Toronto Upcycling Brand Scy By Julius Connects Creativity to Craft

June 29, 2020 at 06:55PM

We’re seeing many shifts in the fashion industry right now, from a broadening of the types of models shown wearing a brand’s clothing to the methods in which that clothing is made. And while plenty of large-scale labels will see their businesses go through a period of great adjustment as they modify their operations to be more inclusive and innovative, there are many exciting emerging lines that already follow this approach.

Take Toronto’s Scy By Julius; the one-year-old label launched by Julius Armand offers hats, handbags, denim and more, all made by upcycling primarily thrifted materials. “I basically decided, let me glue some cargo pant pockets on a pair of jeans and see how it goes,” he says about how he started to conceptualize the pieces that he eventually began to sell. (You can find an example of the style on the brand’s website.)

“I was always into fashion,” says Armand. “But it was never really accepted as a job by my parents. So, I went to school for architecture. After I graduated, I thought, this isn’t really what I want to do.” Armand decided to apply the ingenuity allowed for in architecture to a fashion design context, and he follows a personal approach to the pieces he makes, noting “It’s things I’d like to see myself in” when he’s mulling over ideas.

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++®︎ leftover denim vest ✂️ 1/1 | SOLD ✨

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Armand also wants to inspire his audience to see themselves in his pieces, and is doing so by enabling members of the public to submit themselves as a model for the brand. “I want to see [different] people in my clothing,” he says of why he has opened up crowd casting for Scy By Julius images. “Especially if they’re someone who’s already purchased something–why not give them the opportunity to showcase what they bought? And it helps me show other people that they can wear it, too.” He says he appreciates the “interpersonal” relationship this visual democracy fosters. “It gives it more of an experience between me, the creator, and the customer,” he says.

Ever forward-looking, Armand also sees himself expanding his brand’s collections to include more elevated pieces in the future. “I’m going to take it as far as I can go,” he says of continuing to make upcycled wares while also experimenting with other facets of design. “I also want to branch out more into high fashion, and become better at my craft.” He says that right now there’s a kind of niche market for his work given the brand’s streetwear aesthetic, adding, “I want to make pieces you can wear everywhere.”

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Author Odessa Paloma Parker | Fashion Magazine
Selected by CWC


The Weeknd Just Made a Donation to the Scarborough Health Network’s COVID-19 Fund

June 29, 2020 at 05:27PM

Canadian singer, songwriter and record producer Abel Tesfaye, better known as The Weeknd, has donated $500,000 CAD to the Scarborough Health Network’s COVID-19 Emergency Fund through sales of his line of ‘XO’ face masks. Born in Toronto and raised in Scarborough, the Grammy-winning artist has been raising awareness and funds for COVID-19 relief since the beginning of the pandemic, matching every dollar raised from the sale of his masks.

“I was raised in Scarborough and felt it was important to give back to the community that raised me during the hard times of this pandemic,” said Tesfaye.

Situated in one of the most diverse communities in Canada, the Scarborough Health Network (SHN) spans three hospitals and eight satellite sites. SHN’s COVID-19 Emergency Fund was established to support frontline staff and doctors and address urgent equipment needs, such as ventilators, ICU beds, ECG monitors and personal protective equipment (PPE). According to a press release, more than 3,500 community donors have contributed to the fund, which now totals more than $2.7 million.

“Our vibrant and diverse community represents the best of Canada, and we are fortunate to have ambassadors like The Weeknd in our corner,” said Elizabeth Buller, President and CEO of SHN, in a statement. “This gift will help our community hospitals continue to deliver exceptional care for the people of Scarborough in the wake of COVID-19, and demonstrates to our courageous staff and physicians that their critical work does not go unnoticed or unappreciated.”

For more information on how to support the Scarborough Health Network through COVID-19, visit, and to learn more about the line of face masks from The Weeknd, click here.

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Author Pahull Bains | Fashion Magazine
Selected by CWC


10 Canadian Brands to Wear to Celebrate Canada Day

June 29, 2020 at 05:18PM

Get ready to celebrate Canada Day in style with some of our favourite Canadian brands. Whether you’re looking to get decked out in head-to-toe red and white or you’re more interested in a subtle pop of colour, we’ve rounded up some of the best Canadian brands to wear this week on Canada Day. Soft linen from Eliza Faulkner will be a summer staple and a fire engine red swim suit from Andrea Iyamah or Fortnight will make you stand out while lounging on the dock. From socially distanced barbecues to fireworks in the evening, keep cozy in a bold red and white sweatshirt (from the likes of Roots or Atelier Regime) that’s both patriotic and practical. Our tip? Look for pieces you’ll live in far beyond July 1st and support some of our homegrown talent.

Click through the gallery below for 10 Canadian brands to welcome into your wardrobe this Canada Day:

To find more local Canadian favourites, check out our round-up of small businesses here.

The post 10 Canadian Brands to Wear to Celebrate Canada Day appeared first on FASHION Magazine.

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Author Eliza Grossman | Fashion Magazine
Selected by CWC


Kim Kardashian West Inks $200 Million Deal with Coty

June 29, 2020 at 04:44PM

To say it’s been a big couple of days in the Kardashian-West household is a pretty large understatement. On Friday, Kanye West announced he’d signed a 10-year deal with Gap to produce a new clothing line called “Yeezy Gap” that will launch next year. And today, Kim Kardashian West has inked a $200 million deal with beauty giant Coty.

The $200 million sale means that Coty now owns a 20 per cent stake in KKW Beauty, indicating that the line (which has already enjoyed huge success) is about to become even bigger. Speaking of the deal, Peter Harf, the chairman and chief executive officer of Coty, said, “Kim is a true modern day global icon. She is a visionary, an entrepreneur, a mother, a philanthropist, and through social media has an unparalleled ability to connect with people around the world. This influence, combined with Coty’s leadership and deep expertise in prestige beauty will allow us to achieve the full potential of her brands.”

According to WWD, the licensing agreement also lists categories that KKW Beauty is yet to expand into, including skincare (the primary focus for the partnership), as well as hair care, nail products and personal care.

The partnership marks the second for Coty in a Kardashian-Jenner family business, following its acquisition of a 51 per cent stake in Kylie Cosmetics (which recently released a collaboration with Kendall Jenner) for $600 million back in November.

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Author Maddison Glendinning | Fashion Magazine
Selected by CWC


Self-Isolation Diary: A Day in the Life of Amanda Brugel

June 26, 2020 at 03:00PM

As we complete Month 4 of self-isolation, and many parts of the country enter various phases of re-opening, FASHION is winding down its months-long self-isolation diary series, spotlighting how some of our favourite Canadians have been living their lives in lockdown. Rounding out the series featuring actors, designers, influencers and artists is actress Amanda Brugel, currently starring on The Handmaid’s Tale, Snowpiercer and Kim’s Convenience.

Amanda Brugel, actress

So, we are nearing the end of June and approaching Day 4768 of isolation. I’m kidding. Kinda. Two months ago, this would have been a much more depressing, wine-soaked journal entry, however, like many of you, I have finally stopped fighting this new normal and started to accept the unconventional and misshapen gifts it has offered.

I share custody of my two boys Jude (nine) and Phoenix (six) and since they’re with me today, my morning opens with Phoenix’s wet mouth pressed against my ear, whispering that he wants “a snack”. I don’t know why his mouth is wet and I do not wish to find out. I throw a croissant, apple slices and a gummy vitamin on a plate and turn on kid-friendly animal blooper videos. I then head back to bed, but can’t resist the urge to reach for my phone, where I inevitably fall down a news wormhole. Somehow the world has, yet again, changed within the seven hours that I was asleep.

Jude is awake now and it has been 60 whole minutes since Phoenix last ate, so I prepare breakfast and a bucket of coffee which I will put down somewhere and forget to consume. The three of us watch CNN for a bit and Jude grills me on what the journalists and guests are discussing. At the beginning, when the headlines were dominated by COVID-19, my boys were much more interested in their cereal, but now that the majority of news coverage hovers around police brutality and systemic racism, they are much more open to what Chris Cuomo has to say. My ex-husband is a police officer and my children are bi-racial. They have been exposed to these types of discussions since birth, but ALWAYS in private. I didn’t realize how much, they too, would be riveted by public conversations about race.

We now begin the excruciating task of homeschooling. My partner, filmmaker and actor Aidan Shipley, has been quarantining with us, so today, he works with Jude in the dining room and I cover Phoenix. We have discovered that the most effective way to get Phoenix to focus is to promise him full body ankle swings above the couch after every completed assignment. This morning we soared through “sh” words, so Aidan just sprinted over to our work zone, grabbed Phoenix by his ankles and swung him towards the ceiling ten times to celebrate. It’s bonkers, but it works.

Snack number 5.

amanda brugel
image courtesy amanda brugel

I have a Zoom read-through with the cast of Kim’s Convenience for our Season 5 scripts. It’s a very strange exercise to act alone opposite my laptop with zero physical human connection. Also, comedy requires laughter, however, in this medium, we all have to try to stay relatively quiet so that the writers have a chance to hear their work spoken out loud for the first time. So I wind up sitting with my hand clamped over my mouth for forty minutes in an effort to not ruin the read-through. I fail three times. Hopefully, I don’t get fired.

I now have 45 minutes to respond to texts, emails, phone calls and article requests from allies. Wait. I should back up. About three weeks ago, I posted a few controversial messages on Instagram, inviting non-BIPOC to become more vocal about the Black Lives Matter movement and subsequently implored them to join the now viral, global conversation about systemic racism. I did not intend it to be contentious, however, maaaaany Black Americans did not approve of my willingness to answer questions or give suggestions. To be honest, this portion of my day has almost become a second job. And while, yes, it can be emotionally draining, it is also the moment in time that I have been waiting for my entire life. My theory; I have asked people for help. I can take 45 minutes out of my day to teach them how to do so.

For the love of God; SNACK TIME.

This is my favourite part of the day. Me and all of my boys head to a creek near my house for “Gym Class”. The boys take their scooters and race ahead, while Aidan and I saunter through a forrest decorated with painted rocks left behind by kind strangers. We read their messages that say “Smile” or “You Are Loved” and “Keep Going” and we proceed as instructed. We eventually end at a small beach beside the creek and skip stones, walk over fallen trees as if they were tightropes and the boys take a dip and search for sea glass. This part right here has been my greatest gift from COVID-19.

amanda brugel
image courtesy amanda brugel

NO YOU CAN’T HAVE A SNACK DINNER IS ALMOST READY. I’m mid dinner prep which is my second gift from COVID-19, because I did not cook before this mess. I would dabble. Reheat. Definitely dine out. Or, wait for my amazing mother to show up with foods. But, tonight I am making Butter Chicken with garlic naan and I haven’t set anything on fire and it smells almost good. We sit down to dinner and commence “Dinner Theatre” games, where we improvise scenes or pass silly questions around the table.

The boys are in their PJs and we take a “night walk” around my neighbourhood. Now that summer weather is here and everyone has stepped a little further out of their homes, we take this time to scream talk at our neighbours from a safe distance and compare notes about the their isolation experience. It’s 28 degrees and smells like fresh cut grass.

Phoenix is tucked in and now I am able to steal a private moment with Jude and allow him to watch the latest Daily Show or Shaun King post. Tonight we are discussing the disparities in African American healthcare in the US. I show him a Nat Geo video on the conditions in slave ships. We talk about how a bunch of K-Pop stans high-jacked Trump’s return to the campaign trail. I have a moment where I wonder if any other parents are having these quiet conferences with their nine year olds. Is this the new bedtime story? I hope so. I have learned more about systemic racism, slavery in Canada, accountability and even my own privilege as a fair-skinned person of colour in the last 18 days than I have in 43 years. I am heartbroken and emboldened, but mostly grateful to take my child along for the ride I didn’t have.

Wine. A bit of news. And an episode of Legendary as a night cap. Aidan and I snuggle on the couch and I recognize that although I miss my old life, I would not return to it for a second. I have grown tremendously from this discomfort. As a mother, a partner, chef and activist. I am watching my world, in real time, attempt to do the same. I am tired. But emboldened. Good night.

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Author Amanda Brugel | Fashion Magazine
Selected by CWC


Labatt and Pink Tartan Team Up to Provide 135,000 Face Masks to Restaurants

June 26, 2020 at 02:00PM

As many parts of Canada tentatively move into stage two of reopening, restaurants and bars are starting to be given the green light to reopen. And whilst we’re thrilled that patios will be coming back into our lives, there is undoubtedly some hesitation from consumers and workers alike in regards to safety – which is why Labatt Breweries has teamed up with Toronto-based fashion brand Pink Tartan to create 135,000 non-medical face masks to be donated to restaurants across Canada.

The face masks (which are washable and made with 100% cotton with a poly-cotton interior) are part of reopening kits being distributed to Labatt’s restaurant partners (which also include hand sanitizer, sanitizer towers and social distancing signage) as well as Food Banks Canada.

Speaking with FASHION about the collaboration, Pink Tartan designer Kim Newport-Mimran, said, “When Labatt approached us, we loved their idea to partner on stylish face masks to support employees at bars, restaurants and Food Banks Canada. I wanted to do something that could be worn by anyone. I also wanted to define the partnership between Labatt and Pink Tartan – two iconic Canadian companies – and capture the strong, sense of Canadian pride that we all share.”


As for her designs, Newport-Mimran said, “I came up with three Canadiana-inspired designs, a red and black buffalo check pattern, a Canadian poppy print and my signature graphic quatrefoil pattern both on a denim base, signifying the Canadian tuxedo. I’m thrilled with how they turned out. I can’t wait to see them in use on local and national restaurant patios in the near future. Labatt has been doing great work to support bars and restaurants throughout the pandemic. It’s gratifying to be able to do my part with them.”

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Author Maddison Glendinning | Fashion Magazine
Selected by CWC


How Streetwear Brand Mobilize is Encouraging an Indigenous Movement Through Design

June 25, 2020 at 09:45PM

“Waskawêwin is the Cree word for movement,” says Dusty LeGrande, founder of the Edmonton-based streetwear brand Mobilize. Fitting, then, that it’s a name given to a collection of pieces created under the label. But, as he notes, the brand’s name and philosophy “encompass more things than clothes.”

LeGrande’s presence in community activism has taken on many forms from mentor to liaison, and he notes that amidst the groundswell of the Black Lives Matter movement in recent weeks, his city has the potential to “set precedent within Canada” when it comes to addressing systemic racism and rebuilding infrastructures to radically improve the lives of marginalized groups. “We have a community that’s ready for this change on a conscious level,” he says. “So [we] can function more freely, and there can be true justice. And so people of colour don’t have to face systemic racism in different ways.”

Activism has also been expressed on the runway during Mobilize’s shows. LeGrande says that it’s imperative that the models–all friends and family–are “representing themselves on the runway”, not simply conforming to what fashion audiences have become accustomed to. He notes that the brand’s pieces are inclusive and gender-free, and that they stand up to any appropriated look. “It’s a way of breaking down stereotypes,” he says of the designs. This authenticity is what makes Mobilize so exciting to watch as a brand. Here, LeGrande share the story of how the line was started, how design can bring people together, and how he disrupts the fashion industry one runway show at a time.

Tell me about the story of your brand.

Besides the appropriation that existed with Diesel and all these other [fashion] companies, I hadn’t seen imagery in street style before that represented Indigenous people. And it was at a small market in Hawaii, where I saw [them] transforming symbols–for example the [Air] Jordan symbol–into Indigenous warriors. They were adding elements to those designs. And that sparked something in my brain like, oh yeah, there isn’t Indigenous imagery in clothing. I had always loved clothing–it comes from my family. My mother is probably the most stylish person I’ve ever met in my life. And from a young age I was always playing dress up, and was in costume. I didn’t grow up with a tv and I had a really incredible imagination. So clothing was always a way of representing myself.

As I got older, I started learning about the ways that Cree people used clothing–how it represented the different animals that were around, or the different types of artwork, and they would intertwine that into their clothing and that became their story. When they would go into meeting places, for instance a Pow Wow when nations would come together, people could know who they are just by simply seeing what they’re wearing.

So, it was sort of those two aspects coming together with the youth world. Since I was twelve, I was coaching young Indigenous athletes in basketball. I ended up playing college basketball, and through my teen and early adult years, I was a mentor through sport for Indigenous youth. Then I joined the social sector and started working with youth that are in foster and group homes. I saw these young kids who grew up in the foster care system, and most of them are Indigenous youth. And that’s because of the residential school presence and a lot of other systemic things. A lot of them don’t have a connection to their culture. They started to see my clothing; I’ve always customized my own stuff, like denim jackets.

The intention was always to create a product that would connect Indigenous youth with their identity, to empower them, and to educate them about their own history. And to do that through clothing–to find a means that they’re already passionate about, which was streetwear. And further to that, educating non-Indigenous people about Indigenous people through clothing as well.

What’s the significance of the name Mobilize?

I never like to take full credit for anything I do. In our way, there’s the ancestral presence and the community around us that inspires us and influences us. And it was much of my mentors and the people I looked up to that built this way of thinking into me, about impacting the next generation and creating healthier spaces. And doing it first within [my] community and watching that circle grow from there. A lot of what I do with Mobilize is here within the community; people don’t really know about it because to me that’s sacred work within those spaces. That’s connecting with youth and telling them stories; sharing any knowledge that I have and connecting them with some really cool people so they can learn more stories so they know what’s possible. That’s one thing I’ve noticed–that the youth weren’t dreaming. When I was a mentor, if I could get to that place with them and create this relationship that would inspire them to dream, that was the most special thing.

I was designing Mobilize years before it began. I had the name We The Cree. But as it went, the concept of impacting not just my community but then impacting Canada–Turtle Island–the world, grew; to take it to those stages is a big goal that I have. I would love to show in New York, in Tokyo. And some of those places have come knocking. So it’s been cool to talk about these things and to manifest them, and to show young people that you can go after these things, no matter who you are and what your background is. If your heart is in it, you can do it. I wanted to take these stories to bigger spaces, and We The Cree became too exclusive, so I scrapped that name.

I have three daughters–my third daughter was born in 2018. She was born in January. About a month later, one of my closest Kookums, which is one of my grandmothers, passed away. And it was like a new life coming into this world and then one of my rocks, a strong woman in my family, moved on to the spirit world. I was like, if you really want to do you this you might as well roll the dice and go for it. So that energy came into play, and at that point I decided that Mobilize wasn’t just going to be clothing, it was going to be a movement.

I started writing down all the things I was trying to do in an art book, and ‘mobilize’ was one of those words. It was about six months of getting all the drawings and collections together, and thinking about what I wanted to do first. Just dreaming, basically. I had an uncle who has passed away years ago, and in my family, he and I were the only two people that studied business; he was one of those people who just went for their ideas. It was like finally that energy had created substance in what I was going to do, and things started to be laid out. The pieces started falling together. So it was on my uncle’s birthday that I started an Instagram–at that point, I had chosen the name Mobilize. I wanted to flip the military concept of that word, and bring it into a softer, more community-driven way of thinking.

As Cree people, our first great law is love–that we move with love, and love the other people around us. So mobilize was a word to get people’s attention but then to teach them about what it means to us, and what it means to create community and spaces where there could be representation of all kinds of people.

Mobilize has never been about selling clothes; it’s about telling those stories, and utilizing clothes as a platform to reach spaces where it has a bigger audience. I flip back to that book constantly and think, that name was always there.

Even where we are now, today, with what’s going on, people are coming together. And that’s what I mean when I say I don’t like to take full credit, because I’m not sure I fully chose that name. Maybe it was appropriate for the work that was ahead of me.

You’ve shown during fashion week and operated within the “traditional” fashion world in that way. How do you think the industry needs to change to better allow for people like you to have a spotlight? Like, if there was one thing you could change tomorrow, what would it be?

I have a few of my cousins that were modelling for many years, and even myself, I was curious about it at a young age and explored it a little bit. I got to see the fashion world from that side, from the body shaming to the idea of, you need to be ‘this’.

One thing that I’ve always done is I never ask permission. I do the shows however I want to do the shows. I bring dancers, I bring performers; my sister is a performance artist–she’s brought a Polaroid camera on the [runway] and taken pictures of herself.

We go into these spaces and we give them no choice. We open it up. I’ve been doing this from the very first fashion show I did, which was at Western Canada Fashion Week. I brought people of all sizes, my father walked in the show–I just try to show real people. As a designer I have that privilege to go into these spaces, [but] usually they push back first. They don’t want us to do the show like that; they prefer if the models all look the same or [we] use their models. I never use the models from the event, I always bring my own models. They’re my people, and I know the energy is what’s needed. It’s always interesting because after the show, those in attendance feel that energy and they respond to it in a much different way.

In my experience, I’ve been brought back for shows because people love it, and they’ve never seen something like it. They’ve never had people push it that hard. So when I talk about going to these spaces in London and Tokyo, it’s like in infiltration mode. I want to get in, just so I can give them a whole different experience and open their eyes. When you get people to be uncomfortable, they’ll grow. [People] may be conservative but they’re business-oriented; as soon as they see the crowd, then they’re on board. They say, oh, the people like it so I like it. We can probably make money off it.

In all the shows I’ve done, I’ve brought the whole art community together–not just the design community. I’ve done shows with live musical performances, and I’ve had b-boys perform. My friend walked down the entire runway on his hands. Sometimes it’s not about the outfit, it’s about the energy and the person. It’s reflective of our community, and that’s the teaching I’m trying to bring. We’re all different people and we’re all beautiful in our way.

The post How Streetwear Brand Mobilize is Encouraging an Indigenous Movement Through Design appeared first on FASHION Magazine.

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Author Odessa Paloma Parker | Fashion Magazine
Selected by CWC


Texture Talk: Makeup Artist Tracy Peart on Embracing Her Natural Hair During Quarantine

June 25, 2020 at 07:40PM

The Covid lockdown and stay-at-home orders have no doubt effected our relationships with our go-to beauty routines. Here, Tracy Peart, a body positivity advocate and the resident makeup artist for CityTV’s Breakfast Television Toronto and Cityline, shares how months of quarantine life has shifted her hair routine from a long-standing love affair with protective braids to fully embracing her natural coils and hopscotching between hairstyles. Read on for her hair journey and what she’s learned along the way.

Pre-Covid hair journey:

“I always had somebody else doing my hair basically my whole life. Of course, I styled my hair and things like that, but I’ve never really dealt with my natural hair from beginning to end on my own. I started wearing braid extensions about 13 years ago. I relaxed my hair before that and I hated the process. I hated the burning and all of that, and just felt like my hair wasn’t healthy. Eventually, I decided to cut my hair very short, but it was still relaxed. My hair felt like too much work and I just didn’t want to go through the chemical straightening process anymore, so that’s when I started my braid journey. I wanted something that was going to protect my hair: braids are a lot less stress on natural hair and my hair felt much healthier.

For me, everybody should find a style that works for their lifestyle. I didn’t start wearing braids because I didn’t like the way my natural hair looked. It came down to time for me. I’ve been waking up at 4:00 AM for work for, like, 15 years, and I don’t have time to give attention to my natural hair in the morning. Protective styles like braids are just so much easier and faster for me. Yes, braids take a lot of time when you’re putting them in and taking them out: my go-to braiding technique takes four hours to put in (I don’t just do straight single braids) and roughly two hours to take out, which I undo myself. But there are weeks in between where you don’t really have to do much. I would go see my hairstylist every six to eight weeks, and in between I wash and condition my hair and run product along the scalp to keep it moisturized. That was my routine. My hair was pretty much done in 10 minutes and I mostly let it air dry. Sometimes I would scrunch it and use a diffuser for curl definition or put it all up, but I didn’t find my hair was a lot of maintenance. It was very simple. Transferring to braids from relaxed hair just made sense for me.”

Hair under quarantine:

“Honestly, I’m glad this all happened because I wasn’t very educated on my own hair before this. And I don’t pretend that this was my choice: This pandemic forced me to embrace my curls with salons being closed, and I didn’t want to go the route of going into hiding and not wanting to be seen. I know a lot of women who are hiding right now because they feel like their hair doesn’t look good. Many people are going through the same thing right now. And it doesn’t matter what race you are: There are so many women who are dependent upon salons, whether to get their hair done, their eyebrows waxed or nails done. We all have to learn everything by ourselves right now.

It’s been quite the hair journey with everything shut down. I’ve learned so much about my natural hair and so much about the styles I can do. I’ve been playing around with side parts, Afro puffs, Bantu knots, braids and twist outs to figure out which curl pattern I like the most. I also do wash-n-gos. I’ve been going on YouTube and watching all these video tutorials to learn, and even embrace the techniques that fail. It’s been fun, but, at the same time, the more I’m getting familiar with my hair, the more I’m realizing just how much time and love natural hair takes. Some hair techniques can take me two to three hours. And that’s the main reason why I didn’t wear it like this before. It wasn’t because of how it looked — I love my hair — a lot of it was time. I also was not aware of how much constant moisture free-flowing natural hair needs, with oils and products, to keep it looking soft and healthy. With protective styles like braids, you moisturize your hair, yes, but not in the same way as you would with hair worn in its natural state.”

Post-quarantine plans:

“I know that I will go back to braids — they’re just much easier for my lifestyle — but not right away. Before, my routine was to take my braids out that night and the next morning I was at the hairdresser. I didn’t expose my hair to anybody because I didn’t know what to do with it. But now, I’m glad I have relief moving forward: I feel like I can go a week or even a month in between my braids because I now know how to handle it. I won’t be so regimented. That’s what I love about what I’ve experienced within this quarantine journey. I’m more open to and have the freedom now to experiment with different hairstyles.”

Missed last week’s column? Click here.

The post Texture Talk: Makeup Artist Tracy Peart on Embracing Her Natural Hair During Quarantine appeared first on FASHION Magazine.

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Author Natasha Bruno | Fashion Magazine
Selected by CWC