Many fashion designers consider themselves first and foremost artists. But this conception of their work escapes the Quebec state, which treats them more like entrepreneurs. In fact, the fashion world here falls under the Ministry of the Economy, and designers do not have access to most subsidies for artists, such as filmmakers or writers.
This is not a handicap in itself, since these creators can still benefit from business assistance programs. However, most do not have the financial resources or qualifications required to have access, and struggle to break into the Quebec market. In this difficult context, many are closing up shop. Others are considering leaving Quebec.
This is the case of Tristan Réhel. The Montreal designer nevertheless has the wind in his sails. We saw his creations worn by Julie Snyder at The week of the 4 JuliesAnnie Villeneuve to Live from the universeIngrid St-Pierre on the cover of her album Ludmillaor, more recently, Juliette Gariépy in the film The red rooms. He has also just launched his first ready-to-wear collection, which he will present at Fashion Art Toronto in November.
Crowdfunding and private investors
Tristan Réhel enjoys exceptional visibility for his young age, and Quebec stars tear up his clothes to shine on the red carpets. However, he plans to settle outside of Quebec “as soon as possible”, saying he is incapable of making a living from his more experimental practice, here, in the current context.
“I see myself more as an artist than as an entrepreneur,” says the designer. To get help from the government, I would have to build a business plan, and I’m not comfortable with that, because my income is not yet stable. I would especially like to have access to grants for specific projects, such as artists. But when I submit requests to the CALQ [Conseil des arts et des lettres du Québec], I am told not to present myself as a designer, to present my projects as photography or costumes. I received several refusals. »
Stubborn, Tristan Réhel did not stop there. He turned to crowdfunding and private investors to produce his ready-to-wear collection. But not everyone has the same luck, and he now sees his strategy as a double-edged sword. “It’s great, because I was helped quickly, but, on the other hand, it’s stressful, because I’m under a certain pressure to repay my [bailleurs de fonds]. » The designer must also work part-time, in parallel, to finance his activities himself.
Take inspiration from France
Chantal Durivage is co-founder and vice-president of creative development of MAD Collectif, which produces the MAD festival, previously called the Montreal Fashion and Design Festival. In 2016, she submitted a brief to the National Assembly, urging the government to recognize fashion as a cultural product, as part of a consultation on Quebec’s cultural policy.
In interview at Duty, she specifies that “we could always continue to develop the fashion and textile sector under the aegis of the Ministry of the Economy, but there would have to be specific programs for the industry, and aid depending on the types of clothing. We must distinguish between luxury products, artistic creations and fast fashion. We can’t put everything in the same basket.”
Mme Durivage argues that Quebec should take inspiration from France, which finances its fashion industry through the National Association for the Development of Fashion Arts, among others, supported by the Ministry of Culture and Communication.
“In France, we think of certain clothes as works of art,” she says. Just because you buy a product doesn’t mean it’s not artistic. We buy a lot of films and paintings. The French market is also much more favorable to creators. On the one hand, there is more competition, but at the same time, there is a real fashion culture in Europe. People there are willing to pay more for designer products. »
Difficult to break into Quebec
Fashion designers here believe they need specific assistance programs for their industry all the more because it is very difficult to break into the Quebec market.
Louise Cusson, founder of the clothing brand Faith and Love, had to close her workshop last September due to lack of customers and sufficient income. “The market is clearly outside Quebec,” she says without hesitation. Here, we are offered good visibility, especially at festivals. But in a context of inflation, people have other priorities than turning to local brands. It’s really a shame. »
Like Tristan Réhel, she also struggles to obtain government assistance. “It’s very difficult for creators who don’t have management training to create a business plan in order to ask for help. And it’s even less possible to pay professionals to help us do it when we have very small teams and limited budgets. »
Deploring the recent closure of local brands Sokoloff Lingerie, SegSea and Annie 50, Chantal Durivage published an opinion text on social networks urging Quebecers to encourage the local industry. “With each business closure, we lose a jewel, but also our autonomy as a society. » As consumers and citizens, she added in an interview, we must “assume our responsibilities”.