There has been a lot of discussion among WORN staff lately about the issues surrounding diversity of models in the fashion world. It is a loaded topic, encompassing such controversial areas as manufactured diversity, political correctness and the effect of one predominant choice of model on women’s concepts of beauty. Mainstream fashion’s obsession with the skinny white girl has superseded trendiness, and although history is full of a variety of idealized body types, I think many people are beginning to find fashion’s preoccupation with size-zero and blank stares a little stale. Exclusivity is a selling point in fashion, but when intelligent women begin to question themselves for being healthy…well, it gives you some food (no pun intended) for thought. (Please note – I am not claiming all mainstream fashion supports size-zero culture, or that all women even take note of it, I am merely noting its current dominance.) This is why I was so excited to have the opportunity to observe FAT (Toronto Alternative Arts and Fashion Week)’s open-call model casting process, which stipulated that it would be looking for a diverse group of unconventional models.

FAT’s model search is in preparation for its four day festival in April, which will showcase “fashion design, photography, installation, video, performance, music and dance, in an effort to push forward and redefine our perception of the fashion phenomenon”. In this spirit, FAT encouraged models of all size, ethnicity and age to try out. I was intrigued to see how “unconventional” would be defined in the context of a festival promoted as “alternative”. The name “FAT” suggests a dramatic departure from mainstream ideals, but also seems like it could be an oversimplification. Intrigued, I asked festival Director, Vanja Vasic about it. She describes FAT as meaning, “full of life, energy and meat” (as well as being the backward acronym for “Toronto Arts and Fashion”). Fair enough, but the name is only the tip of the unconventional iceberg…

The FAT model judging panel, including Ben Barry (famous for his work advocating for “real women” in campaigns such as Dove’s Real Beauty) claim they are looking for models who possess an engaging personality and well represent Toronto’s diversity. Despite this, most of the models I saw were mainly in their 20s and on the medium to slim side. This however, probably says more about the perceived requirements for modeling in our skinny white girl obsessed world, wherein modeling outside of those boundaries seems fairly limited.

The casting did seem to bring together a unique group of individuals from a style perspective; including one woman, decked out in head-to-toe pink, who strode around the room in platform PVC boots and sparkly blush. Chatting with her, I learned she is a nurse and does modeling on the side. She came to the FAT open call because the nature of the event spoke to her love of the avant-garde, referencing McQueen, Dior, and Westwood as inspirations. Another model I spoke to was an 18 year-old design student (with fabulous white eyelet ankle boots), who hoped to gain insight into the industry. There was certainly a range of hair colours – neon blue isn’t a mainstream runway staple – and exposed tattoos and a black cat-suit/corset combination drew compliments from the judges instead of the requisite raised brows.

Vanja proposes the selection process for models is simply “choosing people who are great, who can bring something to the event” and that choosing people on an individual and not stereotypical basis brings a natural range in the models. Making shows more inclusive and engaging for the audience excites me, but going to the casting, I was aware of the inherent potential for things becoming too politically correct – like when you see a department store ad with three girls of different ethnicities hanging with a “nerd” and a “jock”. This kind of attempt to appeal to “everybody!” can feel contrived and insulting. Are consumers really simple enough to think, “Oh look, someone of my race/size/age likes pink cardigans, I guess I should too”? I am sure on some level, this process does happen, and it’s true that on the other hand mainstream shows often leave me feeling inferior, but is it possible to cultivate authentic diversity in an industry that thrives on distinctions?

FAT believes it is up to the challenge, and frankly, I think they could be onto something great. FAT seems genuinely out to find the most enthusiastic participants to bring the clothing to life, and not to fill preordained age, race or size quotas. It is inclusive-yet-informed efforts like this that will hopefully push the mainstream towards a more accepting stance. I can’t help noting how ironic it is that alternative fashion week is out to relate to the majority of people… and I look forward to seeing what FAT has to offer!

FAT runs April 21-24, 2009 in the Distillery District in Toronto.

- Esme Hogeveen

interview by Esme Hogeveen
Emma Feiler is a first year biology student at the University of Guelph, with an interest in partying like it is Versailles circa 1774. Emma grew up in Toronto, attending various alternative and arts schools and finished high school in Harrow, Ontario. She regularly plans and hosts elaborate dress-up parties for her friends. WORN talks to Emma about her unceasing search for inspiration and the ingredients of a great dress-up party.

What kinds of dress-up parties have you been involved in planning?
Tea parties, a Marie Antoinette themed weekend, a Bennet Sisters (a la Pride and Prejudice) dinner, a Charlie and the Chocolate Factory-a-thon… Currently I am planning a Miss Marple inspired event for Midsummer’s Eve, called A Mysterious Affair.

How and when did your interest in themed dress-up parties originate?
I think it’s largely a byproduct of my childhood involvement in dance and performance. I think I am drawn to themed dress-up parties because they are such a heightened form of expression. The idea for hosting one didn’t occur to me until I moved from Toronto to a small town on the shore of Lake Erie. Performing arts were basically nonexistent in my new school and community, so I began to develop an interest in baking. I wanted to incorporate aspects of performance and an interest in historical dress with my new hobby…and costume parties were also a good excuse to get all my friends together. I was never a girly girl, and when I was little I thought dress-up was silly. Now dress-up parties are the most exciting events on my calendar!

What sorts of reactions do you get from invitees when you tell them you‘re hosting a themed party requiring dress-up?
Most of the invitees are close friends, who are already involved in dance or acting and pretty comfortable with dressing up. The parties become a project, in which everyone collects items, some of which are shared in order to create the most accurate and fabulous outfits possible. The group effort aspect also makes people less self-conscious. Reactions from other people are more extreme; either they love it or they are very confused about the “point” of a dress-up party and why we would want to participate.

Where do you draw your inspiration from?
From classic novels, films, vintage photographs… usually depictions of events that are more uncommon now. Spending an afternoon in a sunny wheat field with a picnic of tea sandwiches and ginger beer is something that you are more likely to read about in a book than hear about your neighbor doing. The parties aren’t historical reenactments so much as they are taking the essence of a historical period and interpreting it in a fun way.

What did people wear to your Marie Antoinette themed weekend last spring?
People brought lots vintage and contemporary pieces to pick and choose from… flowy cream coloured dresses and lace trimmed shirts, to layer or add tucks and sashes to. Some people went more for the Parisian Ball look, and some for the simpler Petit Trianon styles. Most of the dresses weren’t completely accurate to the period One friend brought a poofy, green eighties dress and made it more demure by adding lace to the bodice and accessorizing with a parasol and lace gloves. Everyone aimed to keep the hair as accurate (and big) as possible, using pop cans, pins, bottles, anything that was available, and we decided to experiment with beauty moles.

What relationship do you see between dress-up clothes and everyday wear?
People’s everyday style does seem to translate into their costumes, and the outfits are often reflective of each person’s individuality. The clothes became a historical reinterpretation of their tastes.

What makes a good dress-up party?
A good dress-up party includes at least one planned event (requiring costume!) that the rest of the weekend unfolds around. That way people can get excited about planning their outfits. A good dress-up party requires: preparation and planning around identifying the theme, enthusiastic guests and good food!

Top Ten Historical fashion inspirations
Versailles: Marie Antoinette
Victorian High Tea: Proper English…tea cakes and cucumber sandwiches!
The Golden Age of Hollywood Old Film Stars: Glamour
The 1920s…think The Great Gatsby!
Edwardian Style: silhouettes
Oriental Silks and Detailing
Ancient Rome & Egypt: Basic linens, sandals
Medieval Royalty: Pearls embellishments, rich fabrics…
Romantic Era: Jane Austen, empire waist dresses
Georgiana, Duchess of Devonshire and 18th Century Style

Bonjou! My name is Esmé and I am one of Worn’s new editorial interns. I graduated from Etobicoke School of the Arts last year, and this is my first experience working at a fashion magazine.

I like to take my fashion cues from looking through trunks at my Grandma’s, watching British TVO and PBS shows (specifically those about small town police stations set in the sixties … Heartbeat anyone?), people watching and FT reruns. I also really enjoy the styling in Sofia Coppola and Wes Anderson (shout-out to Anna!) films. My friend Stef and I are recently began making a line of reconstituted vintage and second hand clothes, and working at Worn has been a constant inspiration. I also enjoy perusing online museum galleries of historical dress.

my current inspirations…

Die Young, Stay Pretty
Lovely photos!

New York Times writer Guy Trebay
Often intriguing take on contemporary fashion.

18th Century Blog
A great resource for online clothing galleries and a plethora of historical portraits.

Marie Antoinette’s Gossip Guide to the 18th Century
An ongoing research project between art historians meant to connections… [between] personalities, rumours, art, fashion, politics, theatre, music, literature, and gossip!

Victoria & Albert Museum
A FINE source of information on historical fashions… including such fascinating articles as “Men in Skirts”.

Can we all just acknowledge that at some point in our lives, most of us wanted to be a ballerina?

This phase may have been short-lived – perhaps it was a fleeting fancy resulting from a December Nutcracker overdose – or perhaps like me, it took form in painfully awkward ballet bunnies classes. For a special few however, this passion develops into a career in dance. To all ballerinas: I am feeling especially jealous lately!

Ballet, with its conjured images of grace, tutus and impossibly dainty (and painful!) pointe shoes, represents a sort of understated elegance that has often inspired the fashion world (like Degas’ “Dancer” paintings with creamy peach tones and appliqué flowers). This influence has been distilled into even the most mainstream of trends – ballet flats for example. Without dialogue, ballets rely on communicating characterization through costumes more strongly than in speaking mediums.

I was able to view this first hand when seeing The National Ballet of Canada’s Romeo and Juliet (the Prokofiev version).

This is the kind of grace I am talking about – look at Karen Kain’s leap! (She’s now the Artistic Director of the National Ballet of Canada.)

Flipping through the programme, I learned that the National Ballet “is one of only a few North American companies with its own in-house Wardrobe Department that builds its own costumes”. And fun fact: a basic tutu takes about three weeks to construct and uses up to 15 yards of fabric and 15 layers of tulle – costing between $1000-$2000! Whew, definitely not a DIY.

Despite a lack of said tutus, Romeo and Juliet was stunning. The dancing was captivating, the music was dramatic and the costumes were subtle and striking in all the right ways. If it hadn’t been for a couple shockingly childish ADULTS (my fifteen year old sister managed to keep it together) who giggled loudly during the “bedroom” scenes, I might have shed a tear.

Masque scene of the National Ballet dancers. I believe the fellow in the decorated brocade is Paris.

The visual contrast of the pale greens and browns of the Montagues and the light rusts and wheat hues of the Capulets help create dramatic tension for the audience, who were able to keep track the rival families without it being painfully obvious. And the costume designer, Susan Benson kept up the colour themes with billowing coral (my sister said “tangerine”) and red cloaks for the Capulets at the masque ball where Romeo and Juliet meet. Swoon. There was even an entire dance sequence for when Lady Capulet presents Juliet with a pale peach gown for the ball, which had an empire waist and was simply embellished around the neckline with tiny fabric rosettes.

A shot of the National Ballet’s current production of Romeo and Juliet’s final dance together after they are married.

All the costumes supported the mood, most notably when Romeo and Juliet dance together at the ball and the bright lights and flowing movements blended the pale coloured garments into a blinding white. The metaphors are obvious -– R and J’s love overcomes their differences, while Tybalt’s black tights and cape indicate his reluctance to make peace. It’s a dance based on Shakespeare for land sakes and the drama is all good. The styles were more Zeffirelli than Luhrmann, with more traditional renaissance garb: layered petticoats on the townsfolk, tunics on the gents and severe headdress on the Ladies and Juliet’s Nurse. The costumes ultimately highlight the grace of the dancers, and I think that grace is what fashion seeks to emulate.

Claire Danes in Baz Luhrmann’s 1996 modern adaption, Romeo+Juliet. This costume took Romeo’s line, “Oh speak again, bright angel!” line seriously.

All and all, Romeo and Juliet has got me thinking maybe it’s not too late to add some ballet to my life, if only to my closet!

– Esmé

P.S. Check out here for more information. The $20 youth Dance Break and $30 general rush tickets a worth looking into.

P.P.S. We found the lovely family photo above from marshmallowphantom.tumblr.com/, a Tumblr (we looove Tumblr!) that wornjournal.tumblr.com follows.

For their December 2008 issue, Vogue commissioned Annie Liebovitz to photograph a Romeo and Juliet story, featuring Coca Rocha and dancer Roberto Bolle.