Dr. Mark Joseph O’Connell Feb. 25, 2025.
Article Citation:
O’Connell, Mark Joseph. 2024. Iris Simpson: A Trailblazer in Canadian Fashion History. Seneca Polytechnic Canadian Fashion Diversity Project. DOI: 10.5281/zenodo.14925960.
INTRODUCTION
“Iris Simpson” Photo courtesy @ “Coming full circle from classroom to high fashion and back” https://magazine.torontomu.ca/classroom-high-fashion/
Iris Simpson’s name may not be as widely recognized as some of the designers she worked with, but her impact on Canadian fashion is undeniable. As a pioneering Black woman in the luxury fashion retail industry, Simpson shattered barriers in a space that was historically exclusive and predominantly White. Over a career spanning more than four decades, she held prestigious positions as a buyer for renowned luxury retailers such as Holt Renfrew and Creeds, played a key role in establishing the Yves Saint Laurent boutique in Toronto’s Hazelton Lanes, and worked closely with some of the world’s most celebrated designers. Her story is one of resilience, vision, and groundbreaking success. At a time when diversity in high fashion was minimal, Simpson carved out a space for herself and set an example for future generations of Black professionals in the fashion industry. Her impeccable taste, sharp business acumen, and ability to predict market trends made her one of Canada’s most influential fashion buyers. As a result, she brought a fresh, informed perspective to luxury retail, proving that style and sophistication transcend racial boundaries.
Beyond her professional achievements, Simpson’s journey is significant because it speaks to a larger narrative about representation in the fashion world. Her experiences: facing skepticism, overcoming racial bias, and ultimately excelling in an elite industry, underscore the need for inclusivity in fashion. Her legacy not only celebrates her own triumphs but also serves as an inspiration for young designers, stylists, and fashion professionals from diverse backgrounds who aspire to make their mark. By highlighting Simpson’s contributions, we not only recognize a key figure in Canadian fashion history but also acknowledge the progress made, and the work that remains to be done, to ensure that the Canadian fashion industry is truly representative of all the talent it has to offer.
Dr. Mark Joseph O’Connell interviewed Iris Simpson for the Seneca Canadian Fashion Diversity Project on February 18, 2024.
A Life in Fashion: From Early Inspirations to High Fashion Pioneer
Simpson’s journey into the world of fashion was deeply influenced by her mother, a talented seamstress who crafted not only her clothing but also matching outfits for her dolls. Simpson describes her mother as a visionary who could cut dress patterns freehand: an exceptional skill even by today’s standards. With such early exposure, fashion was not just an interest for Simpson; it was a calling embedded in her very being. From an early age, Simpson displayed a unique sense of style, becoming a fashion rebel in school. She was the first to wear bell-bottom jeans when the dress code was still strict and introduced hot pants into her wardrobe as well. As Simpson stated in her interview:
“I love fashion. I always checked Vogue magazine, and I was influenced going to New York, and The Ebony Fashion Fair. So, in in the beginning I wanted everything that was the latest and greatest, I couldn’t necessarily buy it myself, but through Vogue patterns, I made things. I realized as I grew older, I had a more astute fashion sense, that what you wear reflects you. So, you also have to be very comfortable in it. I always feel you wear the clothes, don’t let the clothes wear you. I think that’s really important to feel good, and I brought that through all my dealings with clientele.” (Simpson interview, 2024)
Her passion led her to pursue formal education in fashion, setting the foundation for a career that would break barriers and redefine luxury fashion retail in Canada.
Breaking into the Fashion Industry
Simpson’s first steps into the fashion world began at Eaton’s, one of Canada’s leading department stores at the time. She worked in the fashion department and frequently visited the fabric section, inspired by the Vogue pattern books. Her ability to sew, instilled by her mother, kept her immersed in fashion, whether working in the store or designing pieces at home. Visits to New York to see her sister also played a significant role in her development. The exposure to major retailers like Bloomingdale’s, Macy’s, and Bonwit Teller broadened her understanding of international fashion trends. This experience eventually led her to study at Ryerson (now Toronto Metropolitan University), further solidifying her path in the fashion industry. Simpson’s career took an unprecedented turn when she became the first Black woman to hold a luxury fashion buyer position in Canada during the 1970s. As a buyer for luxury retailers such as Creeds and Holt Renfrew, as well as a key figure in establishing the Yves Saint Laurent boutique in Toronto’s historic Hazelton Lanes, she navigated uncharted territory with resilience and grace. However, breaking into this elite world was not without challenges. Simpson recalls the skepticism she faced during buying trips in New York, Paris, Milan, and London. Many industry professionals could not fathom that a Black woman held such a powerful position. In one instance, during a buying appointment for the Ungaro collection in New York, she was mistaken for a model rather than a buyer. Despite moments of outright discrimination, Simpson stood her ground, earning the respect of industry insiders through her keen fashion instincts and business acumen.
Simpson’s ability to anticipate and curate fashion trends for Canadian luxury consumers set her apart. One defining moment was when she successfully introduced brown and navy pieces from Valentino’s collection, an unusual choice at the time. The collection was initially met with skepticism, yet it became a success, proving her expertise in understanding market demands. Her tenure at Creeds was particularly significant. Creeds, often referred to as “Canada’s Bergdorf Goodman,” was a jewel in the Canadian fashion landscape. Simpson’s position allowed her to work directly with top international designers, including Ungaro, Valentino, Krizia, and Chanel. One of her most memorable experiences was attending a private showing of Azzedine Alaïa’s collection in a modest Parisian apartment before the designer became a global icon. At Holt Renfrew, Simpson’s influence extended beyond Toronto to Vancouver, carefully selecting pieces tailored to each city’s clientele. She meticulously tracked fashion trends, considered major social events such as society weddings and galas, and worked closely with sales teams to ensure customers received the best of high fashion. According to the article “Business Class: The Trailblazing Luxury Buyer Reflects on her Fashion Career and the Industry’s Lack of Diversity” (Skafi & Singh 2022) in 1991, after the birth of her son, Simpson transitioned into fashion styling, where she continued to shape the industry in a different capacity.
The Evolution of Canadian Fashion and Retail
“Iris Simpson” Photo courtesy @ Iris Simpson – A pioneering figure in Canadian fashion. https://blackfashioncanada.ca/database/profiles/iris-simpson/
Simpson’s career stands as a testament to resilience, innovation, and an unwavering commitment to excellence in an industry that was not always welcoming. Through her pioneering work, Simpson not only helped define Canada’s luxury fashion market but also paved the way for future generations of Black professionals in fashion. Reflecting on the evolution of Canada’s fashion industry, Simpson acknowledges the transformation brought on by globalization. In the 1980s, Toronto was home to intimate, high-end boutiques, offering a curated shopping experience that has since faded with the rise of mass retail and e-commerce. The personal relationships between buyers, designers, and clients fostered a unique shopping culture that is now rare in contemporary retail spaces. Simpson notes that the conversation around diversity and inclusion has significantly changed since the 1970s. Simpson would certainly know, as she was often the only Black professional in luxury fashion spaces. Today, she celebrates the progress made in recognizing designers and professionals from diverse backgrounds. However, she also stresses the need for continued support for young Canadian designers, particularly in terms of financial backing.
“Iris Simpson” Photo courtesy @ Iris Simpson – A pioneering figure in Canadian fashion. https://blackfashioncanada.ca/database/profiles/iris-simpson/
“Iris Simpson” Photo courtesy @ Iris Simpson – A pioneering figure in Canadian fashion. https://blackfashioncanada.ca/database/profiles/iris-simpson/
“Iris Simpson” Photo courtesy @ Iris Simpson – A pioneering figure in Canadian fashion. https://blackfashioncanada.ca/database/profiles/iris-simpson/
“Iris Simpson” Photo courtesy @ “Coming full circle from classroom to high fashion and back” https://magazine.torontomu.ca/classroom-high-fashion/
Sustainability and Shifting Consumer Attitudes
Simpson highlights that while sustainability has become a major topic in fashion over the past 20 years, high-quality, timeless fashion has always been a sustainable choice. Luxury fashion, in her view, was inherently sustainable due to its durability and craftsmanship. However, she sees a shift in consumer behavior post-pandemic, where people are reevaluating the necessity of excessive clothing consumption. She also points out the rise of thrifting and vintage fashion as part of the sustainability movement. Many young consumers are embracing second-hand luxury, creating new opportunities for sustainable fashion businesses.
Trailblazing Black Designers: Breaking Boundaries in Fashion
Iris Simpson speaks with deep admiration and passion about the Black designers who shattered barriers and redefined high fashion. These designers: Willi Smith, Patrick Kelly, and Scott Barrie, were all visionaries who navigated an industry that had long marginalized Black creatives (Pritchard 2021; Way 2021). Their success was not just personal; it was transformative for the entire fashion world, paving the way for greater representation and inclusivity.
Patrick Kelly: Love, Provocation, and Parisian Success
“Patrick Kelly” Photograph by Oliviero Toscani. Courtesy of the Estate of Patrick Kelly. Image courtesy of the Fine Arts Museums of San Francisco. https://www.wmagazine.com/fashion/patrick-kelly-fashion-designer-history-deyoung-museum-exhibition
Patrick Kelly’s story is one of extraordinary resilience and artistic genius. Raised in Vicksburg, Mississippi, Kelly’s earliest fashion influences came from his grandmother, whose love of buttons and bold patterns shaped his aesthetic. As Simpson recounts, Kelly turned these childhood memories into an iconic design signature: dresses adorned with mismatched buttons, paying homage to the resourcefulness of Black Southern women who crafted beauty from what was available. As Simpson states: “If we’re going to talk about a Black designer, a real trailblazer. Patrick Kelly, I mean, what can I say? He really turned Paris on its on its heels” (Simpson interview 2024). His journey from Mississippi to Paris was nothing short of miraculous. Simpson elaborated on the design of Patrick Kelly:
“His grandmother would bring home all these buttons and things. She had a button drawer, I mean…we all did […] Many times his grandmother would put buttons on his little cardigans, and they didn’t match, and he thought it was kind of cute where some other boy would say, “Oh I’m not wearing that”. So, he had that and the influence of the Church, which is so big, you know, in his collections, he always had hats, and that was definitely an influence from the church. The church ladies. He actually said in an interview at one point “Yves Saint Laurent has nothing over me, because I saw those church ladies dressed up every Sunday”. For someone from a very small community: Vicksburg, Mississippi; to end up in Paris and have this very unique [style]? I mean, he knocks the socks off people because they’re thinking, who is this guy? Always at the forefront, keeping his soul in his culture and turning things on its heels…”(Simpson interview 2024)
With little financial support, he arrived in France and began selling handmade tube dresses on the streets, eventually catching the attention of the Parisian fashion elite. His designs, characterized by vibrant colors, playful embellishments, and body-conscious silhouettes, were a celebration of Black culture, joy, and empowerment.
According to the scholarship on Black fashion and Kelly in particular, Elizabeth Way, in the introduction to Black Designers in American Fashion (2024), traced the historical contributions of Black fashion designers, emphasizing how they shaped both Black American communities and mainstream fashion. Way highlights the foundational influence of West African aesthetics on African American style, demonstrating how Black fashion makers, from anonymous 18th and 19th-century seamstresses to celebrated 20th-century designers like Patrick Kelly, navigated themes of race, identity, and class in their work. In It’s a Black Thing, American Fashion Wants to Understand (2024) Alphonso McClendon examined how Blackness has shaped American fashion. He focused on the work of designers like Virgil Abloh and brands such as FUBU, while critiquing the industry’s slow progress in integrating Black representation. McClendon highlighted how Black cultural resilience and pride continually influence the industry despite ongoing systemic racial exclusion. Eric Darnell Pritchard’s chapter, “Race WERK: WilliWear and Patrick Kelly Paris” (2021), explores how Kelly and Willi Smith confronted racial exclusion in fashion. Pritchard introduces “race werk” (2021, 239) to describe how Black designers engage with racial politics in their creative processes, positioning Kelly as a key figure in crafting an authentic Black aesthetic despite systemic barriers. Pritchard describes how Kelly positioned his designs as not just fashion statements, but as cultural interventions that critiqued the industry’s racial hierarchies and stereotypes. Lyndon K. Gill’s Follow Fashion: Patrick Kelly, Derrick Adams & AfroQueer Commutation (2023) critically analyzed Kelly’s legacy, particularly his playful use of ironic stereotypes to challenge racial and sexual norms. Gill positions Kelly within a lineage of Afroqueer creativity, demonstrating how Kelly’s designs served as a site of cultural resistance and expression. Sequoia Barnes offers a focused analysis of Kelly’s work in “If You Don’t Bring No Grits, Don’t Come” (2020), where she argues that Kelly used camp to reclaim and subvert racist imagery, embedding it with both Blackness and queerness.
Simpson championed Kelly and worked hard to get his garments into the buy and onto the sales floor at Holt Renfrew:
“At the time when I was buying this collection. It wasn’t in the budget, and the fact that I was able to speak to my superiors and convince them; it showed me sometimes you just have to show how passionate you are about something, and why. The fact that I was allowed, and it ended up on the floor was really special. I also did a fabulous interview at the time with a black media show and was able to bring in the journalist. It was heartwarming for me, and it was heartwarming for her to interview a Black buyer about this iconic Black designer. So, it was threefold really.” (Simpson interview 2024)
This is an interview with Simpson about Patrick Kelly during this time:
Kelly’s talent and charisma led him to become the first American designer (and first Black designer) inducted into the Chambre Syndicale du Prêt-à-Porter, the governing body of French fashion. His shows were joyful, dynamic, and bursting with personality, featuring top Black models like Naomi Campbell, Pat Cleveland, and Toukie Smith. Simpson recalls the electric energy of his runway shows, where love and inclusivity were the guiding themes. His untimely passing at the peak of his career in 1990 was a devastating loss, but his legacy continues to inspire designers today.
Willi Smith: Fashion for the People
Willi Smith “Willi and his sister, model Toukie Smith” @Anthony Barboza/Getty Images
Another trailblazer bought by Simpson was Willi Smith, who was one of the most commercially successful Black designers of his time, a trailblazer who bridged the gap between high fashion and streetwear. As Simpson states:
“He did so well at the time, you know, with his sister Toukie modelling his clothes. He really was the darling of New York. I believe he won a Cody award as well at the time. That was the big fashion award the Cody award, and he was a recipient for his influence on fashion and his design.” (Simpson Interview 2024)
Smith believed that style should be accessible to everyone, designing clothes that blended comfort, creativity, and wearability. Simpson recalls her engagement with Williwear on the Willi Smith Digital Community Archive:
“I have many fond memories of the fast-paced days of New York City in the eighties. One of my greatest memories is of Willi Smith and his WilliWear line. My sister lived in New York City, and whenever I visited from Canada, one of our first stops was always Bloomingdale’s and Macy’s. It was so inspiring to see a young Black designer’s line in these two iconic department stores. I would head to the WilliWear fixture and try on many pieces. The first outfit I bought was a beautiful multicolored jumpsuit, which I wore the very same evening to Chippendales to celebrate my sister’s birthday. Boy, did I feel like a boss in that eye-catching outfit! Many of my friends wanted to borrow the treasured piece. After finally relenting, it was never returned to me—apparently lost at the cleaners. I have always wondered if that was a setup. I loved seeing Willi and his sister Toukie photographed; they had such personality and the most fantastic style! Those were amazing times, and I still miss those days very much.” (Simpson np. n.d.)
Within fashion history, Willi Smith occupies a very special place, emblematic of the movement towards better diversity as well as the dynamic nature of the cultural production of his era. Born in 1948 and raised in Philadelphia, Smith studied commercial art at Mastbaum Technical High School and fashion illustration at the Philadelphia Museum College of Art. He found himself bored by the limits of illustration, always “changing the design of the dress [he] was supposed to be illustrating” (Cameron, n.d.) His grandmother leveraged the connections of a family for whom she cleaned and set up an internship for Smith with couturier Arnold Scaasi, where Smith helped create fashions for upper echelon clientele like Elizabeth Taylor and Brooke Astor. Here Smith learned “form, fit, embroidery, and the power wielded by access to a certain type of dress”, effectively a “crash course in elite levels of fashion”. It was also an education in “the clothes [he] didn’t want to make” as well apparently, as Smith was never in awe of the elite. After being expelled from Parson’s for having an affair with another male student in 1967 (Cameron, n.d.), Smith went on to become a hugely influential designer during the transformative decades of the 1970s and 1980s. Following the economic downturn of 1974 and the end of the Vietnam War, Smith co-founded WilliWear Ltd. with his business and creative collaborator, Laurie Mallet (Mallet n.d.) Their company was envisioned as a platform for producing not just clothing, but also events and experiences, in partnership with a spectrum of collaborators who wielded new technologies and forward-thinking ideas to reshape their respective creative fields and catalyze social transformation.
Unlike some designers who might create from a place of cossetted stratified isolation, Smith’s designs were inspired by a fascination with the world around him, particularly the needs and desires of the people who navigated the city streets. Smith asserted that good design should not be exclusive to the elite, a belief that permeated every facet of his creative work: “What would make him proud was not when a movie star wore his clothes. He would burst with pride when he’d see black kids on the streets running around in his stuff or those black ladies at the bank wearing it to work.” (Hastreiter qtd. in Elan 2020 n.p.) His aptitude for distilling inspiration from the streets into high fashion, without compromising authenticity or vitality, distinguished him from his peers and resonated broadly with the public. Smith also shared a deep familial and creative bond with his sister, Toukie Smith. Toukie, a multifaceted artist in her own right, emerged as an actress and model, and acted as muse and a visual embodiment of Willi’s fashion ethos. Their relationship extended beyond mere kinship, intertwining professionally as Toukie became an intrinsic part of the WilliWear narrative, her beauty and poised sensuality bringing Willi’s designs to life (Servin 1992; Morris 1977). They both demonstrated that fashion was not just about creating beautiful objects but about crafting garments that people could live in, work in, and enjoy.
Furthermore, his adept fusion of affordability and avant-garde style played a critical role in democratizing fashion, enabling people from diverse backgrounds to embrace contemporary and stylish attire. The Smith strategy for bringing this message worldwide entailed leveraging affordable and versatile clothing as a means to contest and dismantle the pervasive stereotypes associated with race, class, sexuality, and gender identity. Through his label, WilliWear, Smith forged partnerships with notable artists such as Bill T. Jones, Nam June Paik, and the duo Christo and Jeanne Claude. These collaborations were pivotal in illustrating how fundamental fashion items could be re-envisioned to suit a multitude of situations, thereby serving a broad spectrum of personal experiences and needs. Smith’s aspiration was to empower individuals to express their identities beyond societal norms and expectations, revolutionizing the way clothing was perceived and used in daily life.
His career, which spanned two decades, was a testament to his ability to weave the zeitgeist of American culture into his fashion, combining practical, affordable basics with the avant-garde influences of performance, film, art, and design. Smith endeavoured to solve the quandary he termed “the problem of getting dressed,” (Cooper Hewitt Smithsonian Design Museum, n.d.) an issue he defined as the disconnection between the fashion industry’s creations and the diverse lifestyles of everyday people. His clothing was designed to be a liberatory instrument, that challenged entrenched stereotypes tied to race, class, sexuality, and gender identity (Willi Smith Community Archive), and integrating art into the mainstream.vHis brand, WilliWear, was a reflection of this ethos: functional yet artistic, high-fashion yet approachable. Simpson recalls an iconic moment in Smith’s career that underscored his broad appeal: when Caroline Kennedy’s groom and groomsmen wore Willi Smith designs at her wedding. This was a testament to his ability to cross boundaries, proving that Black designers belonged not just in niche markets, but at the center of luxury fashion. Smith had a rare talent for appealing to both the avant-garde and the mainstream, attracting clients who typically shopped at the most elite fashion houses. His inspiration drew heavily from New York’s art scene and underground culture, making him a key figure in the fusion of fashion and contemporary art. Collaborating with artists like Keith Haring and Christo, he integrated artistic vision into his collections, positioning WilliWear as a brand that wasn’t just about clothing but about creative expression. His work embodied the energy of 1980s New York, an era of bold experimentation, inclusivity, and cultural crossover.
Scott Barrie: The Forgotten Genius of Jersey Dressing
“Press photo of Scott Barrie with model Naomi Sims wearing his designs; New York, 1968” @ https://asufidmmuseum.asu.edu/learn/articles/scott-barrie
While Willi Smith and Patrick Kelly are celebrated in fashion history, Scott Barrie remains an unsung hero. A pioneer of sleek, sensual jersey designs, Barrie mastered the art of draping and body-conscious silhouettes long before it became a mainstream trend. His clothes exuded effortless glamour, making them a favorite among models and celebrities. Barrie’s work was deeply rooted in the disco era, where fluid, free-moving fabrics reflected the liberating energy of the nightlife scene. Yet, he was more than just a designer of clubwear, his exquisite tailoring and understanding of the female form positioned him as a true couturier. Despite his undeniable talent, Barrie’s name is often overlooked in discussions of Black fashion history. He was part of a whole generation we lost to AIDS (O’Connell 2024; 2023; 2021). His influence, however, is undeniable, as can be seen in the continued popularity of jersey-based designs and the enduring impact of his approach to sensual minimalism. Simpson notes that his work, much like that of Patrick Kelly and Willi Smith, challenged industry norms and proved that Black designers belonged in high fashion.
Dr. Mark Joseph O’Connell presented “Cosmetics, Glamour and AIDS: Way Bandy, Scott Barrie and Halston” Thursday, July 1st at 1pm Toronto time for the Sartorial Society Series. Content from the book: Lilac Time at the Rodeo: Stories of Identity, AIDS & Fashion, (O’Connell)
Paul Cornish
“Paul Cornish” @ GETTY/ TSPA_0023276F https://www.canadashistory.ca/explore/arts-culture-society/refashioning-canada
Paul Cornish, whose fashions Simpson bought for Creeds, was a Jamaican-born fashion designer based in the U.S., who made a significant impact on Canadian fashion in the 1980s. Moving to Toronto in 1978, he gained recognition for his extravagant evening couture and meticulous craftsmanship. Known for personally styling his models, he embraced unconventional fabrics and one-of-a-kind designs. Despite challenges as a gay Black designer, he built a strong reputation, later opening a couture business in Toronto (Ho & Olano). Beyond fashion, he supported social causes, leaving a lasting impression with his talent, generosity, and dedication to artistic excellence.
Paving the Way for Future Generations
These designers didn’t just create clothing, they created opportunities, changed perceptions, and set new standards for what Black designers could achieve in a historically exclusive industry. As Simpson reflects on her own career as a luxury buyer, she acknowledges that having the opportunity to buy and showcase their collections in Canada was one of the highlights of her career. Their success proved that fashion could be more inclusive, more diverse, and more representative of the world we live in. Through their groundbreaking work, Willi Smith, Patrick Kelly, Scott Barrie, and Paul Cornish all left an indelible mark on fashion history. As Simpson states: “They were black. That was their identity, and they weren’t afraid to show it. They made it known. So, it was sort of like, Here I am, take it or leave it, and people, took it (Simpson interview 2024). Their designs, their messages, and their perseverance continue to inspire new generations of Black designers, ensuring that the industry they helped shape will never forget their names.
Ebony Fashion Fair and the Glamorous Eunice Johnson: A Legacy of Elegance and Empowerment
“Pat Cleveland modelling for the Ebony Fashion Fair” @ https://www.npr.org/2014/02/15/276987206/the-ebony-fashion-fair-changing-history-on-the-catwalk
The Ebony Fashion Fair was more than just a traveling fashion show, it was a groundbreaking cultural movement that redefined how Black people were seen in the world of high fashion. Founded in 1958 by Eunice Walker Johnson, the co-founder of Ebony and Jet magazines, the Fashion Fair became an annual spectacle that showcased haute couture and luxury fashion modeled exclusively by Black men and women. At a time when the fashion industry largely ignored Black consumers and professionals, the Ebony Fashion Fair carved out a space where Black beauty, style, and creativity could shine on the grandest stage (Bivins 2016). Eunice Johnson was a visionary, a fashion powerhouse who broke barriers in the elite world of high fashion. With remarkable determination, she gained access to the most prestigious couture houses in Paris, Milan, and New York, something that was nearly unheard of for a Black woman in the 1960s and ‘70s. Designers like Yves Saint Laurent, Christian Dior, Givenchy, and Oscar de la Renta welcomed her into their ateliers, knowing that her shows would bring their creations to audiences that had long been overlooked.
Saint Laurent, in particular, recognized her influence and always ensured she had a coveted front-row seat at his shows, a powerful symbol of her importance in the industry. As Simpson recalls:
“[F]or the black community. You have to understand. That was so amazing, because. as I said, [the fashion industry] didn’t necessarily equate black people with luxury fashion. The fact that she even got into those fashion houses [was significant]. Yves Saint Laurent always gave her a front-row seat. [W]hen you saw those [Ebony Fashion Fair] shows, I mean, they were amazing, all the different designers, and all on black models. It was really empowering, especially for young black women that were interested in fashion. Well, really, of any age, because you didn’t see it […] I saw it for the first time in New York because my sister lived there. And then it came to the O’keefe Centre […] Audrey Smaltz was the commentator, and I met Audrey many times in Europe and in New York, and she just had this way. It was just really groundbreaking.” (Simpson interview 2024)
According to Simpson, for Black fashionistas, seeing the Ebony Fashion Fair was an electrifying and transformative experience. Even the Canadian ones:
“It probably it helped some young Canadian designers like Paul Cornish. I’m sure it would have helped him, too. […] It probably did have an impact, probably made them think you know, “I can do high fashion”. Winston, he was a great, high fashion Black designer that I knew personally, and he designed for Prime Minister’s wives and society ladies, I mean, in those days, the eighties everyone wanted, you know, big ball gowns. So, I’m sure there was an impact.” (Simpson interview 2024)
Unlike traditional fashion shows, which rarely featured Black models, the Ebony Fashion Fair was a dazzling showcase of Black glamour, confidence, and luxury. It was an affirmation that Black people belonged in high fashion, not just as consumers, but as creators, models, and tastemakers. The show was a traveling spectacle, bringing high fashion to cities across the United States and Canada, giving Black audiences the rare opportunity to see themselves reflected in a world that had long excluded them.
For Simpson, seeing the Ebony Fashion Fair for the first time in New York was an unforgettable moment of inspiration. When the show came to Toronto’s O’Keefe Centre, it was just as exhilarating, and proof that Black fashion was making waves even in Canada. The show’s charismatic commentator, Audrey Smaltz, brought energy and elegance to every performance. Smaltz, a former model and fashion insider, was a staple of the event, guiding audiences through the collections with wit and expertise. Beyond the spectacle, the Ebony Fashion Fair helped launch and uplift Black designers, giving them a platform to reach new audiences. Canadian designers like Paul Cornish, and Winston Kong, who specialized in creating extravagant, high-fashion ball gowns for society women and even prime minister’s wives, were no doubt influenced by this celebration of Black creativity. The show made young designers believe in the possibility of breaking into high fashion, showing them that there was a place for them in an industry that had often been unwelcoming.
Eunice Johnson’s impact extended beyond the runway, however, as she used the profits from the Fashion Fair to fund scholarships for Black students, furthering opportunities in fashion, business, and beyond. She also founded Fashion Fair Cosmetics, one of the first luxury makeup lines created specifically for darker skin tones, filling a gap in the beauty industry that had long ignored Black women. The legacy of the Ebony Fashion Fair is one of beauty, resilience, and empowerment. It was more than just a show, it was a statement that Black fashion, Black designers, and Black consumers were a vital part of the luxury industry. Eunice Johnson’s work paved the way for today’s diverse runways and fashion campaigns, proving that high fashion is truly global, and that style, elegance, and innovation know no racial boundaries.
Ann Lowe and Jackie Kennedy’s Wedding Dress: A Hidden Legacy in Fashion
Ann Lowe “Ann Lowe in her New York salon with model Judith Palmer, 1966.” Photograph by Moneta Sleet Jr. Johnson Publishing Company Archive, Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution. “Ann Lowe: Fashion Icon” @ https://nmaahc.si.edu/explore/stories/ann-lowe-fashion-icon
During the interview, Simpson also spoke about Ann Lowe, who was a master couturier whose work should have made her a household name in fashion history. Yet, for decades, her contributions were largely overlooked. Among her many exquisite creations, one of the most famous was Jackie Kennedy’s wedding dress, a gown that remains iconic but, for years, was publicly detached from the name of the woman who made it. In 1953, when Jacqueline Bouvier married John F. Kennedy in a gorgeous, lavishly detailed ivory silk taffeta gown featuring fifty yards of fabric, hand-stitched floral appliqués, and a full bouffant skirt, was a testament to Lowe’s craftsmanship and artistry. It was romantic, regal, and perfectly suited for a future First Lady (Way 2015). However, despite creating what would become one of the most famous wedding dresses in history, Lowe’s name was not included in the narrative.
As Simpson notes, when asked who made her gown, Jackie Kennedy did not credit Ann Lowe by name, instead referring to her as “a coloured woman” (Simpson interview 2024). This omission reflected the racial discrimination prevalent in the fashion industry, where Black designers were often denied the recognition they deserved, even when their work was admired on the grandest stages. But the story of Lowe’s work on the gown is even more astonishing. Just ten days before the wedding, a flood destroyed ten of the dresses she had meticulously crafted, including Jackie’s gown and the bridesmaids’ dresses. With no additional payment and little time, Lowe and her team worked tirelessly, without sleep, to remake the dresses from scratch in time for the wedding. The pressure was immense, but Lowe’s determination and skill ensured that Jackie walked down the aisle in a flawless creation.
Despite her immense talent, Lowe never achieved the financial success or widespread fame of her White contemporaries. She continued to create for elite American families, designing for the Rockefellers, the Vanderbilts, and debutantes of high society. However, because the industry largely refused to credit Black designers, she remained in the shadows. Ann Lowe’s story is emblematic of the systemic exclusion of Black talent in the fashion industry, a reality that Iris Simpson passionately highlights. While designers like Christian Dior and Givenchy were celebrated, Black couturiers like Lowe were often kept behind the scenes, their contributions either ignored or outright dismissed. In recent years, there has been a resurgence of interest in Ann Lowe’s work, with exhibitions, books, and scholars seeking to restore her rightful place in fashion history (Way 2015). Her story serves as both a cautionary tale and an inspiration, reminding us of the importance of giving credit where it is due and ensuring that the legacies of Black designers are never erased again.
Toronto’s Fashion Scene in the 1970s and 1980s: A Golden Age of Luxury Retail
“Iris Simpson” Photo courtesy @ Iris Simpson – A pioneering figure in Canadian fashion. https://blackfashioncanada.ca/database/profiles/iris-simpson/
During the 1970s and 1980s, Toronto emerged as a true fashion capital, developing a sophisticated and unique luxury retail scene that catered to the city’s elite, and Simpson was a vital part of this. This period saw the rise of high-end department stores, exclusive boutiques, and carefully curated fashion spaces that defined Canada’s relationship with global fashion. As European and American designers solidified their influence worldwide, Toronto buyers, retailers, and fashion insiders ensured that Canada remained at the forefront of high fashion. Central to this development were some key players in Toronto’s luxury fashion scene: Holt Renfrew, Creeds, and Hazelton Lanes in Yorkville. Each of these institutions provided an unparalleled shopping experience, combining exclusivity, cutting-edge style, and personalized service. At different times, all relied on the expertise, elevated taste levels, discerning eye, and business acumen of Iris Simpson. Simpson played a vital role in shaping this era as one of the leading fashion buyers in Canada. She was instrumental in introducing international designers to the Canadian market, curating collections for Holt Renfrew and Creeds that set the tone for luxury fashion in Toronto and across the country. As the first Black woman to hold a high-ranking fashion buying position in Canada, Simpson not only broke barriers but also influenced the way Canadian luxury retailers operated. Her keen eye for trends, deep understanding of the clientele, and ability to anticipate what would sell made her a major force in Toronto’s fashion retail evolution.
Holt Renfrew: The Standard-Bearer of Canadian Luxury
Holt Renfrew was one of the leaders in Canadian luxury fashion retail during the 1970s and 1980s. With a reputation for carrying the finest European designers, Holt Renfrew was known for bringing haute couture and luxury ready-to-wear to Canadian customers. Shoppers could find the latest collections from Yves Saint Laurent, Valentino, Christian Dior, Chanel, and Emanuel Ungaro, all carefully selected to appeal to Toronto’s elite. In her role as a buyer there, Simpson helped shape Holt Renfrew’s fashion-forward approach, ensuring that the Toronto flagship, and stores across Canada had access to the most sought-after designers before they became widely available in Canada. As a buyer for women’s luxury fashion, Simpson attended fashion shows in Paris, Milan, and New York, carefully selecting garments that would appeal to Holt Renfrew’s clientele. She understood that the Canadian market was discerning but also pragmatic, requiring a balance between statement fashion and timeless elegance.
Beyond the designers she brought in, Holt Renfrew’s appeal was also rooted in its exceptional customer service. Clients were not merely shopping for clothing, they were participating in an elite experience. Personal shoppers, private styling sessions, and exclusive events helped maintain Holt Renfrew’s image as a luxury shopping institution. This personalized approach meant that top clients received advance previews of new collections, exclusive invitations to trunk shows, and, at times, one-of-a-kind pieces ordered directly from designers. As Toronto’s most influential high-end retailer, Holt Renfrew continued to grow, expanding its influence nationwide with key locations in Montreal and Vancouver. By the mid-1980s, it had solidified itself as Canada’s answer to Saks Fifth Avenue and Neiman Marcus, offering elite shoppers an unparalleled selection of couture, accessories, and fine luxury goods.
Creeds: The Ultimate in Exclusivity
While Holt Renfrew was known across Canada for Canadian luxury retail, Creeds was a more intimate and exclusive shopping destination, often compared to Bergdorf Goodman in New York. The store catered to Toronto’s wealthiest and most fashion-forward clientele, offering a shopping experience that was entirely tailored to individual customers. It was known for its curated selection of avant-garde European designers, making it a destination for those who sought cutting-edge fashion that was unavailable anywhere else in the country. Creeds was particularly influential in bringing emerging designers to the Canadian market. According to Simpson, while Holt Renfrew carried established fashion houses, Creeds introduced Canadians to the bold, architectural silhouettes of Azzedine Alaïa, the power dressing aesthetic of Claude Montana, the playful knitwear of Sonia Rykiel, and the avant-garde designs of Krizia. These were not brands for the faint of heart; they were fashion statements, worn by Toronto’s most daring and stylish women. Simpson played a crucial role in Creeds’ success, using her expertise as a luxury fashion buyer to identify emerging trends and bring them to an elite clientele. She was responsible for purchasing high-end designer collections, making critical decisions about which pieces would work best for the Canadian market. Her role required an acute understanding of both global fashion trends and the needs of Toronto’s luxury consumers, ensuring that the store’s offerings remained both exciting and exclusive.
Hazelton Lanes: The Most Chic Shopping Destination in Yorkville
“Hazelton Lanes rink, 1976”. Photographer unknown. @ Toronto Star Photo Archive, Toronto Public Library, tspa_0109032f. https://jamiebradburnwriting.wordpress.com/tag/hazelton-lanes/
As Toronto’s bohemian Yorkville neighborhood transformed into the city’s most prestigious shopping district, Hazelton Lanes became the epicentre of high-end retail. Opening in the late 1970s, this boutique shopping complex was Toronto’s answer to Rodeo Drive and Madison Avenue, offering a carefully curated selection of luxury fashion, fine jewelry, and high-end home décor. Unlike traditional department stores, Hazelton Lanes was designed to be an exclusive, intimate retail environment, where shoppers could escape the crowds and enjoy a leisurely, high-end shopping experience. On weekends, Toronto’s elite: socialites, executives, and celebrities, flocked to the shops at Hazelton Lanes like the legendary Chez Catherine, not just to shop, but to see and be seen. Fine dining establishments like Gavroche Gourmande within the complex became gathering places for the city’s fashion insiders, making Hazelton Lanes as much a social destination as it was a shopping one. One of Hazelton Lanes’ most significant milestones was the opening of Canada’s first standalone Yves Saint Laurent boutique which Simpson opened for the chic French brand. This was a defining moment in Toronto’s fashion history, as it signalled that the city had grown into a global luxury market worthy of dedicated flagship boutiques from the world’s top designers. Hazelton Lanes also introduced Toronto’s first Hermès boutique, as well as luxury retailers like Courrèges and De Porto, further elevating the shopping experience.Simpson’s work as a buyer had a direct impact on Hazelton Lanes, particularly as she was instrumental in setting up the Yves Saint Laurent boutique within the complex. Her expertise in selecting the most exquisite and exclusive pieces ensured that Hazelton Lanes remained one of the most desirable shopping destinations in Canada.
The Lasting Legacy of Toronto’s 1970s and 1980s Fashion Scene
The Toronto fashion scene of the 1970s and 1980s laid the groundwork for the luxury shopping culture that exists in the city today. The period was defined by glamour, exclusivity, and a commitment to high fashion, with key players like Holt Renfrew, Creeds, and Hazelton Lanes setting the standard for elite retail experiences. Simpson’s contributions to this era were instrumental in shaping Canada’s relationship with international fashion, ensuring that Canadian shoppers had access to the same level of style, exclusivity, and luxury as their counterparts in New York, London, and Paris. Her role as a trailblazing Black woman in the luxury fashion industry broke barriers, proving that talent, expertise, and vision could reshape the Canadian fashion landscape.
Yves Saint Laurent: A Revolutionary in High Fashion
“Yves Saint Laurent & Models” @ https://doriaadouke.com/yves-saint-laurent-and-paco-rabanne-the-first-fashion-designers-to-use-black-models/
As mentioned previously, Simpson was hired to set up the first Canadian Rive Gauche boutique at Hazelton Lanes in Toronto. Among the many designers who shaped the landscape of luxury fashion, Yves Saint Laurent stands out as one of the most innovative and daring minds of the 20th century. His influence in the early 1970s was profound, not just for his impeccable craftsmanship and eye for elegance but for his ability to push boundaries and redefine what fashion could be. Simpson describes the energy surrounding the opening of the first Yves Saint Laurent boutique in Canada:
“That was one of the most fabulous times of my life. Imagine leaving Eaton’s because that’s what I did and going up to the old Hazelton lanes. It was a beautiful and timeless space. The excitement of being in that environment and having the architect come from Paris to design the store and opening up all the boxes and hanging everything up, and you know there’s always delays and construction working around people finishing it off, and it was just so exciting to open up these beautiful boxes and these clothes, and hang them up and get everything ready . There was a huge opening party at the time. Hazelton Lanes was like our Champs Elysee, our Rodeo Drive, our Madison Avenue or Fifth Avenue, but it was a little jewel, and it was special, and ha! Had all the best stores. It was just so unique, and the women came in on the weekends, they came in with her husband’s. Yorkville had the best restaurants. It was just so exciting and such a huge leap from me coming from the Eaton Centre and going up to Yorkville to this beautiful environment with all these fabulous people. We had a sister store in Montreal. They opened a day apart. You know we had the people coming from Paris because it was the first one in Canada, so it was very, very exciting. And I’ll never forget the excitement and the buzz of being in that moment.” (Simpson interview 2024)
Saint Laurent had an unparalleled talent for blending tradition with rebellion, drawing inspiration from cultures across the world and transforming those influences into collections that were both avant-garde and timeless. As Simpson states:
“I would say one of the most exciting fashion designers in Paris, back in the early 70’s, was really Yves Saint Laurent. He was such a master, and he was so genius because he took ideas from so many different countries, so many different cultures. He embraced so many ideas that other designers were afraid to, and I remember he did a collection where he had all these gorgeous leopard print dresses one the models going down the runway. I mean, it was amazing, the shows were so different then, because the models really engaged with the audience, and they weren’t walking just like hangers for clothes. They had so much personality, and they were dancing down the runway all in leopard. There was leopard, leopard, leopard, and then, of course, part of the show closed with all his smoking the beautiful Tuxedos.” (Simpson interview 2024)
As Simpson recalls, one of the most striking aspects of Saint Laurent’s work was his fearless embrace of diverse cultural aesthetics. While many designers of his time hesitated to look beyond the classic European fashion canon, Saint Laurent was a true global thinker. He incorporated elements from Moroccan kaftans, Russian peasant blouses, Chinese silk robes, and African beading into his collections, treating these inspirations with reverence and sophistication. His designs did not appropriate; they celebrated the richness of world fashion in a way that was unprecedented for a Parisian couture house.
As Simpson notes, Saint Laurent’s runway shows were nothing short of theatrical spectacles. His ability to capture a mood, an era, and a spirit of liberation was evident in his collections, none more so than the one that featured a striking series of leopard-print ensembles. The models glided down the runway, not as stiff, silent figures, but as confident, dynamic women who exuded personality and sensuality. They danced, twirled, and engaged with the audience, breaking the mold of traditional fashion shows, which at the time were often static and rigid. The leopard print pieces: symbolizing power, sensuality, and luxury, became an iconic moment in fashion history. The show crescendoed with the introduction of his legendary Le Smoking tuxedos, a bold statement on androgyny that redefined women’s eveningwear. At a time when societal expectations still confined women’s fashion to dresses and skirts, he introduced a tailored, sharp, and unapologetically elegant tuxedo that blurred the lines between masculine and feminine. The tuxedo, with its crisp lines and bold presence, became an emblem of female empowerment, embraced by trailblazing women like Bianca Jagger, Catherine Deneuve, and Loulou de la Falaise. It wasn’t just a garment; it was a declaration of independence, a challenge to outdated norms, and a celebration of women owning their power in both style and society.
Beyond his artistic genius, Yves Saint Laurent was also an architect of the modern fashion industry. He was among the first designers to recognize the commercial potential of ready-to-wear, launching Rive Gauche in 1966, a move that made luxury fashion more accessible to a broader audience while maintaining a high level of artistry. His vision, boldness, and refusal to conform cemented his status as one of fashion’s greatest pioneers. For those who experienced his collections firsthand, as Iris Simpson did, it was more than just fashion, it was an experience, a revolution, and a moment in time that redefined what it meant to be stylish, confident, and fearless.
Mentorship and the Future of Canadian Fashion
As an educator and mentor, Simpson has also actively supported emerging talent in the fashion industry. She takes pride in mentoring young professionals, ensuring that opportunities exist for future generations of diverse fashion leaders. She emphasizes the importance of perseverance, adaptability, and embracing new opportunities, particularly in today’s digital fashion landscape. She also advocates for greater government support for Canadian designers, similar to how other countries invest in their fashion industries. Without significant backing, Canada risks losing its most talented designers to international markets. Today, Simpson continues to be a prominent voice in the fashion industry. Advocating for greater diversity and inclusion. As she states:
“I always felt like I was the only one in many ways, and, luckily for me, with my upbringing, I always felt I deserve to be in those spaces. I came here at years old from Jamaica, so I was used to being the only face in the school of colour, but my parents always instilled in me. You deserve to be there, so it could be a lonely place at times, so it’s really fantastic to see a much more diversity and inclusivity. And you know it’s become, since George Floyd, let’s face it, a much bigger movement […] there are so many ways that the tide is turning, and things are opening up […] it’s really great to see.” (Simpson interview 2024)
Whether through styling, mentoring, or advocating for diversity and inclusion, Simpson remains an inspiration and force for change.
CONCLUSION
Iris Simpson’s extraordinary career has left an indelible mark on the Canadian fashion industry, not only as a trailblazing luxury fashion buyer but also as an advocate for diversity and inclusion. Her philosophy: “You wear the clothes; don’t let the clothes wear you” (Simpson interview 2024) encapsulates her approach to fashion: it should be personal, expressive, and empowering. Her impressive career, spanning over four decades, demonstrates resilience, innovation, and an unwavering commitment to excellence in a field that was unwelcoming to Black professionals at times. By securing positions at prestigious institutions such as Holt Renfrew, Creeds, and the landmark Yves Saint Laurent boutique in Hazelton Lanes, Simpson not only influenced luxury retail but also redefined the landscape of high fashion in Canada. Simpson’s ability to anticipate trends and recognize emerging talent played a crucial role in shaping Toronto’s fashion scene during the 1970s and 1980s. She brought international designers to Canadian consumers, introduced avant-garde styles to luxury retail, and curated collections that reflected both exclusivity and accessibility. In doing so, she challenged the industry’s status quo, proving that fashion should be a space of inclusivity and representation.
Beyond her achievements in buying and retail, Simpson’s dedication to mentoring the next generation of fashion professionals demonstrates her enduring impact. She has continued to push for greater diversity, advocating for young Canadian designers and ensuring that emerging talents receive the recognition and support they deserve. Her career serves as a testament to the power of perseverance, talent, and vision in breaking down barriers and shaping an industry that still grapples with issues of representation today. As the fashion world evolves, Simpson’s legacy remains a source of inspiration. Her story is not just about individual success but about paving the way for future generations of Black fashion professionals to thrive. Her contributions have helped lay the foundation for a more inclusive industry: one where talent, passion, and innovation are the true markers of success. In her own words, “The best is yet to come” (Simpson interview 2024), and her influence ensures that the future of Canadian fashion is bright, diverse, and filled with possibility.
The full Iris Simpson interview with dr. Mark Joseph O’Connell can be found here:
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Abstract
Iris Simpson’s remarkable career in the Canadian fashion industry spans over four decades, during which she shattered barriers as one of the first Black women to hold a senior luxury fashion buying position in the country. This article examines her profound influence on high fashion retail in Canada, detailing her tenure at iconic luxury retailers such as Holt Renfrew, Creeds, and the landmark Yves Saint Laurent boutique at Hazelton Lanes. Simpson’s journey, from her early fascination with fashion inspired by her mother’s craftsmanship to her groundbreaking work as a buyer, reflects a larger narrative of resilience, representation, and the evolution of the Canadian fashion industry. Simpson’s work as a fashion buyer in the 1970s and 1980s helped shape Toronto’s luxury retail scene, as she brought internationally renowned designers to Canadian consumers. She navigated the complexities of high fashion at a time when diversity was scarce in elite spaces, often facing racial bias yet earning widespread respect for her expertise, keen eye for trends, and business acumen. Through her work, she championed Black designers, advocating for the inclusion of talents like Patrick Kelly and Willi Smith in high-end retail stores. Her impact extends beyond buying, as she transitioned into fashion styling and mentoring, continuing to shape the industry and support young professionals. The article also contextualizes Simpson’s contributions within the broader history of Canadian fashion, exploring the rise of Toronto as a luxury shopping destination in the 1970s and 1980s. Key institutions such as Holt Renfrew, Creeds, and Hazelton Lanes played crucial roles in defining the country’s high fashion landscape, with Simpson’s presence marking a significant milestone in increasing inclusivity within these spaces. Additionally, her legacy is examined in relation to the historical exclusion of Black creatives from mainstream fashion narratives, highlighting the need for continued recognition and systemic change. Simpson’s story is not just one of individual success but also a testament to the importance of diversity, representation, and innovation in the fashion industry. Her influence on Canadian fashion is enduring, as she paved the way for future generations of Black professionals in luxury retail and design. This article aims to celebrate Simpson’s contributions while acknowledging the progress that remains necessary to create a truly inclusive fashion industry.
Key Words: Black Canadian; Fashion; Iris Simpson; Fashion; Patrick Kelly; Willi Smith; Canadian Fashion
Iris Simpson: A Trailblazer in Canadian Fashion History
Dr. Mark Joseph O’Connell
The Seneca Canadian Fashion Diversity Project is made possible by a both a grant to fund the student researchers, as well as institutional support for dr. Mark Joseph O’Connell.
Article Citation:
O’Connell, Mark Joseph. 2024. Iris Simpson: A Trailblazer in Canadian Fashion History. Seneca Polytechnic Canadian Fashion Diversity Project. DOI: 10.5281/zenodo.14925960.
DOI: 10.5281/zenodo.14925960
Copyright Statement © 2024 Seneca Polytechnic Canadian Fashion Diversity Project.
“Iris Simpson: A Trailblazer in Canadian Fashion History”
Article content from: Iris Simpson Interview by Dr. Mark Joseph O’Connell for the Seneca Canadian Fashion Diversity Project. February 18, 2024.
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