I do belong here: A Conversation with Flo Fortune

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Flo Fortune by Marie Marchandise

Editor’s note: The following interview and video essay mentions eating disorders and bullying. Reader discretion is advised.

Why do we take pictures of ourselves? Why do we share them? Why do we want to be published? Why do we desire to wear pieces that transform us–armors wrapped around us, there to reassure us–allowing us to become characters injecting freedom into our lives, and granting us the strength to become ourselves? Why do we give life to handmade creations, conceived by spirits whose thoughts only stop at the first clanking sounds of their sewing machines, or when their threads puncture fabric for the first time? Why do we create threads between all of us? Why do we forge ties? Why do we want to meet each other? Why do we create a human and colorful universe? Why do we inspire each other, and feed each other with beautiful visual stories–the ones that smoothly impact you–remaining embedded in your mind? The ones that give you hope, that beckon you, when leafing through glossy pages or watching a fashion show? 

All these questions suddenly find an answer when Flo Fortune opens the doors of this grand dance studio, enveloped between high trees, sun, and silence. Fortune, a professional model, arises quietly and elegantly, such as the echo of their steps on the floor. They are waiting for one thing only: the camera revolving around them; to catch and control it.

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Marie Marchandise for Also Cool Mag: How would you present yourself? How do you think you are seen? How would you love to be remembered?

Flo Fortune: I’m Flo, a 28-year-old queer, midsize model, social media consultant, mental health advocate, writer, and anorexia survivor. 

I think I am seen as a brave person, as I never shy away from stating the mental health issues I’ve dealt with. Being openly vulnerable, on and offline, isn’t easy, but I know for a fact that it can help people feel less lonely in a society that values so-called perfection and success at all costs.

People might also perceive me as a woman because I’m very femme-presenting, which can be difficult to process sometimes.

I want to be remembered as someone who always did what they thought was right and tried their best to achieve what they wanted, even when it seemed impossible.

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Flo Fortune by Marie Marchandise

Also Cool: What is it like to be a model in Paris?

Flo Fortune: No need to sugarcoat it, it’s really hard. Paris is the city of fashion, but in a very traditional way. There is, to this day, very little room for the misfits, fat people, midsize people, people of colour, and disabled people.

For the most part, we simply do not exist, and the ones who made it went through a lot to get there. Diversity isn’t a priority or a goal; it’s mostly a marketing tool. I couldn’t name more than five fat, midsize or nonbinary French models who managed to succeed in France. When it comes to disabled models, it’s like they don’t even exist in the French market. It’s a shame, and I think that the “Parisienne” myth has a lot to do with that.

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Flo Fortune by Marie Marchandise

AC: What defines a “good” model, to you?

FF: Someone who isn’t afraid of not looking pretty, who is ready to play a role, to tell a story. Someone who can use their vulnerability, their story, and their strength to create “the shot.” You have to be okay with the fact that you will give a piece of who you are when on set. Not everything has to be about measurements. Agencies are now, more than ever, looking for personalities, people who have a voice, and things to bring to the table.

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Flo Fortune by Marie Marchandise

AC: How can fashion be more political? What are the first “baby steps” to make the industry more in sync with our era and society?

FF: There are tons of topics that should be discussed and actions to be taken. Sustainability, access to fashion schools, diversity, and ethical work, to name a few. However, none of these issues will ever be truly discussed since most of the industry is still ruled by white, aging, cis male billionaires.

Brands, Maisons, magazines and agencies have to take responsibility and hire people of colour, disabled people, young people, queer people, and fat people, at every level.

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Flo Fortune by Marie Marchandise

AC: Are there any true changes that you’ve spotted?

FF: There are lots of exciting projects that keep me from being pessimistic. For example, I really hope that brands like Marine Serre or Ester Manas, who are getting recognition in France, will inspire others to showcase the same amount of diversity on the runway. Similarly, concerning their sustainable fabric-sourcing, I believe they can influence small designers to consider eco-friendly alternatives and new production processes.

In 2022, I came across many podcasts and Instagram accounts whose goals are to desacralize the fashion industry and share resources. Be it by posting upcycling hacks or addressing issues, such as the colonial dynamics that are still at play within the fashion industry. 

Another thing that comes to my mind is the current debate about nepo babies. We’re finally collectively talking about the fact that most people in fashion don’t come from the working class and that it has to change! 

That being said, I think it’s fair to say that change is being pushed by “small” creators, brands, journalists and so on, and not by those who have the actual power and the means to make a huge positive impact. 

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Flo Fortune by Marie Marchandise

AC: What are you hoping to change in the industry?

FF: Let’s face it, I might be queer and midsize, but I’m still a non-fat white person. I know that I have an easier path than others. That being said, I do think that working in this industry, being who I am, knowing where I come from and how narrow-minded the modeling industry is, is already a push in the right direction. Being "a face and a body" isn’t enough. I want to use my voice and work on projects that mean something as much as I can. Be it by working with sustainable, QTBIPOC-led brands, queer photographers, or truly inclusive agencies.

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Flo Fortune by Marie Marchandise

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I do belong here credits

Model: @manicpixiefuckk
MUA: @paulinemakeupro
Hair: @lapetitevictoulouse
Dress: @noemiedevime.paris
Lingerie: @eternel_ephemere_underwear
Nails: @nailedbyines
Jewels: @labricotbleu, @annashelley.fr, @jeannette.atelier, @cecile.dallaglio_jewellery, @maaadboutique
Location: @residencedesartstoulouse  

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Marie Marchandise

Marie Marchandise is a 28-year-old photographer, art director, and PR specialist living in Toulouse, France. When she was a child, she wanted to be a poet. Growing up, she was obsessed with the fact that she actually wanted to be helpful: she wanted to be a vet, a psychologist, or a lawyer. With arts and PR, she combines the inherent desire of her first dream job as a child, and her inner need developed from her teenage years into adulthood.  When she tells visual and written stories with brands, designers, models, and creatives, she contributes to a bigger picture. If you feel something when looking at her photographs or reading her texts, it means that her job is done. If you are inspired, motivated, looking for something new thanks to them, this is more than she could ever dream of. 

Instagram

Flo Fortune 

Fashion is, for me, a tool to get my own emancipation. A way to explore. A means to reach self-definition on its own. Fabrics and textiles represent artistic expressions, helping me to exist. As a child, fashion allowed me to be alive when the rest of the world wanted me to disappear. Today, when I’m wearing clothes, I am always diving somewhere else, into a new universe. Every time. Every day. My individuality is asserted thanks to fashion. I want to be loud. I am clear: I belong here. I am doing this job as I am craving poetry and creativity. I am eagerly looking for different ways and options to communicate and create a sustainable and healthy bond with persons who are not only like me, but inspire me. I want to give back that inspiration, I want to breathe in and breathe out in studios, catwalks, and magazines. I am doing this for the past versions of myself that thought too many times that I needed to suffer and starve myself to create beautiful pictures. I am doing this job to prove that you can fall many times, yet always pick yourself up, stand up, and rise up.

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La Luna Naranja: Exploring the Collaboration of Amalia Naranjo, Luna Nashar, and Oriana Confente

Amalia Naranjo modelling the La Luna Naranja collection. Photo courtesy of Oriana Confente

“Every night, I am alone. I transform into

different shapes

Every 28 days.”

As seasons begin to change, I have found myself getting further swept up by pensiveness under the night sky. The evenings draw longer, leaving a collection of charcoal clouds and twinkling stars which further illustrate the vastness that surrounds us and the bittersweet reality that everything must shift. Who are we in relation to each other, to our environment, and to past versions of ourselves?

The latest creative collaboration between Montreal-based artists Luna Nashar, Amalia Naranjo and Oriana Confente contends with such questions, linking tote-bag aficionados across the universe with a transcendent connection. La Luna Naranja was released earlier this summer; its canvas was carefully designed by Naranjo and Nashar, and captured by Confente with a warm and decadent editorial photoshoot. On La Luna Naranja, the trio shares:

“La Luna Naranja offers a unique fragment of what forms a Bigger image. In this fast-paced life, we go through ours with a small perspective of what's happening around us, letting our surroundings affect how we grow and reshape into our new self. The uniqueness of a Luna Naranja bag represents the beauty of individuality while still being a part of a more complex whole. A 1x1 metre canvas, hand painted by Amalia Naranjo. Each tote bag, unique, is a part of a greater picture. United, they create the original piece. However, the canvas was never meant to keep its beauty for itself. Cut, folded and sewn, it shares its true purpose: unity through art.”

The project alluringly melds temporality with an everlasting vibrance – what began as one has been reborn as many, and the many have been immortalized as one. Although the fragments of La Luna Naranja have each found their forever homes, their bond—much like ours with the past, present, and future—remains fused throughout the phases of the night sky. Also Cool Mag recently connected with Naranjo, Nashar, and Confente to discuss their creative bonds and their visions for La Luna Naranja.

Amalia Naranjo modelling the La Luna Naranja collection. Photo courtesy of Oriana Confente

Rebecca L. Judd for Also Cool Mag: Thank you all for sharing your creativity with Also Cool! To start, I would love to know a bit more about each of you and your respective practices. Can you elaborate on how this collaboration came about? How did you folks cross paths, and which artistic values or interests have you bonded over?

Luna Nashar: Amalia and I met on set of my first editorial in 2020, and I met Oriana at my very first art exhibition a year later! Since then, we have created opportunities for ourselves to connect and grow together as creatives. 

I am inspired by Amalia’s unapologetic approach to her art. She is a multidisciplinary artist, and [through this project] I really wanted to challenge her and get to know her as a painter. 

Oriana is a perfect fit on the project. Her use of film photography reinforces the “one-of-a-kind” theme of the project. I also love discussing sustainability in fashion with Oriana – we both are big on thrifting! It was interesting to have her on this project where a new art piece is recycled into a tote.

Oriana Confente: I actually met Amalia on the same night I met Luna at her exhibition last year. That was the first time I had seen Luna’s textiles and Amalia’s paintings. 

It’s funny how sometimes you encounter people and you just click. Like Luna mentioned, we connected over sustainability in fashion and I admire her approach to design. I love that Luna often repurposes deadstock fabrics, and I’m obsessed with her interpretations of the female form. I mean… pussy pockets. What a concept! I have at least three at home, and I’m sure that I’ll own more soon. 

I fully agree with Luna – I’m also inspired by Amalia’s unapologetic approach to her work. Getting to know her more through the events and projects that Luna organized has been lovely. It was especially fun to have an opportunity for Amalia to model with pieces she co-created. Funnily enough, this shoot was supposed to just be for e-commerce at first, but it evolved into so much more. I am thankful for transformation!

Amalia Naranjo: Like Luna said, we met in September 2020 for her editorial photoshoot. A year after that, I met Oriana at Luna’s art exhibition The Red Room. Their energy always felt so pure and real to me, when Luna proposed to me to collaborate with her on a tote bag project where I would get to paint, I was really excited to jump in. 

I immediately bonded with Luna. I loved her style, her creativity and her aesthetics, but mostly her perspective on arts and community values. She has the gift of bringing interesting creative people together so we can share and collaborate on our creations. Oriana’s artistic approach on themes like nature and technology and how they can co-exist really captured my attention. I admire the complexity of her projects and how she talks about it in an effortless manner.

Also Cool: La Luna Naranja fuses individual pieces into a greater narrative about transformation, reflecting on interconnectedness between eras and experiences. Tell us more about how this is thematically reflected in the collection, and what you’ve learned in creating it.

Luna: I feel like a bond of sisterhood developed throughout the project, as we learned from each other and spent time with each other's art. It was fruitful to share and be part of different challenges when it comes to our different mediums. As I sewed the totes, I could tell where Amalia put more paint! It was really fun to imagine her creative process as I was transforming her art.

Also, it was lovely seeing people choose which tote would be theirs. It reflects their uniqueness. I feel like La Luna Naranja created a small community where each one-of-a-kind tote is carried by an exceptional soul who shares a love for the art piece. The sisterhood that we shared together is for the community.

Amalia: When I had to come up with a design, I knew I wanted to bring a sense of uniqueness to every individual bag, so I knew that it wouldn’t be a single pattern throughout the whole fabric. But I also wanted it to be all connected and dynamic to represent movement and change through time and space – hence the lines that travel through the whole piece. There are also the different shapes of what seem to be naturally-rounded balls, but whose shapes change depending on their surroundings – just like us. Humans are affected by our surroundings, and we change as we move through time and space.

Amalia Naranjo modelling the La Luna Naranja collection. Photo courtesy of Oriana Confente

AC: I’m interested in the prospect of “unity through art”; how the repurposing of this piece into tote bags helped it to achieve a higher level — “its true purpose”. As artists, was there a moment when you felt that this was achieved?

Luna: Great art is life-changing. Traditionally, a painting is appreciated in a specific space. Repurposing it into a timeless piece elongates its narrative. I love the idea that you get to spend time with a piece that makes you feel a certain way. 

Transforming Amalia’s art was a very big moment for me – especially the first cut! I feel like a bond of sisterhood developed throughout that process of transformation. Although, the greatest feeling is knowing those tote bags are part of someone else’s life now. Maybe we should do a reunion with all the La Luna Naranja carriers!

Amalia: I could not say it better, Luna! By giving the art piece a utility, its purpose definitely adds more to the symbolism of moving through time and space with the user, and the sense of unity with all the people involved in this creation and the consumer is defined. I feel like this project keeps reaching higher levels. From doing a playful photoshoot, wearing the big painted fabric, to wearing the individual tote bags while doing more of a conceptual photoshoot. I feel it even more when I see people using it in their everyday lifestyle, and finally, when I see it published in a magazine for all eyes to see!

Amalia Naranjo modelling the La Luna Naranja collection. Photo courtesy of Oriana Confente

AC: I’d love to hear more about the intentions with colour in the piece, both as totes and in this photoshoot. 

Luna: Each emotion that each colour communicates, I want to feel and experience. I wear what I feel, and I am very comfortable expressing those feelings. I like finding balance in those emotions and I believe Oriana did a great job capturing that!

Oriana: Luna and Amalia are both incredibly vibrant human beings, in terms of the work they create but also in terms of who they are. Capturing their essence in this editorial was important to all of us. 

Amalia came to the set with electric blue eyeliner, and Luna had the spontaneous idea to throw some yellow lace she had in the studio over the backdrop… It came together quite naturally. 

Amalia: I cherry-picked the colours to create a vibrant palette of a nice variety, one that represented a diverse range of feelings and states. I also had fun blending various colours inside the balls, which was again to represent free movement and transformation. I chose to paint the lines black so that they could be neutral while the balls do all the eye-catching with their bright changing colors. When it came to the photoshoot, we approached colour in the same way: we went extra on the colour palette with the electric blue eye makeup, the extravagant red backdrop and the bright yellow lace. 

AC: Thank you all for your time! To close things off, what are each of you up to next, creatively? Are there any future collaborations in the works?

Luna: I am currently working on a new collection of bags in collaboration with a vintage store in Montreal, where transformation is also a major theme. Truly, collaborations are essential to every artist's growth. 

Oriana: Luna and I are starting a new project together! My practice, through photography and other creative means, is interested in disrupting consumerism and repurposing materials. I work with electronic waste (e-waste) a lot. Right now, Luna and I are co-designing garments that incorporate e-waste we’re collecting from friends and family. 

I’ve created e-waste accessories before—like earrings made from microchips—so it’s exciting to be working with a skilled designer like Luna to make more elaborate wearables. Plus, sharing talents and merging practices continues to commit us to transformation and unity through art. Collaboration and making-with is crucial for any type of community. I’m grateful I can experience that artistically with really cool folks. 

Amalia: I am very proud to say that as La Luna Naranja sold out very quickly, I am currently working on a new collection of painted tote bags with Luna. I am also working on a collection of paintings to have my own art exhibit soon. I am looking forward to more collabs with more creatives as I believe we can only do so much more amazing stuff when we work together.

Medusa, a “pussy pocket” bag produced by Luna Nashar. Photo courtesy of Luna Nashar

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La Luna Naranja

Modelled by Amalia Naranjo

Photographed by Oriana Confente

Garments produced by Luna Nashar

Tote bags designed by Luna Nashar and Amalia Naranjo

Hair styled by FirstClass Hair

Make-up by Dorianys Naranjo

Assisted by Vladim Vilain

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Luna Nashar

Website | Instagram

Oriana Confente

Website | Instagram | Twitter

Amalia Naranjo

Instagram

Rebecca L. Judd is the features editor of Also Cool Mag. She writes and creates out of her studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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Em&May: Montreal's Women-Run, Sustainable Brand Making a Difference with Inclusive Fashion

Em & May Into Orbit collection

It's rare these days to see a brand say that they're sustainable and size-inclusive actually mean it. Em&May is a small but mighty women-run brand based out of the Mile End in Montreal that focuses on swimwear, lounge, lingerie, and more.  

It's easy to assume that a brand is a massive production because they have a curated Instagram and a sleek website. In reality, Em&May is a small team of young women figuring it out as they go along, taking on every aspect of the business. They do everything themselves, from creating their garments to customer service and even arguing with Canada Post over the phone to keep shipping prices low.

I wanted to showcase the immense amount of hard work that goes into this project and spotlight the women behind it all. Em&May operates on a made-to-order business model. That allows them to produce the least amount of waste possible while also providing a huge sizing range where you can input your measurements to ensure that your clothes fit you perfectly. They're working hard to make their creative dreams come to life while staying true to their values.

I first found the brand a year and a half ago on Instagram and have been following them ever since. It feels good to know the money I spent at Em&May goes right back into sustaining the lives of a group of creative women instead of a huge faceless corporation. 

I've gotten to know Emilie and her amazing team of girls over the last few months and wanted to share a sneak peek of what it's like behind the scenes, so we sat down for an interview. 

Em & May swim

Malaika Astorga for Also Cool: When did creativity enter your life? Did it start with fashion, or did you have other hobbies?

Emilie for Em&May: I used to draw a lot when I was younger. I would come home from school and draw in my notebook, which is where I first became interested in art and creativity. Fashion was something that I always really enjoyed.

My grandma used to take me shopping when I was a kid. She would give me some money to run around the mall to buy whatever I wanted. It was the first time I got to pick things out for myself, and when I started to figure out how I wanted to express myself by developing my sense of style. 

Despite being interested in fashion at a young age, I never really knew I would study design. When I had just graduated high school in Newfoundland, I went to a school called Textiles, Crafts Apparel and Design, which gave me my first experience with sewing. I was so excited to stay late at school to sew my projects. 

Whenever my teachers would give us something to do, I would do three or four. We had the opportunity to have a fashion show and then sell the pieces afterwards, and everyone made maybe five or six garments, and I must've made 30 or 40 pieces. I had an entire collection and extras on top of that. After the show, people could come and shop the pieces, and it was crazy to see people from my high school take an interest in my work.

I had started a Facebook page in school that I would post on all the time, which is how I got my name out there. People began to become a little more aware of what I was doing, which carried over to Em&May, which started when I was in school in Montreal.

I used that Facebook page as the base of the business because I had already accumulated a bit of a following. 

Em & May swim

Also Cool: What's the creative scene like in NL? What was your experience like there creatively?

Em: My school was in downtown Newfoundland, but downtown is not like downtown here. It's not super commercial, it's more where artsy people hang out, and there's a lot of cafes, galleries, and local businesses. There's a creative community down there; it's just less fashion and more painting, pottery, etc. but not necessarily clothing. 

AC: Why did you decide to move to Montreal? What was your first impression of the city?

Em: The main reason was that my mom is from Montreal, and I always loved her side of the family. We would visit once or twice a year, and I really wanted to know them better, so I started looking into the different schools here.

In terms of first impressions, I came to Montreal when I was a kid or with my friends for concerts or shopping. But when you live in Montreal versus when you come to visit, it is completely different. When you visit, you're mostly downtown on St. Catherine, going to all the big box stores, and everything else is just entirely off your radar. 

When I moved here, I started school right away, which was a big adjustment. I got my first job walking down St. Catherine and applied to all those box stores. I got a job at American Apparel, which was my foot in the door to the whole life I've created now. I was only there for a month, and then I got a call for a job from Urban Outfitters, which was my first choice, so I switched over to there. I'm really glad I made that call because that's where I met all my friends, who are even now still a part of the same scene, and two months later, American Apparel shut down.

Em & May sweat set

AC: How did you first get involved with the fashion scene in Montreal?

Em: I met a lot of people through school, and I honestly just said yes to every opportunity given to me. I also engaged with a lot of people and brands that I liked online as well.

When I was in school, the scene was comparable to now. Now it's just so different, especially the side of fashion that I'm a part of now (handmade, sustainable fashion). These are things that I've always been passionate about, but I couldn't have imagined myself going into.

These days people are way more conscious about their money and think a lot about where and who they're buying from. I think the pandemic brought a lot of that into focus. 

Em & May sweat set

AC: What was your collab like with Citizen Vintage? What was a valuable lesson you learned from them?

Em: I love them. A girl I went to school with had a studio assistant position that I took over. I would do adjustments for their vintage clothing, cropping and hemming things. I would repair broken things, help out with the tote bags and other things. 

They were also so good to me when I started Em&May and gave me 24-hour access to their studio to work. School closed at 11, and if I still had projects to do, I would go to their studio and work there instead. They were so helpful and so supportive.

I was still working for them when I did my first-ever collaboration with them. They wanted to make some swim, and I offered to take over that for them. My brand continued to evolve and grow, turning into a bigger collaboration. They've also purchased wholesale from me before, and we did a bunch of different collections together.

They taught me a lot about planning collections, sizing breakdowns, wholesale and consignment. They guided me through that process, so I had a better idea of what was expected when I got deals with other stores and companies. 

Em & May Into Orbit collection

AC: How do you incorporate sustainability into your practice?

Em: When people ask about sustainability, they usually ask about fabric, sourcing, and fibre content, which we pay a lot of attention to. Most of our fabrics are made from either deadstock or natural organic fibres. Our swim is made from Econyl, which is made from ocean waste and plastic bottles. We had also made an activewear collection made of plastic bottles last year. We're always trying to find different OEKO-TEX certified innovation fabrics.

In terms of packaging and shipping, all our materials, paper, boxes, water-activated tapes, etc., are made from 100% recycled paper. We function on a made-to-order business model, which means that we only make what has been ordered to have the least amount of waste possible. 

Also, I can pay my employees more than a living wage. There's not a huge amount of production in Montreal anymore, and not many people who graduate end up working as a seamstress. So what's fun about Em&May is that we're able to build off each other and sustain each other's lives because of our business. Our process is also super collaborative, and everyone has creative freedom.

AC: What are some of your favourite spots in Montreal? Any favourite memories to share?

Em: I am a coffee addict, so I love Olimpico and Gamba. I also really enjoy martinis, especially after a long week, so I go to Henrietta, Majestique, and other cute, low-key places.

Em & May Into Orbit collection

AC: What's been the most rewarding thing about running Em&May? How do you feel like you've grown as a person & artist because of the brand?

Em: I think it's awesome that we can be such a small team and are constantly creating pieces that we want to do without a timeline, but also that we're creating pieces with such a huge size range. We have no restrictions for sizing at all so that anyone can buy from us. 

It's rewarding to have an idea, I tell the girls, and then we sit down and talk about it – and two days later, it's done and on the website. We don't have to wait six months to a year for these ideas to come to life. 

AC: Do you have any small businesses / other artists you'd like to shout out?

Em: Definitely @va1sseau and @rachelsudbury! 

AC: What's next for Em&May?

Em: This year I want to be more creative in a way that goes outside of traditional fashion. A lot is coming that's not necessarily ready-to-wear and is more like wearable art. We're going to be incorporating more statement pieces, avant-garde, wearable art with non-traditional elements.

You can meet Emilie and the Em&May team this weekend at our Holiday Pop Up this Saturday, December 11th, from 12-6. See our Instagram post for details. 

Em & May Valley bralette

Em&May

Website I Instagram I Facebook I TikTok

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Montreal Designer Kate Turner Talks Launching a Brand, Montreal's Fashion Scene & Sustainability

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

When I moved to Montreal, one of the first things I noticed was how uniquely well-dressed everyone is, nonchalantly making the city their runway. It seemed like no one cared to judge each other too harshly for wearing something other than big box stores and name brands, with many people wearing their friend's clothing lines or merch. 

As the world opens up again and I've started going out more, I can't help but feel the same way I did all those years ago: Totally enamoured with the creativity I see in the way people dress. The combination of having so much time to ourselves, without having to dress for others, and now the celebratory ability to go out again has made for an explosion of personal expression and unique style. 

What's even better is seeing friends' brands or creative projects being worn out in the world. It feels special to bond with a stranger because you're both wearing a garment that your friend made or to recognize the coolest pants you've ever seen on Instagram worn by someone casually doing groceries.

Kate Turner is one of those brands that makes you stop and say, "Wait, I think I've seen those before!" I've been a long-time admirer of her designs, and it's been exciting to see the brand grow and collaborate with mutual friends, fostering the fashion scene in Montreal. Her iconic green and black checkered pieces have been worn by the likes of Lil Miquela and just about every cool Montrealer out there.

I caught up with Kate over email about her latest collection, how she got started, sustainability, and a lot more.

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Malaika Astorga for Also Cool Mag: Let's start with a bit about who you are and what you do.

Kate Turner: I'm Kate - I make clothes under the name Kate Turner.

Also Cool: How did you first get into fashion? Has this creative practice always been in your life, or is it something that came later?

KT: I liked to sew in high school, and I thought I was a cool dresser back then. My family is full of creative people, specifically my mom and aunts; they heavily influence me. 

After high school, I pursued other things but came back to sewing in my mid 20's. I started making really basic baggy dresses, and shirts and people loved them. Then a store sent me a message saying they would like to sell my clothes and I was so excited I didn't sleep. I was up all night thinking about how it was even possible to make clothes for a living. I wanted to study some more before starting my own brand, so I did a textile design studio program in a mountain town in BC. I consider myself self-taught as far as fashion design with a background in textile art. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Also Cool: How has your brand evolved over time, and what have you learned about yourself and your creative practice in the process?

KT: My brand evolves with my personal growth, the skills I learn and the connections I make. It is all on display. 

I had a studio in Chabanel for a year and made a lot of connections with small factories there. I found somewhere that makes ribbons out of whatever fabric you choose, so everything I made (like the Maya suits) had ribbons all over them. I am now into elastic shirring and making everything stretchy and texturized. I bought a specialized twelve-needle machine that took me more than a month to get working, so expect a lot more shirred items in the future! 

My creative process is all about making samples. That can be the scariest and hardest part, but it's really great to get ideas out of your head and see them in the physical world. 

AC: How do you incorporate sustainable practices into your brand? 

KT: That's a tricky question; I'm very wary of greenwashing and using "eco-friendly" as a way to sell clothes. I think the only way to be truly sustainable is to not make any new clothes at all. I think brands are misguided by marketing their things as such. 

All that being said, the things I do as a small brand are source secondhand first, deadstock next and high-end virgin fabrics like silk and linen. I save all of my scraps and either reuse them or give them away to hobby sewers. I've recently introduced hemp into my studio this year; it takes the least amount of water to grow each fibre and lasts for hundreds of years. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

AC: It seems like often people don't understand the amount of time, energy, and resources it takes to run a small brand. Could you break down this process for us and explain a bit about what goes on behind the scenes?

KT: I think a lot of people don't realize that behind the scenes, there are so many samples made before a garment is released. Even if it is a simple piece, there are usually a few prototypes/samples made and tested. And then you have to make one of each size and get those fitted. I always make my first prototypes out of secondhand bedsheets and then go from there. I make everything myself along with one seamstress, but I do get things like buttonholes, grommets, trims and spaghetti straps made in Chabanel. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

AC: What has your experience with Montreal's fashion scene/community been like?

KT:  I love making clothes in Montreal. I'm like a sponge; I get so inspired by what my friends and people on the street are wearing. It's quite impressive how creative people are at dressing in this city. It feels like you can wear the wildest outfits, and no one will even notice, which is not the case for most of Canada. It's a beautiful thing to witness Montrealers showing up and accepting expressions of our true selves through fashion, art and music.

AC: Last but not least, how can we best support you and your brand?

KT: The best way to support my brand is to show up to events that I have and engage in any way you can. You don't have to buy anything, but just showing up to support goes a long way. I'm grateful for the support I receive from my community.

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Kate Turner

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Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Bad Wrld Launches Sustainable Bath and Loungewear Spring/Summer 22 Collection (Danica Olders)

via Bad Wrld

If there's one thing I know for sure, it's that I want to be comfortable. We all know that loungewear has taken the world by storm over the past year and a half. It's since become a staple in our lives, impacted style trends, and at least for me personally, how I dress on a day-to-day basis.

But let's be clear, just because I want to be comfy doesn't mean I want to look like a pile of blankets. And in a world of over-consumption, if you're going to buy, why not buy from more sustainable and ethical brands?

Today we're premiering a collection that checks all those boxes and more, Bad Wrld. Bad Wrld is a luxury fashion brand specializing in one-off, custom and limited edition robes and accessories for after swim, bath, spa, club, or just to lounge in. The robes range from more classic belted robes to cute fits of towel shorts and cropped jacket tops.

The collection debuts with a beautiful video and photo series shot by Ariana Molly, which you can watch below.

via Bad Wrld

The brand is designed and made by Danica Olders, utilizing recycled towels and 100% cotton terry cloth as ethically and slowly as possible. Bad means bath in Dutch, which Olders discovered on a trip visiting family in the Netherlands as a child who couldn't find the restroom.

The new collection for Spring/Summer 22 is called "Bath" and features seven original looks of 12 style variations, all done in monochrome white and grey, showcasing the design features available when ordering something custom.

Danica Olders is a Canadian transdisciplinary artist interested in space. Not like outer space but the space between people; the distance from a person to their connected walls/objects, the ownership felt of said spaces and the interactive energy possessed by them.

Her work is highly symbolic and largely based on humour. It is direct yet animated and friendly, easy to be near while maintaining socially charged ideas underneath the playful surfaces. The work is surreal, abstract and often practical, appearing as paintings, murals, graphic designs, costumes/fashion, digital animation, sculpture and installation of some or all of the above.

Olders has worked with numerous musical and visual artists creating costumes and visuals (VJ) for performances, album artwork, music videos, promotional material and merch. She has produced her own clothing labels, The Lost City (2012-16), Bad Wrld, luxury bathrobes (2020). She has been involved in the art direction of various establishments in Montreal such as Bar Pamplemousse, Le Mal Necessaire and Bar Kabinet, designing and producing murals, signage and silk-screened wallpaper.

Watch the Bad Wrld runway below

BAD WRLD

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CREDITS

In order of appearance: Philippe Minkoué, Petr Barykine, Paige Walker, Marius Mevold, Julio Mendy, Audrey Mcdiarmid, Jessica Johnston

Camera Operator: Ian Cameron

Camera Operator: Jonathan Durand

Aerial Camera Operator: Sharif Mirshak/Parafilms

Original Music by Dapapa

Mixed and Mastered at Breakglass Studios by James Benjamin

Field Recordings by James Benjamin

Makeup Artist: Dahlia Doe

Photographer: Ariana Molly

Assistant Director: Laura Acosta

Production Assistant: Zander Blanchard

BTS Camera Op: Sam Rae

Transmission Executive Producer: James Benjamin

Transmission Producer: Ian Cameron

Executive Producer: Danica Olders

Director: Danica Olders

Co-Director: Ian Cameron

BATH by BAD WRLD - designed and fabricated by Danica Olders

Special thanks to: Anisa Cameron, Garret Douherty, Connor McComb, Lukas McComb, Mara Franco, Stacy Lee, Sherry Luger and Michael Mikelberg

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Artist Spotlight: Rommy Kuperus of ROMMYDEBOMMY

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The ROMMYDEBOMMY Ikea Food Purse. Photo by ROMMYDEBOMMY

The sunshine is near, as are pastel hues, friendly faces … and lots of tasty treats! It’s true, spring hasn’t even sprung and we’ve already got picnics on the brain. Whether you’re dressing to impress for your bubble or just really hungry right now, we have one proposition – indulge in the decadence that is ROMMYDEBOMMY, the creative concoction of Rommy Kuperus. 

Rommy Kuperus is a 29-year-old artist and designer based in Harlingen, the Netherlands. The essence of ROMMYDEBOMMY is breaking from the mainstream and taking camp to the dinner table. Also Cool was recently able to connect with Rommy via email, where she dished on her growth as an artist and all the goodies yet to come.

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Rommy Kuperus of ROMMYDEBOMMY modelling one of her creations. Photo by ROMMYDEBOMMY

After spending some time as a student in product design, Rommy decided to forge her own path. Food has always been a passion and inspiration for the artist, and making it into permanent art was Rommy’s dream come true. “I like the shapes and colours even more than the taste of it,” she explains to me. “Every time I go to the grocery store, I am amazed by all those beautiful textures. A lot of people don’t realize that [the] grocery store is a museum itself.” 

This fascination shows across her wide array of designs and creations. Farfalle bow ties, Popsicle purses and a wearable tray of airplane food are just some of the options to snack on. There are also Bundt cakes and chicken nuggets to put up as home decor. Her work covers pieces of childhood nostalgia and touches on so many cultural staples. If you can eat it, Rommy can probably design it.

How do these treats get made, you ask? Rommy herself is behind every step of the process, from the concept to the cherry on top. She gathers inspiration from food bloggers and pastry chefs all around the world, and handcrafts her designs with various forms of clay and foam. They are made-to-order, and Rommy takes her time to ensure that a unique vision is reflected in all her products.

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Rommy Kuperus of ROMMYDEBOMMY posing with her Bundt Cake Home Decor. Photo by ROMMYDEBOMMY

This range of products reflects her customers and admirers from every pocket of the world, and Rommy is proud to work with all kinds of taste buds. “The Classic Pancake Purse with butter and syrup is one of my best-sellers,” she notes. “The Eaten Birthday Cake Purse is really popular at the moment. I have a lot of customers from the USA and I figure that they like the cakes the most.” Rommy also works with many British customers, a group that she describes as “more outgoing,” and she says that they tend to request the Potato and Supermarket Chicken Purses. Drool!

Since the COVID-19 pandemic started, Rommy’s business has boomed. “To be honest, it was the best year I have ever had,” she shares. “People couldn't go to their favourite restaurants, cafes, or the movies, so they [spent their money and time] on different things. I have never received so many orders as when the COVID-19 [pandemic] started.” Although the Netherlands is still under lockdown, she has been able to continue the ROMMYDEBOMMY business from home – where she makes her treats, styles and directs the product shoots, and ships each order out in a perfect pink box.

Part of this growth can be attributed to Rommy’s clever usage of social media. She advertises her products every day through creative shoots and immersive videos of her artistic process. The ROMMYDEBOMMY Instagram page boasts over 65,000 followers – this is how I discovered Rommy, after a friend sent me some of her delicious content. But her biggest audience can be found – where else? – on TikTok, the ultimate platform of the pandemic. She has garnered over 2.5 million likes and nearly 200,000 followers after starting her TikTok account just 9 months ago.

@rommydebommy

Croissant purse 🥐🇫🇷✨ SHOP: www.rommydebommy.com ##rommydebommy ##handmade ##croissant ##fyp ##foryou ##foryoupage ##foryourpage

♬ Hit Sale (feat. Roméo Elvis) - Therapie TAXI

When I ask her to elaborate on this growth, she confesses that it almost didn’t happen: “My 15-year old cousin pushed me to go on TikTok, [and] I didn’t want to. But when I finally uploaded my first video, I realized it could be huge for my brand. After a month, I already had more followers on TikTok [than] on my Instagram. I completely underestimated TikTok in the beginning, [and am] pleasantly surprised!”

Running the ROMMYDEBOMMY shop sounds like peaches and cream, but it can be hard work for just one person. Translating an artistic vision to reality can also be hard work, and I was curious if there were any foods that Rommy struggled with designing. “It doesn’t happen often,” she remarks, “but last year in January I started with an Oyster Purse and I wasn’t feeling [the design] at that moment. I put it away, and last month I decided to finish the purse – it became one of my most liked pictures on Instagram.” Take a look at her final product – we’d be shellfish to keep it to ourselves.

View this post on Instagram

A post shared by ✨R O M M Y D E B O M M Y✨ (@rommydebommy)

Perhaps you’re interested in shopping ROMMYDEBOMMY, but want to make a bolder statement. Or, maybe you just can’t pick a favourite food (okay, relatable). Rommy also makes some groovy creations outside of the world of food. You can carry around an ear, some TP or a bar of soap if that’s what suits your fancy. My personal favourite was the purse I least expected – the sanitary pad. When I asked Rommy about this design, she was proud to reflect on its place in her shop: “The sanitary pad [design] was to make a statement. We need to normalize menstrual hygiene. Some people still call it gross and disgusting, [but] it’s nature. I think the end result of the sanitary pad looks really elegant and chic.”

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The ROMMYDEBOMMY Sanitary Pad Purse. Photo by ROMMYDEBOMMY

In getting to know more about ROMMYDEBOMMY and the woman behind the brand, I was left inspired by Rommy’s commitment to mixing fashion with fun. Our conversation reminded me of all the whimsy and magic that can be found in everyday life, and how holding onto that is so very important.

Looking ahead at what’s to come, Rommy has a few tricks up her sleeve. “There are a lot of exciting things coming this year,” she shares. “More collections, more giveaways and more next-level food purses!” Needless to say, we’ll be hungry.

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The ROMMYDEBOMMY Avocado Egg Toast Purse. Photo by ROMMYDEBOMMY

ROMMYDEBOMMY

Website | Instagram | TikTok | Etsy

Facebook | YouTube

Rebecca L. Judd (she/they) is a writer and student currently based in Ottawa. When not stuck in a daydream, she can be found writing, collaging, and talking about The Sopranos to anyone who will listen. Instagram | Twitter

This interview has been condensed and edited for clarity.

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I’m For No One’s Consumption But My Own: Meet NYC Treasure Kitty

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Kitty, edited by peachy_kai

In our era of “the everyday celebrity,” where creators’ means of gaining a reputation and fanbases are (sometimes) dictated by social media savviness and a viral appeal, one roadblock remains: authenticity. Across all forms of creative expression, the timeless questions of “Why do artists do what they do?” and by extension “Who are they, really?” are always on the table, especially now that creators willingly let us peer into their everyday lives online. A few odd years ago seeing artists “just being themselves” could majorly stain their image. Now, the advent of “get ready with me” and “day in the life” style social media segments humanize, and even glamourize, the day-in and day-out of lived experiences. In other words, the exposé has retired and vulnerability has been readily embraced. Relatability is in, and can even be your ticket to widely received recognition via innovative corners of the Internet. At the same time, the idea of online availability trickling down into how success is born and raised also threatens how people are treated by their audiences.

With little barriers between creators and consumers, the pressing question becomes “How do creatives preserve and care for their sense of self when so much of it has to be on display in order to stand out?” This theme was at the core of my conversation with Kitty, a multidisciplinary visual and makeup artist, fashion designer and model, who uses social media to showcase their creative portfolio and network within the fashion industry and beauty community. 

On the surface, Kitty and I actually have a lot in common. We’re both 23 years old, earth signs, and are living with our parents after graduating post-secondary during the pandemic. Though we share a “just figuring it out” mentality, there is, of course, one key difference between us: their 35.9K following on Instagram. Through chatting with Kitty, I learned that the upkeep of their artistic passions, in tandem with their social media presence, is made entirely possible by staying true to their biggest source of inspiration, themselves. 

“When it comes to my creativity, a lot of people ask, and are surprised, when I say that I’m mainly my own source of inspiration,” they say with a small smirk across their face. “I’m like, what do you mean who inspires me? Why does it have to be somebody else? To me, being a real artist and a real creative doesn’t mean you can’t find inspiration in others, but basing my drive off someone other than myself is something I’ve never experienced or felt,” they add. 

For Kitty, self-reliance is a must and comes naturally when conceptualizing new projects. From a young age, they’ve always been encouraged to pursue creative freedom, and continue to reject being boxed-in when it comes to self-expression. Their looks combine ethereal whimsy with the underground edge of their hometown of NYC, adorning them with a presence that exudes originality. Much of their determination is evidenced by the origin of their name and artistic outlook. 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

“I’ve been in love with cats since I was a little kid. I remember I used to go to art school and they would get so upset with me because all I wanted to do was draw cats,” they laugh. “My instructors couldn’t understand why, but cats always represented much more to me than just my favourite animal,” they explain. “I’ve done a lot of research on their symbolism, and cats represent the concept of one’s inner-child and a sense of playfulness, and how to embrace that. My connection to cats brought my work to life… [It’s] just very magical, and also very safe. I feel like that’s my energy, and how I want people to feel when they see my work.” 

This story was made a little sweeter by the fact that they had a kitschy kitten poster behind them during our Zoom call. 

Kitty also expressed that their relationship with their inner, imaginative world has only come to life in a tangible way after learning to cultivate their distinctive sense of style.

“Since I graduated high school I’ve gone through so much shit. Back then, I didn’t really know who I was. Though I still added my own personal touch when it came to how I expressed myself, I still felt like I had to be a ‘certain type of girl.’ Back then, I didn’t even know I was non-binary, and I wasn’t surrounded with the right people who allowed me to feel more fluid in myself,” they articulate. “In terms of my evolution, I’ve really learned to free myself from norms that were pushed onto me, and there’s no going back.” 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

Though much of Kitty’s growth was made possible by nurturing self-acceptance, sharing it with the world via social media unexpectedly lead to online admiration; much to their surprise considering their humble intentions. 

“As I always like to say, I don’t think people realized that I started from my fucking basement,” they giggle. “I didn’t have a tripod and I didn’t have a ring light. I just had some backdrops, and you know, I would do a fun makeup look here and there. That’s when people started reaching out to me, and I realized diving into the industries I was interested in was possible.” 

Kitty tells me that while the start of their online buzz brought professional opportunities in the world of beauty and fashion, the downside of broadcasting their personal brand on a public platform has made for a lot of challenges. Like a lot of online creators, Kitty struggles with maintaining boundaries and managing their followers’ expectations. 

“Personally, it feels like I’m never enough for some people, you know?” they begin. “I’m very grateful for all the love and support I get, but at the same time, I get overwhelmed because people feel very entitled to my time and personal life.”  

Just as they were about to make another point, Kitty noticed an Instagram DM notification pop up on their phone, and read it out-loud to me. 

“Hi, if you don’t mind me asking, how did you pay your bills when you were just starting to model, what were you doing?” 

They roll their eyes, sigh and smile. The timing is a little much for both of us. 

“Yeah, like you see?!” they exclaim. “I can only give you so much of me and my experience. I do joke a lot, saying that I’m not real… But, I am a real person. I have feelings and things I need to process… I don’t always want to be perceived. At the end of the day, I’m for no one’s consumption but my own.” 

Laughing off this note of frustration, Kitty and I got on the subject of how they’re learning to self-advocate on social media, and how much of it draws from protecting their art, as so much of it comes from a sentimental and intimate place. 

“People are so used to me being sweet and nice, but one thing I refuse to be silent about lately is the makeup community not understanding the difference between recreation and inspiration. Another part of people wanting too much from me is when they say they’re ‘inspired’ by me and use that as justification to recreate my look without properly crediting me, especially with my rhinestone looks,” they share. “People might label me as being a bully or being mean, but I’m tired of being accused of gatekeeping when I’m defending something that fully represents me.” 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

I then asked Kitty how they keep up their momentum and stay grounded within these circumstances, realizing how exhausting they must be. 

“I feel like everything really comes full circle. Everything I have has really just started from myself, and I can’t lose sight of that because I want others to get there. For example, I’ve been working my way into the modelling industry since I was 19, and it’s very toxic. I realize now, after walking fashion week at 5’5, that I can break the mold and inspire people who have features like mine; models who are short and have weird noses, or like a nose bump… any kind of nose, and any body type. Even though I still deal with people who try to manipulate and undermine me, and who expect me to work for free… I want to always give back to others because I feel like when you give back, the universe will return it to you eventually, you know?” My friends remind me that not everyone is going to want to come with me on my journey, but that leaves room for new people and new energy.” 

In closing our conversation, Kitty tells me what they’re looking forward to in 2021 after undergoing so much self-discovery in the past year. 

“I feel like what I was missing before was the self-love that I started finding in 2020. I think a lot of that translates into my work now, and I hope people recognize that I am much happier. I’ve got some exciting collabs coming up in the future and my website is growing. Even though things are uncertain in the world right now, one thing I learned in the past year was to do all the things [I was] afraid to do. I want to carry that energy forward and continue to evolve.” 

Kitty shot by estherfromnewyork for uzumakigallery

Kitty (They/Them)

Website | Instagram | TikTok | Youtube

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

This interview has been condensed and edited for clarity.

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Meet ONYX Bodywear: The Size-Inclusive, Vancouver-Based Lingerie Brand

Model is wearing the V harness, Garter belt, G-string (with lace) and Double Strap leg garters by ONYX Bodywear Model River Rusalka I Photographer Jamie Edgar Photography

For ONYX, the individual brings the product to life.  

Feeling sexy should not be constrained to body types portrayed in the media. Everyone deserves the opportunity to embrace their divinity and sexiness within. Founder Sandra Haney introduces ONYX Bodywear as a, “Proudly inclusive, accessible, body and sex-positive Canadian brand. Each product is a statement piece - whether that be edgy/alternative or sexy is up to the customer.” Haney spoke with me about the story behind ONYX and their mission for body-positive lingerie. 

When COVID-19 restrictions eased in B.C. this summer, I stumbled onto The Hive Home & Gifts, a boutique in Squamish with clothes and miscellaneous items from local designers. After noticing me gazing at the tantalizing strappy harness on display, a salesperson informed me that a woman-owned company crafted it in Vancouver. Sliding my fingers along the straps, I felt dedication in ONYX’s stitching. Compared to similar harnesses I had bought online, which held no grip and ripped after a night of dancing. The material was soft yet durable and also vegan as it was all elastic strapping. 

Haney says “We stand by the quality and the fact our products can change for when your body changes.” The customer can adjust key straps so they can wear the harness for hours comfortably and fit it perfectly for their body shape. ONYX’s approach is creating products as one-size-fits-most as they can adjust from XS to XXL (or more) depending on the style. 

Model is wearing Black choker, Criss-Cross cage bra, G-string (with mesh) and Cheeky harness by ONYX Bodywear Model River Rusalka I Photographer Jamie Edgar Photography

Haney’s story begins with a shopping trip for her 40th birthday. She ventured into various boutiques in Vancouver on the lookout for intimate fetish-inspired apparel - returning home with hundreds of dollars worth of lingerie. Unsatisfied with her haul because of inconsistency in fit and style- the customization process unfolded. “I looked at basically a pile of elastic, lace and mesh and thought I could make this myself!”  She believes that some boutiques fail to supply quality, affordable lingerie that adapts to different body shapes. Budget-friendly items seem to be mass-produced packaged in plastic film or the more luxurious brands come at an exorbitant price. There was a gap in finding something in between with the strappy style she was searching for

Shortly after Haney met up with a long-time friend and former colleague Alison Palmer for their semi-regular bitch and stitch session. Haney mentioned the idea to make some harnesses or cage wear and together, designs for ONYX Bodywear began. Haney says that “ [we] shared a creative synergy that extended beyond our professional relationship and friendship, and ONYX was born out of that.” 

ONYX’s humble beginnings as an Etsy shop producing sexy accessories for everybody. Haney never set out to create products for wholesale. However, that changed in 2018 when Palmer strolled into Your Open Closet,  the sister-shop of Womyn's Ware, known for its sex-positive values including toys and sexual health items for folks hoping to transform their self-care routine. “A big thing we represent is that feeling sexy and looking sexy is healthy and good - for themselves - or however they want to do it,” says Haney. 

Palmer was her business partner during the early stages - helping out with start-up, design and production up until 2018 when she left to concentrate on her full-time career. They remain close friends and ONYX still carries one of Palmer’s original designs:  the diamond cage bra that makes everyone feel like royalty. 

Needing a partner to help the business grow, Haney recruited her friend of almost 30 years, Marga Devam, to help. Devam is based in Edmonton and supports ONYX in design, manufacturing and sales

Model is wearing Black choker and the Criss-Cross cage bra by ONYX Bodywear Model River Rusalka I Photographer Jamie Edgar Photography

Despite the simplicity of their designs, the manufacturing process is time-consuming. “It takes a long time to assemble with a lot of attention to quality work and details - definitely not fast fashion and makes labour costs higher.” Before each harness reaches consumers, the ONYX team designs a prototype, adjusts, sews alterations and revises until they have a final product that meets their standard. ONYX’s website features a limited selection of cage bras, harnesses and garters - of several distinct designs that change once or twice a year.

 "We are a small operation, so compared to some other brands we operate lean and produce many of our orders on-demand, so there is no wastage," says Haney. Currently, in addition to Devam, she has two part-time seamstresses sewing their products. 

Pre-COVID, ONYX attended trade shows to help grow the brand and connect with consumers. Haney says people would commonly remark, “I love your stuff, but there is no way this will fit me!” She challenges them to try it anyway. After they try on one of our products they feel sexy, strong and empowered,  “it’s a rush every single time - it just makes you feel so good when you see something you’ve made make someone feel that way.” 

Haney recognizes that ONYX designs a niche product that will not fit everyone’s taste. The harness allure is more likely to interest a crowd looking for an alternative or edgy look. The stretch of the strapping does not work for those interested in exploring their kink for leather and bondage. However, strappy fashion is becoming more mainstream which also speaks for ONYX’s versatility beyond erotic fashion. Haney says, “you can wear [the harness] with your most utility, comfortable bra and daytime outfit, and it just takes it up a notch - so there is that versatility for boudoir and every day.” 

You can purchase ONYX’s products at various brick and mortar shops in the Pacific Northwest, Alberta, the Midwest of the USA and even Kenya. Haney says “We are a local brand and our growth has been careful baby steps, but we are moving in the right direction.” 

Model River Rusalka I Photographer Jamie Edgar Photography

ONYX

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Alexis Zygan

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Dutch Fashion Label Elzinga Talks Growing Up in the DIY Music Scene & Feminist Fashion Inspiration & More

Via Elzinga

Elzinga is an up-and-coming Dutch fashion label that recently took over Paradiso during Amsterdam Fashion Week. They debuted their latest collection on the all-girl punk band The Klittens, catching the attention of Forbes and many others. The collection speaks to and honours the nightlife scene while simultaneously reflecting the "silence" with this collection's simpler shapes.

We spoke to Lieselot Elzinga, Co-Founder & Creative Director of Elzinga, to get to know more about the brand.

Via Elzinga

Malaika for Also Cool: Tells us a bit about Elzinga. How did it start and how has it evolved over time?

Lieselot Elzinga: We started the brand Elzinga together back in 2018. Miro and I had just graduated from the Rietveld Academie in Amsterdam. Following the great response to our graduation collection, we decided to start a brand together. We got in touch with Parrot Agency, a design sales agency based in Amsterdam. They coached us through translating our grad collection to a more sellable product with the same rock-’n-roll energy and spark.

Now after releasing a few collections on MatchesFashion I feel like we have learned to work and reach our clientele. Our designs are definitely influenced by our experiences with our buyers and our clients.

Via Elzinga

 Also Cool: What's the fashion and music scene like where Elzinga is based? How has that affected the label creatively?

Elzinga: Elzinga is based in Amsterdam. I was brought up in the middle of the music scene in Amsterdam. It's basically the core of the brand. The music scene in Amsterdam is small, but there is a lot of variety. Many bands are always sprouting from this tiny scene, and that is very inspiring to me as a designer. 

I used to play a lot around the Netherlands from a very early age with my teenage girl band Fuz . As a girl group, we really figured out how to use fashion as a tool to gain more confidence and power on stage. If you are on stage, you want to convey a very direct and clear message. You want the moment you walk on stage to be powerful and you want the audience to react. This is basically our brand ethos; we want our designs to be simple and direct in shape, but still extravagant and a little rough around the edges. 

Via Elzinga

 AC: How did Elzinga decide to pair up with The Klittens for this show?

Elzinga: With our last show, we wanted to highlight the importance of live music and individual expression in today's society. We did our presentation in the legendary music venue Paradiso in Amsterdam, a place where big bands and performers took the stage (pre corona). It is also a place that nurtures the local music scene, a scene that has been hit hard by the coronavirus. 

We choose The Klittens to play during our presentation first because we love their music, but second because they are a young all girl group that really needs to be supported in a man's world like the music industry. I have experienced first hand what it is like to be an outsider in the music industry and I really feel like we need to push for diversity as a brand. 

Via Elzinga

AC: What are some of the label's inspirations? Musically and visually?

Elzinga: As a brand we are extremely inspired by different influences. Early garage music like Suicide and bands like the Cramps and the Breeders are a huge inspiration to us. We really find the DIY element in our aesthetic extremely important in our visual identity. 

Visually I feel extremely inspired by artists such as Cleas Oldenburg, especially his early performance work he did in NYC called 'The Store' I also find inspiration in artists such as Keith Haring and Penck. 

I like simplicity and direct expression when it comes to visual art, which also shows in our use of simplistic prints and shapes.

Via Elzinga

 AC: What's something unexpected about the world of fashion that Elzinga had to learn along the way in order to succeed?

Elzinga: Something you definitely don't learn in art school is to think about your clients and the people who will buy your brand and will support you as a designer. We find it so interesting to listen to our clients feedback and in that way pin point what the Elzinga woman is about and how her life is and what she want to look like and radiate to the outside world. 

Via Elzinga

 AC: How can we best support Elzinga right now?

 Elzinga: It's so important to support small brand and labels at this time. Like any other small brand, follow what we are up to, check out our new collections and projects and maybe consider buying one of our products in the future :)

Elzinga

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