Do Canadians Working in Fashion Have to Leave the Country to Make It?

Oh, Canadian fashion, how do we define you? What does it mean to be ‘Made in Canada’? And what is it really like to work in the fashion industry now that we’re having “a moment in the sun”? That high praise came from a New York Times article about this year’s Canadian Arts & Fashion Awards—the gala’s biggest iteration to date. And the NYT story was followed by an even more glowing Business of Fashion piece that referred to our homegrown talent as “visionaries.”

With this newfound spotlight in mind and a few days before we celebrate the country’s 150th, FLARE asked some of the most prominent Canadians working in fashion—both at home and internationally, or, more commonly, some combination of both—about what it’s like to make a living in the industry, what the rest of the fashion world thinks of Canada, and whether homegrown talent needs to move abroad to truly make it.

Click through the slideshow to find out why living in Canada is the only option for fashion bloggers Samantha and Cailli Beckerman (“When people hear we are Canadian, we get hugs!”) and why a “superstar salary” made celeb hairstylist Harry Josh leave Vancouver for New York.

Coco Rocha

Model

Hails from: “I was raised in Vancouver by my mom, but spent holidays back in Toronto with my dad. By the time I was 15, I had moved to New York to pursue modeling.”

Home base: “Westchester county, a rural suburb just north of Manhattan.”

Coco’s assessment: “I think there is an incredible amount of talent coming out of Canada in every avenue of fashion, from models to designers to photographers to makeup and hair artists. On the other hand, I feel that Canadian talent is often underappreciated within Canada. From many conversations I’ve had over the years, I’ve come to realize that Canadian talent often feels that it’s necessary to leave Canada in order to finally be appreciated in their home country, which I think is a great shame.”

Spread the love: “I’ve been modeling 15 years and I don’t think a year has gone by that I haven’t gone back to Canada to work with a local brand or magazine. It’s always a wonderful homecoming and I love the teams of professionals I’ve come to know and work with over the years. Canadian designers are my friends and dress me often—my favorite makeup artist who I frequently take with me around the world is Veronica Chu, who still lives in Toronto. While I personally feel incredibly supported in Canada, I would love to see a better arrangement to support Canadian designers. The fact that Toronto Fashion Week has fragmented is a great shame. For my Canadian designer friends, I would love to see that return bigger and better than ever.”

Canadian pride: “I think Canadian talent is world class. People like Linda Evangelista and Dean and Dan Caten from Dsquared2 are household names in every fashion school and fashion capital around the world. For the Canadian fashion industry to be taken seriously as one cohesive unit, it has to come together to support its own in a much more involved way. Canada should take more pride in its home-grown talent, and find concrete ways to nurture and develop them so that they don’t feel the need to leave to find success.”

Mosha Lundström Halbert

Fashion Director, Footwear News; Co-Founder, Therma Kota

Hails from: Toronto

Home base: New York

Mosha’s assessment: “In pretty much every key international market, you’ll find superstar Canadians that are killing it. It’s great that in Canada there are more design incubators, but it’s really important that young people are exposed to and aware of all the different jobs that exist in fashion beyond just being a designer. That’s why I think it’s great when people are aware of the top stylists, the hair and makeup artists, the show producers, casters, model agents and models that are Canadian. It’s great when those people maintain a connection to Canada and participate in events that help inspire others to talk about their work.”

Rethinking ‘Made in Canada’: “I’m really lucky to have been exposed to a lot of people in the First Nations community [through her mother, the designer Linda Lundström], which is why, while I love that Canada is feeling celebratory, I think we need to be careful about calling it the 150th anniversary; there were people in Canada long before that. My mom explores what it means to be a Canadian and includes First Nations people in that definition. Now, her organization, The Sewing Circle Project, is helping to foster economic growth in the apparel industry in the First Nations community. It’s not about cultural appropriation of their designs; it’s about having them be a part of the industry from a manufacturing and design perspective in a self-sufficient way.”

Putting our money where our mouth is: “I think Canadians oftentimes seek validation externally more than they do from each other. At the end of the day, unless you’re pursuing something for the art of it, there has to be a business, and in order for there to be a business, there has to be sales—it has to be more than black tie galas and awards. Canadian designers who have figured out a way to be exposed to international buyers, that’s great, but I would love to see more Canadian retailers supporting Canadian designers. That said, Canadian retailers are only going to support Canadian designers if they see a demand. It’s excellent that Sophie Grégoire Trudeau only wears Canadian, as she should, but I think every prominent Canadian needs to be doing that.”

Byron and Dexter Peart

Co-Founders, WANT Les Essentiels

Hail from: Ottawa

Home base: “Our head office is in Montreal. We have our stores in New York and there’s a lot of opportunity there, so I formally moved there three months ago, but we’ve had offices there for 17 years. Now I’m splitting my time between New York and Montreal, with primary residence here in New York.” —Byron

Byron and Dexter’s assessment: “Over the last couple of years, there’s been a special effort, especially with the introduction of CAFA, to have Canadian fashion coalesce around a common goal and build stronger networks. In the past, with fashion weeks in Toronto, Vancouver and Montreal, it was very fragmented and disorganized and unclear when it came to trying to create a narrative around Canadian-based design and fashion. For the most part, a lot of Canada-based talent—and there has been a lot—have chosen to leave the country. But now it seems like there’s talent that sees an opportunity to build companies here—top of mind would be Ssense, Frank & Oak, and hopefully us as well.” —Dexter

Basing themselves in Canada has been an advantage rather than a handicap: “For the past 17 years, we’ve found that living and working in Montreal isn’t a major barrier to our business. Quite the contrary: there’s a lot of great young talent here. But ours isn’t a company that singularly looks at the Canadian market. From the outset, we were looking at the global market to find our customers.” —Dexter

….but New York is the second base their business needs: “From the get-go, we felt that New York and Montreal were actually quite close and there was a lot of synergies between the two cities. It’s easy to go between—when we first started the business we’d drive with our families—and it felt like it was as easy to do as going to Toronto. The one big difference between New York and Montreal is the amount of people and relationship building opportunities. That said, going back to Montreal and having the business rooted here does give it a high level of grounding and consistency. The downside of being in an environment like New York, which is so fast-paced, is that it’s sometimes hard to find that balance.” —Byron

Made in Canada: “We absolutely present ourselves as being based in Canada; we always have. We’re very proud of that. The Canadian sensibility is literally and figuratively a halfway place between an American and a European sensibility. We feel that gives us a position of advantage. At the same time, when we think of great exports of Canada, whether music, television, film, or business, they’ve always had a global perspective, even if they were routed in a Canadian sensibility.” —Dexter

Why the country is suddenly in the spotlight: “Fashion in general wants to represent itself as change, inclusivity and youth, and right now Canada is projecting all of those things more than almost any country around the world. It feels like a modern conversation—when people are thinking about where fashion is going and who’s telling an interesting story, the Canadian lifestyle and idea feels very relevant right now, more than ever.” —Dexter

But if we want fashion to blossom, there’s a lot of work to do: “There’s no cultural conversation about design and fashion and its relevance in Canada. There has to be a heightened level of importance. At school, students should feel valued for being part of the design community. Maybe because we’re a nation of immigrants and our parents all wanted us to be doctors and lawyers, or now, in technology or finance, but when we look at other countries that have more advanced industries, it’s because they put a much higher regard, from a community and cultural standpoint, on design. That’s a big missing piece. It’s great that the New York Times is writing an article, but what goes on permanently to get Canadians funds and support? CAFA is a start, but I think there are many broader things to do.” —Byron

Samantha and Caillianne Beckerman

Bloggers, Beckerman Blog

Hail from: Toronto

Home base: Toronto

Samantha and Caillianne’s assessment: “The Canadian industry is amazzzzing! We love how Canadians stick together: designers, bloggers, models, media, musicians—it all goes hand in hand. We all support each other and it’s really amping up the industry.”

Why they’ve always stayed in Toronto: “Toronto is the best hub for us. It’s home and we are third generation Torontonians. It sets us apart that we are Canadian. When people hear we are Canadian, we get hugs! Canada has stayed true to who it really is: a multicultural home for everybody. The fashion industry has always been so supportive. It was supportive when we were fashion designers and supportive when we made the change to fashion bloggers. Canada has always had our back to be creative and free.”

Vicky Milner

President, CAFA

Hails from: Toronto

Home base: Toronto

Vicky’s assessment: “I think the industry today is filled with many talented people and the world is paying attention. There are more and more designers who are achieving success abroad and I feel like now more than ever Canada is having a fashion moment.”

Why the work she is doing with CAFA is so important to the Canadian fashion industry: “CAFA aims to support the industry by creating global awareness of the talent we have in this country. It is also here to build a stronger fashion community, bringing the industry together more, and to increase economic development opportunities. The industry has been very supportive of our work. People have really embraced what we are doing and are open to working with us in creating an even stronger platform. They see the value in not only the awareness we have brought to the industry, but the connections we have been able to make between people resulting in increased business opportunities.”

Why we need more than what CAFA can offer: “I think the Canadian industry can compete internationally—with more resources and support available to our designers, the sky’s the limit. The key is for us to make a commitment to help our industry grow, and that includes more grants and funding from the government. Our industry is very creative and unique. It is filled with incredibly talented, dedicated, hardworking and passionate people. I would love to see the industry succeed more internationally, and more opportunities abroad should be established in the form of collaborations, partnerships with other fashion weeks and showcases around the world, perhaps through cultural exchanges or trade missions. As well, I would love to see more exposure through digital platforms and e-comm. Many designers are available online but many more should develop that side of their business.”

Stephanie Mark & Jake Rosenberg

Co-Founders, Coveteur

Hail from: Toronto

Home base: New York

Stephanie and Jake’s assessment: “We absolutely love the Canadian fashion industry and find ourselves in amazing company. The CAFA’s this past year were a great example of all the strong Canadian talent both in the country and that which has spread out into different parts of the globe. With brands like Erdem, Mackage, DSquared2 and Beaufille, to name just a few, it is clear there is a strong Canadian fashion industry and community.”

When commuting turns into relocation: “We are proudly Canadian and we created and launched Coveteur while we were living in Toronto. After four years, Coveteur turned into a full-fledged media company rather than just a website and we found ourselves constantly traveling to New York, where the majority of our clients are based. After exhausting ourselves, we decided to set up a New York-based office in addition to our official HQ in Toronto.”

The difference an office in New York makes: “To us, the biggest benefit is being able to put in more face time with many of our clients and shoot editorial content in a shorter amount of time, as well as hire editorial and sales teams with strong media backgrounds.”

Ania Bonieka

Content Creator, Aniab.net

Hails from: “Half Szczecin, Poland; half Calgary, Alberta.”

Home base: “I’m currently living the bicoastal life, working and living in Toronto and Calgary.”

Ania’s assessment: “I’m impressed by how many amazing brands come out of here, but the general public has no idea who is Canadian and who isn’t.”

Why she’s based in Canada: “I continue loving to live here because compared to the rest of the world, it really is one of the best places to nurture your talents and be creative and free. What is still lacking is the ability for the country to keep talent here; growth caps at a certain point. The communities in both Calgary and Toronto are extremely supportive of what I do; it’s a great representation of how, as an immigrant, the country is very welcoming. Even though I have been in the industry for over 16 years—first as a model, now as a blogger, ahem, content creator—there are now more opportunities than ever for anyone looking to enter the industry.”

Regional bias: “There are more people in the east so they automatically get more attention and more opportunities. This is in large part why I haven’t made the full move to the east coast. We need more people doing cool things out west.”

How big business can take the lead: “It would be good to see more risks taken by Canada’s established brands. Companies like Ssense and Aldo are amazing ambassadors for Canada, and Simons [a Quebec department store that has recently expanded across the country] is using its positioning to help small Canadian designers—it’s a really beautiful example of that collaborative attitude I love so much about the industry here.”

Canadians should be thinking globally: “People love Canadians. Generally, when we travel, the fact that we are from Canada is always a plus. Businesswise, however, the world still needs to be convinced. We have so much to offer but there has to be a reason why so many talented people seek opportunities elsewhere. A big part of the problem is public awareness. Business in Canada is much more conservative. Looking at your immediate markets might be good for the short term, but I think Canada needs to look out to the world, too.”

Paolo Roldan

Model

Hails from: “I grew up partially in Quezon City, Philippines and in Mississauga. My family migrated to Canada when I was 11.”

Home town: Toronto

Paolo’s assessment: “The fashion industry in Toronto is growing. More people from Canada are contributing to the fashion industry on an international stage. Although it’s not a country known for fashion globally, I’ve always drawn inspiration from here. I continue to reference the fashion movement from the early ‘90s house music scene.”

A model and a role model: “The Canadian industry has definitely supported me and my work from the start. The fact that I work and am recognized for my work is proof of the love and support I get from Canada. I’ve had a career in fashion for the last 15 years. I’ve been a merchandiser, menswear buyer, stylist… the point of it all was to create something original and new so that fashion in Canada can move forward and inspire other Canadians to do the same. It’s helped me be the person I am today and I thank all the people that have showed me love and taught me throughout the years.”

Why Canada can compete internationally: “We have the talent. We just have to nurture and encourage these talented people, provide them with a place to grow and showcase their work and help them benefit from it.”

Dani Roche

Creative Director, Biannual; Owner, Kastor & Pollux

Hails from: Toronto

Home base: Toronto

Dani’s assessment: “There’s a lot about the Canadian fashion industry that I like. For one, young designers like Spencer Badu of S.P Badu bring fresh and progressive ideas to the table; and agencies like Lorde Inc., that I believe is changing the game. I’ve been in and around the Canadian fashion industry for the greater part of a decade and when it comes to progress in an uptight space, Lorde Inc. is a glimpse into the future. Prioritizing diversity in an industry that continues to be criticized for being adverse to change, Lorde Inc. only casts models of colour. I’m proud to live in a city that showcases mindfulness and champions diversity.”

The Canadian gatekeepers that hinder the development of new talent: “I think a big pressure point is navigating the insular workings of a very guarded industry. While Canada is vast—and rich in ideas and talent and thoughtfulness—infiltrating the networks of industry gatekeepers is no simple feat. In the media world, there’s a tendency to stick to what is familiar; and in my opinion, there isn’t a lot of investigation into new and emerging talents. Generally, the opportunity to be recognized within Canada isn’t as great until you’re recognized internationally.”

She’s in no hurry to leave Toronto any time soon: “I’ve gotten a lot of amazing opportunities living and working in Toronto that I wouldn’t trade for anything. That said, I also acknowledge that there’s a world out there that has the potential to be grander and more glamorous than my everyday reality. Right now, I am prioritizing my network and the community that I have built in Toronto—mainly my team at my digital agency Kastor & Pollux, and the company I keep at Biannual, the outerwear brand where I am creative director. While budgets may be bigger across the pond, I’m in no rush. Plus, the internet knows no bounds and has allowed me to connect and communicate with people regardless of location.”

Her supportive and diverse community—if not the industry establishment—has made all the difference: “I’ve been fortunate enough to meet really wonderful and kind people from an array of different backgrounds that have acted as mentors to me throughout all my career pivots, giving me the confidence to tackle new challenges. While I am unsure if geography has shaped my professional journey, I do know that the people who I’ve met in Toronto have been integral to the path I’m on now.”

Tanya Taylor

Designer

Hails from: Toronto

Home base: New York

Tanya’s assessment: “My impression is there is no lack of enthusiasm to make [the Canadian fashion industry] successful—I am very impressed with CAFA and the community that supports Canadian designers. Unfortunately, I don’t think that Canada has reached the status of a fashion destination yet—trade shows, fashion weeks and showrooms are all located elsewhere, which puts the stress on Canadian designers to travel to make their businesses work. I think there is an opportunity to improve the interest around ‘buying Canadian’ and Sophie Grégoire Trudeau has done a fantastic job at being a spokesperson for this, but retailers need to catch up. Canadian press and retailers still look to the international stage for validation that a designer has ‘made it’ and I think there should be more credit and support given to those that are local.”

The land of opportunity: “One major opportunity that I have in New York that I don’t think I would have in Canada is having access to resources like manufacturing. We work only a couple subway stops away from where we buy zippers, lining, fabric, work on embroidery, wash our denim and produce our furs—it allows for a lot of creative experimentation when you have manufacturing partners in your backyard. Another thing that’s been beneficial is the formal support that the CFDA [Council of Fashion Designers of America] provides. One of the biggest things in my career has been support from the CFDA through opportunities like Retail Lab, where we had our first-ever standalone retail location, and the Vogue Fashion Fund, through which, after only two years in business, I had access to the industry’s best mentors.”

Slow and steady growth is best: “Canadians have a deep interest in the arts. When I was growing up I would have never dreamed TIFF would become what it has. I can see a similar future for the fashion industry, but it can only happen if the economy is there to support it. There shouldn’t be a rush to become an international fashion city—there should be more conversations around what designers need, what monetary support is realistic in helping them be successful, and the growth will happen slowly and sustainably. Organizations like CAFA have the right mission.”

Harry Josh

Hairstylist; Creator, Harry Josh Pro Tools

Hails from: Vancouver

Home base: New York

Harry’s assessment: “It’s a population problem. We just don’t have enough people to support the industry on a global scale. We’ll always be the cousin who has the artistic skill and talent. You need another 100 million people to make the Canadian fashion industry take off.”

Go where the supermodels go: “What it really boils down to is salary. The work in Canada is great—when I look at any Canadian fashion magazines, the work is fantastic. I’ve always thought, ‘Why is it not more world-renowned?’ However, I will talk to people who work in Canada and they all say the financial backup for the art that we do isn’t there. It makes it harder to pass up coming to New York, because not only are you working with the international superstars, but you’re also getting the international superstar salary to go with it. The fashion consumer only cares about big names. I could do the same hair on a beautiful girl back home in Canada; then do the look on Gisele and it’s global news. By us having the most famous people on the planet looking good, we get the credit—people don’t care to see our work unless it’s on the most famous people, who live in the US.”

Maria Varvarikos

Founder & Principal, Zoï Agency

Hails from: Montreal

Home base: “I have three offices. I opened in New York in 2010. I was between New York and Montreal weekly, and now I’m between Montreal, Toronto and New York pretty much every week. If I only had offices in Montreal, even if I did PR across Canada, I don’t know if I’d still be around 17 years later. I do believe that the New York office has helped tremendously and allows us to further grow”

Maria’s assessment: “Way back, in 2005 and 2006, looking at Montreal and Toronto, I found that there was a lot of hope. A lot of brands were launching and everyone had these big dreams. After 10 years, some people lost hope, some ran out of money, but some brands did last. Most of the brands that did had to go abroad to find that success. Now, we’re back at that stage where there’s more hope, but people have realized a lot over the years—that being local is extremely important, but you have to have a global perspective and network. If you don’t, it’s very hard to succeed, even in your own market. You don’t have to leave Canada. Byron and Dexter [Peart of Want Les Essentiels] are a perfect example—they’re based out of Montreal. But you have to travel; you have to create networks abroad.”

We need to look to other industries to find success: “I’m constantly amazed by the talent and business successes that exist in Canada. We have these amazing IT and digital companies and I think a lot of the answers are here in our own backyard. The fact that CAFA has brought people together is great, but now the fashion world needs to open up and realize how important these other industries are to us. We have the talent here, but we have to work together. We have to start looking at all the resources we have outside of the industry.”

Jessica de Ruiter

Stylist

Hails from: Toronto

Home base: Los Angeles

Jessica’s assessment: “The Canadian industry is still small, however, the growth and expansion is inspiring. It is slowly becoming more relevant within the country and also on the international stage.”

Why she left Canada in the first place: “I moved to Los Angeles in 2002 after graduating from McGill University to pursue my career as a stylist and fashion editor. Working at Condé Nast in both LA and NYC exposed me to the inner workings of the international fashion industry. As an assistant and young editor, I was on shoots with the leaders in our field—the most renowned fashion editors, photographers, hair and makeup artists, models and celebrities—people I had only read about in magazines or seen on TV. I was now living in the world I had watched on Fashion Television religiously every Sunday night growing up in Toronto.”

Canada’s mass exodus problem: “I have always found it frustrating that all the incredible talent of our country feels the need to move to the United States to ‘make it’. Why does that need to happen? Wouldn’t it be amazing if all the talent just stayed in Canada and we all worked together to grow the industry into something bigger? I am guilty of it myself, but until this exodus stops happening we will continue to stay small. I also think part of the problem is that Canadians are inherently more modest and humble than other nations and perhaps we do not push ourselves into the limelight enough or as often. We are successful but not as self-promoting as, say, a country like the US. The talent needs to stay in Canada. By moving away we are sending the message to the rest of the world and to ourselves that we do not think our own country’s industry can support us or is relevant enough to get behind. We probably also need more resources directed towards developing the industry and defining a unique Canadian point of view.”

Canadian pride, and an outsider’s advantage: “I would love to do more work in Canada. I feel very patriotic and proud to be Canadian. I am always eager to support in any way possible, but unfortunately the opportunity does not present itself as much as I would hope for. I am very grateful for my Canadian roots and heritage as it gives me a very unique perspective in my career. I have always felt like an outsider looking in and that has been important in what I bring to my work.”

Sid Neigum

Designer

Hails from: Drayton Valley, Alberta

Home base: Toronto

Sid’s assessment: “The Canadian industry is much smaller than other countries, but seems to be going through a mini growth period.”

Why he’s based in Toronto… and shows in London, Paris and New York: “Toronto is a nice home base and my favorite city in Canada. I like to be in a multicultural place. It feels like a small town with the conveniences of a big city. That said, it is important to show in a fashion capital to meet with press and buyers. Travelling to New York, London and Paris gives you the exposure that is needed to succeed.”

Why Canada might not need a fashion capital of its own: “Toronto may never be a fashion capital, but sometimes it’s nice to be removed from the action. Perhaps people should stop trying to push Toronto to be like New York. I like Antwerp: it’s totally removed, but home to so much talent.”

Sid Neigum

Designer

Hails from: Drayton Valley, Alberta

Home base: Toronto

Sid’s assessment: “The Canadian industry is much smaller than other countries, but seems to be going through a mini growth period.”

Why he’s based in Toronto… and shows in London, Paris and New York: “Toronto is a nice home base and my favorite city in Canada. I like to be in a multicultural place. It feels like a small town with the conveniences of a big city. That said, it is important to show in a fashion capital to meet with press and buyers. Travelling to New York, London and Paris gives you the exposure that is needed to succeed.”

Why Canada might not need a fashion capital of its own: “Toronto may never be a fashion capital, but sometimes it’s nice to be removed from the action. Perhaps people should stop trying to push Toronto to be like New York. I like Antwerp: it’s totally removed, but home to so much talent.”

Chloé and Parris Gordon

Designers, Beaufille

Hail from: Toronto

Home base: Toronto

Chloé and Parris’ assessment: “Canadian fashion is an evolving industry that is ready for the next step, and to be recognized on an international level. The industry has taken a step back to really assess what it is doing and strategize as to how to actually make a difference and garner real recognition.”

The designer sisters never left Toronto, but now present their collections in New York: “Toronto is where we are from and was the most cost-effective place to start our business. New York has access to international media and editors, industry leading retailers and recognized influencers—it’s a city that has been leading the industry since its inception.”

How the international press can play a role in galvanizing the Canadian industry—and what we need to commit to here in Canada: “The articles [in the New York Times and Business of Fashion] are amazing and exactly what we need to keep growing and developing into a real player in the game. Now, there needs to be coverage from Vogue Runway like they do for Berlin, Copenhagen, Tokyo, Sydney and other smaller fashion weeks around the world. There also needs to be showrooms that attract international buyers to come and purchase collections. We have ambition, talent, drive, goals and hard-working people. We should focus on making what we offer attractive enough for international media and buyers to make it a part of their travel schedule.”

This post is part of The Canada Project, a representative survey of Canadians from across the country. You can find out more right here.