In addition to their indigenous roots that inspire and solidify their respective works (in cinema, painting, drawing, digital art and design), Caroline Monnet and Jason Baerg visibly see life in color. And the stronger these colors are, the better.
On Saturday, they will showcase some of their clothing creations to a sold-out audience during a fashion show at the McCord Stewart Museum (New Window) on the sidelines of the Indigenous Art Biennial. For “Indigenous Spaces” both agreed to analyze one of their respective creations to summarize its essence.
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Jason Baerg’s “Sunset Dress.”
Photo: with kind permission
Multidisciplinary artist Jason Baerg chose the Sunset Dress, which was the final look of his first collection. Includes the four colors of the Cree Medicine Wheel – Yellow, White, Blue (sometimes replaced with black, Editor's Note) and Red (which is not visible in the photo, however, as it was used on the back of the yellow portion, Editor's Note ). Note) – This dress summarizes the teachings of the four alignments and illustrates the four years of work that went into its creation. Each year is dedicated to one of the four quadrants of the medicine wheel, the artist explains.
In 2024, studio work is inspired by blue and we are putting water in the spotlight. Last year it was the color red and earth metals, explains Jason Baerg. And the year before it was all about the color yellow and fire.
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The first fashion sketch of the “Sunset Dress”.
Photo: with kind permission
One of the special features of the Sunset dress, which has already been presented in Toronto, Vancouver and Santa Fe, is that the belt and earrings are made of horsehair. In some of our indigenous faiths, horses are viewed as healers and helpers due to their incredible empathy. In addition, they are sometimes used in therapy, emphasizes the artist, who portrays himself as Cree and Métis who grew up in Prince Albert.
The design and manufacture of the horsehair belt required more than 40 hours of work. Processing horsehair is very special and requires concentration and patience when trying to create a work of art, says Baerg.
However, it is impossible to know where the artist gets his hair from: there is a whole symbolism surrounding the horse and it is not a material that everyone should have access to, according to the artist.
He also points out that the House of Schiaparelli recently included horsehair in its collection presented in Paris, four years after he began using it in his creations.
Other materials used for the dress include lambskin and silk.
However, Jason Baerg notes that it is becoming increasingly difficult to source high-quality materials in Canada as the country's apparel industry declines. Beautiful buttons, for example, are becoming increasingly difficult to find. “Sometimes I travel to New York or Mexico just to restock,” says the Toronto artist, who studied in Montreal at Concordia University for five years.
During the parade, spectators can admire around thirty of his creations.
From inspiration to hardware
For French-Anishinabe artist Caroline Monnet, there is no problem sourcing materials as there is no shortage of hardware stores in Quebec. “My favorite stores,” she jokes on the line.
His clothing is said to be anchored in both tradition and modernity, as evidenced by the embroidered and almost melted geometric patterns on garments that smell of industrial plastic.
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The photography “Echoes From a Near Future” highlights Caroline Monnet’s fashion work.
Photo: Courtesy
Caroline Monnet uses digital technologies to create new patterns inspired by Anishinabe geometric patterns passed down through generations.
These designs convey a sense of pride, especially in dull urban environments, and affirm First Nations presence and belonging.
During Saturday's fashion show at the McCord Museum, she will present three creations from her photography Echoes From a Near Future (2022). His creations have already attracted the attention of musician Jérémy Dutcher from Wolastoqey (Maliseet) and Inuk singer Elisapie Isaac.
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One of Caroline Monnet's creations.
Photo: with kind permission
The coat, whose composition she dissected for us, is cut from large rolls of plastic used in the construction industry.
Once the computer-designed patterns are completed, they are divided into grids and programmed into the machine.
Embroidering the coat alone required a week of full-time work. There are also complex mathematical calculations behind this operation.
Each frame is individually embroidered before assembly. This requires great precision work to ensure that the continuity from one frame to another is flawless, emphasizes Caroline Monnet, who collaborated with the artist Dionoski (Amélie Dion) on all the embroidery steps.
The multidisciplinary artist designed the patterns, but she also turned to a couturier specializing in theatrical costumes, Yso South, to help design the works.