DISCOVER THE COLLECTIONS OF 5 RECENT GRADUATES PRESENTED
WITHIN THE FRAMEWORK OF THE THREE-DAY FUNDRAISING EVENT ORGANIZED BY LIGNES DE FUITE AT WIP
Enhanced by custom-made furniture and a two-level organically shaped stage designed by Olivier Duchesneau-Bonnard and Alexis Vaillancourt, WIP opened its doors on Saturday, October 21st, to host LIGNES DE FUITE Vol.3 Fashion Shows. The group of carefully selected young designers presenting that day consisted of four 2022 graduates from École supérieure de mode, Olivier Vouligny, Delphine Grégoire-Gendron, Roxanne Ouellet-Bernier, and Tishanna Carnevale. Joshua Boudreau also presented their debut collection titled Denora which was developed through the LIGNES DE FUITE Mentoring Program at LaSalle College.
Their captivating creations attracted an array of spectators including Oceanne Stanislas, Senior Buyer at Simons, Alexandre Raymond, Menswear Buyer at SSENSE, Sterling Downey, former Montreal’s Deputy Mayor, along with many other industry leaders who understand the value of taking an active role in driving the emergence of fresh talents.
“I think of our community as a family,” says LIGNES DE FUITE founder Milan Tanedjikov after one of his student presentations,‘’ we are all supporting one another through gifts. It’s amazing to have so many kind friends willing to work and listen to young designers' ideas and help them transform their mood boards into reality. Christian, Ethan Carol, and DY supervised the creation of the fashion show tracks, the light ambiance, the projections, and of course the hair and makeup directions. Honestly, none of this would possible without their generosity and that of the many volunteers who responded to our cry for help. We are blessed !‘’
From themes of ironic utopias to the total disruption of gender norms, space, and time zones, each of the recent graduates told their own story in one way or another, all linked by a common unbound creative spirit.
SUCKcès by Olivier Vouligny
This collection is designed to protect oneself while redefining the need to be desired. The inadequacy of the here and now, as described by Josee Esteban Munoz, and the ideality of what queerness represents, inspire Olivier to find a new path. This path takes the form of a fictional safe-space yearning for a higher self. This state of being is obtained, not by any substances, but by an overstimulating mix of shapes and colours. In this illusory world, the protection of oneself is illustrated through a metaphor of a deserted island and through subtle insertions of mouthguards. Making an ironic connection to drug use, a hugging feeling is expressed through tufting.
Raising Nice Girls by Delphine Grégoire-Gendron
Mulvey’s essay, Visual Pleasure and Narrative Cinema, which discusses the male gaze, a phenomenon born from the confluence of scopophilia and phallocentrism, serves as the theoretical pillar of Raising Nice Girls. Another primary inspiration for the collection is Jacque Demy’s Peau d’âne. The bestiality of the oeuvre is, for the designer, a grotesque representation of the male gaze. Using wax and heating techniques to weather the garment and represent a constant stare, she aspires to create a hybrid between the prey and the hunter, showing how the male gaze has become an integral part of Western culture; we are all now bearers of it. Delphine integrates various openings in the garments and eye patterns to denunciate the desire to look.
Denora by Joshua Boudreau
This collection invites the wearer to break down the walls of objective reality, and traverse into the unknown territories of the mind. We constantly underestimate the power of our brains and the extension of subconsciousness. We carry around deep wells full of information that define us, yet they often remain unexplored. It can be believed that dissociation is our consciousness taking a trip to the subconscious. Like a dream, this experience is abstract and often forgotten, but what if we challenge ourselves to retrieve these enigmatic experiences?
ÉPIPHANIE by Roxanne Ouellet-Bernier
Drawing from Quebec’s collective memory, this collection reflects an intergenerational passivity, where the years under the rule of the Catholic Church have indoctrinated the people into a submission that endures. This quietism is explored through different historical key elements that have forged the French Canadians, which is reflected through delicate fabrics and softer silhouettes. In contrast, exaggerated volumes were created to represent a metaphorical climax, the Epiphany, where the garment carries the story, and the wearer unburden themselves.
Bimbo Carnevale by Tishanna Carnevale
“Are you a leftist who likes to have their tits out?” If so, this collection is for you. With a camp approach, Bimbo Carnevale is a visual representation of the Zeitgeist new subculture: Woke Bimbo. This subversive movement uses hyper-femininity and irony to call out its discomfort with today’s capitalistic society. PostPandemic Club Kids know how to be the hottest in the room, no matter the venue, showcasing that you can never be over or underdressed.
Photo credits: Connory Ballantyne
Event credits :
Production: Milan Tanedjikov
Event Management : India Ifrah and Patricia Chaykin
Event host : Patricia Chaykin
Event host assistant: Maya Tanedjikov
Technical Direction: Charles-Étienne Pilon-Milette
Technical assistant : Connory Ballantyne
Music Supervision: Christian Provonost of Lost Heroes
Hair&Makeup Supervision : DYAMOND
Hair stylists : Nancy Côté, Angie Harris et Peneloppe Albert
Make up artists: Lilibelle Vallée, Jessica Leclerc Vinci
Video Projection Supervision: Carol Ribeiro
Lighting Effects Direction: FANTASY
Backstage Supervision: Kadisha Hernandez Canett
Model Supervision: Maria F Cruz
Event photographer: Connory Ballantyne
Event social media : Clara Haydee
Event videographer: Chloé Gitton
