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

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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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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

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

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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Marie Marchandise: Not Your Devil

 

Photo credit: Marie Marchandise; Model: Laetitia Kitegi

It all started with what CécileManon and Marie do in their creative processes. Marie dyes, cuts, and patches fabrics, Manon dreams up, sews, and refines delicate lingerie, and Cécile designs, shapes, and crafts belts. The three of them bring beautiful and important changes concerning lingerie and clothing. With Manon’s fine nature-inspired lace, Marie’s natural dyed fabrics, and Cécile’s organic-shaped belt buckles, the wearer can appreciate the art and the longevity that results from making something as a craft.


Tout a commencé par les créations de CécileManon et Marie. Marie teint, découpe et assemble, Manon imagine, coud et peaufine, Cécile conçoit, modèle et façonne. Toutes trois changent la donne dans les domaines de la lingerie et du vêtement porté, tant dans la délicate dentelle de Manon aux inspirations florales, comme dans les précieux tissus colorés naturellement de Marie que dans les boucles des ceintures de Cécile à la pâte de bronze et aux formes organiques.

When I began putting together the different looks, I pictured mythological figures - Athena, Leto, Artemis - and all the beautiful drapery that is cast on statues of deities - with complex stories, but bold personalities. Hemingway’s Garden of Eden came to mind, particularly the character of Catherine Bourne.


En imaginant les tenues portées, j’avais en tête des figures mythiques : Athena, Leto, Artemis, et tous ces magnifiques drapés façonnés dans ces statues de déités aux histoires complexes, mais aux caractères toujours francs. Et tout d’un coup, le roman d’Hemingway Le Jardin d’Eden m’est venu en tête, et plus particulièrement le personnage de Catherine Bourne. Et vous allez comprendre pourquoi.

The novel is a fusion of sun and sensuality - the reader has to adopt the perspective of David Bourne, a successful writer, whose wife Catherine is portrayed as being jealous of him. However, as the plot progresses, Catherine evolves to become the dominant character - apparent both in how she asserts herself with her husband and in her relationship with Marita, a young woman who becomes the couple’s love interest.

I’ve read a lot of articles analyzing this literary piece, but I’m still always struck by how David calls his wife “Devil”. Catherine takes the bull by the horns, gains control. She can be hurtful with her words - but without her there’s no story.


La sensualité et le soleil sont les deux points cardinaux de ce roman. Le lecteur n’a d’autre choix que d’adopter le point de vue de David Bourne, romancier à succès dont la femme, Catherine est décrite comme jalouse. Catherine, adoptera, au fil des pages, un caractère dominant, tant dans sa propre affirmation que dans sa relation avec Marita, une jeune femme dont le couple va tomber amoureux.

J’ai lu beaucoup d’analyses à propos de cette oeuvre, mais je n’arrive pas à oublier comment David appelle sa femme : “Démon”. Catherine prend des initiatives, parfois elle s’impose, certes, et lance des remarques salées à son mari. Elle blesse également. Mais sans elle, il n’y a aucune histoire. 

In my search for a story to tell, I wanted to portray that Catherine’s character, as do the many strong female figures that mirror her, first and foremost takes agency through her “misbehavior”. For me, Catherine’s flaws are her most inspiring qualities.

With the pieces made by Cécile, Manon and Marie, I wanted to create outfits for a someone - a Catherine, an Athena - that illustrate the beauty and power of having a devilish demeanor.

“Not your Devil” is a series of photographs involving five women, who gathered one morning to discuss Catherine Bourne and the stereotypes about villainous women in fiction, and without whom this story would be nothing. It is also a celebration of sustainable clothing design and a tribute to craftswomen who dedicate their work to the concept of slow fashion. 


Dans ma recherche d’une histoire à raconter, j’ai pensé que Catherine, tout comme les figures féminines qui lui font écho, est d’abord et avant tout une femme qui fait preuve de force et d’intelligence. Il y a, en effet, beaucoup de qualité dans ces défauts.

Alors, avec les créations de Cécile, Manon et Marie, j’ai souhaité fabriquer les tenues d’une femme, Catherine, Athena ou tout autre personnalité illustrant la puissance et la force que l’on retrouve chez ces figures diabolisées.

“Not your devil” est une série de photographies impliquant cinq femmes, réunies le temps d’une matinée pour parler de Catherine Bourne, mais aussi de tous ces stéréotypes sur les femmes dans la fiction, qui ont un mauvais rôle et sans qui l’histoire ne serait rien. C’est également un hommage à la création textile et aux artisanes qui se consacrent à la mode slow.

Model: Laetitia Kitegi
Body: Eternel Ephémère
Fabrics: L’atelier Maison
Belts: Ysun Ysun 
Location: Bibliothèque d’Etudes et du Patrimoine, Toulouse