Everywhere. It just fell from the sky. I haven’t taken a day off in two and a half years, even on weekends. The pandemic was really positive for us. I think it was a good reflection for many people all over the world — it was a reflection.

Q: What makes you proud to be a Québécois designer?
NT: My brand was created here, and I always believed in it. I’ve grown, and, yes, I’m very proud because I’m made here. This is who I am. Mind you, I go to Italy, and they call me “the American,” and then when I’m here, they call me “the Italian.” So, I don’t know where I belong anymore. Most of all, I’m proud of the trust that I have with my stores and all these years. I’ve been selling to these stores for many, many years that are still around, and that’s so beautiful.

Q: You said that to stay small but united, that’s the key to becoming “rich.” Can you expand on this idea and what it means to you beyond the clothing world?
NT: When people actually physically come into my atelier, they come and they’re like, “Well…,” and I say, “We’re small, but we’re big.” I think that it’s my motto, like everyday I think like that … because when you think simplistically, and you appreciate every small thing, then every big thing happens right after. And I always thought like that. I never thought of becoming somebody else I’m not. And we do one piece at a time, and I think we enjoy what we do. We’re a small team and we love each other. And we come in and we smile because life is about the small moments — that’s all it is. They’re the most precious things. Every small thing is important to me. Think small, I believe in that.

Q: How would you describe your own style?
NT: Black, black, black. I would say I’m erased from what I make. It’s very profound. I need to be a blank canvas. When you’re a true curator, you have to disassociate a bit. I dress a lot of important women, and they tell me, “How come you’re not wearing one of your dresses?” And I say, “How can I wear my dresses when I’m working? I’m full of holes on the cutting table.”

Q: What do you believe are the skills to become a successful designer?
NT: The first thing would be to have lots of talent, that’s important. Second of all, if you want to be a creator — because, to me, a designer is a creator — you have to make sure to create a product that you don’t see elsewhere because the world is full of too much clothing, everywhere. I always say to these young designers out there, “For you to succeed, you have to make a collection that’s true to you and not seen around … Today, if I open a store, and I’m a buyer and I have a big budget, it’s my choice to buy anyone I want in the world, so why would I choose you?” That’s what I would tell a young designer.

Q: What does style mean to you?
NT: �������ϲʿ���ֱ�� to me is personal. I think, today, women are unique. It’s the way you see it interpreted. Even though I show femininity and refinement, I dress the women of the world, and so I see all kinds of women wearing that one dress. You would see it so different on so many different women, and that’s extraordinary because it’s their personality and their way of showing it.

Q: Who are some women you’ve had the pleasure of dressing?
NT: Just recently, I love dressing Hélène Florent. She’s an actress from Montreal. She’s going on the red carpet soon, but she’s an incredible true actress. Angelina Jolie is the same thing. When they’re not acting, they’re a completely different person. They’re so natural, no makeup, so beautiful. I love that aspect, and I love dressing Hélène, and it reminds me of Angelina, too, because I love her simplicity.

Q: What is the definition of success to you?
NT: Failure.

Q: What is your morning routine?
NT: Feed the dog. Take the dog out. Make breakfast for my daughter, make breakfast for me and bring my daughter to the train station because we live in the woods. I built my house in the woods, during COVID-19. And then I’m at work; I start at 7:15 a.m.

Q: Did you move from the city to the country?
NT: I did, I did. One of my dreams was to design my house in a forest and, three years ago, I found the forest on the Island of Montreal. I’m still on the island, but I’m far away, near the water. So, I actually built the house that I designed.

Q: What’s your favourite beauty product?
NT: Armani silk foundation. The quality is incredible.

Q: Where do you love to travel?
NT: Besides Italy, Italy is my favourite. My family and I have a house in Abruzzi, on the water side, and so that is my favourite of all, and my second favourite is Antigua.

Q: What’s one place you love in your city?
NT: Il Cortile, because it reminds me of Italy. It’s right in the heart of downtown Montreal.

Q: What is the definition of happiness to you?
NT: To love. The four-letter word. LOVE. To love.

INTERVIEW BY ESTELLE ZENTIL

The post Nadya Toto: Canada’s Knitwear Revolutionary appeared first on City Life Toronto Lifestyle Magazine.

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The post Design News: Spring Edition appeared first on City Life Toronto Lifestyle Magazine.