Category: Interviews

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A Brief History of Jazz in Vancouver

Every Christmas out comes a seasonal “jazz standards” lesson for my students. It was always a hit for them to learn a few classical Christmas songs sung by local jazz artists. As an English instructor, I had to find my moments, unlike music teachers. My favorite part was seeing the look on their faces. They were always amazed to learn that Michael Bublé was born and raised in Burnaby, BC. They also learned who Diana Krall was. Another BC native, who was born in Nanaimo, BC. For me, selfishly, it was an excuse to listen to a genre of music I love.

Michael Buble – Image by Myung J. Chun / Los Angeles Times

UPDATE: LATEST INTERVIEW with Tim Reinert of INFIDELS JAZZ

Those learning moments happen to all of us. I had my moment during a recent interview with Tim Reinert of Infidels Jazz. So, I decided to write a condensed version of Vancouver’s Jazz history. Vancouver’s jazz history began in the 1900’s, much like the rest of North America. Clubs like the Patricia Café (now known as Pat’s Pub) and the Pantages Theatre opened. Later venues like the Cellar and Harlem Nocturne evolved into vibrant post-war underground scenes. Some key figures included Jelly Roll Morton, Black club owner Ernie King, the iconic bandleader Dal Richards and Producer/Saxophonist Cory Weeds.

Cory Weeds with Quintet under his Label “Cellar Music”

The Roots (early 1900’s)

In 1917, alcohol prohibition began, and the Patricia Café opened. Jelly Roll Morton played at Pat’s (Patricia Cafe), a local spot that helped establish the genre in the city. Jelly Roll Morton came back and forth to Vancouver. Initially, he began with the Patricia Musicians but left abruptly, possibly due to conflict among the members. Morton was often known for his somewhat generous ego.

In 1921, Morton returned to Vancouver and pulled together a house band trio. The trio was located at Hotel Irving on the northeast corner of Hastings and Columbia. But as time passed, tensions between Canada and the USA were on the rise. Morton complained about the union restrictions on musicians.  Later, partway through the 1920’s, an outright boycott was put on American musicians coming to Canada. Fortunately, in 1940, Duke Ellington’s presence on the jazz scene brought an end to this.

Another notable district supporting the early jazz roots was Hogan’s Alley. It was part of a larger black community in Vancouver’s historic Strathcona neighbourhood in Vancouver East. Its origins are believed to date from 1915-1917 when a couple of railway lines were being built. The area was known for its culture. It included eateries like Vie’s Chicken and Steakhouse. Musicians such as Louis Armstrong and Ella Fitzgerald frequented it while visiting Vancouver. 

Post-War Golden Age (1950s-1960s)

The Cellar:  The famous underground club was formed by a group of musicians wanting a place to play. It was literally in a basement located on Main Street and East Broadway; thus, its moniker. One of its mandates was to nurture local talent and foster a “co-operative” jazz scene. This premier jazz club, a hot spot in Western Canada, was one of the only hosts to international artists. Member and guitarist, Jim Kilburn, was quoted as saying, “A partial list would include Ornette Coleman, Scott La Faro, Dave Pike and Don Cherry. Occasionally, we booked established stars like Barney Kessel, Charlie Mingus, and Harold Lang. But we’re encouraging a broader policy.” The original Cellar Jazz Club opened in 1955 and later closed in 1964.

Don Friedman, Ben Tucker, Billy Higgins, Don Cherry & Ornette Coleman at the Cellar (1957) Capilano University Archives

The Harlem Nocturne Cabaret was a nightclub located in the Strathcona neighbourhood. The cabaret was situated at 343 East Hastings and managed by Ernie King and Marcella Williams. During that era, it was Vancouver’s only Black-owned nightclub. Jazz artist and founder, Ernie King, would host renowned musicians. Meanwhile, his wife, Marcella “Choo Choo” Williams, showcased performances by her and other dancers.

Denied a liquor license, it operated as a bottle club, whereby people would need to bring their own alcohol. King would keep pop bottles behind the counter in case the police entered the premises. To no surprise, based on the era, this happened often. The club symbolizes the resilience and artistic prowess of Vancouver’s Black community, which paved the way for cultural expression. The club opened in 1957 and closed in 1967 after the decline in people going to jazz clubs.

https://globalnews.ca/video/11051371/the-legacy-of-ernie-king-and-harlem-nocturne/

Dal Richards, the King of Swing

Entering the height of his career trajectory,  Dal Richards came into his own in this era. He was one of those jazz musicians who was bigger than life. His musical career spanned 70+ years, beginning in the Big Band era. As time passed and the interest in jazz clubs waned, Richards adapted. He became a band leader for the Pacific National Exhibition Bandstand. The band played 79 consecutive New Year’s Eve concerts until his death on 31 December 2015.  He was a recipient of the Order of Canada, the Queen’s Golden Jubilee Medal, and a B.C Entertainment Hall of Fame inductee. Overall, he is still known as the longest-playing musician in Canada.

The Modern Era

Coastal Jazz & Blues Society was founded in 1985 and incorporated in 1986. The Vancouver-based, non-profit charitable organization dedicated itself to fostering jazz and blues in British Columbia. It is BC’s largest not-for-profit music presenter and producer of the annual Vancouver International Jazz Festival. Additionally, Coastal Jazz and Blues present local, national, and international artists throughout the year. They pride themselves on their long-standing commitment to music education. Two examples of this are the Sounds of Youth Stage and the Vancouver Youth Jazz Orchestra, featured annually. Interestingly, the debut of Vancouver’s International Jazz Festival took place during Expo ‘86.

History Revisited

After its closure and decades later, the Cellar reopened. Cory Weeds, a renowned jazz saxophonist and owner, revisited a new space and opened the “Cory Weeds’ Cellar Jazz Club”. Weeds located his club at West Broadway and Dunbar. This geographic area was closer to another jazz music hub, on the perimeters of UBC. Unfortunately, due to various complications, it sadly closed in 2013.

Reluctantly closing the Kitsilano site, Weeds rerooted himself in his new home as musical director at Frankie’s Italian Kitchen and Bar starting in 2015.. He realized that downtown Vancouver would be much more accessible for the classical jazz purveyors he hosted. Now, Frankie’s Jazz Club is one of the featured venues during Vancouver’s International Jazz Festival.

At the same time, the new club still features the Steinway B piano from the original Cellar Jazz Club. The atmosphere within emanates a vibrant and intimate, supper-come-jazz club. Frankie’s has been in business for over a decade and recently launched an After Dark series. Frankie’s After Dark shows are presented by Infidels Jazz, and start at 11 pm. SeeChangemakers interviewed Tim Reinert of Infidels Jazz this last week. Reinert stated that this was part of Infidels Jazz’s beginnings in officially promoting up-and-coming artists to the scene.

From the Past to the Future

During the interview, we discussed one of Infidels Jazz’s current projects which brings us back to Hogan’s Alley. Infidels Jazz is promoting an up-and-coming Musical Theatre production, “Meet me at Vie’s”. It’s so exciting to hear the history of this Vancouver community back into the current conversation. Hogan’s Alley and Vie’s have become an integral part of Vancouver’s Jazz history, as cited earlier. Krystal Dos Santos, an incredible singer, songwriter, performer, film/TV actor, and playwright, wrote the musical.

Fellow colleagues, Dawn Pemberton, Chris Davies, and herself will be the featured performers. Dos Santos approached Reinert asking him to be on the production team. About Santos, he says, “she’s an artist that is so easy to work with… It’s hard not to get excited about music when working with her.” The musical runs from April 23rd to May 2nd at the Olympic Village Stage at BMO Theatre Centre.

Final thoughts…

As Santos’ colleague Pemberton outlines in her promotional article about the production;

“This is not just a history lesson.
It’s a celebration. A revival. A remembering.”

In the end, Vancouver is rich with talent both musically and artistically. Even though it is a young city and has been coined as a “No Fun City,” times are a-changing. Recalling the past allows the future to be rewritten. It has always been the people who take action that decide this.

Stay tuned for the SeeChangemakers Interview with Infidels Jazz, Tim Reinert. Also, check the SeeChangemakers recent Blog Post on a brief historical view of WOMEN IN JAZZ.

FURTHER RESOURCES:


Journeys to the Bandstand; Thirty Jazz Lives in Vancouver by Chris Wong

Past Tense: Vancouver’s Histories

Capilano University curates the Vancouver Jazz Archive, holding over 400 items documenting the local scene.

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The Remarkable Careers of Tunde Valiszka and Jodi Proznick

Images Courtesy of Tunde Valiszka & Michele Mateus for Jodi Proznick

Introduction

In the past, creative industries have been, and in some cases still are, dominated by men. The journeys of Tunde Valiszka and Jodi Proznick stand out as beacons of inspiration for photographers and jazz musicians. These two accomplished women have excelled in their respective fields and have paved the way for future generations. This blog post touches on their stellar careers through some of their notable accomplishments and where they started. In the upcoming interviews on July 20th, we will learn more about where they are going next.

NEW: Tunde Valiszka’s Interview

RECENT: Jodi Proznick’s interview

Photographic Inspirations for SeeChangemakers.ca

As a previous amateur photographer and artist, I was immediately drawn to Tunde’s Valiszka’s images. They popped off the page and drew the viewer into a world beyond our current one. As I scrolled through, the “street photographers” group on Facebook, I kept seeing these electric images. So, I took note of the photographer. One day, I heard the Blade Runner soundtrack alongside an image she posted. The image transformed me, the viewer, into another realm. Good photography pleases the viewer’s eyes, but great photography brings the person into another world.

Chinese Cook Image by Tunde Valiszka

Tunde Valiszka: A Lens into the Metaverse

Tunde Valiszka, a leading neon-noir fine art street photographer, captures a vision of what our future Metaverse might look like. Working at her art with passion and commitment, she has a style few can replicate. Her career started in Hungary as a young child, witnessing her mother, a hobbyist photographer, in the dark room. When she became a young adult, she moved to London, UK, to pursue post-secondary studies. Over the years, she focused on creating her brand, style, and her photographic art. She honed her skills and developed a keen eye for detail. Meanwhile, through an array of endeavors in journalism and as a brand enthusiast, she built her laser-focused career. Valiszka has now become internationally renowned for her evocative portraits alongside her gritty, electric, and moody street photography.

Recent Endeavors

Valiszka loves getting into the street and really feeling into her photography. You can actually book a rare walking tour in London with her this year. She wants to teach people techniques necessary for street photography, plus bring their empathy to the images.  “When working with Tünde, you’ll go out for coffee, walk the streets together through the vibrant streetlights. Suddenly, she starts snapping away.” She has taught at the London School of Photography and guest lectured at the University of Roehampton. With a passion for her signature art, Valiszka loves collaborating with other passionate makers and brand enthusiasts.  

Harrods UK by Tunde Valiszka

Accomplishments

Valiszka’s work has been exhibited in several international venues in Malta, Tokyo, and London. She commands followers on various platforms in the 10’s of 1000’s. On Facebook alone, she has reached 39K. Meanwhile, her notoriety has been discussed in the publications of Mutual Art Magazine and  Underground Sound. This dedication to her career has brought her contracts with brands such as Jägermeister and Adobe. Her Banksy Tunnel image, from 2019, has brought her notoriety from many influencer publications such as Bored Panda. After years of contemplating her future success as Sony Alpha Female, she won the title in May 2025. Presently, she has become the official creator of the trademark “dystopian romanticism”, a unique genre of image making.

Leake Street, London, UK by Tunde Valiszka

Challenges and Triumphs

As a woman in the field of photography, Valiszka has faced her share of obstacles. The industry is often male-dominated, with women having to work harder to gain recognition and respect. Despite these challenges, Valiszka’s perseverance and exceptional talent allow her to break barriers and set new standards. Recently, she was featured in an article that brought her to the attention of the Hungarian media. She is now becoming aligned with historical photographic artists like André Kertész, Robert Capa, Brassaï, Martin Munkácsi, and Lucien Hervé. In contrast to the past, women were always left in the margins. Valiszka is changing this trend by bringing women front and center into this new universe.

Musical Inspirations for SeeChangemakers.ca

Finishing studies at SFU with a cohort of artists, our jazz-playing colleagues invited us to various shows. Bill Coon, a renowned Canadian Jazz guitarist, would often be playing with Bassist Jodi Proznick. Later, I learned that this collaboration was a celebrated trio that included Miles Black. In the last few years, I started seeing more and more of Proznick’s work. I soon realized she was not only a bassist but a leader in her field. Recently, in 2022, she coordinated and collaborated on “The Ostara Project” with Amanda Tosoff. The Ostara Project was a Juno-nominated group of top-tier female jazz musicians, composers, and bandleaders.

Jodi Proznick: Master of the Upright Bass

Jodi Proznick’s journey as an upright bass player is a testament to her extraordinary talent and persistence. Starting at 13 years old, Proznick found her love of music, which aligned with her father’s, David Proznick. Like wildfire, her passion was ignited. In high school, she won the General Motors Award of Excellence. This was just the beginning of a career of monumental moments. She is one of the most sought-after bass players in the jazz and classical music scenes. Her versatility and skill have made her a favorite among musicians and critics alike.

Trilogy with Miles Black (pianist), Jodi Proznick (Bassist) , and Bill Coon (guitarist)

Accomplishments

Proznick has had performances and taught with the renowned orchestra, the Vancouver Symphony Orchestra (VSO). She has recorded several albums that have received critical acclaim, highlighting her prowess and innovative approach to the upright bass. Proznick is known as one of the top-call bassists of this era. Proznick’s contributions to music have been recognized with numerous Juno Award nominations. As well, in 2019, she was awarded Jazz Artist of the Year. Following this, she received the British Columbia Lieutenant Governor’s Arts and Music Awards in 2022.

Image courtesy of Michele Mateus, cited from https://jodiproznick.com/music-and-media/

Challenges and Triumph

Being a woman in the music industry presents its own unique set of challenges. In 2017, the JUNO-nominated album Sun Songs was written. It was a project that explored the polarities of life. It was a response to two pivotal life events: the birth of her son and her mother’s early-onset dementia diagnosis. With all this, Proznick navigates her landscapes with grace and dedication to her art form. Her success is a testament to her exceptional talent, determination, and ability to generate authentic connections. Ultimately, her commitment and passion transcend life and gender barriers in her pursuit of musical excellence.

Conclusion

The stories of Tunde Valiszka and Jodi Proznick are powerful. They remind us of the impact talented and determined women can have in male-dominated industries. Their accomplishments highlight their greatness while inspiring future generations of women. These women encourage us to pursue our passions and to break through the barriers that stand in the way. As we celebrate their achievements, we also acknowledge the importance of supporting and uplifting women in all fields. This support ensures a more inclusive and equitable world for all.

Theresa K. Howell

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Indigenous Art and Film

In June, See Changemakers will be discussing and interviewing two dynamic women. Both women speak to Indigenous perspectives through an artistic lens.

LATEST INTERVIEW: CLICK HERE

June 21st is National Indigenous Peoples’ Day in Canada. Also, June 21st is the summer solstice, bringing universal importance to this chosen date. The day of recognition became official in 1996 as National Aboriginal Peoples’ Day by the then Governor General, Roman LeBlanc. In 2017, it was renamed. It is celebrated as a statutory holiday in the Northwest Territories and the Yukon.

The eagle represents First Nations, a narwhal represents Inuit, and a violin represents Métis. These illustrations are placed around the sun and surrounded by multicoloured smoke that represents Indigenous traditions of spirituality, inclusion, and diversity.

Jaime Black-Morsette, a visionary Metis Artist

Across North America, May 5th stands as a time to remember and honour the spirit and story of the Missing and Murdered Indigenous Women. Included in this honor are girls, transgender, and two-spirit persons in Canada. (MMIWG2S+). The REDress Project by Jaime Black-Morsette was how Canada recognized the day of conception.

The REDress Project at the National Museum of the American Indian Courtesy of Smithsonian NMAI 2019

She Lights the Fire

Jaime Black-Morsette is a Red River Métis artist and activist who lives and works in her home territory alongside the rivers of Manitoba. Cathy Merrick has described her as a visionary Métis artist. In 2009, the internationally recognized The REDress Project was conceptualized by Jaime Black.

The project was born in 2010 as an art installation. It shaped itself with empty red dresses hanging from the ceiling of a room. Its symbolism was addressing the unspoken epidemic of MMIWG2S+. This exhibit grew into a movement that represents the injustices and violence towards Indigenous female-identifying populations.

Earlier in 2025, Jaime compiled a collective book, “REDress; Art, Action, and the Power of Presence,”. It evolved from a group production of images, poems, and stories. The contributors are women who have been on the frontline of this advocacy for the MMIWG2S+. To this day, red dresses and other such adornments are worn on May 5th to remember all those who have gone, plus honour and support those left behind.

REDress Project Globally

In 2017, May 5th became the National Day of Recognition for MMIW, which was formalized in Montana by a Senate Resolution. Since then, the symbolism of the empty red dress has emerged in both public and private spaces. This symbol aligns with the recognition of MMIWG2S+. On May 4th, 2025, Jaime read from the newly published book. This reading took place at the Human Rights Museum in Manitoba to honour the day.

Jaime’s quest for justice through the REDress Project was inspired, in part, by the women of Bogota, Colombia. During a conference in 2009, she witnessed a ceremony. This powerful honouring ceremony of the missing, MEMORIA DE LA AUSENCIA (Memory of the Missing) is held annually by the women of the community. During a 2024 webinar on the “Art and Power of Presence”, Jaime talks about the power that the imagery held for her.

Video by carloszatizabal Published in 2010

Amnesty International describes REDress Day as a day when the wearing and draping of the red dress is a symbol of the fight for justice. Also, the choice of red is significant because in many Indigenous cultures, it is the only colour spirits can see. REDress Day matters because it makes the invisible visible.

Artistic Influences and Pathways

The Manitoba-based Metis, Anishinaabe, Cree, and European woman was into art from the time she could hold a pencil. However, her art career would have to take a back seat for a time. Initially, in 2008, she earned her English and Education degree. While teaching at the Opaskwayak Cree Nation in The Pas, Manitoba, she found herself developing art curricula as well as writing.

In the early 2000s, her Metis grandfather passed. She decided it was time to come back to her original calling. She felt it was important to honour her grandfather’s spirit and story. Jaime says, “It was around that time that I came up with the red dress project. I decided that in a very certain way, this is what I am going to do. I’m going to use my gifts to help others.” I think it was that decision that just really pushed everything forward after that.” She told Alison Tedford Seaweed, contributing writer for Future Pathways, during an interview.

RED DRESS Project 4 by Jaime Black-Morsette Image Courtesy of Artist’s website

Jaime reflectively noted other pivotal points that were calling her. One such example was the book she read when she was 17 years old. The Book of Jessica, by Maria Campbell and Linda Griffiths, describes the story of a young Metis woman moving to the city. Interestingly, the cover of the book features a painting of an empty red dress.

Later, two conferences held in Bogota, Colombia, and in Germany contributed to coalescing her trajectory. For example, during the conference in Germany, Jaime witnessed Jo-Ann Episkenew discuss the 500+ Missing and Murdered Indigenous Women of Canada to a European audience.

In that moment, Jaime saw and heard the power of what was happening in her country and to her people; the silence in the room was deafening. It was time for the spirits, memories, and stories of these women to be heard.

IMPORTANT LINKS:


Jaime Black Morsette’s WEBSITE

WIKIPEDIA Red Dress Project

Native Women’s Association of Canada (Safe Passage)

National Indigenous Women’s Resource Center (USA)

Jaime Leigh Gianopoulos (Beijaflor); Filmmaker; Producer; Director

Over a year ago, my attention was captured during a Facebook Reels scroll. An image of various women standing amongst a barren rocky hillside in long, Grecian-style, white cotton dresses mesmerized me.  

“Ask the Plantain” by Jaime Leigh Gianopoulos

Each of Jaime Leigh’s (JL) films gives a megaphone to previously silenced voices. The films advocate for social and environmental justice. At the same time, many of her films also delve into ancestral themes.

In the most recent film, “Our Grandmother the Inlet”, JL teams up with Kayah George. Kayah George is Rueben George’s daughter and Chief Dan George’s Great-Granddaughter.  The film features George and her grandmother, Ta7a. “The film is a reciprocal love letter to the Inlet. It portrays Kayah’s connection to the water. In the Tsleil-Waututh culture, water is considered to be their oldest grandmother and place of creation.”  ⁠On June 1st, there is a special showing and artist talk at Museum of Vancouver from 1:00-2:30pm. Tickets are available on MOV website.

Big Sky Documentary Film Festival post January 11, 2024

“Her Stories” Historical Record

Jaime Leigh’s (JL) filmography is deep and wide, both figuratively and literally. One of the earlier works, “What About Our Future?” became an award-winning piece about climate action, inspired by young people, including the “Sustainabiliteens”. It continues to be utilized by secondary schools as a component of their curriculum.

Another notable film was “The Boys Who Braid Their Hair”, a short documentary commissioned by the Tsleil-Waututh Nation Health & Wellness Department. JL was the director and editor on this project. The film discusses the importance and cultural significance of braids and hair length for Indigenous men. This short film weaves artistic captions with a variety of storytelling narratives. These stories both engage and educate the viewer.

Recently, JL, supported by the BOLDLY team, directed Desiree Dawson’s music video, “Mountain Tops”. The 6-minute production combines music video with documentary-style storytelling. This powerful music/doc features Desiree Dawson’s song interspersed with her friends discussing personal challenges and successes. The stories end with a cameo appearance by JL alongside Dawson’s harmony “… sing it from the mountain tops…”.

Personally Speaking

Production team behind Our Grandmother the Inlet. Angelica Stripe, Kayah George, Jaime Leigh Gianopoulos, Shelby Manton

JL was a young 19-year-old early film student when a mentoring director shut her down amidst one of her initial productions. It caused her to step back from the art. However, once she found her footing again, she came back with a force. This was one of those turning points in careers. Now, she is adamant about giving voice to others.

On the flip side, her first experience in film is what made her consider filmmaking. In high school, a leadership program brought her together with like-minded individuals to create “What about our Future?”. She states in an article with an Arizona news agency. “I realized my childhood dream of filmmaking was an actual possibility that could become a career. I never underestimate the power one person can have on the direction of our lives.”

In her 2023 film, “Ask the Plantain,” JL relates her ancestor’s story. In this short bio-narrative, the film recounts how immigrant grandparents left their homeland of Greece to find a better life. The story progresses by bringing the granddaughter full circle. Meanwhile, the film weaves the mythological tale of Persephone into it and gives a narrative fullness.  

JL’s films capture themes of “belonging, identity, and in some cases, reconnecting to our ancestral roots”. We can all find a connection here, inevitably bringing us together.

IMPORTANT LINKS:

WEBSITE ; VIMEO Page ; INSTAGRAM

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The Evolution of Fashion Trends in 2020

Vancouver Fashion Week Spring/Summer 2021 will be held on October 24 and 25, 2020. Fashion has been undertaking a huge rethink in how it navigates itself. During COVID, most retail outlets have been shuttered, especially those that sell non-essential items such as apparel, sporting goods, furniture, and most anything outside of the basics. Over and above this, the climate as well as human rights are becoming paramount issues.

Waste a Lot, Want Not

If fashion retailers weren’t proactively using online sales and marketing, they soon had to pivot their companies or fall by the wayside in the race for a shrinking global consumer. As well, over the last decade, the fast fashion industry has reluctantly come face-to-face with its impacts on the environment.

https://www.ecowatch.com/sustainable-fashion-2646356550.html?rebelltitem=4#rebelltitem4

The current consumer generation is making companies take notice as their buying habits shift. In 2019, Nielsen conducted a survey on consumer habits. They found that younger consumers were concerned about their effect on the environment. According to the survey, 53% of those aged 21 to 34 said they’d give up a brand-name product in order to buy an environmentally friendly one, compared with 34% of those aged 50 through 64. Meanwhile, in a recent European survey done on consumer trends, a majority of shoppers are concerned about how their habits would affect the current COVID crisis, while just over half of that number were choosing to shop locally, putting less strain on the supply chain as well as supporting their local businesses.

A Pioneer in Sustainable Fashion

In a recent Amanpour & Company episode, Christian Amanpour interviewed Stella McCartney.  During the interview, McCartney discusses her brand of fashion in the current era. The fashion house is about “doing more with less,” says McCartney. Challenging the current standard in fashion houses, where if there is excess in a production run, it is buried or burned to maintain design integrity. However, McCartney is always striving to reach the pinnacle of sustainability. No longer considered the “eco weirdo”, McCartney reflects on how to make her vegan-friendly, sustainable fashion house better. McCartney created her own fashion label using principles based on ethical consumption practices back in 2001, as she launched the self-titled fashion house with Kering, previously Gucci. Finally, in 2018, she bought out Kering’s stake in the company and took full control of the helm. In December of the same year, she collaborated with the United Nations to come up with a new fashion industry charter for climate action.


Bloomberg Philanthropies: Creating sustainable fashion to curb climate change Dec. 21, 2018

Falling in Line

Following quickly behind McCartney’s footsteps, Kering’s CEO, François-Henri Pinault, gathered together a group of fashion industry leaders to create the 2019 Fashion Pact. The coalition of companies discussed how they would proactively reduce their impact on the climate. The Fashion Pact was presented to Heads of State at the G7 Summit in Biarritz by President Emmanuel Macron. However, in the list of signatories, there are only 2 manufacturers. Meanwhile, some of the biggest impacts on the environment come from this area of the industry. At the Copenhagen Fashion Summit (CFS+) held on October 12-13, the Fashion Pact had a live panel discussion. However, they failed to establish quantifiable targets. There was also no talk about how the brands are failing the garment workers and suppliers during this global pandemic. One of the panel speakers, Paul Polman, says things need to be “pushed as aggressively as possible,” although “the industry alone cannot enact the change needed,” referencing governments and policymakers about the other aspects of the industry. 

Reframing Fashion

Determined to make change happen, grassroots fashion retailers and designers are reenvisioning their industry from the ground up. Many of the sustainable and ethical fashion innovators are local grassroots businesses. Of course, this should be no surprise, but what is surprising is the holistic nature with which they approach their business. Each company chooses a focus and envelops it with complete fervor. For example, the Girlfriend Collective prides itself on its transparency. The collective produces sustainable, ethically made activewear that also focuses on inclusive sizing. The materials include recycled plastic bottles and recycled fishing nets. Meanwhile, the manufacturing is performed in an SA8000-certified factory that guarantees fair wages, safe and healthy conditions for employees, and absolutely no child labor. Learn the specific details on their “about” page.

Another local design collective with similar aspirations will be presenting its designs at the upcoming Vancouver Fashion Week. Faun Studios of Calgary, AB, manufactures sustainably and ethically in the designer’s mother’s home country of Vietnam. Marisa P. Clark, the designer of Faun Studio, also launched BOCCA Imports. Likewise, this passion project donates 100% of the proceeds to her mother’s charity, B.T. Mekong Education Association, which supports education in rural Vietnam. It appears our current generation is paving the path for all to follow.  For more information on other conscientious fashion choices, check out the Sustainability’s Magazine feature “10 Sustainable Clothing Companies.”