Something Old, Something New

Crushing on up-and-coming designer Mani Jassal

By: Charlotte D'Arcy

The idea of tradition was ever present at this year’s Mass Exodus runway show. Many of the collections had a vintage feel; there was the ’50s housewife hair and summer dresses, the ’70s candy-coloured furs, and the dandy menswear. It was also the event’s 25th anniversary, and while the speakers opening the show acknowledged the prestigious past of Ryerson’s fashion program (Stacey McKenzie gave a very warm speech on her own experience with the school) there was also a lot of talk of the event’s new location in the Mattamy Athletic Centre. The change in scenery gave the event a new found sense of grandeur. Mass Ex 2013 was experiencing a similar transition to the designers: they’ve spent years steeped in fashion traditions, but now it’s time to innovate.

Mani Jassal’s collection was a perfect example of this balancing act. With some help from her seamstress mom and endless inspiration from her hero Alexander McQueen, Jassal created a line that gives a fresh face to perhaps the most traditional garment of all: the wedding dress. Luxurious and rich, with laser-cut fabrics and sequined details, the gowns have a (surprisingly) ’90s sensibility. We talked to Jassal, pictured below in Spongebob t-shirt and jorts, about her recent foray into bridal wear and the massive amount of work that went into her premier collection.

How did you dress in high school?
Completely different than the way I dress right now. I had my Air Jordans and I had the matching shoelaces. It was very sporty, very ’905.

What was the first piece of clothing you designed?
In Grade 8 we did a class project where we made an ‘innovative creation.’ I made a pink sequined dress, no shape or darts or anything, with a little pocket at the back that you could put your iPod in. It was really ugly and Spandex-y but it was one of the first things I made.

This was the first time you showed a collection, what was it like seeing your stuff go down the runway?
It was kind of surreal, because this is what we’ve been working towards since first year. Pulling all-nighters, tears, sweat, blood—literally blood because I would hit myself with needles—it’s all for this big show at the end.

What was your inspiration behind this collection?
The architecture of the Taj Mahal. The murals are reflected in the laser cutting in my collection and the fabric prints. The colours in my collection are very regal and royal as well. I also wanted to do a more modern take on South Asian bridal wear so I used leather, which is typically never used, and I used slashing techniques on it. I incorporated the more edgy stuff.

Would you say your collection is explicitly bridal wear or more formal wear?
I wanted to change my theme—don’t tell the prof—but I wanted to change it to formal wear because that better reflected my collection. But, when I talked to my prof she said I had to re-do all my research to accommodate my change in target market, so I decided to just stay with bridal wear.

But really your dream wearer would be anyone?
Exactly, if it’s your anniversary, if its your birthday, whatever you want to wear it to. It’s for anyone who wants to wear an extravagant dress.

How did you get the laser cutting done? Do you guys learn how to do that?
We don’t learn how to do it. I collaborated with a friend, she’s very good with Illustrator, and she created all the motifs for me based on my designs. I took the motifs to Toronto Laser Services and they did everything for me. Of course, I found out after everything was done that the architecture kids at Ryerson have a laser cutter.

Since we’re talking about the immense amount of work that went in to your garments, was the laser cutting time consuming or where there other elements that took a lot of work?
The laser cutting wasn’t that complicated because I wasn’t doing it, a machine was doing it. It was more complicated to apply the sequins, which I had to do by hand. I would pull an all-nighter and wouldn’t finish so I’d leave the bowl of sequins for my mom to work on when she woke up early in the morning, I wouldn’t have been able to do this collection without her. My skirts also needed to be hand hemmed so my mom did that, along with my aunt. We were allowed to contract people who could completely make everything but I just got my mom and my aunt to help me.

What was your favourite collection at Mass Ex?
It’s kind of biased to say my friends right? It would have to be Jayson Araja, who opened the show with an all white collection. And Yusun Kang, who did laser cutting as well.

Now that you’ve graduated, how do you feel about the fashion design program? Do you think it’s a good route for aspiring designers?
I definitely think so. Before I started at Ryerson I didn’t know that much about the fashion world. I was only really conscious of brands like Chanel, Gucci, Louis Vuitton. But once you’re in design you just learn so much more. You also network so much. Now I know lots of photographers, makeup artists, and models.

So, you’re going to Paris next week. Where are you most excited to go when you get there?
The Eiffel Tower. It’s so cliché but it’s one of those little girl dreams. I’m going with Jason and Yusun for our graduation trip.

photography // Laura Tuttle
styling // Lydia Chan

Drawn Out Fashions

Crushing on Illustrator Ed J. Brown

By: Charlotte D'Arcy

Whether he’s whipping up a pastel-hued illustration for some awesome publication, cough, WORN Issue 15, cough, or just working on his whimsical drawing series of mythological beasts, Ed J. Brown is always telling a story. Focusing on the narrative power of illustration, Ed uses movement, kooky characters, and lots of texture to give an editorial some extra pizzazz or just make a viewer laugh. His vibrant blog is regularly updated with new work (his most recent pictorial interests include drawings of outer space and original typeface) and he’s a regular contributor to Art School Disco. We sat down with the UK-based illustrator to discuss how he wishes he could dress like his drawings and why illustration and fashion mags go together like ice cream and apple pie.

Is there any connection between your style as an artist and your personal style?
I’ve never been able to define my style, and I don’t mean that in a cool, I’m-so-indefinable-and-unique way. It’s more like one day I decided to wear plaid shirts and that’s going on three years now. I guess there is some overlap, like when I’m drawing people’s clothes I don’t want solid colours—I want some checks on there or some plaids. I’ll turn up the trousers or give them little tiny heels, and other than me notwearing tiny heels, there is a connection actually.

So your characters’ outfits reflect what you like to wear?
A little bit. I’d like to wear the kind of crazy textures and patterns in my drawings, but I don’t think I’m as brave as the people I like to draw. Visually I don’t always fit the artist/illustrator model. I sometimes wonder how important that is, especially when you’re meeting clients. Do they expect you to turn up with a Wesley Snipes wedge and glow bands?

I’m sure you do just fine with your plaid shirts. A lot of your art, even if it isn’t editorial, is very narrative. What attracted you to that style?
I connect more with an image if I know there’s a story behind it. I feel more involved with it. That’s what I try to put into my drawings. Something as simple as an image of a rainy day conjures up a narrative. I like to think someone could spend a while looking at different layers and elements within my work.

It’s interesting how layered your work is with textures too, I feel like those two things really play off each other.
I fucking love texture, my idea of design is ‘just fill the page.’ I get obsessed with making sure there aren’t little gaps or white space anywhere.

A lot of your art is centered on characters, how does dress come into play in these illustrations?
I like to create oddballs and I don’t like there to be flat colour or flat texture if there doesn’t have to be. Obviously, you do need solids in an image, otherwise it gives you a headache, but particularly with clothing you have a tremendous freedom to insert anything you want. You can sort of describe a character’s personality, get across ideas of who this character is, by what clothes you give them. I think clothes can be great for getting ideas across—same as tattoos really.

There’s a long history of illustration in fashion magazines, what do you think it is about fashion illustrations that photography can’t always replicate?
I think it may come down to communicating an idea within fashion. If someone is describing the feel of an item, or describing the back-story of the clothes, I think in moments like that you really need the whimsy of illustration. It can bring out the ideas behind the clothing.

Who are your favorite illustrators right now?
That’s such a tough question! It changes all the time. I’m always a fan of Jon Boam. He always seems to be doing something fun. Other illustrators I’m liking right now are Jon MacNair, Nick Alston, Luke Best, Roberto Blefari, Niv Bavarsky, George McCallum and of course my Art School Disco brethren.

Crushing on Dave Raimey

More than just a football uniform

By: Whitney Wager

In the early ’70s, if you knew anything about Toronto football, you knew about Dave Raimey. Considered one of the best running backs of his time, he was inducted into the CFL Hall of Fame in 2000. Though he played in both the US and Canada, he is best known for playing with the 1971 Toronto Argonauts, named the “greatest team that never won,” after they lost a Grey Cup game following a slip on some wet grass.

Raimey was known in his own right, frequently featured in magazine spreads and news articles, photo shoots and retail ads. This exposure had as much to do with his football playing than it did his groovy threads. Raimey’s eclectic clothing (most of which was hand sewn) made him something of a style icon in the ’70s, creating a cult of fans who followed him both on and off the field. Naturally, WORN is smitten.

How did you first get interested in sewing?
I started sewing years ago. We got hand-me-down clothes: my grandmother would go clean a house somewhere out in the wealthy part of town and bring back clothes that people would give her. I learned how to alter them to fit me.

Who taught you how to sew?
My mother died when we were eight, nine, 10, and 11. I was 10. So I became very attached to my aunts; there were four of them, but one sewed. She had a business going; she’d make hats for women. I used to watch her. Now my son, he sews. And he learned by watching me. I was a single parent, raising him by myself, and he watched me sewing. I bought him a Mustang, when we were living in Columbia, South Carolina. I reupholstered his Mustang for him, brand new seats. It was the first time I had done that, but it turned out fine, and I think that may have sold him on sewing.

So how old were you when you picked up your first needle?
Probably 13 or 14.

How did it evolve from there, from altering your own things to making clothes from scratch?
I used to make clothes, but right now I just alter things. I’ve been shopping at thrift stores for 30 years; I was shopping at thrift stores when I was playing for the Toronto Argonauts. I just always did that. I guess because of my upbringing, I love to shop at thrift stores. I have so many clothes, it’s unreal. Like nice stuff! Fabulous clothes, well-made, high-end clothing. You know, I will pay full price for stuff too.

I’m also really fond of reupholstering. I was a member of the Interior Decorating Society in Dayton, Ohio. Paid my dues! And I decorated a few houses for some folks that I knew. I just always liked that. I still re-upholster. In fact, I’m going home this weekend to get my machine. It’s real big and heavy; it’s a walking foot. I have other machines: here in town, I have three—sorry, four.

So do you ever go to a tailor?
Oh yeah, I go to tailors. I’ve got a jacket now that I’m doing. The shoulders, you’ve got to take all the padding out, and it’s such a complicated job. My real good stuff I take to the tailors! But, I’ve made vests and pants. I’ve even made hats! I made my daughter a graduation dress when she graduated from high school. It was a bold pattern, sort of form-fitting. But she wanted it, so I made it up for her, and she wore it. I was kinda proud (laughs).

What’s your favourite thing you’ve ever made?
I made a men’s jacket with pockets here and pockets there (pointing to his chest and sides), and epaulettes here. Black. I still have it, I made it a long time ago. Kept it all these years ’cause I was so proud of it. I’ll tell you a story: In elementary school in Dayton, Ohio, Grade 6, they had this class where half the year you could cook (home ec), and the other half was sewing. I couldn’t cook, but I got an A in the class. I made a corduroy shirt: orange corduroy. It had what they call a Billy Eckstein collar, a big collar. It went up and folded down. But the worst thing I did, is I made French cuffs on a corduroy shirt. It was ugly. I went home, put the shirt on, and the French cuffs were in here (points to the insides of his wrist). The teacher didn’t even notice. I ended up just making it short-sleeved.

Do you think that class influenced you at all?
Yeah, it did. It showed me how to sew the right way. Since then, I’ve been altering clothes, fixin’ things. I’ll buy a suit, take it home and put the cuffs on myself, and shorten the sleeves if I have to.

A lot of people would find it surprising that a football player was so openly into sewing in the 1970’s…
Yeah, I got kidded quite a bit about it.

Was there anything that ever bothered you?
No, never. You know they kidded me, and you can imagine what they’d say (laughs). They just did a special on our team (The Greatest Team That Never Won), and [the director] called me a fashionista. She said, “Dave, were you offended by that?” It doesn’t bother me, never did. I enjoy it because it’s creative, and it’s very relaxing. And I enjoy looking good and appreciating things that I’ve made.

I heard a rumour that you used to take your sewing machine with you when you traveled, is that true?
(Laughs) No.

Do you have fabrics that you lean toward, or things you like to make?
In the last ten years, I’ve liked vests, real loud vests. Loud and bright, you know, I think that it’s sharp for men to wear a white shirt, or short-sleeve shirt, and a colourful vest. I’m looking at making one now. I think it’s great to wear with a suit. Now they’re making sports jackets with that kind of design already sewn into them, I don’t know if you’ve seen these, but they’re really big right now. But I can’t find a pattern, so I’m going to have to make my own. That’s my next project.

Do you take a lot of pride in the stuff you make?
Yeah, everything. The stuff I’ve made, the stuff I build, the things I’ve fixed. With the knowledge I have, I try to do it the best I can. It’s the only way to do things. Like football, I gave it my all. Every game, every play.

Has anyone not liked something that you’ve made?
No, not that I’ve made. But one day I was wearing an overcoat, down in Dayton, and I loved the coat; I had got it at a thrift store. And some woman told me, “What you doin’ with that old coat on?” It hurt my feelings! I kept wearing it that season, but then stopped wearing it the next season.

Has your style changed much since the ’60s?
Yeah. I’ve always liked shirts with lace on them and they used to kid me, but I’ve always liked that. I think it’s sharp. Paisley, that is one style I did not like. And I never did like bell-bottoms; I’m a short little guy with thick legs, I never looked good in bell-bottoms.

I marvel at some of these designers, some of them are just geniuses, the way they figure out clothing for men and coordinate it. I look at a lot of that today, and there are some talented folks out there.

Do you think in another life that could have been you?
Yeah, but I’m not sure I would have been as good as some of these people I’ve seen. I would have loved to have designed clothing for men. Women’s fashion, I know nothing about that.

Is fashion more personal for you, or do you pay attention to trends?
I do, every now and then, in the magazines, but I just kind of dress how I like. I’ve been watching through the years, and they’ll go with the baggy pants, and then go to tight-fitting, and then back to baggy. They have a wide lapel and they go to a narrow lapel. I’ve watched all that, and said to hell with that, I’m just gonna wear what I wear.

photography // Laura Tuttle

Glorious Saris of Gerrard Street

Chayonika Wornette talks about traditional saris and the colourful culture of India with the owner of Chandan Fashion

By: Chayonika Chandra

When I walked into Chandan Fashion, an Indian boutique in the heart of Little India, a warm, familiar feeling seeped into me. The sweet smell of burning incense mixed with the tangy spices of butter chicken, the hustle bustle of boutique workers, the blur of vivid colours; it all reminded me of my childhood in Delhi, with its smoke-filled air and the busy streets. The owner Sarab Singh reminded me of my grandmother, who used to dress me up in her saris when I was a toddler. Singh and her husband have been in the retail business for over 25 years, dealing with intricate, traditional Indian clothing.

Before I left, she wrapped me up in a gorgeous purple and gold sari and told me to come back any time I wanted. I felt at home.

How did you get into the business of selling saris?
My husband had the same kind of business back home so when we came to Canada, we decided to start the same business.

How has your mother influenced your dressing style?
I am from the east of India so that’s their culture, hence, I wore most of the normal styles they wore. When I was in Grade 10, I remember, I used to get really excited when my mother let me wear saris. I even wore one to my graduation. It used to be a big deal to wear saris and it was very exciting for me, you know?

How do you wear you saris?
I use a lot of pins inside to hold them together from the starting point to the end. When I make the pleats, I make sure to put a nice pin in to hold the pleats together. I put another pin on my shoulder to attach the beginning of the train to my blouse so that my hands are free.

What are some of the materials used to make saris?
A lot of different materials can be used: silk, polyester, nylon, rayon, cotton, all manufactured in India. I prefer georgette because this material pleats better, and silk is nice for special occasions and parties.

Do you like how the saris used in Bollywood movies nowadays have a lot of sex appeal, or do you prefer other styles?
I prefer regular, old, traditional saris because they are evergreen and will never go out of fashion. Simple styles are the best. But sexy or modern styles or saris will only be trendy for a few months or a few years before something new comes out again, and the style that is current will go out of fashion. Maybe my age is a big factor as well. That is probably why I like simple saris. My style has also been passed onto my 21 year old daughter. She wears saris and looks very nice in them. I would definitely pick classy saris over fancy ones.

So, do you think modern generations are into saris?
Modern generations are definitely into saris, yes. I sell a lot of saris to younger generations. I even sell them for prom. As soon as it’s prom season, I put all my sari-inspired pieces out on display. My daughter went to a private high school and wore a really pretty sari for her own prom.

Do you have a lot of non-Indian customers?
Toronto is a very diverse, cosmopolitan city, so I definitely have a wide variety of customers who buy traditional clothing from me. I think my customers find it a little dressy. They like to wear saris because they think they’re vibrant. They say, “We are tired of monotone colours all the time.” They think we have a very colourful selection of saris, which is completely true. All the different colours we have on our saris complement each other and never look tacky. It is our culture. People wear them to special occasions and weddings. I once had a lady from Jamaica come into my store and she wanted to wear something traditional for her own wedding. She wanted to buy a traditional lehenga and I custom ordered it for her from India. It was a gorgeous, hand-beaded, white lehenga, custom fitted to her size. And after the wedding, she brought in some pictures and said, “This is your lehenga. Thanks for making me look so stunning.” She definitely got a lot of compliments which made me really happy. Indian clothing is definitely becoming more popular all around the world. I realize that India is a third world country and the bad parts of the country are always highlighted. But now, I think that India is waking up and is definitely better than before. I think traditional clothing lets people escape from the bad parts and focus on how vivid and rich our country really is. If you have money in your pocket, come with me and I will show you all the good parts of India.

photography // Laura Tuttle