In an effort to better understand the evolving landscape of Canadian fashion, Vainqueur Magazine (VQ) has launched an ambitious new survey aimed at decoding the behaviours, preferences, and cultural impact of consumers across the country. As Canada’s $35-billion fashion industry continues to shift, this study seeks to identify key trends, highlight influential designers, and map out regional style identities in an increasingly digital and globalized market.
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“This is a transformative year for Canada’s economic nationalism,” says Danica Samuel, founder, CEO, and editor-in-chief of Vainqueur Magazine. “We’ve been pushed politically into celebrating the greener grass on this side: our brands, our businesses, and our talent. I love that Vainqueur followers and subscribers are also committed to spotlighting Canadian fashion. There’s a mutual desire to place our culture at the forefront of the global fashion industry.”
The survey, which marks the launch of VQ’s new insights division, is led by data analyst Selasi Dorkenoo, who brings expertise in both qualitative and quantitative research. Dorkenoo aims to provide strategic insights that will help redefine Canadian fashion culture and inform the magazine’s editorial direction.
“Many surveys and reports have overlooked the homegrown designers, brands, and trendsetters shaping our fashion landscape,” says Dorkenoo. “I’m excited to work with Vainqueur to examine how Canadians engage with their own style and brands—from the casual shopper to the high-fashion enthusiast.”
The Push for Canadian Fashion Identity
The initiative comes at a time when Canada is experiencing a cultural shift toward prioritizing local brands and homegrown talent. While Montreal alone generates $8 billion in fashion manufacturing and wholesale sales, the country has struggled to establish a globally competitive luxury market. As international brands continue to dominate major retail corridors, Canadian designers often look abroad for recognition and opportunity.
“We missed a crucial opportunity in 2015 when fashion manufacturing took a hit,” explains Samuel. “When the industry moved toward fast fashion, manufacturing jobs in Montreal dropped from 22,000 to about 6,000. That was the time for Canada to reposition itself with a strong fashion identity, but we didn’t. Instead, we continued to rely on imports and foreign trends.”
By gathering comprehensive consumer data, Vainqueur’s survey aims to identify the motivations driving Canadian fashion choices and provide key insights for economic strategies in major metropolitan markets like Toronto, Vancouver, and Montreal.
The Struggle to Retain Canadian Talent
Despite having a wealth of creative talent, many of Canada’s top designers have sought opportunities abroad. Christopher Bates operates in Milan, Dan and Dean Caten of DSquared2 base their global operations out of Italy, and Erdem Moralioglu has long been a fixture of London’s high-fashion scene.
“It’s a challenge for luxury designers to build a brand here,” Samuel acknowledges. “We’ve produced LVMH Prize winners such as Thomas Tai and Vejas Kruszewski. We have incredible talent, but we’re not supporting them the way other countries do.”
Retail, on the other hand, has seen stronger success. Brands like Aritzia, Canada Goose, and Lululemon have scaled internationally, proving that a Canadian retail model can work—just not necessarily in the luxury fashion segment.
“The question is, how do we treat these players at home? How do we claim them as part of our national identity?” Samuel asks.
Reclaiming Canada’s Fashion Capital Status
One of the biggest challenges for Canadian fashion has been the loss of major fashion weeks. While Montreal’s Mmode continues to host events, Toronto’s once-prominent Fashion Week collapsed in 2016 due to sponsorship losses. Unlike Paris, Milan, or even New York, Canada has struggled to maintain an internationally recognized platform for showcasing homegrown talent.
“Toronto Fashion Week was close to becoming a recognized stop on the global circuit,” Samuel recalls. “But when sponsors pulled out and Fashion Television ended, we lost momentum.”
Newer initiatives like Fashion Art Toronto (F.A.T) and the RCHIVE Fashion Club are attempting to fill the void, but sustaining a strong fashion identity requires broader industry support.
Encouraging Canadians to Shop Local
One key insight from early survey data suggests that Canadians want to support local fashion but often don’t know where to start. Samuel believes the media plays a crucial role in shaping consumer habits.
“We need to shift the conversation,” she says. “Rather than positioning Canadian fashion as a niche alternative, we should be presenting it as a world-class industry—just like we do in music, film, and literature.”
Vainqueur’s goal is to normalize Canadian fashion as part of the global conversation, rather than relegating it to “Canadian brands to watch” lists.
“We’re not framing Canadian fashion as an underdog story,” Samuel asserts. “We’re treating it as fashion—period.”
Next Steps: Data, Reports, and Policy Impact
The survey is set to run through Q3 and Q4 of 2025, with a target of at least 200 respondents. Vainqueur hopes to publish a comprehensive industry report detailing findings on regional style differences, spending habits, and brand recognition. The magazine is also exploring partnerships with major research firms like Léger, which could expand the survey reach to thousands of Canadians.
For Samuel and her team, this is just the beginning. “This survey is a stepping stone toward larger conversations on fashion policy, economic investment, and cultural capital. If we truly want to make Canada a leader in fashion, we need real data to support it.”
As the industry waits for the full results, one thing is certain: Vainqueur’s efforts could play a critical role in reshaping the future of Canadian fashion.
