TEXT BY SOUZAN MICHAEL GALWAY. PHOTOGRAPHY VIA LAUNCHMETRICS.COM/SPOTLIGHT. LA VIE EN ROSE How blush shed its ’80s reputation and became a Gen Z staple. (SEE PAGE 56.) Johanna Ortiz Fall 2023 CANVAS HAIR • SKIN • EYES • LIPS • NAILS • ETC.
M usic stadium tours are known for being many things. (Think intense, physically demanding and long.) An opportunity for makeup experimentation and complex beauty looks? Not so much—unless you’re Alexx Mayo, that is. The makeup artist has been working with singer and rapper Lizzo for the past six years, and during that time, he has created countless show-stopping looks that have solidified him as one of the most impressive celebrity makeup artists working today. At the end of July, Mayo completed a 10-month-long run of doing Grammy Award winner Lizzo’s makeup for The Special Tour, which was in support of her album Special. “Somebody recently told me that they can’t think of another artist who has changed their look on tour as much as Lizzo has,” says Mayo over the phone. “I thought of icons like Madonna, Janet and Cher, and I realized it’s true. They each have a look that’s specifically designed for a tour, and it’s very consistent. You know what the look is going to be every night.” Mayo, on the other hand, comes up with Lizzo’s varied makeup looks on the morning of each show. And we’re not talking about deciding between winged eyeliner and a smoky eye. Lizzo’s The Special Tour makeup has included multicoloured polka dots rising up to her forehead, neon negative-space eyeliner and a graphic cat-eye topped with gluedon black stars. “I was wrapping a gift for someone and had extra confetti stars from the craft store,” says Mayo of the celestial look. “I thought they could be useful.” It’s not that Mayo intentionally avoids repeating makeup looks—“it’s just organic, in-the-moment creativity,” he says. His star client’s unwavering confidence helps, too. “There’s no mirror in front of Lizzo while I work,” says Mayo. “So she has no idea what she looks like during the process, but she has the confidence to know that she can rock anything. I think that that attitude helps everyone on the team, too.” While the vibe in the makeup room is free-flowing and creative, both Mayo and Lizzo have just one non-negotiable: Each look has to be finished with false lashes. Mayo relies on Ardell’s vast selection of lash styles to help execute his artistic vision each night. “I just love the glitz and glam of false lashes,” says Mayo. “They help Lizzo emote when she’s performing.” Mayo started wearing makeup himself at age 14, around the same time he came out as gay, but he certainly wasn’t donning the vibrant looks he’s known for creating today. “I hung out with the punk and goth kids,” says Mayo. “We were all really misunderstood, and makeup was my way of expressing my sadness and anger. I thought that wearing dark eyeliner and eyeshadow would make people back off from me and my sexuality—and it worked.” So how does one go from being a misunderstood goth kid in Los Lunas, N.M., to the go-to celebrity makeup artist for bright, vibrant looks? “It’s the music,” he says. “The makeup is what Lizzo’s music sounds like to me. It’s colourful, it’s rainbows, it’s glitter. It’s just happy.” n PHOTOGRAPHY: LIZZO AND MAYO VIA @IWANTALEXX/INSTAGRAM; LASHES COURTESY OF ARDELL; SWATCHES AND STARS VIA ISTOCK. RAINBOW BRIGHT Makeup artist Alexx Mayo is flipping the concept of tour makeup on its head by creating a different intricate look for each stop of Lizzo’s The Special Tour. By SOUZAN MICHAEL GALWAY Ardell Active Lash in “Gainz,” $11 CANVAS CELEBRITY MAKEUP 52 SEPTEMBER 2023
Bouncy Beauty Introducing: the key to a healthy, plump complexion. Created for philosophy S ummer’s in full swing and there’s really no better feeling than taking a break from your heavy winter foundation and letting your skin shine during these warmer months. And one way many people are achieving this healthy glow is through the buzzy “bouncy skin” trend. With over 1.5 million views on TikTok alone, bouncy skin is the youthful appearance of smooth, firm and plump skin that’s more than just aesthetics. It’s also a sign of good hydration, healthy elasticity and plenty of collagen. Thanks to the philosophy dose of wisdom bouncy skin reactivating serum, this look has never been easier to achieve. Established in 1996, this beloved brand is certified cruelty free by Cruelty Free International and is known for its gentle, top-notch products that cater to diverse skin types. It takes the same approach with its new, daily-use philosophy dose of wisdom serum. Think of this serum like a cup of coffee. It wakes up your complexion from the inside out through deep hydration while also tackling concerns like fine lines, radiance, tone, texture and firmness. But here’s the real magic: once applied, it amplifies the potency of skin-strengthening actives and delivers textures that actually feel good—because sticky, oily and irritating formulas aren’t worth wearing. Packed with active ingredients working individually and together, the serum instantly plumps while also improving your skin’s natural structure over time. Just apply on a clean, dry face, morning and night, follow it up with the rest of your routine, and let the winning ingredients do the rest. Intrigued? Below, we break down how those ingredients actually work and why they’re the key to getting the bouncy skin of your dreams. Molecule-Grafted Vitamin C Known as the key to a healthy-looking complexion, collagen causes that natural bounce in our skin. And though we’re born with plenty of it, collagen begins to taper off at the age of 25. That’s why, with molecule-grafted vitamin C as a key ingredient, the philosophy dose of wisdom serum boosts collagen through a potent, non-irritating delivery for the return of a silky, plumped face. Molecule-Grafted Hyaluronic Acid Hyaluronic acid, the glow-enhancing ingredient that helps maintain the stretch and flex of the skin, already exists in your body, but we lose some of it daily due to factors like the weather, the environment, and the natural effects of aging. Using moleculegrafted hyaluronic acid, the philosophy dose of wisdom serum reinforces the skin’s natural hyaluronic acid while providing in-depth, long-lasting hydration. Patented Vitality Booster Loaded with oxygen, squalene and reishi mushroom extract, this unique booster helps increase cell turnover, which enhances collagen production and reduces blemishes; hydrates; and reduces signs of aging and fatigue. Together, these ingredients help the skin function at its peak to remain energized and, of course, bouncy. In a study with 102 participants, 92 per cent said their skin felt plumped, revived and better rested after 8 weeks of using the philosophy dose of wisdom serum. VISIT FASHIONMAGAZINE.COM TO LEARN MORE ABOUT THE PHILOSOPHY DOSE OF WISDOM SERUM philosophy dose of wisdom
I f perfecting the “model off duty” style were an Olympic sport, Hailey Bieber would be a gold medallist. The 26-year-old model turned brand founder is a Gen Z fashion favourite and a fixture on Pinterest thanks to her signature look: an oversized blazer paired with minimal makeup, glowing skin, sleek hair parted down the middle and almond-shaped nails. A little over a year since its launch, Rhode, her tightly curated brand of thoughtfully formulated basics (which expanded into Canada this past spring), regularly boasts a waitlist of over one million across its handful of products. In today’s ultra-saturated beauty climate, which sees new brands launching at head-spinning speeds, it’s safe to say that Rhode has cut through the noise to become a smashing success. The question is “How?” “The beauty industry is very crowded,” says Bieber on a video call. “There are so many amazing brands out there. I wanted to be a brand that could put out that one really good moisturizer or that one really good lip treatment.” Proving that her commitment to minimalism is more than just an aesthetic choice, Bieber launched Rhode with only three products: Peptide Glazing Fluid ($44), an instantly plumping and hydrating gel serum; Barrier Restore Cream ($44), a barrier-supporting cream moisturizer; and three flavours of the beloved Peptide In a sea of celebrity beauty brands, Hailey Bieber’s Rhode manages to stand out. Souzan Michael Galway talks to Bieber about what makes the minimalist brand different. On the RHODE CANVAS REGIMENS 54 SEPTEMBER 2023
1. “This has a nice texture that’s perfect for layering. I mix and match shades depending on the look I’m trying to achieve or use it on both my lips and eyelids if I want a monochromatic look.” Milk Makeup Lip + Cheek Cream Blush Stick, $32 2. “I love the creamy texture. It’s subtle, so one swipe provides a nice sheen, or you can build it up for a more intense, bold finish.” Tom Ford Shade and Illuminate Cream Contour Duo, $115 3. “This product makes it so easy to enhance your features. I gravitate toward the pinky-taupe shades because they’re similar to my own lip colour, which gives me a naturallooking contour.” Tower 28 Beauty OneLiner Lip Liner + Eyeliner + Cheek Pencil, $19 4. “I layer this on top of lip liner for an extra-juicy finish. It smudges the colour evenly over my lips, which I love.” Rhode Peptide Lip Treatment, $24 5. “I’ve been using this on my brows for years. It defines my natural shape and sets them in place all day.” Anastasia Beverly Hills Strong Hold Clear Brow Gel, $30 3 4 1 5 2 PHOTOGRAPHY: (THIS PAGE) BIEBER BY ADRIAN MARTIN; BLUSH SWATCH VIA ISTOCK; (OPPOSITE PAGE) BIEBER BY STEVIE DANCE. Lip Treatment ($24 each). The entire lineup can also be purchased via The Rhode Kit ($142). “The idea behind the launch was ‘What are the three products I couldn’t survive a flight without?’” Bieber explains. “Or ‘If I was stranded on a desert island and could only have three products with me, what would they be?’” After all, during her years in the modelling industry, Bieber learned the hard way that less is definitely more when it comes to skincare. “When your skin barrier is healthy and happy, your skin is healthy and happy,” she explains. “But so many things can disrupt your barrier, like travelling, the environment and using harsh products. When I was a teenager, if I was having any sort of breakout, I thought throwing salicylic acid on it would fix it. You just want to get rid of it so you try to burn it off. But Rhode is focused on hydration and a healthy barrier.” The clean, minimalist look that Bieber has become known for is Rhode’s aesthetic as well—right down to the brand’s muted grey-and-white packaging. “My technical title at the brand is founder and creative director,” says Bieber, who counts fellow beauty-industry giants Jen Atkin, Pat McGrath and Joanna Czech as mentors and supporters of her brand. “Coming from the fashion industry, I’m obsessed with imagery, so things like packaging and branding take a lot of time because I’m so specific about the little details.” Bieber believes that those details only strengthen her connection with her fans and contribute to the success of the brand. “I feel like I’m in sync with my audience,” she says. “That makes me really happy because that’s such a big part of creating a brand for people who look to you for your style or your skincare routine or your aesthetic.” Perhaps Bieber has indeed cracked the code to launching a successful celebrity beauty brand. Rather than attempting to be everything for everyone, she connects with and speaks to the consumers whose Pinterest boards she frequents. And clearly it’s working. So what’s next for Rhode? Growth and expansion, of course—into new markets (Rhode launched in the United Kingdom this past spring) and new categories. The brand’s latest launch is Glazing Milk ($44), a silky ceramide-rich facial essence that boosts barrier function and leaves skin hydrated and glowy. But don’t expect a sudden explosion of product offerings from Rhode. “I think a 10-step routine is unnecessary,” says Bieber. “But that’s just me.” n Top Shelf Hailey Bieber’s tried-and-true beauty essentials. SEPTEMBER 2023 55 REGIMENS CANVAS
PHOTOGRAPHY: BACKSTAGE BEAUTY VIA LAUNCHMETRICS.COM/SPOTLIGHT; ORTEGA BY AMY SUSSMAN/GETTY; CHAMBERLAIN BY JAMIE MCCARTHY/GETTY; BLUSH SWATCH (RIGHT) VIA ISTOCK. A fter decades of being pushed aside for other cheek enhancers like contour cream, highlighter and bronzer, blush is back in its rightful spot in a makeup routine: front and centre. “Gen Z has fully embraced glowing skin and makeup that enhances natural features,” says makeup artist Lilly Keys, whose client roster includes A-listers Olivia Rodrigo, Addison Rae, Jenna Ortega and Emma Chamberlain. “Blush is the easiest way to achieve a healthy, youthful glow.” This isn’t the makeup category’s first rodeo, though. Back in the ’80s, blush reigned supreme. The decade was known for a certain “just ran an entire marathon” flush, and It girls like Grace Jones and Debbie Harry were famous for their overly rouged cheeks. But once the over-the-top decadence of the ’80s passed, the ’90s and aughts ushered in more ROUGE How did blush shed its powdery, ’80s reputation to become the must-have product of a generation? By EMILY MACCULLOCH RENAISSANCE Maryling Johanna Ortiz N aeem Khan CANVAS TRENDING 56 SEPTEMBER 2023
neutral tones. Our rose-coloured glasses came off, and beauty trends were all about Kardashian contouring and cheekbones so defined it seemed like they might be visible from outer space. During the rise of Instagram, blush was reduced to an afterthought, as more dramatic makeup looks (like sharp winged liner, bold brows and, of course, a face full of contour) became king. And their seemingly unrelenting reign lasted for more than a decade. But with the beginning of the pandemic came an understandable desire to bring colour and radiance back into our faces. Forget the chalky-grey undertones of contour creams; daily Zoom calls required rosy, glowing cheeks. Then in September 2020, Selena Gomez launched her cosmetics line, Rare Beauty, and released the now-viral Soft Pinch Liquid Blush. The ultra-pigmented products started making waves almost immediately. “I was working at Sephora when Rare Beauty launched,” says digital creator and makeup artist Sean Anthony (@Seananthonyv), who now shares makeup tutorials with his over 900,000 TikTok followers. “It was like nothing we’d ever seen before.” Shades were flying off the shelves and selling out for long stretches of time—in stark contrast to just a few years prior. “When I started working at Sephora in 2016, many cream blushes were being phased out,” presumably due to a lack of consumer interest, says Anthony. Today, blush is a must-have makeup product, with brands like Charlotte Tilbury, Nudestix and Saie seeing huge success with cream and liquid formulas over the past two years. According to the global payment and shopping service app Klarna, there was a 161 per cent increase in Canadian sales of liquid blush between November 2022 and April 2023. More specifically, there was a whopping 1,408 per cent increase in pink-blush sales in Canada between April 2022 and April 2023. And who can deny the chokehold the colour pink has had on us for the past several years? From Glossier’s millennial pink a handful of years ago to Barbie pink today, the fashion and beauty industries’ colour of the decade is still going strong. La vie en rose, indeed. Cream and liquid blushes deliver healthy-looking, luminous skin that’s beloved by makeup-savvy Gen Z, the driving force behind many of today’s big makeup trends. And unlike their powder-blush predecessor, these creamy formulas are loved for their foolproof application and youthful glow. Powder formulas have no place in the recipe for radiant “glazed doughnut” skin. Keys stockpiles versatile creams in her kit because they can be applied on the fly, using just her fingers. “When you warm up the product, it sinks into the skin for a dewy, sexy, flushed appearance,” she says. For the generation that values authenticity and individuality above all else, another reason blush is enticing is that its purpose isn’t to cover up, conceal or carve out angles and shapes that aren’t naturally there. It’s your natural flush—but better. “Blush encourages people to embrace their own unique beauty,” says Keys. “And it’s a confidence booster.” For Anthony, part of the appeal of cream blush is its popularity within the Korean and Japanese beauty communities, both of which have a major influence on North American trends. He recalls that when he was growing up in the Philippines, blush was a makeup product everyone wore, even during the contouring craze in the West. “The routine in the Philippines has long been blush and lip tint—that’s it.” Meanwhile, TikTok is spearheading North America’s blush comeback. Creators who feature traffic-generating products like Rare Beauty’s Soft Pinch blushes and Charlotte Tilbury’s Beauty Light Wand are seeing big numbers as a result. Currently, the hashtag #blush has a staggering 4.8 billion views on the video platform, with #RareBeautyBlush clocking in 1.5 billion eyeballs. In fact, many of the makeup trends that have taken hold thanks to TikTok have been blush-centric. (Think of the recent “sunburn makeup” and “cold girl makeup.”) “I love cream blushes because they give skin a more natural look,” says beauty and lifestyle creator Jawaria Khalid, who boasts over 1.2 million followers on her TikTok account, @Jawarshere. Blush has always played a key role in Khalid’s content, including her popular “Get Ready With Me” videos. » BLUSH IS ENTICING BECAUSE ITS PURPOSE ISN’T TO COVER UP, CONCEAL OR CARVE OUT ANGLES AND SHAPES THAT AREN’T NATURALLY THERE. “IT ENCOURAGES PEOPLE TO EMBRACE THEIR OWN UNIQUE BEAUTY.” SEPTEMBER 2023 57 TRENDING CANVAS
CREAMof the CROP One swipe of these velvety formulas will give you bouncy, rosy, FYP-worthy cheeks. Charlotte Tilbury Beauty Light Wand in “Pinkgasm Sunset,” $53 Juvia’s Place Blushed Liquid Blush in “Sweet Nars Berries,” $24 Afterglow Liquid Blush in “Orgasm,” $39 Nudestix Nudies Blush Stick in “Hot Fire,” $39 Rare Beauty Soft Pinch Liquid Blush in “Happy,” $30 Summer Fridays Blush Balm Stick in “Warm Desert,” $36 Urban Decay Hydromaniac Blush Glow Hydrator in “Wrecked,” $29 Tower 28 BeachPlease Luminous Tinted Balm in “Dream Hour,” $27 “I always include a clip where I’m putting on blush because it’s the most hyped part of my makeup routine,” she says. “People know me as a blush girl and look forward to seeing different types of blush on my skin tone.” Anthony says he also sees a noticeable boost in views when he posts about blush, specifically the Rare Beauty formulas, even though the product is no longer a new launch. “I find that featuring those blushes is a no-brainer if I need a boost in views,” he says. “People get so invested when they see that packaging.” Now that it has conquered contouring and taken over TikTok, what’s next for cream blush? Hopefully more inclusivity and shade offerings for deeper skin tones. “For the longest time, it was hard for people with melanated skin tones to find blush that showed up on their skin,” says Anthony. Earlier this year, makeup brand Juvia’s Place launched an ultra-pigmented cream formula in deep shades, like burgundy and burnt red, that quickly went viral on TikTok, signalling that the appetite for cream blush is still growing. And even though the beauty industry is famously fast-paced and fickle when it comes to trends, it appears that blush has some serious staying power this time around. n Christian Cowan PHOTOGRAPHY: (THIS PAGE) BACKSTAGE BEAUTY VIA LAUNCHMETRICS.COM/SPOTLIGHT; (OPPOSITE PAGE) PRODUCT COURTESY OF DIOR; SPA EDEN-ROC BY MATTHIEU SALVAING. CANVAS TRENDING 58 SEPTEMBER 2023
Aging can be frustrating and intimidating,” says Dr. Patricia Ogilvie, scientist, dermatologist and founder of Munich’s Skin Concept. “It also happens to be fascinating from a scientific standpoint.” Ogilvie was one of a handful of globally renowned skincare and scientific research experts in attendance at a conference hosted by Dior in the south of France to present the brand’s newest launch, Dior Prestige Le Nectar Premier. The breakthrough formula is a massive undertaking, not only because it’s the brand’s first serum that’s able to address all three visible dimensions of skin aging (volume loss, texture changes and discoloration) but because it’s backed by research conducted by Dior’s Reverse Aging board, which includes experts in the fields of dermatology, life sciences and even psychology. In a recent 5,000- person study about age perception, Dior Science found that 80 per cent of men and women aged 18 to 80 fully accept their age. Better yet, 95 per cent of participants said they feel younger than they are. “This speaks to the progress that science and medicine have made,” says Ogilvie. Dior’s latest skincare launch is backed by impressive research that’s bridging the gap between skincare and psychology. By SOUZAN MICHAEL GALWAY Even so, 97 per cent of participants revealed that if given the opportunity, they would choose to be—not just look— younger. Ogilvie says this is due to a growing discrepancy between chronological age (how old you are) and biological age (how old your cells are), especially for women. “As a dermatologist, I meet women every day who feel younger than the generations before them did at their age,” she says. These patients have enjoyed great accomplishments and excelled in their careers but tell Ogilvie that they don’t necessarily see this vitality being reflected in their appearance. “Reverse aging, from my perspective, means closing the gap between how we feel and how we look,” says Ogilvie. “Bringing these two elements closer together is empowering.” Of course, there are two main ways to target—and reverse— signs of aging: injectables and skincare products. In the latter category, Le Nectar Premier specifically targets senescent cells, a relatively recent discovery of cells that are not quite young (that is, dividing and constantly creating new cells) or old (and thus discarded by the body). They exist in a problematic inbetween state that speeds up skin’s aging process. “Cellular senescence is an irreversible state in which cells stop performing major functions,” says Dr. Laure Crabbe-Vert, a scientific coordinator at LVMH Recherche. The stressor at the root of senescence is glyoxal, which can be found in food, drinks, pollution and textiles. “It triggers skin cells to release certain molecules, forming an age signal network,” says Crabbe-Vert. “This molecular pathway spreads the message of aging to surrounding cells and amplifies the impact of senescence.” Le Nectar Premier is able to stop senescence before it happens, reverting skin to a past version of itself. “After a month of use, it’s like the fine lines of the past seven years never existed,” says Virginie Couturaud, Dior’s scientific communications director. So, what’s the difference between an anti-aging product and a reverse-aging product? “I’ve never liked the term ‘anti-aging,’” says Ogilvie. “It’s a resistance to something that’s inevitable. And it doesn’t fully encompass the opportunities that science provides us with today. By reprogramming the aging process of cells, we can actually make them behave younger. Reverse aging helps people live the period of their life in which they felt the best, for longer.” It is true, after all, that the skincare industry would cease to exist—let alone grow and expand at its current astonishing rate—if its results were merely skin deep. “When we improve the surface, it goes way beyond the surface,” says Ogilvie. “It has a deep psychological impact.” n Head Trip Dior Prestige Le Nectar Premier, $850 Dior Spa Eden-Roc SEPTEMBER 2023 59 OUT OF OFFICE CANVAS
PHOTOGRAPHY: MAIN COURTESY OF CAROL’S DAUGHTER; CELEBRITIES VIA GETTY. LEAD THE WAY As Carol’s Daughter turns 30, founder Lisa Price reflects on the lessons she’s learned at the helm of one of natural hair care’s leading brands. By SOUZAN MICHAEL GALWAY T he origin story of Carol’s Daughter is a common one within the beauty industry: The brand started in its founder’s kitchen. But what began as a few DIY body butters sold at Lisa Price’s church market (thanks to the encouragement of her mother, Carol) has become one of the hair-care industry’s biggest success stories. In fact, the brand went on to become one of the first Black-owned product lines to have a flagship store and was even featured in the Smithsonian National Museum of African American History and Culture. This year, Carol’s Daughter, which recently landed in Canada, turns 30 and remains a staple for anyone with textured hair. But that was never the plan. “I just wanted to make a connection with people and help them understand how to take care of their hair,” says Price. “I never wanted people to feel like my hand was in their pocket.” As a Black woman coming of age in the ’70s and ’80s, Price says she was lucky to have grown up learning about hair health and hearing the women in her family speak fondly about their own hair, giving her permission to do the same. “My mother, aunts and grandmother did not talk about hair in a negative way,” says Price. “I didn’t grow up thinking ‘The straighter my hair, the better I am.’ Thank God.” Price says her mother (the inspiration behind the brand’s name) “didn’t like anything that made you look like someone you weren’t.” This strong sense of self allowed Price to stay focused through the early stages of launching Carol’s Daughter. The brand’s rise to success was somewhat of a slow burn; it launched in 1993 and steadily gained traction in the industry. But Price says it wasn’t until 2001—eight years into the business—that she was financially stable enough to take out a loan. And even then, she was prevented from doing so at her neighbourhood bank—a decision she feels was racially motivated. “There was a question about whether or not the money I’d be bringing in would be legitimate,” she says. “I had to prove I wasn’t a criminal.” Today, Price says there’s still much work to be done, but she’s thrilled to see more representation and Black brand founders in the industry. “At least now, retailers are aware that there should be more diversity,” she says. “Before, it wasn’t even a conversation. You just figured stuff out on your own because you knew somebody was gonna say no to you.” 60 SEPTEMBER 2023 CANVAS TEXTURE TALK
The turning point for Carol’s Daughter came in 2002, when Price appeared on The Oprah Winfrey Show, giving the brand a major boost (often referred to as “The Oprah Effect”). From there, the direct-toconsumer brand launched on HSN and then several years later in Target. In 2014, Carol’s Daughter was acquired by L’Oréal USA. Price stayed on as founder, overseeing product development, brand vision, education and more (a role she still holds today). While this milestone was a massive accomplishment for her and for the brand, she expected it would be received with slight pushback from consumers. “I anticipated concern,” she says. “I anticipated comments like ‘I hope the formulas don’t change.’” So she recorded a personal video announcement, explaining that the acquisition meant Carol’s Daughter would be in more stores and thus become even more accessible to customers. Unfortunately, the message went largely unheard. Instead, she was called a sellout; customers were angry that their beloved products were no longer going to be produced by a Black-owned brand. “I was surprised at how negative and visceral the reaction was,” says Price. With time, she came to understand her customers’ frustrations. “I had to step back from the situation and look at it through the lens of the consumer,” she explains. “I realized it wasn’t about me. It was about our history. When we, as Black people, have trusted others with our things, they have stolen from us. I learned that my role is to mentor other entrepreneurs and cheer them on so this gets easier each time one of us does it.” Price’s ability to not only keep her cool in stressful situations but also lead the way as a pioneer in the industry has been instrumental in the decadeslong success of Carol’s Daughter. However, her role as a leader didn’t come naturally to her. “I needed to sit at the head of the table, although it was uncomfortable and it wasn’t where an introvert wanted to sit,” she says. “But I had to learn how to lead—even if I didn’t know exactly where I was going.” n CELEB SUPPORTERS Carol’s Daughter has an extensive roster of A-list fans. Lisa Price reflects on these pivotal meetings years ago. “I met him in 2003; I always called him Mr. Carter, and he called me Mrs. Price. I’m not sure why. It’s just a thing we did. He was a fan of our now discontinued Ocean body-care line.” “She was part of a campaign we shot in 2011. What was revolutionary about Cassie’s ad was that she had recently shaved one side of her head. That was not a thing back then and certainly not in a hair campaign featuring a beautiful head of hair. I loved that about her.” “During the taping of The Oprah Winfrey Show in 2002, Oprah mentioned that she’d been gifted with Carol’s Daughter products by Halle Berry. I had no idea Halle knew about the brand, so I later sent her a gift basket as a thank you, and she sent me a thank-you note back. That made me melt.” “During that episode, Oprah said our foot cream was fantastic. At the time, we had a lotion and a foot butter. We didn’t know which one she meant so we put both on our website’s home page. After the episode, we sold a ton of foot products.” “Jada was into self-care before that term was a thing. She and Will eventually became investors, but they had been using Carol’s Daughter products long before that. Years before we met, Will’s assistant actually called me once to ask about new launches and I heard Will’s voice in the background. I almost passed out.” “Mary was a fan of our Almond Cookie Shea Soufflé. We worked together for a few years, creating and selling her fragrances. She also became an investor in 2006.” JAY-Z CASSIE HALLE BERRY OPRAH MARY J. BLIGE JADA PINKETT SMITH AND WILL SMITH From left: Carol’s Daughter Goddess Strength Shampoo ($15), Goddess Strength Hair & Scalp Oil ($17) and Goddess Strength Leavein Cream ($17) SEPTEMBER 2023 61 TEXTURE TALK CANVAS
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TEXT BY BERNADETTE MORRA. PHOTOGRAPHY BY GREG SWALES. ON LĂZĂREANU: DRESS, $1,230, MANCE. BOOTS, $2,420, SAINT LAURENT BY ANTHONY VACCARELLO. NECKLACE, $7,560, BULGARI. ON STAM: BLAZER, $520, NORMA KAMALI. NECKLACE, $13,560, DINH VAN. ON ROCHA: JUMPSUIT, $4,095, MOSCHINO. BRACELETS, FROM $185, DEAN DAVIDSON. ON OWEN: BLAZER, $795, PANTS, $350, AND BOOTS, $450, BOSS. NECKLACE, $7,400, BULGARI. ON HARLOW: COAT, $2,375, TOP, $570, AND SHORTS, $480, MANCE. BOOTS, $2,400, AMI. EARRINGS, $225, DEAN DAVIDSON. SUPER POWERS Five of Canada’s best models ever come together for an epic day of fashion fun. (SEE PAGE 72.) DRESSING • DREAMING • DISCOVERING INSPO
HOUSE CALL Photography by NICK MERZETTI Styling by ASHLEY GALANG Creative direction by GEORGE ANTONOPOULOS Show up with Gucci’s classic horsebits and interlocking Gs to make it clear you’ve arrived. Left: Top, $1,560, pants, $1,705, shoes, $1,490, hat, $610, belt, $855, and legwarmers, $1,165, Gucci. Right: Dress, $3,480, shoes, $1,225, gloves, $840, and bag, price upon request, Gucci.
Dress, $17,915, left earring, $555, right earring, $1,060, gloves, $1,100, and bag, $4,240, Gucci.
Blazer, $5,670, top, $1,420, bra, $1,740, pants, $1,740, shoes, $1,225, earrings, $555 each, and belt, $855, Gucci.
Blazer, $5,815, top, $1,705, skirt, $2,130, and hat, $780, Gucci.
Coat, $12,245, bra, $1,740, skirt, $2,130, shoes, $1,280, earrings, $555 each, and bag, $5,015, Gucci.
Left: Dress, $23,195, undergarments, $1,740 for the set, shoes, $1,280, and earrings, $1,060 each, Gucci. Right: Top, $8,790, pants, $1,750, boots, $1,975, and bracelet, $965, Gucci.
Coat, $6,950, top, $2,130, pants, $2,130, shoes, $1,390, and hat, $610, Gucci.
Bra, $775, skirt, $4,640, legwear, $3,470, earrings, $775 each, gloves, $1,100, belt, $855, and bag, $5,015, Gucci. Hair, Kirsten Klontz for P1M.ca/Oribe and Hot Tools. Makeup, Angela Lee. Photo assistants, Leah Den Bok and Levi Hodson. Models, Suzuki Kai and Chey Stojic for Elite Toronto.
On Stam: Top, $145, CDLP. Pants, $140, Levi’s. On Rocha: Top, $145, CDLP. Pants, $130, Levi’s. On Lăzăreanu: Top, $145, CDLP. Pants, $140, Levi’s. Boots, price upon request, R13. On Owen: Top, $145, CDLP. Pants, $140, Levi’s. Boots, price upon request, R13. On Harlow: Top, $145, CDLP. Pants, $140, Levi’s. Boots, $1,295, R13.
Words by BERNADETTE MORRA Photography by GREG SWALES Styling by ASHLEY GALANG Creative direction by GEORGE ANTONOPOULOS Canadian supermodels Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow unite to discuss the highs and lows of their magnificent careers. 5THE FAB COVER STORY INSPO
As Kirsten Owen, Coco Rocha, Jessica Stam, Irina Lăzăreanu and Winnie Harlow trickle into a Brooklyn studio for FASHION’s September cover shoot, it’s clear that this is going to be no ordinary day on-set. “It’s been so long!” Lăzăreanu exclaims as she throws her arms around Rocha. “I’m having a flashback,” Stam muses as she, Rocha and Lăzăreanu sit for hair and makeup. For many years, the trio were “like The Sisterhood of the Traveling Pants—always doing the same shows, the same shoots together,” explains Lăzăreanu, who was born in Romania and grew up in Montreal. “We would have a whole floor at the Principe hotel in Milan and leave our doors open and wake one another up for shows. It was a challenging time. We used to do 75, 88, 97 shows a season. But we got through it together.” As the blow-dryers buzz, there are shared recollections of good times, and bad, from over the years. Owen, Rocha, Stam, Lăzăreanu and Harlow have each walked the most prestigious runways, starred in the biggest ad campaigns and graced countless magazine covers. They all have the height, bone structure and temperament that the industry favours. And they are all Canadian. But it’s their differences that set them apart—not only from one another but also from other stars of the modelling world. At 53, Owen is the eldest of the bunch. Born in Montreal, she was 16 and busing tables at a nightclub in Toronto when she was discovered by legendary agent Judy Welch. Within the year, she was sent off to Paris, where the style of catwalking at the time was sexy and high energy with lots of smiles and twirls. Grunge before grunge, Owen was a misfit with her solemn, androgynous strut. But she quickly became a darling of avant-garde designers like Yohji Yamamoto and Rei Kawakubo of Comme des Garçons. Her loping stride put more emphasis on the clothes than the personality in them. And then, recalls Owen, “one Fendi show, Karl Lagerfeld told all the models to walk like me.” Suddenly, bouncy, bubbly runway romps seemed out of date. Owen’s uniqueness and air of nonchalance have made her one of the coolest models ever, and she still travels between Toronto, her blueberry farm and jobs around the globe. Lăzăreanu’s path has been a bit more colourful. It was Lagerfeld who plucked her out of obscurity and set her career in high gear. As she chronicles in her book, Runway Bird (Flammarion), released last year, Lăzăreanu mixed modelling with rock ’n’ roll escapades of epic proportions. She was engaged to Pete Doherty of Babyshambles and the Libertines, collaborated with Sean Lennon, partied with Kate Moss and even woke up in a trashed hotel room—in Claridge’s no less. “I was very different from the other models and would get in trouble for being wild,” Lăzăreanu admits. “There would be some story about me in the press, and my agent would call and say ‘You can’t do that.’ But Karl had my back, and I was always so grateful for that.” These days, Lăzăreanu’s life is much calmer. She lives with her son in her cottage in the Laurentians in Quebec and, in addition to jetting around for work, is executive deputy director of the action group No More Plastic. Rocha, who was raised in Richmond, B.C., came to modelling as a Jehovah’s Witness. From early on, she has adhered to its core beliefs, such as no nudity or even partial nudity. But her faith has never been an obstacle, and Rocha quickly became lauded for her theatrical style of movement in front of the camera. Her strength of character extended to her offhours as well. Rocha was among the first models to embrace social media (even her three young children have accounts); she is an owner of Nomad Management, with her husband/ manager, artist James Conran; and she has passed on her knowledge of posing, runways, branding, contracts, agencies, accounting and social media to more than 4,000 students through the Coco Rocha Model Camp. But the thing she is most proud of, she says, is her involvement in pushing for legislation changes in New York state for models under the age of 18. “There were no laws protecting against sexual harassment and abuse or ensuring that models received payment or even meal breaks—nothing,” says Rocha, who began her career around age 15. “You’re a baby working with grown-ups,” points out Stam, who was discovered by a modelling agent at age 16 in a Tim Hortons. Stam, who grew up on a farm with six brothers outside Kincardine, Ont., advises newbies to learn about money matters and keep an eye on what’s going on. “There are, unfortunately, a lot of bad people who will try to take advantage of your finances because they know you’re a child and don’t know what you’re doing.” She now has two young children of her own and lives with them and her husband, screenwriter Brahman Turner, in Hawaii. Two of her most recent career highlights are the reissuing of Marc Jacobs’s Stam bag, named after her in 2005, this spring and walking the red carpet at the AmfAR Gala Cannes during the 2023 Cannes Film Festival. L.A.-based Harlow also attended the AmfAR Gala Cannes, along with her boyfriend, NBA star Kyle Kuzma. Harlow, who hails from Mississauga, Ont., is the newcomer in FASHION’s September cover crew, having started in 2014 with an appearance on America’s Next Top Model. Despite having been discouraged from modelling due to her skin condition, vitiligo, she persisted, and in addition to her many cover, runway and campaign achievements, she » INSPO COVER STORY 74 SEPTEMBER 2023
Top, $2,100, skirt, $5,300, and shoes, $1,650, Prada.
On Owen: Dress, $695, Sid Neigum. Shoes, $1,675, Roger Vivier. Bracelets, $175 each, Jenny Bird. On Lăzăreanu: Dress, $795, Sid Neigum. Shoes, $1,675, Roger Vivier. Bracelets, $175 each, Jenny Bird.
Top, $595, and skirt, $725, Rachel Gilbert. Bracelet, $175, Jenny Bird.
Dress, $1,885, Lapointe. Shoes, $1,150, Jimmy Choo. Earring, price upon request, Dinh Van. Necklace, $6,950, and ring, $4,150, Bulgari.
brought her suncare line, Cay Skin, to Canadian Sephora stores—one of which turned her down when she once applied for a job. She also just launched her very first Puma collaboration—fully designed by Harlow herself. Watching our cover stars in front of the camera, I’m struck by their athleticism, lack of inhibition, understanding of how to “work” the garments and ability to silently improvise with one another. I sit down with them between shots to discuss their profession, their highs and lows and their views on the industry. On THE EARLY DAYS OWEN “It was horrible when I first started. I hated it and felt really uncomfortable. I was 17, and I had just arrived in Paris; I had never seen so much beautiful food, and I wanted to eat everything. People in the business were telling me I was too fat, and I felt like they wanted to change me. The hair and makeup didn’t feel like me at all. The style of runway walking was very coquettish. I could only walk the way I felt comfortable, which was my normal way of walking—really fast, with large steps. Some people wanted me to walk differently, but I couldn’t do it. I didn’t want to do it.” LĂZĂREANU “My first big show was a Chanel couture show in either 2004 or 2005. I wasn’t doing much work as a model. I was doing go-sees, but it wasn’t really working out. My agency sent me to this Chanel casting, and there were like 300 girls. I walked in wearing a long gypsy skirt and Tibetan boots; everyone else was in tank tops and high heels. Karl [Lagerfeld] passed through the corridor; he stopped and looked at me and then kept walking. And then the casting director came out and said, ‘Karl wants to see you.’ I was like, ‘Me?’ So I went in, and they changed me into a little black dress. And they said, ‘Don’t talk to him.’ But I talk a lot, and when I’m nervous, I talk even more. So he asked me a question and I started talking. I had a really strong French-Canadian accent, and that made him laugh. I did that show, and then I worked with him for 10 or 12 years.” HARLOW “In Toronto, friends would ask me to model things they were selling and post the images. It was the beginning of social media. Anna Trevelyan, the stylist, saw me on Twitter. She showed Nick Knight images of me and he was like, ‘Oh, my gosh, amazing—reach out to her.’ They asked me to come to London to shoot. I had no idea who anyone was. So I did my research and showed my mom and I was like, ‘Can I go?’ She said: ‘Let’s hit up your family in London. Make sure that you’re safe.’ “I didn’t have an agent for a very long time. I picked a manager in Toronto because I was getting a lot of emails. I got a lawyer, and I was my own agency.” On STEVEN MEISEL AND LEARNING HOW TO MODEL STAM “I didn’t know anything about modelling. Before my first fashion week, somebody taught me how to walk in heels because I had never walked in heels before. But as far as modelling, posing and all that goes, I sort of learned as I went. And I learned from photographers like Steven Meisel. I met him when I was 16 or 17 and still living in Canada. He shot me for a Versus Versace eyewear campaign the day I met him. He put me on an exclusive with him for seven or eight months. It was like going to school—the Steven Meisel School. He taught me how to position my face toward the light, find my pose and relax into it and then have fun and play. Last year, we shot a Zara campaign. Now when he shoots, he has a mirror onset so you can perform a bit more and see how you look.” LĂZĂREANU “One of my first jobs with Steven Meisel was for Vogue Italia. It was a very long editorial—70 pages—so we shot for almost three weeks. Camilla Nickerson was styling, and Pat McGrath and Guido [Palau] were on makeup and hair. I had to be different characters; one was a marionette, and I had to do these crazy jumps for about an hour straight. Steven would say ‘Do it again, but your hand should be here, your pinky should be there.’ And we did it again and again and again. I really believe that Steven is the absolute best teacher. He trains you how to move, how to understand images and lighting and how clothes move on you.” ROCHA “I used to be an Irish dancer; this kind of dancing is rigid up top with the bottom moving fast, so nothing about it is practical for modelling. I went to Taipei to do catalogue work; it was hours upon hours of shooting every day, and it’s where I learned the basics of quick posing. These catalogue models move very quickly, and I truthfully thought that’s how you model. A few years later, I worked with Steven Meisel, who loved this quirky, weird thing I was doing. He was like, ‘That’s so weird and strange—keep doing it.’ So I was allowed from day one to perform the way I wanted because he gave me that approval, which, in turn, led to the industry saying ‘Well, if he says it’s OK, I guess we should let her do it the way she wants to do it.’” On NOT GIVING UP LĂZĂREANU “When I started my career, nobody understood my look; nobody knew what to do with me. I was considered edgy and different looking; I would go to casting after casting and people would throw my book away. This is when we used to do castings on foot and go around the city with a little map. It was 10 castings a day and 10 noes a day. And I thought, ‘OK, well, I’m going to go through photography books and learn about lighting and Irving Penn and study images and be productive to prepare, so when I get a job, I’m going to be the best model I can be.’” » COVER STORY INSPO SEPTEMBER 2023 79
On Stam: Jacket, price upon request, David Dixon. Pants, $1,285, Lapointe. On Rocha: Coat, $12,360, Chloé. Boots, $2,590, Ami. Ring, $3,970, Dinh Van.
Jacket, $3,455, Ami. Top, $150, Eliza Faulkner. Legwear, $120, Sheertex. Shoes, $1,885, Christian Louboutin. Earring, $160, Jenny Bird.
HARLOW “I went to an agency when I was maybe 16. They said that if I wanted to be in the fashion industry, I should try to be a makeup artist. But I just thought, ‘You know what, that’s your opinion.’” On THE ROLE OF A MODEL LĂZĂREANU “Kate Moss was a mentor to me when I started my career, and she taught me a lot. She said: ‘This job is not about you looking pretty. And it’s not about you. You’re a canvas and you’re part of a team, and together you’re going to build a concept and tell a story. So the faster you understand that as a model, the better you’ll be at your job.’” OWEN “When I started, I thought modelling was incredibly boring, and I hated that. Everyone else got to be creative. The photographer was creative. Everyone was creative, but the model was like a puppet. I decided that it was not working for me, and I wanted to try to find a way that I could have fun with it, too. I had to come out of my shell and use my imagination to create a scenario and play and be able to make it work. It took years to finally realize what I had to do to make it fun for myself and make it work for other people. Then Paolo Roversi said to me, ‘Kirsten, modelling is an art and you are an artist,’ and that was like— wow, I was touched.” ROCHA “The whole purpose of any artist is to make people feel something. Actors, dancers, singers, performers—they all understand that. But if you say a model’s job is to make people feel something, you get a giggle. Fashion is a multi-trillion-dollar industry where you are trying to sell something or at least get someone to feel something. My goal on-set is that the room should applaud. They should be excited by what they just saw.” On DIVERSITY ROCHA “I remember Liya [Kebede] being backstage and saying ‘I’m the only Black woman.’ And we would be like, ‘Yeah, you are.’ But it wasn’t like, ‘Oh, shoot, what are we going to do about that?’ Looking back now, how did the world not see this as an issue? The industry shifted, for sure, but it shifted because the public said ‘Where am I? Where is my skin colour? Where is my body size?’ That only happened when social media came around.” HARLOW “The true meaning of being a trailblazer is not just walking the path; it’s making that path easier for others to walk. I remember the first time I saw a model with vitiligo get a job after I had pretty much been the only one. In the comments, people were saying ‘Winnie Harlow, watch your back’ or ‘This girl is coming for your job.’ But the whole point of me doing what I do is so that I can cry tears of joy to see someone who looks like me. One of the first big covers I did was in Saudi Arabia, and there was a girl there who was a fan of mine and DMing me. I asked the magazine to have her with me on the cover. “Being that representation that I never had is my proudest achievement. But I don’t call myself a spokesmodel for vitiligo. I don’t want to make another box for everyone to fit into, like ‘vitiligo models’ or ‘plus-size models.’ There shouldn’t be a mould in the first place. Let’s break it completely.” ROCHA “I find it funny that in acting or singing, you don’t see ‘curve singer’ or ‘curve actress.’ For some reason, models are put in tiny boxes.” On PUSHING BACK WHEN NECESSARY LĂZĂREANU “We need to talk about general respect and work conditions for models. We all have war stories about how fashion week is and how the lifestyle is—it’s not the healthiest environment for a young woman.” ROCHA “I’ve had an equal amount of frustrating moments with both sexes in my career. I think it’s fascinating when you find yourself in a sticky situation with a woman and you’re thinking ‘Is this even possible?’ “Recently I worked with a new designer I’d never worked with before. I don’t give names because I believe people have the right to change. In the fitting, she spoke to me as if she were saying ‘I own you because I paid for you to be here.’ She never said it in those words, but it felt like that because of the way she was talking to me and even looking at me. All of it was such an awkward experience. And I thought: ‘Here we are in 2022, and your behaviour is so shocking. Women shouldn’t be doing this to other women.’ I left thinking ‘What is happening?’ James saw me cave in and cry; it was that bad. I think I was also in shock because there I was, trying to be technical and kind and respectful. But this woman was just not having it, and I said, ‘James, I can’t do it’ and he said, ‘I agree—we’re cancelling.’ This person’s team was very sweet and said, ‘Can we double the amount?’ I said, ‘Absolutely not.’ Any designer who thinks that treating someone like that can be fixed with money will never learn. She was not happy. She told my team I was disrespectful and a diva. A few days later, she tried to get herself in front of me, but I have a husband who is my bodyguard, my everything, and he wouldn’t let her come near.” HARLOW “I’ve endured a lot of hair damage backstage and during photo shoots when there haven’t been people behind the scenes who are well educated in Black hair. Those are the times when I feel the most discrimination. For one cover shoot, I came on-set with my natural ’fro. I’d worked on it all night, putting curl-rod sets into it, and it was really beautiful. When I got on-set, they said they wanted my hair bigger, so they decided to add water. If you know Black hair, you know that water makes it smaller, not bigger. And so I ended up with a really wet, soggy hairdo. And then they asked me to put it back to what it was before. It had taken me all night to create the hair that they had just ruined, and I couldn’t get it back to what they wanted. That was disheartening because I had spoken up for myself, saying ‘It gets smaller if you wet it, not bigger,’ but I wasn’t heard.” » 82 SEPTEMBER 2023 INSPO COVER STORY
Blazer, $1,985, top, $750, pants, $995, and choker, $575, Sportmax. Rings, $280 each, Dean Davidson.
Jacket, $14,265, top, $3,585, and gloves, $840, Saint Laurent by Anthony Vaccarello. Hair, Dhairius Thomas and Dimitris Giannetos for Opus Beauty/Sway and Raw Sugar. Makeup, Soo Park for The Wall Group/Chanel and Yeika. Nails, Nori Yamanaka for See Management/ Chanel. Hair assistants, Luca Pagani, Christina “Harley” Beman and Miller Brackett. Makeup assistants, Tsuyoshi Sekimoto and Jayden Ho Pham. Nail assistants, Marie Barokas and Kuniko Inoue. Fashion assistant, Alexis Ayala. Fashion interns, Reinaldo Rivera Nuñez, Tess Jameson and Gabby Hannley. Photo assistants, Yolanda Leaney, Francisco Bravo and Shawn McCarney Alviz. Digital technician, Amanda Yanez. Producer, Alexey Galetskiy for AGPNYC.
On GOING TO EXTREMES TO GET THE SHOT ROCHA “What have I not done for a shot? I’ve stood on the edge of a skyscraper without any sort of safety net. I have been in rooms that were on fire and worked with animals from elephants to camels. I had a black snake in my mouth for eight hours for photos by Steven Klein that never got published because American Vogue said they were a little too editorial—I would love to find those photos.” LĂZĂREANU “We were shooting a Puma campaign with Ryan McGinley at the Serpentine in London. We had the museum to ourselves, and at the very top there was a swing that was attached to the ceiling seven storeys up. Ryan said, ‘Why don’t you jump from the balcony onto the swing?’ Obviously, the production team was against it. So during the lunch hour, Ryan and I ran away, and I jumped from the balcony onto the swing and we got the shot. And then we didn’t know how to get back. It took about an hour and a lot of people to get me off that thing.” STAM “I did a shoot 18 years ago with Charlotte Stockdale for British Vogue. We were on a cruise ship in Alaska for eight days. For one of the shots, we took a helicopter to an iceberg, and they dropped me off and shot me from the helicopter. So I was all alone on this iceberg. They were like, ‘Don’t move around too much because we don’t know if it’s OK.’ “One of my favourite things is getting in a harness and doing flying shots. There was a Nina Ricci fragrance campaign where I was like Catwoman running across the rooftops they had built on a set. And I recently did a Vogue Italia shoot where I was climbing on furniture. I like doing flips and stuff when I’m not supposed to; it’s really fun.” On SOMETHING SPECIAL A DESIGNER HAS GIVEN THEM STAM “Marc Jacobs and Anna Sui used to have these giant rooms full of samples, and they would give you a shopping bag and say ‘You can fill up the shopping bag—that’s your payment for doing the show.’ So I have a ton of Marc Jacobs, Anna Sui and Thom Browne, from when he first launched his womenswear. He’s also one of my favourite designers.” LĂZĂREANU “I have a 1992 Westwood tweed jacket that Vivienne gave me that I cherish because she was Our group discussion ends with a rousing chorus of Canada’s national anthem (in both official languages!) and agreement that one of the bonuses of the day was getting to see respected colleagues at work. “We never get to watch each other perform,” explains Rocha. “That’s when you think ‘I know why you’re so good, I understand why you keep working and I know why everyone loves you.’ It was really special today to watch everyone.” It’s also a privilege that I will never forget. n such an inspiration to me and to so many people around the world. She really was the embodiment of punk and such a trailblazer. And I have an Alexander McQueen coat that he gave me. I love it very much because I loved him very much. He was an incredible designer, a master tailor and a very sweet human being.” OWEN “My two kids and I have these beautiful cashmere Louis Vuitton blankets that Marc Jacobs gave us when he was there. He’s so lovely to work with—incredibly cool, accepting and easy. He doesn’t put pressure on you or judge you. He’s so easy to be around.” On KARL LAGERFELD LĂZĂREANU “Karl was a perfectionist. He worked a lot. He was very demanding, but he also gave a lot to people. I would spend time with him at the studio, and he would draw while I would do my journals and my poetry, and he would lend me books to read. “Once, I was doing the cover of Visionaire, and at the time I was flying back and forth from New York to Paris like four times a week. I got off the plane in Paris and went straight to the set. It was a night shoot, and I was exhausted. I remember having tears in my eyes. Karl saw me. He didn’t say anything, but he took me outside and said: ‘Let it out. If you’re going to cry, you do it now.’ So I was crying, and then he said, ‘Don’t ever let them see you cry.’ And it’s really kind of crazy because everybody in the studio would always say ‘Don’t show emotion; don’t let him see you cry.’ When he cared about you, he was very loving. It was a human moment.” On STAYING IN THE GAME OWEN “I have a very simple regimen: I run through the woods barefoot and then jump in my pond. I run for about 45 minutes, three or four times a week. It makes me feel happy and grounded. It’s not about looking youthful. It’s about feeling alive. “How long will I keep modelling? I don’t know. Probably forever. [Laughs] I’m sure that I’ll still be doing pictures when I’m in my 90s.” ROCHA “Some models look at new girls and think ‘You’re going to be my replacement. Why would I ever want to help you? It just means I’ll lose my job quicker.’ But in reality, we’re going to be replaced. It’s an industry that still has a warped belief that beauty is young. So why not help someone?” COVER STORY INSPO SEPTEMBER 2023 85
SET SALE Brown Thall finds many of her maxis, like this blue number by Rotate Birger Christensen, on Shopbop. “When sale season starts, that’s the first place I look. They always have petite sizes.” G rowing up in remote North Bay, Ont., Talia Brown Thall loved heading to the concert hall to listen to the North Bay Symphony perform the upbeat woodwinds of Mozart or the swelling strings of Beethoven. But it wasn’t the music that was the draw for her—it was the clothes. Brown Thall developed her love of dressing up at an early age. “On my first day of Grade 1, the teacher asked everyone what they wanted to be and I said I was going to play with Barbies,” she says. “I just didn’t know it was going to be with life-size Barbie dolls.” A full-time stylist since 2008, she has dressed such prestigious clients as Idris Elba, Avril Lavigne and a pre-Harry Meghan Markle. The consummate clothing lover found her true power outfit at the age of 14 when she tried on her first maxidress at Club Monaco Kids: a blackand-white long-sleeved polka-dot dress straight out of the Gwen Stefani era. “I remember putting on the dress and being like, ‘This is me; this is how I feel,’” she says. “I get a lot of compliments on my dresses when I go out, and I think it’s because people notice that I’m comfortable. When you’re comfortable, it kind of shows.” Now an accomplished collector, she shares a walk-in closet with husband Nelson B. Thall (whose family once co-owned the Toronto Star) in their three-bedroom Toronto home as well » For stylist Talia Brown Thall, her maxi-dress collection is about more than just comfort; it’s about finding power in her femininity. By ISABEL B. SLONE To the Max INSPO COLLECTING 86 SEPTEMBER 2023
CLOSET CASE When Brown Thall first moved into her husband’s two-bedroom condo in 2017, he renovated the second bedroom into a walk-in closet in order to accommodate her growing wardrobe. PIP PIP CHEERIO Designer labels from across the pond, like this floaty number from Dream Sister Jane, evoke a particular fondness for Brown Thall. “I love how whimsical and romantic they are. It’s like wearing Shakespearean dreams.” FORMULA ONE Brown Thall loves pairing her dresses, like this Simone Rocha one, with flats. “There’s something so cute about seeing a ballet flat or a pointy-toed flat with these long dresses. It evens out the look so you can wear it in the daytime without it looking too fancy.” THINK PINK Brown Thall always feels in control when she puts on the colour pink. “People don’t realize how much power you have in letting your femininity be free,” she says. “Being feminine can mean whatever you want it to, but to me it means I can choose to wear pink and florals.” PHOTOGRAPHY BY RILEY STEWART. HAIR AND MAKEUP BY SIERRA ELLIOTT/P1M.CA. COLLECTING INSPO SEPTEMBER 2023 87
LUCKY CHARMS This floral Giambattista Valli dress was another lucky consignment find. “It still had the tags on it,” says Brown Thall. “It had never been worn.” In order to get the perfect fit, she had the waist altered to accommodate her frame. (She recommends her favourite tailor, Last Minute Alteration in Yorkville, for alterations.) “It was meant for me.” KINDRED SPIRITS As a stylist, Brown Thall has special relationships with certain brands and often gets first peek at the new clothing before it is released. “When I see the Smythe look book every season, I think, ‘I need this dress.’” THREE OF A KIND When Brown Thall falls in love with a dress, she’ll buy a duplicate—or even triplicate—of the object of her affection. These flouncy gowns are all by Danish designer Birgitte Herskind. MOMMY & ME This nap dress by Hill House Home is such a staple in Brown Thall’s wardrobe that she bought a matching one for her daughter, Arielle. “They’re like nightgowns for the house. You can just throw a turtleneck and some tights on underneath and feel put together.” PHOTOGRAPHY BY RILEY STEWART. HAIR AND MAKEUP BY SIERRA ELLIOTT/P1M.CA. INSPO COLLECTING 88 SEPTEMBER 2023
as two mirrored closets in different rooms that are stuffed to the gills with maxi-dresses. “I’m not even sure how many I own,” she says, guessing that the number is at least 200. Despite her small stature—she’s five foot one— Brown Thall is an avid collector of long, lean dresses that brush her ankles. “Technically they’re midi-dresses, but they’re maxis on me,” she laughs. In the early 2000s, the “dress for your shape” dictums issued by fashion magazines treated maxi-dresses as the exclusive province of tall women, suggesting that the more petite should stick to mini-dresses so as to not overwhelm their Lilliputian frames. However, Brown Thall doesn’t abide by this principle. “I believe that rules are meant to be broken,” she says. “Sometimes I forget I’m short. In a maxi-dress, I feel like a tall short person.” Brown Thall tends to gravitate toward hyper-feminine silhouettes, like the layer-cake frills of LoveShackFancy, the voluminous pouf of Ganni and the floral fancy of Rotate Birger Christensen (of which she counts a blue puff-sleeved lace dress among her favourites). But as a new mother—her daughter, Arielle, was born in January 2022—she has begun to embrace cleaner, sleeker silhouettes. Fashion provides the scaffolding upon which we hang the rest of our lives, and now Brown Thall is ready for more structure. All the dresses she acquires have two things in common: They are exquisitely made, and their fabrics feel soft to the touch. “I really like velvet and silk. I’m not a polyester-blend type of person,” she says. While Brown Thall doesn’t plan on curbing her maxi-dress obsession any time soon, she has been forgoing fast fashion as of late in favour of acquiring items more thoughtfully. After all, a true investment piece is forever. “As long as you buy timeless pieces, you can wear them whenever you want.” n DESIGNER DESIRE The shining star in Brown Thall’s collection is a green velvet YSL dress that she “stalked” until it went on sale at Holt Renfrew. “It was one of those pieces that you just know you need and you’ll regret not getting.” COLLECTING INSPO SEPTEMBER 2023 89
One of the main aims of any fashion designer is to create a visual language so strong that their work doesn’t need a label to be identified. But that visual shorthand is also the hardest goal to achieve—which is why the breadth of Gabrielle Chanel’s signatures is so remarkable. Her grosgrain bows, quilted leather, camellia flowers, metal chains, tweed suits, spectator pumps, Byzantine jewellery and ropes of pearls became motifs that future generations could play with and evolve to suit the times. This handbag, which brings together so many of Coco’s codes, is the perfect homage to one of the most iconic designers—and women of style—the world has ever seen. Full Circle TEXT BY BERNADETTE MORRA. PHOTOGRAPHY: BACKGROUND VIA ISTOCK; BAG COURTESY OF CHANEL. BAG, PRICE UPON REQUEST, CHANEL. INSPO ♥ IT FOREVER 90 SEPTEMBER 2023
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