Fashion Face-Off with Ashtiani & Caitlin Power

During this year's Toronto Fashion Incubator New Lables competition, it was really a choice between local designer Golnaz Ashtiani and Calgary-bred leather wonder woman Caitlin Power. Both collections, so strong and so different, were in line to claim either first or second place.

Ashtiani won that round, while my money (and interest) was riding on Power. I've since written about the prairie girl a few times, and I've come to admire her craftsmanship and vision, secretly making it up to myself that I'd felt she'd been robbed of the proper win. So when the two went in on a show deal together, with a history as top contenders in a national fashion competition, it was probably the most successful pairing of designer shows (both as one event, and two separate collections) since The ShOws last week. Its a smart move, and cost effective, allowing both to showcase their efforts and attracting audiences with a two-for-one deal. And neither lady disappointed. But in true fashion form, you be the judge of that based on the evidence of this fashion face-off.

Designer: Caitlin Power
Founded: 2010
The story: Power designs in structures. Using mostly leather, she crafts interesting shapes that flatter without looking funny. She's new to the city, having moved here just last month to fully pursue her dream of being a legit designer. She's going places, with a range of pieces that serve as a testament to her craft and skill, with and without leather. Her spring/summer 2012 is based on what she calls "Primal Futurism," with hints of Blade Runner, Star Trek, and Flash Gordon. It's an interesting idea, and works for a very specific girl.
The best: A boxy white leather dress
The better: A beige wool/silk cut-out dress with leather front panel
The verdict: Strong and streamlined. As usual, Power knows her strength and works with it, not against it

Designer: Golnaz Ashtiani, Line: Ashtiani
Founded: 2011
The story: Ashitani studied in the U.K. and interned for fashion houses after graduation before returning home to launch her label, starting with a fall/winter collection produced in April. For spring/summer 2012, the Toronto native was inspired by the '60s, drawing inspiration for movies like Roman Holiday. Her line is feminine, and subtle in its statement, instead focusing on elegant dressing while remaining timeless, not trendy. Her precise craftsmanship and delicate materials make the line look far beyond its years.
The best: A violet jumpsuit in silk charmeuse
The better: A pistachio one shoulder cape dress in silk
The verdict: While it's likely I'll always be a Power fan, Ms. Ashitani has changed my mind indefinitely as the one most deserving of the TFI New Labels crown

Toronto Fashion Week Day 2: Prints charming and Joeffer Caoc's sporty chic

Day 2 saw Tosca Delfino's playful retro swimwear mixing with Joeffer Caoc's modern take on athletic chic. Chloe Comme Parris, meanwhile, delivered on sky-high expectations with a wearable collection that toed the line between masculine and feminine.

Toronto runway veteran Joeffer Caoc explored his inner athlete with hoodies, racing stripes and mesh detailing.

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Toronto Fashion Week Day 1: Sexy sequins and showstopping florals

Hot on the high heels of the Toronto International Film Festival, LG Fashion Week kicked off Monday night in yet another new incarnation, at the city's David Pecault Square in the heart of downtown. This year’s theme, Canada Cool, was launched in style with Holt Renfrew's 'There's No Place Like Holts' show, featuring spring looks by eight homegrown designers.

Laing's trademark geometric shapes once again reigned supreme, ranging from a swoop sleeve asymmetrical dress, to an apron halter and a belted kimono vest.

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Amanda Lew Kee returns for redemption at LGFW

Last March, Amanda Lew Kee was poised to take over Toronto's fashion scene and claim her throne as reigning queen of LGFW with her fall/winter 2011 collection.



At the time, her show was one of the most anticipated of the week, held on a Friday and backed by intense hype and only a single, yet strong, official collection to her name (presented in October 2010). To the say the least, reviews were mixed. Our own correspondent said her collection featured the most egregious use of fabric she'd seen in several years. Others, including myself, didn't have a strong opinion either way, but universally acknowledged and admired her attempt at doing something different and "risky."


So when, a season later, Lew Kee's show is moved from a prime time Friday night slot to first thing on a Tuesday afternoon, I can hardly wait to see what we'll love or love less this time around. But feelings have mutated this time, kind of like the way we wait for a new Lady Gaga video just to see how much of a mess it may be. It seems like a strategic move on her part, driven by the desire to create less of an asphyxiating anticipation and instead foster an intimate environment that attracts only those who are serious about fashion like top buyers and editors. Camp Lew Kee is on lock down, too: no backstage photos, no interviews until way after the show and only by phone. You don't need to see her or talk to her to know that everyone's nervous. For the last four months, Lew Kee's been working quietly on her collection and spending time seeking inspiration in New York. She's also managed to stay out of the social scene and refocus on what's important to her: great design and innovation.

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