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There was no shortage of eye-popping fashion at the Toronto preview of Lanvin genius Alber Elbaz’s stellar capsule collection for H&M this month. Standing out amid all the tulle frocks, one-shouldered cocktail dresses, faux ostrich outerwear, men’s bowties and shiny blue oxfords, however, was guest Beverly Creed, who had donned a swingy fur sweater jacket for the occasion.
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A long-time fan of Canadian designer Jeremy Laing, the grande dame of dry cleaning – husband Jack owns Creeds Cleaners, a local institution – happily encouraged two admirers to slip into the piece themselves, mainly so they could feel how lightweight it was. “I wasn’t looking for fur, but I tried it on voluntarily,” she recalls of her visit to Laing’s studio. “We live in a country where you need to wear fur.”
Christian Louboutin D'orsayThere are, of course, people who would strongly disagree with that statement: Creed herself admits to mixed feelings that she doesn’t experience when, say, eating meat or sporting leather shoes. But like a growing number of consumers and fashion designers, especially in Canada, she has gradually acquired a fresh perspective on the practice of wearing real fur, which is being buoyed these days by greater transparency concerning sourcing and regulation, more humane trapping standards and a concerted push by the industry to relabel fur as a long-lasting “green” material. Clearer information on the difference between wild versus farmed fur, for instance, is helping to create a cultural climate increasingly accepting of fur as more than just a symbol of high-society excess. The outdated notion of saving fur for special occasions is also going out the window, as trendier fur neckwear, vests, hats and boots edge out the oversized full-length coats once purchased in stuffy salons.
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“We’re finding that younger people are interested in fur again,” Alan Herscovici, the executive vice-president of the Fur Council of Canada, says from Montreal. “New looks are all over the place.” Indeed, this season has seen a particularly strong comeback for both real and faux fur. It was all over the Chanel runway, where models in fake iterations resembled high-style Wookies. Real fur trim also appeared on shoes and bags from Lanvin, Dolce & Gabbana, Christian Louboutin, Marc Jacobs, Céline, Yves Saint Laurent, Sonia Rykiel and Fendi. Earlier this year, Canadian designers Laing and Sunny Fong worked with the Fur Council to create a striking array of pieces, reflecting Herscovici’s assertion that a new generation of designers is becoming increasingly curious about the material, especially its uses in non-traditional ways.
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“I think that, deep down, people actually love the texture of fur, but can be overwhelmed by the idea of a whole coat made of it,” says Christina Nacos, creative director of Furb Atelier, a two-year-old Montreal boutique that specializes in plush accessories, including hats, blankets and boot warmers made from fur scraps. “People are comfortable, I think, with fur as an accessory or accent. Touches of it give the best of both worlds. You get the luxury, but you don’t have too much.” In addition to working with and supplying such ready-to-wear labels as Féraud, Bill Blass and rising star Prabal Gurung, Nacos’s family company, Natural Furs International, is doing a booming business in the restyling of old fur coats that have been sitting in people’s closets. The long, robe-like mink coats of yesteryear are no longer what most customers want, Nacos says. Instead, she notes, they’re gravitating toward more modern silhouettes, such as sporty cropped chubbies. louboutin
In turn, designers are applying a range of innovative techniques when it comes to fur, stitching strips together or using individual pieces to create shoulder, arm or chest panels. This kind of “knit fur” has been Canadian designer Paula Lishman’s specialty for more than two decades; now, other studios are starting to give the labour-intensive process a go.
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The show aired in late November.
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