In response to an unexpected shortage this year of opportunities for aspiring fur designers, the Canadian fur trade has launched a whole new competition. Ten lucky winners of the inaugural Student Fur Design Competition will enjoy an all-expenses-paid week-long workshop, learning not only techniques for working with fur, but also why fur is a responsible choice in an age when we are all being called upon to wear sustainable and ethical clothing.

The competition was launched on October 28, but the deadline for entries is not until January 15, so there's still plenty of time folks!

What makes this competition special is that it's truly a group effort, with the list of contributors reading like a who's who of the Canadian fur trade. In alphabetical order we have the Canada Mink Breeders Association, the Fur Council of Canada, Fur Harvesters Auction, the Fur Institute of Canada, International Fur Dressers and Dyers, the Ontario Fur Breeders Association, the Ontario Fur Managers Federation, and the Seals and Sealing Network. Coordinating them all is Melanie Calandra, Managing Director of Canadian Relations for the International Fur Federation - Americas Region.

The workshop itself will be held at Ryerson University in downtown Toronto, under the auspices of Canadian Fur Atelier, a new name for an old hand, Farley Chatto, who is both a Ryerson professor and designer in residence at Four Seasons Furs.

Successor to Studio NAFA

The competition is not so much a new idea as a response to fill a gap created by two major developments, explains coordinator Melanie.

"In 2007, North American Fur Auctions launched Studio NAFA, a series of annual workshops for aspiring fur designers, led by none other than Farley Chatto. But when NAFA closed its doors in 2019, that meant the end of the workshops too."

Then came Covid-19, and the fur trade's premier international design competition, REMIX, had to be cancelled.

"The International Fur Federation, which organises REMIX in collaboration with Vogue Italia and Vogue Talents, just couldn't go ahead due to travel restrictions," says Melanie. "And that was when we reached out to Farley and Fur Harvesters Auction with the idea of launching a whole new event.”

Pandemic Concessions

Still, concessions have had to be made to the pandemic. Unlike Studio NAFA and REMIX, which were both open to designers from around the world, for this year at least the Student Fur Design Competition will be strictly a national event, open only to Canadian students and recent graduates.

"When Covid-19 is behind us, who knows what the future may hold," says Melanie. "But for now, we are happy to provide an opportunity for our fellow countrymen at least."

Also reflecting life under lockdown, the competition stage - during which winners will be selected to take part in the workshop - will be held entirely online. Using their imaginations only and no actual furs, entrants will sketch three designs incorporating furs produced in Canada: mink, fox, beaver, raccoon, seal, muskrat, coyote, fisher and sable/marten.

Winners will then use those same furs for real at the Toronto workshop, which is scheduled for August, but no date has been cast in stone.

"Covid permitting, August is the target," says Melanie. "But of course our priority will be everyone's safety, so if we need to reschedule, we'll do so, no question."

Highlighting Sustainability, Ethics

Aside from inspiring students to get creative with fur, the competition's organisers have another very clear goal.

"This is more than just a design competition," says Melanie. "Of course the workshop will cover fashion trends and innovative techniques for working with different furs, and we want participants to explore the versatility of this unique, natural material. But just as important, we want them to understand fur's environmental and ethical credentials."

Today's fashion industry is dominated by fast fashion, she explains, much of which is made of synthetic materials derived from petroleum. Petroleum is non-renewable and therefore unsustainable, its extraction and processing are polluting, and materials produced from it don't biodegrade.

"The fashion industry as a whole is now being challenged to be more environmentally responsible, and fur is one of the most environmentally friendly clothing materials around. So the workshop will look at the sustainability of fur in every area of the trade, from farming to trapping to dressing to manufacturing."

"We'll talk about the 52,000 tons of food waste Canada's fur farms divert from landfills each year, how the manure is used as fertilizer, and mink oil makes biodiesel. We'll talk about the role played by trappers in wildlife management and the protection of endangered species. We'll talk about the importance of trapping in keeping remote communities viable. And we'll put all this in the context of a fashion industry dominated by synthetics, and of the importance, now more than ever before, of shopping sustainably. Why buy a coat for a season when you can buy one to last a lifetime?"

The workshop will also examine the ethics of using animals for human benefit, with an emphasis on the importance of animal welfare.

"It is vital that fur designers of tomorrow know the realities of the modern fur trade so they are equipped to defend what they do," explains Melanie. "They need to know why fur is an ethical choice, and why the narrative pushed by animal rights groups is so misleading.

"Today's youth are a socially and environmentally aware generation, and our workshop will give future fur designers a solid platform from which to demonstrate why natural fur is the responsible choice."

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If you are looking for a designer who incarnates the Canadian fur trade’s rich cultural mosaic, D’Arcy Moses is an obvious choice.

Adopted at birth, D'Arcy was raised by a non-native farming family in Camrose, Alberta. “They were really good, hard-working people who adopted five children after raising four of their own!” he recalls. Then after he left home, he set out to connect with his aboriginal roots.

While his mixed background sometimes left him feeling uncomfortable ("like an apple, red on the outside, white inside"), in Vancouver he met Leonard George, chief of the Tsleil-Waututh Nation, who assured him he could have the best of both worlds. “He told me, ‘You have the First Nations culture and you have the non-aboriginal culture. You can utilize that, because you can mix between cultures at ease.’”

D’Arcy’s chance to apply his complex heritage to creating innovative clothing designs came when he was offered a place in the Toronto Fashion Incubator. The fashion world took notice: in 1991, he was selected as one of ten emerging young designers featured at the Toronto Festival of Fashion. Then he was invited to Montreal by the Fur Council of Canada, where he began working with one of the country’s most important luxury apparel manufacturers, Natural Furs.

The unique, aboriginally-inspired collections D’Arcy developed while working with Natural Furs were sold to Holt Renfrew in Toronto, Neiman Marcus and Saks Fifth Avenue in New York, as well as to many independent high-end retailers across Europe, Russia, and Asia. His work is also owned by private collectors in many countries, and a retrospective collection of his work was recently purchased by the Government of the Northwest Territories for its permanent collection of regional Indigenous arts and crafts.

Going Home at Last

The big-time fashion world recognition was encouraging, but in 1996, D’Arcy received a call from the Pehdzeh Ki First Nation, in Wrigley, NWT. People there had seen a CBC documentary about him and recognized his name; Moses is a common family name in this northern First Nations community, and they had been looking for him.

After several visits, D’Arcy left the glamour, hectic pace, and controversy of international fur fashion to settle in the home he had never known.

His business experience landed him a job as a senior government official, helping his community to navigate the intricacies of bureaucracy and to secure funding for important economic and social development projects. But sewing and designing were never far from his mind.

His Own Workshop

Twelve years with the government provided the nest egg D’Arcy needed to finance his latest project: a workshop in Enterprise, NWT, a community even smaller and more remote than Wrigley, about 100 kilometres north of the Alberta border. “I needed somewhere I wouldn’t be distracted from my design work,” he says.

And the work has been abundant and diverse. In January, D’Arcy participated in a residency at the Banff Centre for the Arts & Creativity, producing a new collection, and he will return to Banff to lead a workshop for indigenous design students from around the world. "We will be using traditional techniques to re-purpose fur, leather and other natural materials,” he says.

D’Arcy's designs – including fur-trimmed pieces – are also featured in a two-year exhibition at the Buffalo Luxton Museum, in Banff.

He also runs workshops in Yellowknife, sponsored by the NWT Government, for traditional harvesters and craftspeople, where they use fur and leather to make everything from trappers’ hats to iPad cases. “Some of the hand-stitched leather these men and women can do is seen only in the top fashion houses of Europe - no one else can do this beautiful work, it’s a great privilege to work with them,” D’Arcy says.

Committed to Natural Materials

In his studio in Enterprise, where we reached him by phone, D’Arcy is now also experimenting with digitally-controlled bead work, which would allow Dene First Nations designs to be produced at more affordable prices. But above all, D’Arcy remains committed to using natural materials, including fur.

“Many people in my community still hunt and trap, and their attachment to the land is very strong. But natural materials like fur are also important at a time when people are increasingly concerned about protecting our natural environment. So-called `fast fashion’ is killing the Earth. That $20 synthetic blouse or jeans may seem cheap, but 10 grams of micro-plastics are leached into our waterways every time they are washed," explains D'Arcy.

“Progressives who want to ban fur need to look at the whole ecosystem, the broader impact of industries, not just the individual animal.  When we look at the whole picture, from sourcing to use and maintenance, through to disposal, it is clear that we should be using responsibly and sustainably sourced natural materials – including wool, leather, fur. The First Nations understood that we are part of nature and that we have an obligation to use resources with respect. I hope that my designs, marrying traditional and modern themes, can help people remember these important lessons.”

SEE ALSO: D'arcy Moses' big bet. Up Here, October 2015.

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To learn more about donating to Truth About Fur, click here.

Are you interested in studying fur design and learning the technical skills involved in producing fur garments and home accessories? There are only a handful of courses around the world that teach these skills, and one of them is in the north of Finland.

The first thing that caught my eye when I walked into the fur design studio at Centria University of Applied Sciences were the fox pelts. Everywhere. Scraps of fox in boxes, coloured fox pieces being sewn into garments, rails of fox clothes, and the pièce de résistance, a multi-coloured fox beanbag chair (to die for would be an understatement here).

But then again, what would you expect when taking a fur design course in the country famed for its fox pelts?

While it may seem remote, Pietarsaari, a town with a population of just 20,000, is a great place to study fur design. This is the epicenter of Finland’s fox farming industry, and it helps to have great resources nearby.

The Center for Fur Design is situated in the Allegro campus of the Centria University of Applied Sciences, in the town centre of Pietarsaari. It offers a Bachelor of Business Administration with a specialisation in fur design and marketing.

The curriculum features courses in handling fur, the properties of the raw material, as well as design and construction of products made from fur and leather. With close relationships and proximity to many fox farms, students are able to learn about the farming and access a great deal of very beautiful raw materials. On the business side, they will learn business, economics, management, and communication skills.

In addition to the degree course, Centria University of Applied Science also runs the FutureFOXstudio, an initiative that serves the fur trade, including companies, designers, teachers, and students. They offer creative workshops, product development services, international marketing, and tailored modules on fur design and related topics.

Are you interested in mastering the skills of fur design and business administration? The bachelors lasts three and a half years. And while you might find yourself a bit isolated that far north in Finland, rest assured you’ll be in good company. There are plenty of fox farms in the neighbourhood.

Fur Futures is an initiative of the International Fur Federation to provide financial and professional support for the fur trade’s next generation. The inaugural program was held by IFF-Americas in Toronto April 6-7 to coincide with a sale at North American Fur Auctions. Seven young professionals and one student, Jacob Shanbrom, attended educational activities covering multiple aspects of the trade, including a visit to a mink farm, and seminars on mink-grading and wild fur.

One of my earliest memories is falling asleep in the back of my mother's SUV covered by her fur-trimmed parka. Since then I have always had an affinity for fur because, to me, fur represents not only luxury and elegance as perpetuated by both of my late grandmothers, but above all, comfort and safety, as a direct reference to my mom.

I bought my first piece of fur when I was 14, a black Mongolian lamb fur collar. I was absolutely hooked and spent my high school years hoarding vintage furs and going on the occasional modern fur splurge. To me, there is really no feeling like wearing a piece of fur. No other material makes me feel so safe and warm, but expensive and luxurious at the same time. I also love that items of fur clothing are often the ones that last the longest and are handed down through generations.

As a student at School of the Art Institute of Chicago, I've had experiences I never dreamed I'd have, particularly all of the specialized classes I've had the privilege of taking, such as corsetry, shoemaking, and fur design. In my senior year, I have been extremely interested in material discovery, such as python, crocodile, leather, and my favorite, fur.

I have really enjoyed learning about all of the hard sewing and detail work that goes into building a fur coat. I have always been drawn to fur and fur work by the plethora of Old World techniques, like hand stitching, pick-stitching organza back in, and twill tape, tailoring, and letting out. As a shoemaker as well as a fur designer, all Old World techniques really excite me and fur is most definitely included.

Invaluable Advice

I was thrilled at the beginning of my last semester to get a call that a spot was available on the "Fur Futures" trip happening in Toronto in the spring. I immediately said yes, and before I knew it, I had landed in Toronto airport and was on my way.

The opportunity to participate in Fur Futures has truly changed my life's direction. It gave me the chance to travel with seven other creative individuals all involved in the fur industry, including designers, farmers, tanners, retailers, and manufacturers. I was truly thrilled with the level of conversation fostered by such an extremely diverse group. As the only student participating, my colleagues gave me invaluable advice like not pursuing a typical fashion job but instead focusing on a specialised area like accessories, shoes or fur.

Fur Futures has also changed my outlook on the fur industry. We visited a mink farm outside Toronto to view in person the extremely high standards enforced in North America. I was thrilled to see just how healthy the animals were, and to meet the farmers and discover that most fur farms are family-run businesses, often many generations old. I was even more thrilled to learn how green fur farming is. I had always thought that with mink, just the fur was used and nothing else. Now I understand that every part of the animal is put to use, from fur to manure, being that the animal is fed such a healthy diet. Nothing goes to waste. I now feel confident standing behind fur and speaking with authority to those who may not be so supportive of fur.

We also attended a sale at North American Fur Auctions (NAFA), one of the largest in North America. Meeting with the graders from NAFA was a mind-blowing experience. I am so used to walking into a fur store or furrier and trusting that I am purchasing the highest quality; I had no idea that there are dozens of different levels of quality, especially in the case of mink. Being that fur can be controversial, I am thrilled to learn anything I can about the animals themselves, as well as any other information I can soak up.

This trip has meant a great deal to me. Being a part of Fur Futures has given me not only an opportunity to expand my knowledge, but also to broaden my network with so many new connections with wonderful people. As a designer using a sometimes-controversial material such as fur, I believe it is imperative that I understand where it comes from as well as the ethics.

After my experiences with Fur Futures, I stand proudly behind my work, knowing that fur is ethical as well as a natural product that has been around since the beginning of time. I fully intend to continue using fur and hope that other designers using fur will be able to have the opportunity to gain a better understanding of where it comes from.

I personally own fur pieces from 60 to 70 years ago, and can only hope that my own fur designs will withstand the test of time. Although fur may not be everyone's cup of tea, the choice belongs to the wearer and no one else.

My life in the fur trade began as a teenager, back in 1968, with a summer job for a fur broker – a man who bought and sold fur pelts at wholesale. Although my family came from Greece (like many fur craftspeople), we were not furriers. But, like most immigrants, we were not wealthy and I needed to work to help ends meet. That first job changed my life; I had never imagined that such beautiful furs existed and I was hooked at first sight!

The owner took a liking to me, I guess, and taught me the ins and outs of examining, grading and buying fur pelts at the old Hudson’s Bay fur auction house that was in Montréal at that time. There was so much to discover and I was lucky to learn from the ground up: my understanding of how to judge different fur qualities would serve me well when I became a fur designer and manufacturer myself.

A few years later I was offered a job as a fur manufacturer’s sales representative, visiting retail fur shops across the continent with fur garment and accessory samples. Although it was difficult to leave my mentor, I wanted this opportunity to learn another part of the business. Because I had to work to make a living, I never had the opportunity to go to college or university. Work was my university.

One great advantage of my new job was that I had direct contact with fur stores and their customers. It didn’t take long before I understood that the traditional way fur coats were being made had not kept up with the times. Traditional coats were too bulky, too heavy. And there was an opportunity to use a wider range of furs than the few traditional staples (Persian lamb, muskrat, mink) that dominated the market. As retailers and suppliers began to have confidence in me, I decided it was time to create my own fur designs, incorporating my new ideas and made in my own atelier.

Family Affair

Two brothers and two sisters joined me in this exciting venture, and our company grew quickly. Soon I needed an associate, an expert furrier, to look after the production side, while I developed new designs and handled sales and public relations. I felt tremendous pride seeing my fur creations in some of the finest stores across North America. As we gained confidence, I showed our collection at the world’s largest fur fair at that time, in Frankfurt, Germany; we returned with orders from the fashion capitals of Europe, and as far away as Japan and South Korea.

It wasn’t always easy, of course – succeeding as a fur designer requires an impressive range of specialised knowledge and nerves of steel. For starters, unlike materials made in a factory, fur pelts are produced by nature and only available at certain times of the year. When the fur is prime, it is sold at auction. If you don’t buy then, you pay more to fur brokers (like my first boss), who make their living buying for others and keeping inventories for those who can’t afford to buy all the furs they may need during the year.

The tricky part is knowing which furs to buy, because you have to make samples before receiving any orders from the retailers. And you can’t take orders without having the furs to make them. If you bet wrong and don’t receive enough orders, how will you pay for the furs in your storeroom? But if you don’t have enough fur pelts in stock, you may have to pay more than expected to the fur broker, wiping out any hope of profit!

World's Lightest-Weight Beaver Pelts

You also have to know how to judge the quality of furs you buy. Our company became known for producing the finest Canadian sheared beaver coats and jackets in the world. Part of our success was weight: customers now want a lightweight garment, and I noticed that some beaver pelts were much lighter than others. It took me a while to understand that the lightest-weight furs came from Cree trappers in the James Bay region of Ontario and Quebec. One day, a Cree elder explained why.

After an animal is skinned, the leather side of the fur pelt must be scraped clean of any excess flesh or fat; the pelt is then stretched and dried before being sent to the auction. Most trappers do this work themselves, in a heated cabin or shed. Among the Cree, however, it is usually women who scrape the pelts, and they often do this work outdoors, in the cold Winter air, which makes it easier to remove all the fat. This makes their beaver pelts thinner and lighter weight, which was important traditionally because more pelts could be loaded into a freighter canoe. Today, their meticulous work still produces beautiful parchment-white leather and the lightest-weight beaver pelts in the world!

SEE ALSO: I'm an artisan designer: Fur and leather keep me warm

The Cree also helped me to understand one question that had bothered me: Why is nature so cruel as to decimate all beaver living in an area when populations get too dense? They explained that overpopulated beavers overwhelm their food supply; Tularemia and other diseases can then wipe out the malnourished animals. This is nature’s way to restore balance, because a devastated forest needs many years to regenerate. No regeneration would be possible, however, if beavers were still feasting on the tender, young aspen and willow saplings.

The beauty of well-regulated modern trapping is that the beaver populations can be maintained at stable and healthy levels, in balance with their environment, over long periods of time. That’s better for the beaver, better for the forest, and provides a beautiful natural clothing material to keep people warm in a sustainable way!

Caring vs. Knowing About Nature

I have lived my whole life in cities, but the fur trade taught me a lot about nature. We all care about nature, but “caring” without “knowing” is no use at all. Like aboriginal trappers, wildlife biologists spend years studying nature and how it works. Surely they know more about nature than self-appointed “animal-rights” activists. Paul McCartney and Brigitte Bardot may mean well, but they should probably stick to their music and acting ... and leave science to the scientists.

Socrates once said: “The only true wisdom is in knowing you know nothing.” True wisdom comes to each of us when we realize how little we understand about life and the world around us. Once we know that, we understand why it is so important to respect other people – to learn from one another – instead of trying to impose our own values on everyone.

So next time you see or wear fur, think about the beauty and wonder of nature. And think about the hard-working and knowledgeable men and women who harvested your fur, and the skilled hands that crafted this remarkable natural material into the most comfortable and luxurious clothing material in the world!

One of America's most prestigious art schools, the School of the Art Institute of Chicago (SAIC), has launched its first program for fur designers. This is a significant confirmation of the importance of fur in fashion, and other schools are expected to follow SAIC's example.

The prestige attached to SAIC's endorsement of fur is huge. In a 2002 survey by the National Arts Journalism Program at Columbia University, SAIC was named the “most influential art school” in the United States.

In 2012, US News & World Report ranked SAIC the tied second-best graduate program for fine arts in the U.S., and in 2013, The Global Language Monitor ranked SAIC as the 5th best college in the U.S., the highest ever for an art or design school in a general college ranking.

SAIC's move can also be seen as recognition of fur's current prominence on the fashion scene.

Hailing as one of the biggest trends of the 2015 season, fur had a major presence this year on the runways at New York, London, Milan and Paris Fashion Week. Not only did fur dominate, appearing in over 70% of designer collections, but it also took over the streets as major bloggers and editors from all over the world showed off their fur street style.

Design students from all over the world are noticing and becoming more interested in using fur. It’s important that programs are in place for them to learn the material at their chosen school. With so many opportunities in the fur industry, students in these programs would learn to sew, design, and embrace what fur can do for their collections.

A Collaborative Effort

SAIC's decision to add the new fur program to its curriculum followed seven months of collaboration, and 15 students are already registered for its first class. Teaching them will be Liat Smestad, for many years lead designer for the Carol and Irwin Ware Fur Collection. The Wares were style-setters on Chicago's Magnificent Mile, introducing the city to such designers as Fendi, Dior and Zuki.

“Even today’s most in-demand designers had, at one point, never sewn a garment,” says Kathy Rezny of York Furs in Deer Park, Illinois, not far from Chicago. Rezny has been a huge driving force behind SAIC's decision to embrace fur design. “Those with a true passion for fashion worked their way up and now grace the runways of New York, Paris, Milan, and beyond. Every designer has a story, and York Furs is so excited to support local fashion students as they embark on their journey to create fashion forward designs.”

Materials for SAIC's new students are being sourced by Samantha Grala of New York-based ER Fur Trading Corp. ER Fur Trading provides production services in the US, China, Hong Kong, France, Israel and Italy, and also produces its own line of fur garments. Grala, meanwhile, is a member of Fur Futures, an international networking initiative set up to support the next generation of fur designers.

Also involved in the effort to expand options for would-be fur designers in the US is the Fur Information Council of America. Says Keith Kaplan, FICA's executive director, “We are presently in discussion with several other design schools and we hope to make similar announcements in the near future.”