The Canadian Fashion Industry

Written by
Helen Kerr

Reviewed by
Michelyn Putignano
Jane Witte

Edited and Managed by

Michelyn Putignano

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July 2002

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The Fashion Industry with a Focus on Fashion in Canada
The following information has been assembled in an attempt to provide teachers of the
two new fashion courses, Fashion and Creative Expression, and The Fashion Industry,
some resources on the Canadian fashion industry. It hits only some of the highlights, it
includes a segment about a non-Canadian event, Premiere Vision, as it and other fabric
fairs play an important role in showcasing the fabrics that will be available for designers.

Questions are included with some of the topics covered to help direct discussions, as well
as, show opportunities for extending the information. A career project and evaluation
rubric are included in this package of information as well.

Photos could not be included in this resource without the consent of the designers.
Photos are not necessary to use this resource package. Some teachers may wish to have
their students access pictorial representation of the Canadian fashion industry and
perhaps share their findings with the class, teachers must be aware of copyright
infringements and laws.

Toronto’s Spadina Avenue - Scene of the Garment Industry

What area comes to mind when you mention garment manufacturing in Ontario? As you
can tell from the title of this segment, we are talking about Spadina Avenue. Now, well
ensconced in the geographic area known as the Greater Toronto Area, this area was once
considered to be the just off the western boundary of the town of York. The area has a
history rich in culture and the history of garment manufacturing in Canada.

The area is home to a variety of immigrant groups. Many of these groups have made
significant contributions to the Canadian garment industry as: importers of fabrics or
equipment; owners and operators of manufacturing facilities; skilled and unskilled
workers; garment designers; and as sellers of garments at both wholesale and retail levels.
Among the well-known companies that have inhabited factory space on Spadina are The
Eaton Company and McGregor Hosiery. McGregor Hosiery was one of the early
manufacturers and still remains on Spadina in the year 2002. Perhaps this area attracted
new immigrants because of its sense of community, or perhaps it was the certainty of jobs
to support a family. Whatever the reason, Spadina has welcomed diverse cultural groups
including Portuguese, Southern Asian, Greeks, Italians, Germans, Chinese, and Russians,
just to name a few.

Labour unionization occurred along Spadina on an “as need” basis. Much of the garment
manufacturing was paid on a piecework basis. As the workers considered the pay to be
unreasonably low a variety of unions thrived. A few of the unions on record in 1928
included: The Amalgamated Clothing Workers’; the Capemakers’ Union; the
International Ladies’ Garment Workers; the Fur Workers and the Industrial Union of
Needle Trades Workers. It is important to note that not all factories were unionized at
this time. There were general strikes by the garment workers along Spadina Avenue in

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1931 and 1933. This militancy of some of the factory workers and their desire to form
unions was enough to concern some of the factory owners so much so that one unhappy
owner closed down his establishment and moved to another city. Garment workers who
traveled from Spadina Avenue to protest, picketed the new location. The new factory was
forced to close down and return to Toronto and where it reopened but not in the Spadina
area.

The Spadina area and its workers experienced growing pains as technology began to
dominate the garment industry. In 1910, a large, local manufacturer introduced a new
system for sewing linings in by machine, this improvement in technology caused job loss
among the garment workers. This mechanization sparked an 18-week strike by the
workers to protest the loss of jobs. Labourers were brought from England to keep the
factories running. The company’s workers eventually gave in and negotiated a return to
work. Inevitably, jobs were lost. Some of the workers ventured out on their own, while
some found employment as contract workers for their former employer.

Although one can still see some of the original architectural features that were present
during Spadina’s hey days as a center of the garment trade, you might have to look a little
harder and travel a little farther, especially down some of the crossroad of Spadina
Avenue, to find the garment trade now. Some sources still attribute a large percentage of
garment manufacturing to Toronto, specifically the King and Spadina area.

Adapted from Spadina Avenue, by R. Donegan.

Questions

1. If one end of Spadina Avenue originates close to the lake, and the other end is
further north, where would most of the early garment factories have been located
and why?

2. a) Based on your knowledge of the history of Canada and immigration, what

other Canadian cities do you think would be known as the traditional garment
areas of Canada?

b) What factors influenced you to name these cities?

3. What part did the Hudson Bay Company play in the garment industry in Canada?
Hint: Think about the early fur traders and the Hudson Bay blanket.

Possible references for teachers and students:

Donegan, R., Spadina Avenue Douglas & McIntyre Ltd., 1985
Stephens Frings, Gini. Fashion From Concept to Consumer. 7th ed. Pearson Education
Inc., New Jersey Prentice-Hall, 2002.

*Teachers and students may also want to locate an elementary school history text that
covers the fur trade and the Hudson Bay Company.

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Canadian Fashion Designers

The designers mentioned in this first segment, in most cases are internationally renowned
for a particular design innovation; it is for this reason they have been called fashion
innovators.

Alex Tilley

What is his ‘claim to fame’?

Alex Tilley is known for his Tilley Endurables, a line of active wear garments designed
and constructed to last. The company offers to replace any of their damaged garments.
His first successful design was for an outdoor hat, commonly referred to as the Tilley hat.
Travelers, adventurers, golfers, and Canadian Armed Forces personnel wear Tilley hats.

What lead him to design the hat?

Unable to find and purchase a suitable hat for outdoor use, Tilley designed and made one
to suit his own specifications.

What lead to the reputation for almost indestructible garments?

Those who purchase and wear Tilley hats and other garments frequently write to Tilley
and tell anecdotes about how the garments stood up during their adventures, under
adverse conditions. One such tale was from animal trainer, Michael Hackenburger,
whose elephant stole the trainer’s hat, three times from his head and ate it. After the
animal expelled the hat and it was washed, the trainer resumed wearing the hat as it was
still in good condition.

What advice has he given regarding his own success?

Although admitting to not be a guru on retailing, Tilley is often known for attributing
some of the following to his own success – focusing on your target market and customer
service, producing quality merchandise and marketing and promotion savvy.

Adapted from AlexTilley press package.

Linda MacPhee

What is her ‘claim to fame’?

MacPhee is a graduate of the University of Alberta. Unlike the other designers noted
here, she designs mostly for the home sewer. Developing her own patterns for parkas
and mukluks was the beginning of her line of patterns and the Linda MacPhee
Workshops. Her patterns and workshops show home sewers how to use many
unconventional steps in garment construction. The workshops also treat fabrics in
untraditional manners. MacPhee’s ideas and patterns work and are very popular.
MacPhee uses fashion shows to markets her patterns, fabrics, notions and workshops.

Adapted from www.sewmuchfuntv.com and presentation by Linda MacPhee.

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Paula Lishman

What is her innovation?

Lishman is known for her innovative use of fur. She has spent 25 years working on the
process of cutting fur into yarn, which is then reinforced, with a cotton core. The yarn
can be used for knitting, weaving or crocheting. A double-faced fur fabric is created one
that has fur on both the inside and the outside providing the both the soft luxury the
warmth of fur. Lishman’s yarns and the garments produced from them are known and
sold internationally.

Adapted from www.paulalishmaninternational.com.

Linda Lundstrom

What is her ‘claim to fame’?

Lundstrum, a graduate of Sheridan College, is best known for her Laparka design coat.
This coat is said to pay tribute to Canadian heritage. The coat consists of an outer shell
layer of coat, which can be removed, and an inner layer of coat, which can be used
separately. The hood of the coat is trimmed with fur.

How is Lundstrum helping to foster the talents of Canadian Native and Inuit?
Lundstrum uses Native art in some of her designs. Lundstrum is the founder of the Native
Awareness Education Fund.

What other garments are in her line?

Lundstrum produces many lines of garments. She produces coordinated clothing and
accessories for the Laparka line, as well as clothing for the executive, leisurewear, cruise
wear, and special occasions.

Adapted from Linda Lundstrum press kit.

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 The Canadian Fashion Design Establishment

This segment will focus on Canadian designers who have been in the Canadian fashion
industry for a number of years and have established businesses or are well known in
Canada.

Lida Baday

How did she prepare for a career in the fashion industry?

Baday was born in Hamilton, Ontario. As a young child she watched her mother work as
a custom dressmaker. She studied at Ryerson Polytechnical Institute. Baday applied her
skill and knowledge in the Toronto fashion industry, where she quickly worked her way
up through positions of apprentice, assistant designer, to head designer.

How would she characterize her designs?

Baday aims for a classic, ageless quality. Baday’s garments are characterized by clean
lines, which are softly tailored, and with a focus on the fabric rather than embellishments.

Adapted from Lida Baday press kit.

Marilyn Brooks

What is her fashion background?

Raised and educated in Michigan, Brooks began making her own clothing early in her
life. In the early 1960s Brooks came to Canada as the display director for a company.
She later opened her own ‘one of a kind’ boutique called The Unicorn. The Unicorn
boutique is no longer in existence. Brooks has several other stores, called Marilyn Brooks
Boutiques, and also sells her line through numerous quality women’s stores.

What are some of Brooks’ more memorable or notable designs?

Brooks has numerous designs for which she became known. Early in her design career,
she was known for her ‘see through’ dress design, the chain bra, black satin hotpants.
During the 1970s, the vinyl jumpsuit was a noteworthy design. In the 1970s she began
designing uniforms for various businesses. Also of interest, are her town hall clock purse
and birdcage purse. Brooks is quoted as saying, “my designs are for people who love
comfort and have a sense of humour”.

What are her other ‘claims to fame’ in the Canadian fashion community?
Brooks is known for her commitment to the development of the Canadian fashion
industry and has held executive positions in several organizations of fashion designers.
She has received numerous awards for her work in design and dedication to the fashion
industry. Brooks has also established a reputation for supporting numerous charities
including the Parkinson’s Foundation.

Adapted from www.marilynbrooks.com, Marilyn Brooks press kit and interview with Marilyn Brooks.

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Simon Chang

What were his areas of study at college?

Chang, born in Canton China, moved to Vancouver where he studied graphic design,
photography and fashion merchandising, at the Vancouver College of Art.

What is the market segment for his designs?

Chang focuses on the active professional woman. Chang has also designed uniforms for
health-care professionals.

What does Chang see as the disadvantages of off shore manufacturing?

When questioned about his manufacturing, most of which is done off shore, he says when
manufacturing is done off shore, there is little to no room to makes changes and to expect
that your wishes will be accommodated.

*Note that this question has been included to show that even though designers are
Canadian, the assumption cannot be made that all garments are constructed in Canada.
Teachers and students may wish to construct a chart to note the perceived advantages and
disadvantages of in-house, contract out and off shore contract out. The text Fashion from
Concept to Consumer may be of assistance with this.

What are Chang’s other ‘claims to fame’?

Chang is known for his philanthropic endeavors including scholarships for the study of
creative arts and medicine, as well as, a foundation whose funds help battered women.

Adapted from Simon Chang press kit.

Sunny Choi

How did she get into the fashion business?

Korean born Sunny Choi obtained a Fine Arts Degree from Seoul National University.
After immigrating to Canada, she graduated with Honours in Communication and
Design, from the Ontario College of Art. She returned to the college to teach illustration.
She began designing for the National Ballet School of Canada . Her work with the ballet
helped her to branch into creating couture pieces for a Yorkville retailer . In 1988, she
partnered with Jack Atkin. Choi now produces her own signature line, as well as a mid
price line of garments. Choi’s designs are marketed in her own stores.

How are her garments described?

Her garments and designs are known for their superior quality, attention to detail,
elegance and the use of luxurious fabrics.

Adapted from www.sunnycoi.com, Sunny Choi press kit and interview with Sunny Choi.

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Dorothy Grant

How is her background different from many of the Canadian fashion designers?
Grant is a Haida Indian raised in Alaska. She studied under the tutelage of Haida elder,
Florence Edenshaw-Davidson where she learned the history and importance of women’s
work as well as the art of spruce root basket weaving. Grant produced her first garment
the Raven Creation Tunic, which is now part of Canadian Museum of Civilization’s
permanent collection, before attending and graduating from the Helen Lefeaux School of
Fashion in Vancouver in 1987.

What are the characteristics of Grant’s designs?

In some circles, Grant is known as the ‘foremost First Nations’ fashion designer. Grant’s
designs focus on the traditional art of the Haida people. Her men’s jackets and women’s
garments, suits, dresses, capes etc., exhibit examples of the graphic themes of the First
Nations’ People. Grant also produces a line of ceremonial garments.

Adapted from www.dorothygrant.com and Dorothy Grant press kit.

D’Arcy Moses

What is his background?

Moses is a Cree Indian from Edmonton. He worked with a Vancouver designer before
moving to Toronto. During his time in Toronto Moses worked out of the Fashion
Incubator. (See note below.) He has recently moved to take up a partnership in a
company called MWG, garment manufacturers.

*Note: the Fashion Incubator is an organization whose purpose is to assist new fashion
designers. The designers may work out of the Incubator and have access to its various
facilities such as assistance with business planning, financial accounting, cutting or
fabric, machinery for fabrication of garments and more. Since space is limited and some
designers may have their own facilities, they may become part of the Outreach Program
and have the use the programs and equipment available through the Incubator but not
locate their office in the Fashion Incubator building.

How has Moses’s background influenced his designs?

He is known for the embellishments that were influenced by aboriginal designs. He
worked in furs and leathers as well as other fabrics. He once suggested that fur is seen as
an extension of his native background. Moses was known for using mainly animal
species such as muskrat, beaver and fox that overpopulated the north. He has tried to
break the image of furs as merely a sign of opulence and return to that of its practicality
for the Canadian winter climate. His current designs are inspired by the Deh Cho
traditional embellishments, inherent to the MacKenzie Delta Region.

Adapted from www.mwgapparel.com and article on D’Arcy Moses.

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Peter Nygard

What is his background?

Nygard immigrated to Canada with his family when he was a child. At an early age, he
worked to help his family to make ends meet. During the 1970s, Nygard worked in the
shipping department for a garment company. He later bought the company. Nygard
founded his current business Nygard International.

For what is Nygard well known?

The Nygard website states that Nygard is the foremost creator of casual elegant separates
for active women over the age of 25. Nygard has 5 major fashion design lines, which are
aimed at 3 different price points of the market segment He manufactures his lines in
several countries throughout the world. His garment styles are sold in many major chain
stores in addition to his own line of stores. Two of his lines are named after his
daughters, Alia and Bianca.

What are his other notable accomplishments?

Nygard assisted the federal government in drafting and negotiating the North American
Free Trade Agreement as it applied to textiles and the manufacture of garments. Nygard
is an advocate of technology and strongly encourages his employees to use the computer
rather than paper, etc. He is an active community member supporting charities such as the
Breast Cancer Foundation.

Adapted from www.nygard.com, Peter Nygard press kit and interview with Peter Nygard.

Alfred Sung

What is Sung’s background?

Sung was born in Shanghai and was the eldest son of eight children. At age 17 his father
sent him to Paris to study fashion design, even though his real dream was to become an
artist. Sung graduated with a first class standing from the Chambre Syndicale de la
Couture. He moved to New York after his graduation and studied at the famous Parsons
School of Design. After this second graduation Sung spent time working as an assistant
designer for a Seventh Avenue dress manufacturer in New York City. In 1972, he moved
to Toronto and worked as a designer for a Spadina Avenue company before moving out
to form his own company. Sung later to formed a partnership with Joseph Mimran.

How are Sung’s styles described?

Sung’s garments have been described as contemporary classics. Sung designed many
other items including: jewellery, watches, furs, coats, socks, eyewear, small leather
goods, belts and much more. Sung was not alone in the pursuit of designing other
household goods as many other designers at this time were also involved in some of these
other markets, including cosmetics and perfumes.

Adapted from Alfred Sung press kit.

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Role of Fabric Fairs in the Process of Fashion Design

Before garments are designed, the creator must have a palate with which to work. The
palate of the fashion designer includes the fabric, its texture, colour and fabric motif. It is
at the Premiere Vision Fabric Fair where designers from many countries come to view
fabric. They attend this semi annual fabric exhibition in Paris to find out what fabrics will
be available in the wholesale market for the coming year. The fabric fair is a trade show,
which is not open to the general public. People in attendance could be overcome by the
huge display area, which encompasses approximately two very large city blocks in
buildings. Textile companies/manufacturers have display kiosks, row upon row and aisle
upon aisle, as far as the eye can see. The display is divided into two general display
categories, “city” - fabrics for sophisticated fashion, for city and evening wear and
“casual” - fabric for leisure and sportswear. Each display area is approximately the size
of one large city block. Designers, spend their time visiting their favorite textile
manufacturers, or simply to get the ‘feel’ of fabrics for the coming year.

When a designer finds textiles they like, they will ask the manufacturer for a swatch of
the fabric. They will often obtain the rest of the particulars pertaining to the fabric.
Designers may also arrange a meeting to discuss their purchase needs when their designs
are firmed up and they have a better feeling for their lines of garments for that season.

As part of the experience of the show, designers view the video presentation prepared by
the seventy experts of Premiere Vision’s Concertation Group. This video will give more
of the feel for the fashion predictions and interpretations for next year. This video
forecasts the social and economic mood, popular fabric colours, fabric textures and even
design lines or silhouettes. The designers return to their hotel rooms with the forecasts in
mind, the swatches of the fabrics they collected and other items collected, such as twigs,
stones to remind them of the textures and mood of the fabrics; and fashion trade
publication magazines. Designers create their own interpretation of the next year’s
fashions in the form of a storyboard. The storyboards are more organized than a collage
and do not include fashion silhouettes or designs. Storyboards serve to remind the
designer of what they will be working with a year from now when the fabrics arrive.
Designers are working on designing for the next year. Designs are based on the findings
from professional forecasting magazines, and how their clients or market segment will
accept these trends, not just from the designer’s own ideas.

Not all designers are able to attend the semi annual fabric exhibition in Paris. There are
other smaller fabric fairs such as those held in Lille, France; Milan, Italy; Prato, Italy;
Cernobbio, Italy; Hong Kong, China; New York, U.S.A.; and Dusseldorf, Germany.
Those who do not attend a fabric fair often work out arrangements with representatives of
fabric mills or fabric distributors, to either visit their local showrooms or to have a sales
representative make a sales call in order to display their fabrics. These designers follow a
similar process once they have chosen their fabrics.

Adapted from pamphlets on Premiere Vision and the author’s experience attending Premiere Vision.
Information on other fabric fairs adapted from Fashion, from Concept to Consumer.

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The Design Process and Market Research

Designers don’t simply put pen and other drawing implements to paper to create the
design that is in their heads. Designing is only one of the many important tasks in the
production of a line of garments. Many other steps and procedures must be followed
before a company invests in fabric, designing, pattern making and sizing, fabric cutting
etc. In the initial stages, the designer and the company must identify their target market,
or to whom they will be selling the finished product. The market segment is the group of
consumers to whom they are selling their line, it will be defined by: gender, male or
female, lifestyle choices, age group as well as their socio-economic status. Once the
design team understands their market segment and they are familiar with the design
trends as forecast by the professional agencies, they can begin to predict what styles will
be popular in the coming year or two. The fabrics are chosen before the designs are
created. Designers need adequate time to create the designs based on the fabrics available
and to produce the garments for the line. The process from the design concept to the
actual garment is long and involves much careful planning and costing.

A lot of the background research goes into the final decisions of what garments will be
manufactured. Since many designers do not own their own companies, but instead work
for others, these decisions are often not in their hands but in the hands of the owners and
the marketing department. Even those designers who do own their own companies will
turn to the marketing department for market research. The market research includes:
• The buying habits of the market;
• What consumers in your market are shopping for;
• What the competition is offering;
• How the designer’s products are selling and how the products of competitor’s are
selling;
• What are the current economic conditions;
• What are financial experts predicting for the future;
• What is happening politically and socially such events as political elections, wars
and other upheavals as they can dramatically effect consumer spending patterns;
• What are the trade fashion publications or fashion services such as Dominique
Peclers, TFS/ The Fashion Service, Trend Union predicting will be the popular
silhouette for the season;
• What the consumer will be looking for;
• What the colour services such as ICA/ International Color Authority, The Color
Box and others, are saying will be the popular colours available for colour co-
ordination;
• What fabrics will be available such as those shown at fabric fairs such as
Premiere Vision or by representatives from fabric suppliers;
• What consumers are already wearing and how it can evolve.

With the necessary research complete it is up to the design team to produce a line(s) of
garment sketches, select the fabric, and send each design for costing. The design
specification sheets include the fabric swatches, samples of garment details and costing

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details. These specification sheets or ‘spec sheets’ are used to pull together all of the
ideas surrounding a design. Only those designs that are cost effective and suitable for the
market price point are made into samples. Once the designs have been selected the next
step is to make the sample patterns, once again the costs are reviewed. Sample garments
are made to show the buyers for preliminary sales. It is at this point in the process that the
showings begin. The garments and outfits, which are not popular or are not ordered at
these showings are usually cut from the designer’s/company’s line. The
designer/company will concentrate on producing only those that were cost effective and
well received as indicated by the orders placed.

The process discussed above is an abbreviated version, still more could be learned about
the making of the sample, specification sheets, digitizing, grading of patterns etc. This
brief introduction has been provided to show the complexity of the design process.
Understanding all of the factors that companies and designers take into consideration
when designing, helps one to understand the many influences on our available fashion
choices. Fashion designers have very definite parameters within which they must work.
Fashion designers have been called ‘interpreters’ as they interpret the mood of their
consumer and industry and try to keep all involved enthusiastic about fashion.

Adapted from Fashion From Concept to Consumer, by Gini Stephens Frings, and this author’s experience
in touring garment manufacturing facilities and interviews with fashion designers.

Questions for research and discussion

1. Research to determine the differences between fashion forecasters and

fashion services?

2. What types of trade publications or services can design teams use?

3. Speculate about how the trade publications that are used in fashion forward
centers, might be different than those used in North America? How would you
account for these differences?

4. Place yourself in the position of being a member of a fashion forecasting team

or fashion service. What would be the most difficult part or your job? Why
do you think this would be the most difficult part?

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Support for Canadian Fashion Designers

Western Canadian Designers’ and Fashion Association

“Networking” was the buzzword of the 1980s, the Western Canadian Designers’ and
Fashion Association, WCDFA, has been on the leading edge of networking in the
Canadian fashion industry. Founded in 1979, this association is the oldest functioning
design and fashion association in Canada. Geographically WCDFA included
professionals from Alberta, Saskatchewan, Manitoba and British Columbia. Their aim
was “to create a professional organization to benefit and reflect the talent of fashion
designers in Western Canada”. The WCDFA presents n annual fashion event called the
‘Designer Showcase” and sponsors fashion related events at western colleges and
universities. The WCDFA is a pioneer in Canadian garment and fashion industry
networking and support of Canadian designers.

Adapted from, The History of Western Canadian Designers’ and Fashion Association.

Canadian Apparel Federation

This organization is an umbrella organization that has an affiliation with a number of

provincial organizations such as Apparel B. C., Manitoba Fashion Institute and others.
These organizations promote upcoming events for the trade and provide a necessary link
to the government and the media.

The Canadian Apparel Federation provides information about trade; both import and
export regulations; government regulations; as well as publishing the magazine Canadian
Apparel.

Adapted from www.apparel.ca.

Matinee Limited Fashion Foundation - Financial Assistance

The domestic garment industry in Canada shrank in 1991 simultaneously there was an
increase in the Canadian market share held by fashion imports. Concern for the future of
the Canadian design and fashion industries prompted Matinee Limited to develop a
program to assist Canadian designers of men’s and women’s apparel. Canadian fashion
designers who have produced collections for at least 3 years, or 6 seasons, and are
permanent Canadian residents are eligible to apply for financial assistance from the
Matinee Limited Fashion Foundation. Designers applying for funds from Matinee must
submit a business plan, which shows how they would use funds granted to them.
Designers can apply for funding for a variety of projects including: fabric sourcing,
equipment purchases, and skill enhancement. The foundation also showcases the
designers and their work in popular Canadian magazines like Chatelaine and Canadian
Living.

Adapted from press kit Matinee Fashion Foundation.

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Fashion Incubator

Fashion Incubator is housed in downtown Toronto. It is the initiative of the Fashion

Industry Liaison Committee of Toronto. Fashion Incubator is a non-profit organization,
which is available for new designers to access in order to develop their business skills
and talents. For a maximum of two years, new designers may access these facilities and
assistance at minimal costs. New designers may apply to be part of a ‘resident program’
working on the premises or may work off the premises and access the facilities and
services as part of the ‘outreach program’.

Adapted from www.fashionincubator.on.ca, Fashion Incubator pamphlets and this author’s interview with
Fashion Incubator personnel.

Career Activity and Assignment: A Day In The Life………

The following activity and assignment can be used independent of this fashion industry
resource package or could be used in conjunction with several of the component
parts of this package. The first part of this is meant as a group or class activity
to explore the job of the fashion designer. This first part is modeling the process
that students can then follow in the second activity, which is an independent
career exploration activity.

This assignment should be completed after students have done considerable work on the
design process and could therefore fit in after the first unit of the profile document for
The Fashion Industry. If teachers decide to incorporate it into the unit on the Canadian
Fashion Industry, they might want to consider moving unit two, What Shapes Fashion to
become the last unit of the course and move unit three and four each forward one. This
could help to avoid time management problems at the end of the course.

The teacher should also note that some teachers, students and classes may need more
resources than those given in this package. For this reason it has been suggested in the
activity planning notes that teachers should compile a variety of fashion related books
and other print materials for personal and student reference purposes;

These activities comply with the course HNB4O expectations as follows –

Overall Expectations
• Identify and describe occupations in the fashion industry;
• Use appropriate social science research methods in a supervised, self-directed
study of topics related to fashion and the fashion industry;
• Communicate effectively through written and audio-visual presentations, suing
accepted social science research format.

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Specific Expectations
• Identify fashion-related occupations, both entry-level and those requiring
postsecondary education;
• Describe postsecondary programs for careers in fashion arts, and programs that
support occupational aspirations related to the fashion field;
• Demonstrate an understanding of the research methods used in the fashion
industry;
• Locate and access primary sources and secondary sources of information relating
to fashion and the fashion industry;
• Compile the information and key ideas from their research, and the document
sources accurately, using correct forms of citation;
• Effectively communicate the results of their inquiries, using a variety of methods
and forms.

Prior Knowledge & Skills

• Experience in small group work including skills in collaboration, cooperation, and
sharing of ideas and concepts
• Experience gathering information from a variety of reference materials, and
presenting to the class
• Knowledge of the fashion industry, market research, garment production, sales
and distribution.

Activity Planning Notes

Teachers should:
• Compile a variety of fashion related books and other print materials for personal and
student reference purposes;
• Book the computer lab and become familiar with accessing internet sites if using this
method of delivery for the designer information (T/ L 3, 9);
• Preview the sites mentioned in this resource package (T/L 1, 3);
• Familiarize themselves with board and school policies concerning computer usage;
• Prepare and copy student handouts (T/L 1, 3, 9).

Teachers Awareness
• Ensure that the school policies for Internet use are followed in preparing resources for
this unit.
• Ensure that board policies pertaining to copyright are followed.
• Consider Special Education accommodations required, to meet the needs of
exceptional students (IEP).

Activity A – Group Activity – A Day In The Life……

Teaching/ Learning Activities

1. Students will use their notes to complete a teacher prepared review such as a
crossword puzzle or fill-in-the-blanks handout to review the design process as

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 described in fashion texts or as described in part, in this package.

2. As the answers to the review sheet in T/L 1 are taken up, the teacher will list all of the
tasks of the fashion designer on the blackboard.

3. Students read the career profiles of the Canadian fashion designers and discuss the
similarities and differences
a) Identify and describe the wide variety of fashion training obtained by the
designers described.
b) What factors do they seem to share?
c) In what ways are their jobs as fashion designers similar?
d) In what ways are their jobs different? (eg. market segment, price point etc.)
e) What tasks/jobs do you think are part of the responsibility of the fashion
designer?
f) How would some of their jobs or tasks by cyclic in nature? How might their
routines vary depending on the time of year? Why? Hint: think about seasonal
groupings and lines of garments.
g) Speculate on what you think the daily routine of a fashion designer might
resemble? Explain your reasoning for each activity.

4. With a partner, students will research and note, the various postsecondary the
institutions in Canada where students interested in fashion and design can obtain
training. Their findings will be shared orally with the class.

5. With the partner, students will speculate on the possible entrepreneurial opportunities
available for fashion designers. Their findings will be shared orally with the class.

6. Students will prepare a report based on questions such as the following –

a) What training is suggested or recommended for those who wish to become
fashion designers?
b) Where in Ontario can students obtain this training?
c) Where else in Canada can they obtain this training?
d) What skills and personality traits are needed for someone who wishes to work
as a fashion designer?
e) What sorts of job opportunities and entrepreneurial opportunities might a
fashion designer have and with what sorts of companies?
f) Working with a partner, prepare a time chart for one day during the life of a
fashion designer. This designer is employed by a medium to large size company
house therefore they are a member of a department with twenty or more
designers. The team on which they work is a much smaller group of four who
design the children’s line of clothing. The following questions are to help with
time chart for the day;
• What will their day look like?
• What time will they arrive at work?
• What will be the first activity of the day?

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 • How much of the day would they work directly with the members of
their group?
• What other activities would they do and how long would each activity
take?
• Identify the skills and talents that would be needed for each activity or
task of the day.
g) How might this day be different from others? What other tasks might they
have to do?

Sample chart –

A Day In The Life Of A Fashion Designer

Time Schedule Task/ Activity Skills/ Talents Needed

7. Select two or three partners to share their findings with the class and post the time
schedules on a bulletin board.
8. The teacher will review the sequence of teaching/ learning activities followed in
exploring the day in the life of the fashion designer and discuss any problems
encountered by the group; the strengths of the group in following the process
outlined.
9. The teacher will assign Activity B - Careers in Fashion – A Day in the Life and
follow a similar sequence as outlined.
10. The following is a major assignment sheet that students will complete individually
during class time or as an independent research project. Class Activity A was an
exercise to model the process that the students are to follow for this assignment. Now
the students will select one of the careers listed below and complete the assignment
based on the sequence of activities explored in the previous activity.

Time schedule adapted from Destination 2020.

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Student Activity Sheet to Accompany T/L 9

Careers in Fashion – A Day In The Life

Name _______________________
Date due _____________________
Date submitted ________________

Select a career related to the fashion industry. Only one student will research a career.
The careers could include –
• Fashion photographer
• Stylist
• Makeup artist
• Fashion illustrator
• Fashion editor
• Fashion forecaster
• Designer assistant and apprentice
• Buyer/ store purchaser
• Pattern maker
• Wardrobe co-ordinator
• Cosmetologist
• Fashion promoter
• Fashion show co-ordinator
• Colour forecaster
• Sewer
• Couture
• Seamstress
• Cutter
• Finisher
• Fashion retail sales
• Furrier
• Visual merchandiser
• Advertising designer
• Other __________________

Use print and/ or electronic sources to research the career. Find answers to the following
questions –

1. What training is suggested or recommended for those who wish to train for this
occupation?
2. Where in Ontario can students obtain this training?

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 3. Where else in Canada can they obtain this training?
4. What skills and personality traits are needed for someone who wishes to work
in this occupation?
5. What sorts of job opportunities and entrepreneurial opportunities might a
person in this occupation have and with what sorts of companies?
6. Prepare a time chart for one day during the life of a ____________________.
How might the size of the company in which they work affect their job?
The following questions are to help with time chart for the day;
• Is their work cyclic in nature? On what does this cycle depend? Eg.
Seasons.
• How might the cyclic nature of some occupations affect daily
routines?
• What time will they arrive at work?
• What will be the first activity of the day?
• How much of the day would they work directly with the members of
their group?
• What other activities would they do and how long would each activity
take?
• Identify the skills and talents that would be needed for each activity or
task of the day.
• What will their day look like?
7. How might this day be different from others? What other tasks might they
have to do?

Sample chart –

A Day In The Life Of A ___________________

Time Schedule Task/ Activity Skills/ Talents Needed

Using the answers to questions 1 through 5 (inclusive) and 7, present this information in
an interesting manner in paragraph style.

Attach the daily time schedule for the career.

Using APA style, prepare a list of at least four references used in preparing this
assignment.

Compile your findings and submit for evaluation.

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Rubric for student activity - A Day in the Life of a ________________________
Category/Expectation Level 1 Level 2 Level 3 Level 4
(50-59) (60-69) (70-79) (80-100)
Knowledge
/Understanding - describe post - describe post - describe post - describe post
- describe post secondary secondary secondary secondary
secondary programs for programs and programs and programs and programs and
careers in fashion arts, programs that programs that programs that programs that
and programs that support related support related support related support related
support occupational fashion fields fashion fields fashion fields fashion fields a
aspirations related to with limited with some with high degree of
the fashion field accuracy accuracy considerable accuracy
accuracy

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Thinking/Inquiry
- organize and interpret - limited use of - some use of - considerable - mastery of
information gathered organizational, organizational, use of organizational,
from reliable sources, interpretive interpretive organizational, interpretive and
and summarize main and summary and summary interpretive and summary skills
points skills skills summary skills

- compile information - limited ability - some ability - considerable - high degree of

and key ideas from to compile to compile ability to ability to
their research, and information information compile compile
documents sources and key ideas and key ideas information and information and
accurately, using from their from their key ideas from key ideas from
correct forms of research and research and their research their research
citation use citation use citations and use and use citations
accurately accurately citations accurately
accurately
Communication
- demonstrate an - demonstrates - demonstrates - demonstrates - demonstrates a
understanding of the a limited a some considerable thorough
research methods used understanding understanding understanding understanding of
in the study of fashion of the research of the research of the research the research
and the fashion industry methods methods methods methods

- effectively -communicates -communicates - communicates - communicates

communicate the the results of the results of the results of the results of
results of their their inquiries their inquiries their inquiries their inquiries
inquiries, using a with limited with some with with a high
variety of methods and effectiveness effectiveness considerable degree of
forms effectiveness effectiveness
NOTE: A student whose achievement is below Level 1 (50%) has not met the
expectations for this assignment or activity.
Teacher’s Comments/ Next Steps:

Teacher and Student References

Davis Burns, Leslie and Nancy Bryant. The Business of Fashion: Designing,
Manufacturing and Marketing, New York: Fairchild Publications, 1997.
Donegan, R., Spadina Avenue, Douglas & McIntrye Ltd., 1985.
Glock, Ruth and Grace Kinz. Apparel Manufacturing: Sewn Product Analysis, 3rd ed.
New Jersey: Prentice Hall, 2000.
Hartley, Sarah (editor). Destination 2020, Canada Career Consortium, available as a free
download at http://www.careerccc.org/resources/index_e.shtm
Stephens Frings, Gini. Fashion From Concept to Consumer, 7th ed. Pearson Education
Inc., New Jersey: Prentice-Hall, 2002.
Stone, Elaine. Fashion Merchandising: An Introduction. USA: McGraw-Hill Inc., 1990.
Wolfe, Mary. Fashion!, Goodheart-Willcox Co. Inc., 1997.

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Websites

www.apparel.ca
www.apparel-bc.org
www.apparel-manitoba.org
www.batashoemuseum.ca
www.careerccc.org/resources/index_e.shtm
www.caws.ca
www.city.toronto.on.ca
www.dorothygrant.com
www.fashionincubator.on.ca
www.fashionwatch.com
www.fdcc.ca
www.marilynbrooks.com
www.minimidimaxi.com
www.montrealfashionnetwork.com
www.mwgapparel.com
www.naffem.com
www.nygard.com
www.ontarioapparel.com
www.ontariofashionexhibitors.ca
www.paulalishmaninternational.com
www.retailcouncil.org
www.sewmuchfuntv.com
www.strategis.ic.gc.ca
www.style.ca
www.sunnychoi.com
www.torontofashionweek.ca
www.torontofashionweek.com

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