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2022

A Town Called Madness: A collective journalistic endeavour

by Sama Nemat Allah December 12, 2022
written by Sama Nemat Allah

By Sama Nemat Allah

Sometimes I think about what this town would look like if it was coloured in madness instead of its hues of white 

In the 1980s, Parkdale, a now heavily gentrified neighborhood in the west-end of Tkaronto (colonially known as Toronto), became home to thousands of ex-psychiatric patients. After the closure of Queen Street Mental Health Centre, the largest psychiatric facility in Ontario, the city transported all its inmates into group homes — a profit-maximizing endeavour marketed by the state as a humanitarian effort. This shift towards so-called de-institutionalization left many poor and disabled patients houseless in South Parkdale, earning it the territorially stigmatizing title of the “Psychiatric Ghetto.”

But for Leah Lakshmi Piepzna-Smarasinha, a queer, Brown, Mad, and disabled artist, de-institutionalization allowed Mad and Crazy people to congregate freely as a collective and organize about their conditions, and to “demand our right to be Crazy without punishment.”

So what does it mean to migrate from a space that pathologizes you–one that sees you as a disorder, an illness, a delusion, a hallucination, a deficit– to one where your everyday experiences are considered special and valuable enough to denominate you an artist, creative, poet, author, maker and human being? 

This journalistic composition draws inspiration from Mad/disabled/crip imaginaries, texts and scholarship of what Mad society and Madness look like – namely from La Marr Jurelle Bruce who once observed the ways the English language will often position Madness itself as a place rather than an abstract object (i.e. you have gone mad, you have gone crazy). 

I want to futurize a space founded on this liberationist idea of Madness. What does it look like for Mad artists to create unapologetically–slowly, quietly, loudly, wildly and unconstrained by capitalistic, abelist and sanist systems that hinder them? What does it look like when we position madness not as a pathology to be feared and remedied, but as a home for Mad art, Mad artists and Mad bodies and minds? 

In alignment with these notions of homes, I see this work as an invitation to return. It’s not enough to view the piece once because the text on the screen is different than the voice that overlays it and there is so much art happening simultaneously that you’re obligated to come back to it when you can take it all on wholly. I hope we translate this to the way we make community with Mad people – always willing to return to them, to give space and pleasure and reverence to their nuance and their pain and to their non-normative modes of existence.  

I hope this demystifies Mad artists and Madness. I hope it does not fall on tropes of Mad creatives. I hope we stop being seen as caricatures of subjugation but as sites of comfort, collectivity, and resistance. I hope this feels radical. I hope it feels unsure, tensile and unruly for “the way to go mad without losing your mind” is sometimes so. 

A transcript to the audio can be found here.

December 12, 2022 0 comment
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2022

Toronto’s fashion time capsule: A glimpse back, to move fashion forward

by Reema Najjar December 10, 2022
written by Reema Najjar

By Reema Najjar

Some quintessential Toronto fashion communities have blurred into the background, but Kensington vintage retail counter-culture thrives and Toronto’s young designers are striving for a sustainable future of fashion design.

Despite the limits the pandemic has put on small businesses within the retail industry, and avenues of sustainable consumption limited for consumers, local sustainable-fashion design persists in the “post-pandemic” sphere.

Toronto Metropolitan University’s Fashion Zone x CGI Sustainability competition winners, non-binary fashion designer Charlotte Carbone and award-winning spoken word artist poet Cassandra Myers, exemplify a future of anti-colonial innovative Toronto-based fashion design. They were inspired by the goal of the contest:

“What it means to have ancestors, who we can consider ancestors, as well, the question of sustainability, that was the core of the challenge,” Carbone said.

Cass Myers and Charlotte Carbone discuss placement of vials on 'Paisley Skin'
Cass Myers, and Charlotte Carbone situate vials within their award winning garment of the CGI X FZ competition, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar
Charlotte Carbone kneels as they fold the ends of the garment 'Paisely Skin' on Cass Myers
Charlotte Carbone aids Cass Myers to dress the garment on them, ‘Paisley Skin’ is covered in henna markings, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar.
Cass Myers kneels to fold the ends of 'Paisely Skin' pant legs as Cass Myers looks at their reflection in the mirror
Cass Myers is being fitted dressed in award-winning garment ‘Paisely Skin,’ that utilizes sustainable fabric ‘Khadi,’ the material required of the competition, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar.
Cass Myers back shot is shown, as the braided scarf, and bag is added to the outfit of 'Paisely Skin'
The garment contains multiple accessories, including their designed bag, the back showcases a braided scarf along with Cass Myers poetry inscribed in henna, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar
Frontal portion of 'Paisley Skin' is shown with henna designs and bag.
Vials of an assortment of crystals and stones are added to the garment of ‘Paisley Skin,’ vials include an assortment of crystals, the garment is not intended for retail, but the anti-colonial message of fashion design with the intention of display, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar
The end product of the outfit is shown, Cass Myers wears a scrarf, along with bag and vial pockets.
Cass Myers is shown laughing, as they showcase the end product of the fitting at the Fashion Zone studio, Wednesday Oct. 26 2022. TORANTIQUE LENS/Reema Najjar
Cass Myers kneels as they pose for in front of a mirror.
Cass Myers, a non-binary poet, a CBC award-winner, poses with end product of ‘Paisley Skin’ fitting, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar
Frontal shot of 'Paisley Skin' is shown with vials as Cass Myers poses for the shot.
Cass Myers poses for the frontal portion of ‘Paisley Skin,’ the award winning garment is accessible to those with physical disability, to ensure ease of wear, and comfort, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar
Paisley Skin scarf is shown with henna writing of Cass Myers poetry.
‘Paisley Skin’ scarf is inscribed in henna featuring the poetry of award-winning poet Cass Myers, Wednesday, Oct. 26 2022. TORANTIQUE LENS/Reema Najjar

With their award-winning garment Paisley Skin, their challenge was the use of the Khadi fabric, a traditional sustainable material originating from India. 

“Our process was deeply informed by our relationships and lived experiences with our homelands and what it means to reconnect with heritage … How did our ancestors already live sustainably? And how was that wrongly stolen away from us because of colonization? Our discussions were focused around decolonizing design and sustainability, because of the capitalist pipeline that often happens with fashion and sustainability, greenwashing tactics,” said Carbone.

Cassandra Myers, having their own experiences with chronic pain, said garments that are traditional to South Asia are “less imposing” towards their disability.

“Loose Garments, that have a genderless quality, breathable, expandable but still ornate, still precious. For me adornment and garment is stepping back into something that was taken and separated from me due to the colonial project of British inter-marriage in India,” said Myers.

The Paisley Skin garment inscribed with henna features Myers’ poetry. Designer Carbone noted that the intention for their piece is not for retail. The garment is intended as art, something to be displayed in a museum.

Sustainable fashion has become a method aiming to be genderless, free of exploitation and an expression of self, for designers like Carbone and artists like Myers. And it’s artists like these two who are having a chance at design and fashion expression, with competitions funded by the Fashion Zone that create avenues of innovation for younger designers. The future of Toronto Fashion encompasses the evolution of the city in its diversity.

Courage My Love: CounterCulture Vintage

Courage My Love, established at its current location in the late 80s, is a staple in the Kensington market community as one of the longest standing second-hand vintage shops. Never out of fashion or business, unlike other local designer-owned retail stores that were part of the Yorkville scene. Originally, the vintage shop was located on Cecil St. at Queen St. West., opening in 1975. Stewart Scriver, the founder of ‘Courage My Love,’ after working as a teacher, decided to transition to the vintage market. Back in the mid-70s, Scriver would source his merchandise from general stores. 

Street view of Kensignton Market, with a local with #Hate at the back of their jacket.
A Kensington Market local showcases punk fashion, Thursday, Nov. 3 2022. TORANTIQUE LENS/Reema Najjar
Exile sign is pictured along with racks of vintage clothing.
Exile is a vintage shop of Kensington Market, the owner has collected a variety of vintage wear overtime, popular amongst locals, Thursday, Nov. 3 2022. TORANTIQUE LENS/Reema Najjar
Racks are pictured with labels indicating clothes dating back to the 60s through the 2000s
Vintage wear dating back to the 60s-2000s are on display, creating an emblem of Toronto vintage wear, Thursday, Nov. 3 2022. TORANTIQUE LENS/Reema Najjar
"Magic Finger Jessie" is pictured painting with colors of red, green and blue on the streets of Kensington Market.
“Magic Finger Jessie” a local Kensington Market artist paints on the streets of Kensignton Market showcasing the market to be an arts hub for all creatives to showcase work whilst dancing to live music in the area, Thursday, Nov. 3 2022. TORANTIQUE LENS/Reema Najjar
Local painter of Kensington Market "Magic Finger Jessie"
“Magic Finger Jessie” poses with their paint brush, as they let thier brush “kiss” whoever passes by, Thursday, Nov. 3 2022. TORANTIQUE LENS/Reema Najjar
Mirapaver display of handcrafted necklaces, pendants, bracelets and rings
Jewellery stands mirror the 70s era of Kensington Market, the hippes of the time, Mira Paver displays their handcrafted jewellery, Thursday, Nov. 3 2022. TORANTIQUE LENS/Reema Najjar

Historically, the first general stores in Ontario date back to the early 19th century and were stocked with most products imaginable. Through the evolution of mass production, and railroad construction of the 1840s, stores began to stock luxurious items, such as lace and ribbon imported from France and Europe. A handful operate today; however, with urbanization and retail most have closed down overtime. In the 70s they fed Courage My Love’s inventory.

 At the time there were only three malls in Canada, according to Scriver. The general stores sold things like moccasins, handmade baskets, and racks of clothing dating back to the First World War.

“We bought everything because the previous owners of the general stores didn’t value it when we showed up. They thought it was the oddest thing. Nobody had ever done that,” said Scriver.

By the early 80s, according to Scriver, Los Angeles was in preparation for the ‘86 Olympics and film production moved to Toronto. Kathy Viera, a costume designer approached them and wanted to source costumes from their shop.

“This lady showed up [Kathy Viera] and said, ‘I’m a wardrobe mistress, and I’m doing a movie,’ and I said, ‘Oh yeah, we can do that,’” said Scriver.

Years later, seeing Viera at a party, Scriver admitted to Viera it was the store’s first time sourcing for a film. As it turns out, it was Viera’s first time doing wardrobe design as well.

By the late 80s, Scriver had moved the store from Cecil St. to its current Kensington Market location. The shop was originally called ‘Herman’ and the owner at the time, David Dordick, sold draperies, with dressmaker supplies, zippers, hooks and buttons. One floor of the building was occupied by a punk group called ‘The Ugly,’ and the bottom floor was occupied by Buddhists. 

With only half of the new location stocked, Scriver proceeded with his original method of sourcing materials.

“To get stocked up, we drove down to Queen St., and there was a building going out of business, ‘Leon’s Menswear,’ just between Bathurst and Spadina. [The original owner of Leon’s Menswear] wanted to quit, he’d been a tailor for years. I looked around and counted the stopwatches, hats, cufflinks, suits and accessories.” The owner of Leon’s ended up liquidating his entire inventory in the exchange, selling Scriver everything he had for $4,000.

Courage My Love has always been the strangest place, according to Scriver, and always attracted customers.

“We’re not joiners,” said Scriver, referring to the modern retail market. He said the store remains relevant because it is “just for fun.”

“We often do things that are counter to making a profit, and somehow it works. If big retail corporations would follow our plan, everyone would have a better time.”

STEWART SCRIVER

Paying their employees above minimum wage, along with bonuses, and having original products is the authenticity that Scriver intended for. Their employees are told not to sell anybody anything — there are no sales pitches or pressure on the customers to buy. They can just experience the store’s personality. Scriver wants his customers smiling when they leave the store. And they stick to their vintage roots.

“We don’t have a brand, we just bought used or old things. We never put new stuff in the store ever,” said Scriver.

Yorkville, the once vibrant hippie market gaining the attention of Janis Joplin in the 60s, according to Scriver, started going downhill when the parents of the kids that owned the shops bought out the neighbourhood. He says, now, Yorkville is void of its history.

“They just did it for money. When you let money flow like that, you see what happens?” said Scriver, about the lack of hippie-esque roots in the neighbourhood.

Yorkville: Once a boom in late 60’s Toronto fashion-design, now lacks local talent

Throughout Toronto’s ‘Golden age of fashion’ (the 1960s-90s), three predominant neighbourhoods were where Torontonians sought their retail. Yorkville in the 60s was the home of the hippies; Kensington Market in the 70s was an avenue for smaller, locally owned second-hand retail; punk fashion defined Queen St. West in the 80s according to music journalist Denise Benson, on her blog ‘Then and Now Toronto Night Life History.

Robin Barker, a successful hairstylist, opened his salon in Yorkville in 1965. He had the opportunity to work with American designer, Marilyn Brooks. Before her arrival to the area, according to Barker, the most prominent designer was Lynne Tyrrell. Tyrell was one of the first couture designers of note in the city. Then Brooks became a legend.

In 1964, Barker worked with Brooks during her fashion show in Casa Loma.

“It was exciting to me to see fashion and, and she would always throw in some good evening gowns, but mainly she was trying to sell to the public. So it was all geared down to sell most of her clothes. But she knew what she was doing,” said Barker.

In face of the competitive fashion 60s scene in Yorkville, Brooks’ fashion designs and past presence in the neighborhood held influence, said Barker. However, he said the natural flow of the industry and her battle with Alzheimer’s led to her ultimate retirement and no one has taken her place.

Toronto’s fashion future potential

Designer Kyle Gervacy believes fashion consumers in Toronto do not appreciate the talent that lives in the city today. He also believes that there are not enough creative spaces in Toronto for those working in the modern fashion world. In 2020, 95% of apparel bought in Canada was imported, standing at a $12.0 billion dollar value, only $2.4 billion of retail bought was nationally produced, according to Stats Canada. Gervacy featured at a future of fashion panel held at Freda’s downtown store Nov. 29, 2022, on the heels of the return of Toronto Fashion Week.

Fashion Art Toronto attendees are pictured with pink and green hair, left side attendee is pictured in black, with right subject in blue.
Fashion Art Toronto attendees await the start of the show on the first day of Toronto Fashion Week, Thursday, Nov. 10 2022. The annual event returned after a two year closure. TORANTIQUE LENS/Reema Najjar
The back of an activist at Toronto Fashion Week is pictured, with human rights for Iran written in marker.
Before the 9 p.m Monier runway, Woman, Rights, Freedom activist garners photographers attention to protest the recent death of Mahsa Amini, Sun, Nov. 11 2022 at Parkdale hall. TORANTQUE LENS/Reema Najjar
A line of models are pictured at Toronto Fashion Week, with black and white outfits.
Toronto-based ‘Monier’ designer, Samuel Davies debuts “Color Blind” of the Fall/Winter 2022 collection on the second day of Toronto Fashion Week Friday, Nov 11. 2022, hosted at Parkdale Hall. TORANTIQUE LENS/Reema Najjar
Mandy Johnson models for Nova Shiu Fri, Nov. 11 2022. Model wears neon green dress, and yellow shawl for new collection 'Endless Infinity.'
Mandy Johnson models Nova Chiu’s new collection ‘Endless Infinity’ for their 2022 collection. Age diversity is exemplified on the runway, Friday, Nov. 11 2022 at Parkdale Hall. TORANTIQUE LENS/Reema Najjar
Chantelle Blake is pictured in a dark green skirt, with a silver top for the Kyle Gervacy runway, Sunday, Nov. 13
Chantelle Blake models African-Asian inspired collection of local, and self taught designer Kyle Gervacy, on the last day of Toronto Fashion Week Sunday, Nov. 13 2022 at Parkdale Hall. TORANTIQUE LENS/Reema Najjar
Grace Hwang is pictured with checkered outfit, with yellow, black, white and green detailing.
Grace Hwang models Safi Creatives Kitoko Soul for their Fall/Winter 2022 collection Sunday, Nov. 13 2022 at Parkdale Hall. TORANTQUE LENS/Reema Najjar
Monika Myers is pictured with black sweater and a white flower, as well as plaid gray pants.
Ameilia Tuu’s unreleased Fall 2022 collection features the first ever model with Down Syndrome in Toronto Fashion Week history, Monika Myers, on the last day of Toronto Fashion Week at Parkdale Hall Sunday, Nov 13. 2022. TORANTQUE LENS/Reema Najjar
Adelia Catherine is pictured with denim outfit, with magenta, blue and white outfit. Model is pictured with a diamond pattern bag.
Adelia Catherine models Unlike’s new denim Fall/Winter 2022 collection, ‘Blushing’ Sunday, Nov. 13 2022 at Parkdale Hall. Unlike is a slow fashion brand dedicated to sustainability. TORANTIQUE LENS/Reema Najjar
Tlisa Lee is pictured blowing a kiss with ling braided blonde hair, with army patterned outfit, with a mesh bag.
Tlisa Lee models Safi Creative’s Kitoko Soul, Sunday, Nov. 13 2022 at Toronto Fashion Week hosted at Parkdale Hall. TORANTIQUE LENS/ Reema Najjar.

Local retailers and fashion design in Toronto call for government supports

The Ontario Arts Councils  provides funding for operating programs, potentially an opportunity for fashion designers.  Eligibility factors include “having proof of sound financial management,” a privilege not many small businesses can account for post-pandemic. Many locally owned businesses, including some in Kensington Market, were forced to close down. Without the facilities to effectively move online, they suffered. 

Barker, who found support at the start of his hairstyling career with the Guild of Hair Design, says that policy change needs to be emphasized to encourage funding for new local fashion design associations. 

“If you had a competition, you had 50 entries, I’d like to see five or 10 winners. Those winners get financed by the government. And then you could find somebody who could do manufacturing and those winners would get to manufacture one of their dresses and, and they’d get paid for it, obviously … but the government would be funding the manufacturer to do it. It’s not gonna happen by people,” said Barker.

December 10, 2022 0 comment
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