Are you an artisan designer from a remote region, creating stunning fur fashion but still wondering how to break into the "big time"? Maybe you can learn from the experience of Jane Avery, a designer from New Zealand's South Island, who recently crossed the world to show her wares on a catwalk in Vancouver.

Truth About Fur: You launched the Lapin label in 2017, combining exotic fabrics with the fur of invasive wild rabbits, responsible for tremendous ecological damage in New Zealand. Your garments are spectacular and your environmental message is strong, so last November you accepted a longstanding invitation to show your wares on the other side of the planet. Is the New Zealand market too limiting for you? Is the urge to go international just irresistible? And aren't there other major fashion weeks closer to home than Vancouver Fashion Week (VFW)?

SEE ALSO: New Zealand designer embraces wild rabbit "eco-fur". Truth About Fur.

Jane Avery: Ever since I started Lapin, my intention was to “go international”. New Zealanders are notorious for wanting to leave our islands and seek their fortune in the big blue yonder. It’s part of our national character as isolated Antipodeans. So in the eyes of my fellow Kiwis, it’s certainly good for Lapin to earn kudos as an “international adventurer”. This is where I make my living after all, and we love it when a plucky compatriot takes a New Zealand story to the world.   

New Zealand keeps me plenty busy fulfilling client work, but I am curious to know whether Lapin can succeed beyond these shores. And the Northern Hemisphere is the obvious choice for anyone in fur fashion.

There's a traditional appreciation of fur in northern countries, both cultural and because some can be so cold. In contrast, the majority of New Zealand’s fashion audience is in the sub-tropical North Island in cities like Auckland. Given the warmer climate, people there may like my work but they don’t necessarily see it as relevant to their wardrobes. I guess Australia's Melbourne Fashion Week might be a future aspiration for me, as it gets cold enough there in winter.

As for being drawn by the dream of hitting the big time, I think my coats and jackets would look wonderful on red carpets and certain global celebrities.

TAF: Canada certainly has a strong fur tradition, but was there anything in particular that drew you to Vancouver?

JA: It attracted me for a few reasons, both personal and professional.

On a personal level, Vancouver was my husband's home during his tertiary education, so it’s a familiar haunt and we have good friends to stay with.

From a fashion perspective, I considered both the city and the fashion show. At first glance, the city's style may seem to be dominated by puffer jackets and camel overcoats, but there’s also a quiet yet definitive fashion presence there – an "if you know, you know" kind of vibe.

As for the show itself, since VFW was founded in 2001, it has grown to become the second-largest fashion week in North America, after New York.

It provides a platform for designers to show their wares both to a local audience and also, thanks to the digital age, international fashion-watchers too. It does a great job of distributing images to a plethora of fashion-related businesses, including other shows, PR companies, buyers and stylists – everyone with their eyes peeled for potential talent.

TAF: You actually launched Lapin at a smaller fashion week in New Zealand's Dunedin, so VFW was not your first. During the seven years between Dunedin and Vancouver, how did you keep moving forward?

JA: iD Dunedin Fashion Week is an excellent platform for emerging designers in its own right, for getting noticed in our part of the world and also further afield thanks to the Internet. I was spotted, and in the weeks that followed, I received several offers to show by, among others, VFW.

But even though these offers intrigued me, I held them at arm's length. Showing at an international fashion week, no matter how close to home, is a big investment, especially for a new business. It was important for me to establish Lapin within New Zealand first, and eye the big wide world from afar for a while.

Also bear in mind that slow fashion is slow, and I’m only one pair of hands. It would be quite impossible for me to show a new collection every year or even every two years. I struggle with the reality of not being able to realise all of my fabulous ideas in a more timely manner. But hey, I am extremely privileged to be able to work independently in my chosen field, and satisfy the desires of clients paying for my work. It’s amazing really.

So I kept busy, for example producing my own show in 2018, also in Dunedin, in collaboration with a local jewellery designer. And in 2019 I hosted a workshop at my studio. Then came Covid and the years of "pivoting" happened. I supplemented my Lapin work with vintage fur up-cycling and cultivating clients for possum fur decor. Then in 2022 and 2023 we had major family issues, which meant Lapin couldn't take centre stage.

SEE ALSO: Recycling vintage fur New Zealand style. Truth About Fur.

TAF: And then in 2024 came VFW, which must have been a change of pace. What were you hoping to gain from the experience?

JA: When I committed to VFW, I felt like I was putting my dreams and schemes back on track.

Aside from gaining general fashion week experience, my primary objective was securing imagery. I knew that VFW puts out a high-end product devoted to showcasing designers well, so I was sure to come away with good photos and video of my work being worn by professional models on a well-lit, well-attended runway. And I’m pleased with the result. I now have plenty of good stuff for my various publicity avenues, and it'll keep the social media beast fed for a while.

Also, as I hoped, I’ve had a few more invitations to fashion weeks plus enquiries from big city PR companies.

So I’m happy Lapin is being noticed outside of New Zealand, and I now have the confidence to  show anywhere in the world.

TAF: You mentioned the importance these days of digital technologies in getting exposure for designers. Did VFW have any surprises for you?

JA: A big revelation for me was the sheer speed at which fashion images get out now, and viewers react. The posting of photos on Instagram was so fast and furious, it took me days to unravel the likes, shares and message requests!

There were some thrilling surprises too. Digital fashion platforms that featured my looks included Vogue Italia and Vogue México! Imagine seeing my brand on the same page as the “V” word!

I also dipped my toe into the world of fashion influencers and digital creators. I made a genuine connection with a fashion-forward lass from Vancouver Island, Josie Amanda Boulding. She was sitting front row for the Lapin show, and posted the next day how my presentation made her think about fur differently. At New York Fashion Week this February, Josie will be there wearing her Lapin "Incognito" jacket. An "advance guard", I call her!

TAF: How about sales? Did you manage to make any while in Vancouver?

JA: I tried, but it was harder than I thought.

As an artisan designer making bespoke pieces, it’s never been my plan to court major store or boutique buyers. Instead I aim to present to fashionable individuals looking for something exceptional. Still, I thought I stood a fair chance of making some sales while in the city.

But it's difficult for a small brand all the way from New Zealand to generate local media attention, and while VFW profiles the season’s designers on its website and social media, and issues press releases, there’s no venue for displaying wares other than at the catwalk show.

So instead, I arranged private appointments in a hotel suite for interested people to try and buy. But there was minimal uptake. That was all part of the learning experience, I guess!

TAF: So overall, was VFW a positive outing for you? Would you advise other artisans dreaming of the big time to aim for a major fashion week too?

JA: Doing VFW was a big deal for me and I hope it was worth the effort, but quite frankly, I don't know yet. I've had my work recognised, and once again I've been able to tell people the environmental story behind Lapin. But whether major fashion weeks are an important promotional tool for designers like me, there are people far more qualified than I am to answer that. So I’m still in "wait and see" mode.

There are undoubtedly some positive takeaways, like all the professional photos and video you get of your work, that you can use as you see fit, and that appear in online fashion publications.

A word of caution though: if you're looking to get noticed in a world flooded with fashion images, be ready to invest a considerable amount of coin up front. Following up on just one of these invitations to show can cost a lot of money, so small businesses like mine can't say "yes" to all of them. Make good decisions and keep it real!

TAF: So what does the future hold?

JA: I hope I can take Lapin to an international stage again in the future, be that another fashion week, a trade show, or some fantastic opportunity that hasn’t yet presented. But for now, it's back to the work table, and hopefully I can find time to make a few new Lapin pieces.

Lapin’s next outing is in March at the Wānaka A&P Show – real feet-on-the-ground grassroots kind of stuff.  I’ll have a small marquee in a field along with tractors and agricultural produce, displaying Lapin wares and promoting my services with a sign saying "Vintage Fur Clinic".  I’ll be inviting locals to bring along their old furs for a chat about upcycling possibilities. But make no mistake – it's not a backward step. Folk in the lower South Island are very sophisticated. It’s great down here, and the rest of the world should know it!

Meanwhile, I’ll keep asking the universe for a famous somebody to fall in love with my coats and wear one to a sparkling event!

This article first appeared in French in La Presse on Dec. 9, 2024 as part of its series Planète bleue, idées vertes,, and is reproduced in English with permission.

As a child, did you ever dive headfirst into a mountain of fur coats piled on a bed?

This question, which takes us straight back to the 1970s and 1980s, came up while La Presse was visiting the Créations GAMA workshop on rue Saint-Georges in La Prairie.

Behind an armoured door where the temperature is kept at 12°C, with controlled humidity, hundreds of large coats are lined up under an industrial-height ceiling. There's pearly white, gold, long-haired chocolate, short-haired black …

Designer and fashion manager Gabrielle Mailhot-Côté's mission is to restore fur to its former glory through remodelling. She is dedicated to the circular economy in a world of luxury.

All this, often with nostalgia for those evenings spent at an aunt's or grandmother's house, with laughter muted in the kitchen, recounts the woman who, in 2021, went ahead and relaunched Spécialités André Morin cuir et fourrure, which will be remembered by the not-so-young.

In the GAMA showroom, the creations all make you want to bundle up. The "before and after" of a long, heavy coat, now a jacket in recycled pearl mink, with spiral sleeves, is breathtaking. There's also the unrecognisable before and after of an old red fox turned sophisticated reversible coat.

The designer is aware that this natural material has lost its lustre to so-called "vegan" fur. But, she points out, it's important to remember that we're talking about recycled furs here, which can easily last up to 70 years if properly cared for. She believes there is a resurgent interest.

In Canada, the fur trade began in the late 17th century, when Europeans began buying beaver pelts from Indigenous peoples. The industry was long run by the Hudson's Bay Company. In Montreal's Fur Trade at Lachine National Historic Site, an old fur shed has been converted into an interpretation centre. These days, you need a licence to trade in the fur of a trapped or hunted animal. And several species are governed by strict export laws, such as the wolf, river otter, lynx and bear.

It's a different story when it comes to remodelling existing fur. Simon Ward, Director of Communications for the Fur Institute of Canada, a national spokesperson for the sector, explains that there is currently no directory of fur remodelling artisans. A few companies are fairly well known in Quebec, including Fourrures Robert Émond. For hats and mittens, there's Harricana. And during the COVID-19 pandemic, Art'Abaska, a start-up from the Victoriaville region, made a name for itself by offering mittens to Premier François Legault.

Self-taught

Marie-Claude Girard and Martin Brûlé have become passionate about remodelled fur mittens, earmuffs and moccasins. Almost all their Art'Abaska creations bear the names of the grandmothers or great-aunts to whom the coats belonged. On the other end of the phone, the couple tell us that two years ago, they received a lynx coat to transform from a niece of Éva Morin, a nurse and midwife from Abitibi-Témiscamingue. Using her fur, she travelled through the colonies in a Bombardier B12 snowmobile in the 1940s to deliver hundreds of babies.

There are also mittens and moccasins from Laurette made by Rita and Annette. Each item is unique and comes with its own certificate. They take between eight and 25 hours to make, they say. The leather for the trimmings is new, they point out, but it comes from scraps collected from leather and upholstery suppliers. They remember the bright red new scraps that came from the banquettes of Nickels restaurants, once associated with Céline Dion.

"We started out during the pandemic," says Martin Brûlé. "We're self-taught. I remember the first mittens. … Marie-Claude broke three needles with her little Singer sewing machine. Today, we have fur sewing machines and three embroidery machines in our basement. We work during the day, we reshape the fur at night, we love what we do, we eat it."

After decades of leadership from the Fur Council of Canada, the "downstream" sectors of Canada's fur trade will once again have full representation following the absorption of the FCC by the expanding Fur Institute of Canada (FIC).

Both national associations always had members from all sectors of the trade, but each had its strengths.

The FCC, founded in 1964, had a downstream focus, working on trade issues, marketing and promotion, and producing educational materials for consumers and schools. The FIC, meanwhile, was launched in 1983 to administer Canada’s world-leading trap research and development program, and became the national forum for a wide range of trapping issues, notably implementation of the Agreement on International Humane Trapping Standards (AIHTS).

Together with the Canada Mink Breeders Association, these three national associations provided strong leadership for the Canadian trade.

Fur Council's Heyday

“The Fur Council of Canada was one of the most productive and creative fur associations in the world,” recalls Alan Herscovici, who was raised in the Montreal fur manufacturing sector, and served as the FCC’s executive vice-president for two decades. “In the 1990s and early 2000s, the Fur Council produced major fur advertising campaigns, including billboards, and multi-page spreads in Vogue and other leading fashion publications."

“We also had programs to assist retailers in modernizing their stores, and engaged top fashion and marketing experts to help manufacturers to innovate and open new markets. We coordinated design competitions to encourage fashion students to work with fur. Not least important, the FCC was a leader in promoting the fur trade’s environmental and ethical messages, with printed materials for retailers, billboard campaigns, videos, and websites like Furisgreen.com and TruthAboutFur.com.”

Through the Canadian Fur Trade Development Institute, its manufacturer/wholesaler arm, the FCC also organized the North American Fur & Fashion Exposition in Montreal (NAFFEM), from 1986 until 2013.

But with the contraction of fur manufacturing and retailing over the past decade, it became increasingly difficult to maintain multiple associations. Several years ago, the FCC closed its Montreal office, and its administration was taken over by the FIC.

Merger with Fur Institute Formalized

SEE ALSO: Dilan and Emmy: Young Québecois furriers join forces. Truth About Fur.

Earlier this year, the merger was formalized. “Several wholesalers, retailers and other downstream operators who were former FCC members have now joined the FIC, and were invited to our annual meeting in Newfoundland last June,” says FIC Executive Director Doug Chiasson.

“Our objective these days is for our membership to represent all stakeholders in the fur trade because of the synergies this can bring," says Chiasson. "So bringing downstream operators under our umbrella is a major step in this direction. If we can help retailers and wholesalers to sell more fur products, that supports prices for primary producers and everyone through the entire supply chain, including auctions, processors, and brokers.”

Now several of the FIC's new members are in the process of setting up a committee to support fur product promotion and marketing, among them former FCC vice-president Christina Nacos of Natural Furs International.

“There’s no magic bullet that will solve all the industry’s problems," says Nacos, "but working together from within the Fur Institute is a cost-effective way to leverage our strengths. With the new committee being set up, it’s important now that as many designers, artisans, wholesalers and retailers as possible become FIC members, so we can really give this our best shot!”

Canadian retailers and wholesalers – and other downstream members -- who have not yet done so are invited to contact FIC Executive Director Doug Chiasson, at [email protected].

After decades of shrinking markets amid incessant attacks from animal rights groups, could real fur actually be on the verge of a comeback? And will it hinge on society's better understanding of sustainability?

Before you dismiss this is as just another puff piece from the fur trade, the mainstream media are asking the same question. Why is fur – real and pretend – everywhere again? asked Vogue this March. Can fur make a comeback? asked the Washington Post in April.

These are both prestigious titles not known for making stuff up, but there are plenty of other articles out there telling a similar story.

So if it's really true, why is it happening now? And should we really be surprised?

Understanding Sustainability

The last two decades have been tough for the fur trade, above all because of effective campaigns by animal rights groups to win over the media and vote-hungry politicians. It's impossible to count the number of media reports and pieces of legislation (particularly in the US) that have relied on half-truths and lies spoon-fed by these groups.

Two anti-fur campaigns have been particularly effective at hogging the media spotlight, in large part because they are highly repeatable. One involves pressuring well-known designer brands and retailers into dropping fur. The other seeks legal bans on fur production and retail at the town, city or state level. When one target has either capitulated or been bled dry of headlines, campaigners just move on to the next.

But while all this has been going on, the zeitgeist of society has changed dramatically. Thanks to the Internet, information is more available than ever before. And the conversation has changed too, and become more inclusive.

Above all, our focus now is on climate change. Scientists have been predicting trouble for years, but until recently they spent most of their time talking to one another, and most of us had little say. But now we're all involved, and many more of us can talk intelligently on topics as diverse as single-use plastics, watershed pollution, habitat loss, greenhouse gases, ozone holes and carbon footprints. Our grasp of these concepts has come on by leaps and bounds in a very short space of time.

As a result, some of the arguments the fur trade has been making for decades are now resonating with a much broader audience, among them the strongest argument in fur's favour: sustainability.

Just to recap the facts, in case you don't already know: Fur is a renewable natural resource, which means it is, by definition, sustainable. In contrast, petroleum-based synthetics like polyester, that now dominate the fashion industry, are non-renewable and therefore unsustainable. And contrary to what animal rights groups may want us to believe, fur is biodegradable, petroleum-based synthetics are not, and the environmental footprint of fur production is insignificant in comparison to that of synthetics.

SEE ALSO: Fur, a renewable resource. Fur Is Green.

Less Gullible

Because most people now get the facts, we are also far less gullible than we once were. How many of the following half-truths and lies did you once believe but now reject?

• Fake fur is better for the planet than real fur, because it does not involve killing animals. This is demonstrably false on several grounds. Both extracting petroleum and producing fake fur are polluting processes which kill millions of animals indirectly. Furthermore, fake fur sheds harmful microplastics into the food chain when washed, and at the end of its life, it's either burned or sits in landfills, causing further pollution.

• For the same reason, "vegan fashion" is good for the planet. Most vegan fashion is made of plastic, while much of the rest uses cotton, with all the harm to the environment that cotton production entails. Do you remember "pleather"? It didn't take a genius to figure out it was made of polyurethane, so marketers rebranded it as "vegan leather". But it's the same thing.

SEE AlSO: What is "vegan fashion" and how true is the hype? Truth About Fur.

• Fur is a special case because it's especially "cruel" and "unnecessary". All animal-users have known for years that this claim is false. Fur is just a soft target, and the ultimate goal of the animal rights movement is to end all animal use. In 2022, longtime advocate of sustainable use Canada Goose yielded to pressure to drop fur, hoping animal rights groups would leave it alone. Instead, protesters just took aim at its use of down stuffing instead.

SEE ALSO: Canada Goose retreats from fur. We should all worry, not just trappers. Truth About Fur.

• Inhumane treatment of animals is unsustainable. Despite the fact that animal welfare and sustainability are fundamentally different issues, animal rights groups have enjoyed great success persuading fashion brands and retailers to drop fur by convincing them they are part of the same package. Companies like Gucci and Canada Goose have even incorporated animal welfare into their sustainability policies.

SEE ALSO: Sustainability: Why is Gucci so confused? Truth About Fur.

How many consumers now see through such nonsensical arguments is impossible to say, but surely the number is growing, and product endorsements from animal rights groups are fast losing their value.

Mob Wife Look

So against this backdrop, why do some media pundits think fur's comeback may be happening right now?

Almost every story about fur's comeback in the last few months mentions a fashion trend called the "Mob Wife aesthetic". Born on TikTok, the Mob Wife look asks ladies to dress how they think the wives of Sonny Corleone, John Gotti or Tony Soprano dress. And the look is not just for clubbing. If you're visiting the grocery store, throw on your leopard-print jumpsuit, high heels, giant shades and bling jewellery, and top it all off with a fur stole.

SEE ALSO: TikTok’s ‘mob wives’ trend is fueling a resurgence of fur. CNN Style, Feb. 1, 2024.

But where did the Mob Wife look itself come from? Fashionistas theorise that there's a rebellion against the "clean girl" and "quiet luxury" looks, but at a deeper level, there may also be a connection with our improved understanding of sustainability.

Here's the logic. As we question "fast fashion", reliant as it is on petroleum-based synthetics, we are turning to "slow fashion", with investment pieces made of more durable, natural materials. And as part of this trend, we're also seeing a surge in recycling, including buying used clothing at thrift stores.

Enter vintage furs. They're both slow fashion and recycled – and an integral part of the Mob Wife look.

On balance, growth of the vintage fur market must be beneficial to the fur market as a whole. A nuanced ethical debate is now being played out by people who – for now, at least – say they reject new fur because it involves taking animal life, but embrace vintage fur because the animals are dead anyway. Indeed, putting their fur to good use, they say, is actually more ethical than throwing it away.

So now there's a mix of people out there, wearing new, vintage and fake fur, all acknowledging its beauty and functionality, while having a spirited debate about which is more sustainable. This is far more positive than the predictable pro- and anti- arguments we've been hearing for decades (and that the media are probably bored with).

Meanwhile, realists point to the fact that supplies of vintage furs are limited, and that as supplies dwindle, some of its fans at least will switch to buying new.

What the future holds for fur is hard to predict, but we are now in an age of greater awareness about sustainability, and are counting on consumers to make wise choices. An obvious loser will be petroleum-based synthetic garments, while winners will come from a range of renewable natural resources. That should include fur.

Dilan and Emmy share a passion for fur – a passion they are working to transmit to a new generation of consumers.

Emmy Gauthier is only 22, but her love of fur started very young.

“My dad would pick me up from day care and bring me to the shop,” she says. “By the time I was five I was making my own fur pom-poms!”

With a diploma in bookkeeping, and soon a BA in finance, Emmy has many career options, but she loves working with fur, and plans to join the business full-time when she graduates.

Emmy’s grandfather launched Fourrures Gauthier, an institution in the Saguenay region of Quebec, about 200 kilometres north of Quebec City, and her father now owns the business.

“I am a third-generation furrier,” she says. “And thanks to my father, I have learned every aspect of the furrier’s art: I can cut, sew, and finish a fur garment.”

Emmy can even pluck and shear mink and other furs, a skill not many furriers can boast. “It is especially useful when remodelling older coats for our customers,” she says with a smile.

Dilan Porzuczek shares Emmy’s excitement about fur, although he didn’t come from a fur family.

SEE ALSO: "Dilan Porzuczek shows fashion students the excitement of fur," Truth About Fur.

“I always wore fur hats and mitts; I had my first fur coat at 14,” he says.

“I was fascinated by fashion, and made clothing at home as a hobby. We had a year-end fashion show at my high school where most of the clothes were borrowed from local retailers, but I would have my own scene with four or five garments I had made myself.”

The call of the fashion industry was so strong that Dilan began working in retail at 12 years old. While still in his teens he was working with a major retail chain, doing presentations and helping to open new stores across Quebec.

“To tell the truth, I didn’t go to high school that much. I always wanted to work,” he confesses.

He was 17 when his real love affair with fur began.

“One day my mom asked me to take our coats to the local furrier for storage. I was a bit at loose ends at the time, and she suggested that I ask if they could use an apprentice.

“Because of my sewing skills, I learned quickly, and soon I was blocking skins, cutting and assembling garments, even sewing in linings. Because it was a small shop, I was able to do it all.”

Dilan had found his true vocation. A few years later, when his mentor was ready to retire, he took over Fourrures Léopold Martel, a respected name in the Saguenay region. At 28, he’s already an experienced master furrier, and loves sharing his passion for fur with his customers.

“The other day I brought a remodelled coat to a customer and we were both so excited about how great she looked in it that I had already driven away before I realized I had forgotten to ask her to pay!”

Emmy agrees. “What I love about this business is that you experience the whole process. It’s not work, it’s creation!

“In most jobs you’re just one cog in a big wheel,” she says. “Here, I make a beautiful coat, from scratch, from beginning to end ... and then I get to see how great my customer looks in it, how happy they are!”

Dilan recently began sharing the atelier at Fourrures Gauthier, which allows these two enthusiastic young people to work together. So, how do they see the future of fur?

“Emmy and I share the same vision: our goal is to share the ‘wow!’ of fur that inspires us," says Dilan. "We love creating new fur styles adapted to how people live today. Fur is no longer just for going to church on Sunday; fur is practical and comfortable outerwear that people can enjoy every day.”

And where do they go from here?

“The sky is the limit,” says Dilan. “Our strength is that we’re 100% autonomous, we do all the fur processes ourselves, right here in our own workshop – whether it’s a remodel, a made-to-measure for a customer, or production for other retailers. We are already well known in the Saguenay region, but there is no reason why we can’t grow our market across Quebec, Canada, and beyond!

“With the unique beauty and versatility of fur and its extraordinary environmental story, we believe that the future is bright,” says Dilan.

SEE ALSO:

Dilan Porzuczek has a passion for fur -- a passion he’s now sharing with a new generation of talented young designers.

“I was first invited to do a presentation for the fashion program at Quebec City’s College Notre-Dame-de-Foy several years ago,” says the 28-year-old owner of Fourrures Léopold Martel, a well-established fur store in Jonquiere, about 200 kilometres north of the provincial capital.

“The students could relate to me because I am young, and coming from a retail fashion background I understood their creative interests.

“It is important that we go into fashion schools because the teachers often aren’t comfortable introducing fur in their classes; they don’t have the information they need to reassure students about their ethical concerns,” says Dilan.

SEE ALSO: The ethics of fur. Truth About Fur.

“Many of the students were anti-fur to start, but they listened when I explained how I had become uncomfortable with the ecological cost of ‘fast fashion’. The younger generation is very conscious and concerned about waste in the fashion industry.

SEE ALSO: What is "vegan fashion" and how true is the hype? Truth About Fur.

“They were really interested to learn about the environmental credentials of fur – that fur is responsibly-produced, natural, long-lasting and recyclable. And that after decades of use you can throw fur into the garden compost. Unlike fake fur or other petroleum-based synthetics that make up 60% of our clothing today, fur is fully biodegradable, it quickly returns to the earth. If we are looking for sustainable clothing, fur checks all the boxes!

SEE ALSO: The sustainability of fur. Truth About Fur.

“At the last seminar we did, in November, I was told that seven teachers but only five students had signed up for the two-day workshop that followed,” says Dilan. “But after my presentation, 30 showed up, so I guess we changed a few minds!

“We had set up blocking boards, and fur machines, and the Fédération des Trappeurs Gestionnaires du Québec donated some coyotes, fox, beaver and other furs. [Ed.: A "fur machine", as it is known in the trade, is a fur sewing machine to the layman.] We also had some old coats to recycle.

SEE ALSO: 5 great ways to recycle old fur clothing. Truth About Fur.

“Gathered around a big table, I started by explaining how we use the different furrier’s tools. Then I had them work on their patterns, and that afternoon they were blocking skins and learning how to use a fur machine.

“The second day they were all working on their projects, cutting and sewing fur pelts. Some of the teachers even wanted to learn how to ‘let out’ pelts!

“They didn’t all manage to finish their pieces that weekend, but we followed up with Facebook. Some made accessories, or a small vest, even a bomber jacket ... My only requirement was that they make something different.

“That’s what’s so wonderful about fur – you can really get creative,” says Dilan. “I just love working with fur, and it’s very satisfying when you see young designers catching that excitement!”

There’s a bright future for the North American fur trade if the excitement of fashion students at the recent Montreal Fur Rendezvous is anything to judge by. This past Fall (November 2-3), leaders of the industry joined forces to bring marketing and design students from three of Montreal’s top fashion colleges a taste of new directions in the fur trade.

Saga Furs presented a collection of innovative fur apparel and accessories from their Fur Vision collection – modern creations that are definitely not your grandma’s old fur coat. Saga also brought hot young New York designer Romeo Hunte, who the students embraced like a rock star. They listened intently as Hunte explained his approach to working with fur, and were especially attracted to his giant blue fox Teddy Bear backpack, fur sneakers, and intarsia denim pants. The Saga Fur Vision team also demonstrated new fur-sewing techniques that greatly expand the designer’s palette.

Mink farmers Rob Bollert and Rob Dietrich manned the Canada Mink Breeders Association booth where students could see and touch some of the natural fur colours that have been developed (dyeing is really not needed!), and learn about the excellent animal care required to produce the quality of mink North America is known for.

SEE ALSO: Facts about fur farming. Truth About Fur.

“The students were very interested in learning that mink health and well-being is assured by strict codes of practice, and that Canadian mink farms are inspected and certified to ensure compliance with those standards,” said Rob Bollert. “It was very encouraging to see how open they are to using fur if they are confident that it is produced responsibly.”

Canadian trappers and wild fur were represented by Doug Chiasson of the Fur Institute of Canada (FIC), and Howard Noseworthy of Fur Harvesters Auction (FHA). Montreal manufacturers and wholesalers in attendance included Mitch Fazekas of Mitchie’s Matchings, and Christina Nacos of Natural Furs.

The Montreal Fur Rendezvous was also supported by M-Mode, the Quebec fashion industry “Grappe” (industrial cluster), and CEO Mathieu St-Arnaud was there with several members of his team. Other participants included Écofaune boréale, a research program focused on environmentally sustainable leather tanning and fur dressing, in partnership with First Nations; Fibreshed Quebec, which promotes local textiles following a “soil-to-soil” philosophy; and Mercury Leather, a Montreal-based manufacturer of leather garments.

More than 400 fashion marketing and design students attended the Montreal Fur Rendezvous over the two-day event, while some 50 members of the fur trade attended a cocktail on the first evening, which included a presentation by Saga North America’s Charlie Ross about the current state of world markets.

Saga joined with FHA, the FIC, the CMBA, Mitchie’s Matchings, and other local brokers to donate a collection of dressed pelts to the colleges, to help students experiment with fur.

“It was very exciting to see how enthusiastic these young fashion students are about working with fur, and how interested they are in learning about how the industry is regulated and fur is now certified to ensure that production is sustainable and responsible,” said Ross.

“This was a wonderful event because it is designers and fashion marketers who bring fur to the consumer," said the FIC’s Doug Chiasson. "This was an extraordinary opportunity to build bridges with tomorrow’s fashion leaders,”

When I was a child, in the 1950s, my father would sometimes bring me down to my grandfather’s fur atelier, on St. Helen Street, in Old Montreal. In the lobby of the grey-stone building, my father greeted Frank, the elevator man, who crashed shut the heavy metal-grate doors, and swung the wood-handled lever to guide our clunking steel cage up to the fourth floor.

In the hardwood-floored factory, men in white smocks were busy with the many intricate tasks required to handcraft fur garments. At long, fluorescent-lit work tables, muskrat, otter, mink, and Persian lamb pelts were matched by colour and texture into “bundles”, each with enough pelts to make a single coat or jacket.

The fur pelts were dampened, stretched, and nailed onto large “blocking” boards, to flatten and thin them. When they were dry, a skilled “cutter” traced the outlines of heavy brown construction paper patterns (two front pieces, the back, sleeves, collar) onto the pelts, and sliced off the excess with his razor-sharp furrier’s knife -- carefully setting aside the fur scraps that would later be sewn together into “plates” from which other garments would be made. Nothing was wasted!

Even more precision cutting and sewing was involved when “letting out” mink and other furs. Because fur pelts are shorter than needed for a full-length coat, several rows of pelts can be sewn one above the other (“skin-on-skin”). But for a more elegant, flowing look the pelts are “let-out” with dozens of diagonal slices; each slice is shifted slightly downward before the pieces are reassembled into a longer, narrower strip. The long strips are sewn together into wider panels, wet, stretched, and nailed leather-side-up onto the blocking board. When dry, like full pelts, they can then be trimmed to the pattern.

An “operator” then assembled the trimmed front, back, sleeve, and collar sections with a “fur machine”, delicately pushing the fur hairs apart with his fingers as he fed the leather through two geared wheels that joined the pelts edge-to-edge -- rather than overlapping, like a regular sewing machine, which would make the seams too thick.

Once the fur sections were assembled, it was time for the “finishers” (almost always women) to sew in the silk lining, buttons, and other accessories, by hand. After a final cleaning and brushing, the new fur garment was ready to be shipped to the retail fur store.

That is how fur garments were made long before I visited my grandfather’s workshop, and it’s the same way they are made today. Whenever I bring someone into a fur atelier – even people who work in other sectors of the clothing industry – they are amazed that this sort of meticulous and highly-skilled handcraft work is still done.

Europe's Loss, Montreal's Gain

My grandfather had learned his fur-crafting skills from his own father, in Paris, where the family had fled from pogroms in Romania at the end of the 19th Century. He arrived in Montreal as a young man, in 1913, and – with thousands of other Jewish immigrants – helped to make Montreal one of the foremost clothing manufacturing centres of North America.

By the mid-1950s, there were hundreds of small fur-crafting ateliers like my grandfather’s in Montreal, Toronto, and Winnipeg -- and Jewish furriers were increasingly assisted by a new wave of immigrants from Kastoria and other mountain villages of northern Greece. Kastoria (from the Greek kastori = beaver) had been a fur production centre as long ago as the 14th Century; many homes there now had fur machines and these Kastorian furriers had honed their sewing skills since they were children.

French Canadians (with Italians and others) also worked in the Montreal fur trade. Many would open retail fur shops across the province, where their fur-working skills allowed them to provide repairs and restyling, as well as custom orders. Unlike most fashion retailers, many fur stores still have an active workshop in the back.

By the 1970s and 1980s, with beaver, coyote, lynx and other wild furs trending in fashion and fur sales booming, Montreal fur manufacturers began exporting to the US, Europe, and around the world, while continuing to service their domestic Canadian markets. The Montreal NAFFEM (originally the North American Fur & Fashion Exposition in Montreal) became the most important fur apparel trade show on the continent, attracting hundreds of international buyers to the city each Spring.

Markets never stop evolving, however, and in recent years consumers have been offered an increasingly wide range of cold-weather clothing options, including down-filled parkas, “puffer” coats. and other lightweight, relatively inexpensive products. Fur apparel (like other clothing) could now also be made more cheaply in low-labour-cost places like China – a country  with its own long fur-working heritage.

With increasingly difficult business conditions (exacerbated by aggressive animal activists) and an aging labour force, the Montreal fur-fabrication sector (like the rest of the city’s once-formidable clothing industry) is fast declining. So, I was very happy when my friend Claire Beaugrand-Champagne – a respected Quebec documentary photographer – said she wanted to photograph Montreal’s fur artisans.

Montreal is a city with deep roots in the fur trade. Montagnais hunters traded furs here with Iroquoian farmers long before Europeans arrived. From the 17th Century – because rapids at the west end of the island prevented ocean-going ships from sailing further upstream -- Montreal became the hub of a growing international fur trade that has been well documented by historians. The story of Montreal’s fur fabrication industry, however, has been largely overlooked.

Claire’s photos are a beautiful tribute to the people of Montreal's fur manufacturing industry, and an important documentary record of this remarkable craft heritage.

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Claire Beaugrand-Champagne is a highly respected Quebec documentary photographer whose work reveals the individuality and humanity of her subjects. She was the first woman in Quebec to be an accredited newspaper photographer. You can see more of Claire’s work on her website.

Calvin Kania and Panos Panagiotidis are on a mission to share their passion for making beautiful fur apparel and accessories, one student at a time! Their secret weapon: “Seal/Fur Workshops” at FurCanada’s headquarters on Vancouver Island, British Columbia, and in First Nations and other communities across Canada.

“We realized that many designers and crafters would love to use fur in their collections, but don’t have the knowledge or fur-working skills,” says Calvin, founder and CEO of FurCanada.

Though raised on a trapline in the rugged BC interior, Calvin wasn’t a trained furrier either, so he teamed up with someone who was.

SEE ALSO: Trapline Tales: Ski doos and marten scent. By Calvin Kania for Truth About Fur.

Enter Panos, who learned the furrier’s art from his father in Kastoria, the legendary fur manufacturing village hidden away in the mountains of northern Greece. After earning his degree at Kastoria’s fur school, Panos gained invaluable practical experience working with a master furrier in Germany for eight years, before returning to teach in Kastoria in 2005.

From 2015 to 2018, Panos assisted Vasillis Kardasis, a distinguished professor at the Royal College of Art in London, England, to launch the Fur Summer School in Kastoria. With support from the International Fur Federation, international auction houses, and the Hellenic Fur Association, the Summer School provided an introduction to the full fur-production process for designers, journalists and others from around the world.

SEE ALSO: Master furrier Panos Panagiotidis to head new FurCanada workshop. Truth About Fur.

Not Only Designers Are Interested

At Calvin's invitation, Panos arrived in Canada in 2019, and in March 2020 they hosted their first Seal/Fur Workshop.

“Covid made things difficult at the start," recalls Calvin, "but we are now doing a one-week workshop every month at our atelier, with students coming from across Canada, the US, and as far away as Peru and Australia.

“Many of our students are designers, but many trappers are now also interested. Instead of selling their pelts to a fur buyer or through the auction, they have their pelts dressed by small local tanneries and are making their own fur vests, mitts, hats, and other accessories and home décor items.

“And we are taking our workshops on the road; Panos did a workshop in the Inuit community of Inuvik, NWT, last year, and he just did another in Yellowknife.”

“It was quite a shock stepping out of the airplane in Yellowknife in February," recalls Panos. "it was minus 32 Celsius!

“Cold weather but warm people! There were 16 Indigenous craftspeople in our workshop, and they were wonderful.”

"They Questioned Everything!"

The latest six-day workshop was organized by NWT Arts, a program of the Government of the Northwest Territories Department of Tourism and Industry, with students flying in from surrounding communities.

“Over the six-day workshop they completed three fully-finished projects: a fur pillow, a sealskin vest, and a beaver with lynx vest,” says Panos.

“It was a pleasure working with them because they were so interested in the furrier’s techniques I showed them. And because they were already experienced sewers, they questioned everything!”

So what sort of things did they question?

“One of the first steps in working fur is to wet the pelt, stretch it out, and tack it on a board to dry," explains Panos. "This is called ‘blocking’ the pelt, and one student wanted to know why she should do that. She often made beaver mitts and had never done this.

"So, I asked, 'How much fur do you use to make a pair of mitts?' Two beaver pelts, she said. I laid her pattern out on the board to show that when the beaver was stretched and blocked, she would only need one pelt to make the same pair of mitts. When she saw how much fur and time she would save, she was convinced!

“Another student asked why she should learn to use a fur-sewing machine when she had been sewing fur by hand all her life. I told her, ‘OK, you sew a pair of mitts by hand and I will sew a pair on this machine.’ My pair was done in about 10 minutes and she worked on hers for the rest of the day. When she had finished, I said: ‘Now, look at the two pairs, what do you think?’ ‘Yours is much better, the stitches are more regular,’ she said with amazement.

“It was wonderful working with people who were so engaged and interested. They were challenging me all the time, and they really appreciated what we were bringing them: how we measure the fur we’ll need, how we cut pelts to the pattern with a furrier’s knife – all the European fur-working skills that they could marry with the traditional designs and sewing techniques they had inherited,” says Panos.

Now We Must Teach Teachers

“The workshops have been such a success that now more communities want to participate, more than Panos can do himself," says Calvin. "We will have to teach teachers who can bring this knowledge to more communities.”

Meanwhile, Panos is hitting the road again with a workshop scheduled in Sudbury, Ontario, later in April, and another with the Mi'kmaq First Nation, in Nova Scotia, in June.

“Lots of creative young people are interested," says Calvin. "We give them a taste of how they can work with fur, and they go home and practice and perfect their skills, and then they bring exciting new fur products to a new generation of consumers. It’s a whole new future for fur that’s opening up, and we are so happy to be helping it along!”

Animal activists want to drive all animal users out of business, so it pays for the fur trade to keep abreast of their latest tactics. One now being pushed hard is "vegan fashion", but what exactly is it? And how true is the hype? Does it really save animal lives, as proponents claim? And is it really more sustainable than alternatives?

First up, what qualifies as vegan fashion?

There is no strict definition, but the general idea is that no animals can be killed or harmed in any stage of its production. So it's much like a vegan diet, except that you keep it in your closet.

But there is one important difference. Vegans only eat plants, but if you think they only wear plants, think again. Vegan fashion also contains lots of synthetics made from oil.

The most popular plant fibre with vegan fashionistas (and everyone else, for that matter) is cotton, but there are a lot of other choices. Some are familiar, like linen, hemp, cork and rubber, while others are obscure, like ramie, banana leaves, mushrooms and even coffee grounds!

Then there are semi-synthetics derived from plants, like bamboo rayon, viscose from wood pulp, and modal (made from the pulp of beech trees).

And then there are all the petrochemical synthetics vegans can wear with a (supposedly) clear conscience, like polyester, spandex, nylon, PVC and acrylic. Vegans say they prefer if their synthetics are recycled, not virgin (new), but since most recycled synthetics contain some virgin product for added strength, it's hard to know if they're getting what they want.

As for materials that are off-limits, some are obvious, like leather, fur, wool and silk. But others require vigilance if they are to be avoided.

For example, the glue used in shoes and handbags normally contains collagen derived from animals. So vegans must seek out synthetic alternatives, even if there are health risks associated with making and using them.

They must also avoid screenprinting inks containing gelatin from cows and pigs. A popular synthetic alternative is plastisol, but again, vegans must look past the health risks of the phthalates usually found in plastisols.

And a minefield for vegans is buying cosmetics and personal hygiene products. Anything with honey, lanolin or keratin is out, as are soaps, shampoos, shaving cream and lotions containing stearic acid from animal fat. If your skin moisturiser contains glycerol, beware that the most common source is tallow, a rendered form of beef or mutton fat.

So Does Vegan Fashion Really Save Animals?

The main claim made for vegan fashion is that no animals are killed or harmed in its production. At first glance this sounds logical, but the claim does not stand up to scrutiny. It would be accurate to say that no animals are bred and killed to produce vegan fashion, but plenty of animals still die.

But before we start pointing fingers at who kills most animals, we need to recognise that there are different ways of counting animal lives, depending on our biasses.

In theory, we should give equal weight to all lifeforms, such that swatting a fly is equal to slaughtering a cow. In practice, though, we never do this. We prioritise, valuing some species over others.

Most of us are class-biassed (mammals trump reptiles, for example, and insects always come last). We prefer benign herbivores to carnivores that might eat us. Beautiful animals come before ugly ones. Or if you're a conservationist, an endangered native species always beats a plentiful invasive one.'

And all these biasses give rise to paradoxes that can be hard to reconcile, like self-proclaimed "animal lovers" who feed their pet dogs the meat of other animals, bathe them to kill ticks and fleas, deworm them, and give them vaccines tested on other dogs in labs.

Vegans, of course, have their biasses too, so when they say vegan fashion saves animal lives, which animals do they actually mean? All animals? No. Above all, they mean barnyard animals that are purposely bred to provide food and clothing.

If their calculations were to include all animals, would switching to vegan fashion really save lives? It's highly unlikely, and in fact the death toll would probably rise.

Killer Cotton

Now let's take a closer look at what are probably the two most common materials in vegan fashion, cotton and polyester, and ask how animal- and environment-friendly they really are.

Everybody loves wearing cotton, but we also know that growing it – especially by traditional methods – is punishing on the environment.

The trouble starts the moment natural habitat is destroyed and replaced by a monocultural plantation. Then the crop is notoriously thirsty, often requiring far more water than can be supplied by rain alone. And then there's the heavy use of pesticides. All of these factors exact a toll on animal life, as well as damaging the environment in other ways.

Much of the killing is intentional, as farmers wage war on the myriad insects that cotton attracts. Bollworms, boll weevils, mirids, aphids, stink bugs, thrips, spider mites – the list is long.

And once the insecticides have fulfilled their purpose, they don't stop killing, or even stay within the confines of the plantation. They drift on the wind, and wash into waterways. Birds, lizards and amphibians die when they eat insects or seeds that have been sprayed, or mistake insecticide granules for food. Fish die when insecticides enter rivers. Pollinators like bees die too, often resulting in lower crop yields.

Genetic modification of cotton is helping reduce the need for insecticides, but there's still a long way to go. Meanwhile, so-called organic cotton, which uses far less in the way of synthetic fertilisers and pesticides, still only accounts for 1-2% of global cotton production.

Other unintentional deaths occur when water supplies are mismanaged, harming or even destroying surrounding habitat. To appreciate just how badly things can go wrong, look at Central Asia's Aral Sea – or what's left of it. Once the world's fourth-largest lake, tributaries were diverted to irrigate crops, mainly cotton, and most of the sea just vanished. Billions of animals surely died, and populations may never recover, including 20 local species of fish now thought to be extinct.

In short, if we all ditched leather, wool and fur tomorrow, and increased cotton production to fill the shortfall in clothing materials, the total number of animal lives lost would certainly rise.

Plastics Are No Better

So how about the other staple material of vegan fashion, polyester? Its credentials as a clothing material are impressive. It's cheap, durable, wrinkle-resistant, stretchy, lightweight, quick-drying, it breathes and it wicks moisture. No wonder it accounts for at least half the world's clothing, and dominates fast fashion and sportswear.

But like cotton, it's also terrible for the planet. It's made from non-renewable oil which must be extracted from the ground. The manufacturing process leaves a big carbon footprint – up to 40% of the fashion industry’s total CO₂ emissions. When washed, polyester garments release microfibres that pollute the oceans and are now turning up in the food chain, even in drinking water. Polyester is also part of the bigger problem of plastic pollution in general. A widely cited estimate is that plastic pollution kills 100,000 marine mammals and turtles, and a million seabirds, every year. And of course, these plastics don't biodegrade.

In their defense, vegan fashionistas say that a lot of the polyester they wear is recycled, which means it's actually good for the environment, "sustainable" even. But this is essentially an exercise in denial.

Recycling polyester is indeed less harmful to the environment than creating virgin polyester. It consumes a lot less energy and water, and CO₂ emissions are far lower. But that doesn't make it good – just less bad.

Furthermore, recycling polyester cannot possibly be sustainable since it is inherently dependent on a nonrenewable resource. All it does is extend the life of polyester already in circulation. Plus, limitations in current recycling technology mean that recycling polyester actually perpetuates demand for virgin polyester. Each time polyester is recycled, it loses strength, and this problem is rectified by mixing in virgin material. And when polyester is blended with other fibres (typically cotton), recycling is all but impossible. Last but by no means least, just like virgin polyester, recycled polyester still sheds microfibres and does not biodegrade.

SEE ALSO: The Great Fur Burial, Part 1: Burial. Truth About Fur.

Accusations of Greenwashing

Just to confuse consumers even more, companies producing and using petrochemical-based synthetics now routinely face accusations of greenwashing – making false claims about the environmental friendliness of their products.

It comes as no surprise when animal activists engage in greenwashing, since they have never let the truth get in the way of a good story. So if they tell you wearing recycled soda bottles will reduce global warming, you can believe it or not.

More troubling are apparent efforts by the fast-fashion industry to improve its public image. Having faced a storm of criticism in recent years for various practices, the industry is now desperate for a makeover, which includes casting petrochemical synthetics in a better light.

But now the media, consumer protection groups, and others are asking tough questions.

Matters came to a head last June, when the New York Times ran an in-depth article entitled "How fashion giants recast plastic as good for the planet". Renaming products is just one way, the article says. For example, fake leather used to be called "pleather", a clear indicator of its plastic origins, typically polyurethane. But now it's called "vegan leather", a change the NYT calls "a marketing masterstroke meant to suggest environmental value."

In critics' crosshairs is the controversial Higg Index, launched in 2012 by the Sustainable Apparel Coalition (SAC), a nonprofit group that includes major fashion brands and retailers, and the US Environmental Protection Agency. Intended to rate the environmental impact of various fabrics used in clothing, the Index "is on its way to becoming a de facto global standard," says the NYT.

But hold on, the article continues. The Index "strongly favors synthetic materials made from fossil fuels over natural ones such as cotton, wool and leather. Now, those ratings are coming under fire from independent experts as well as representatives from natural-fiber industries who say the Higg Index is being used to portray the increasing use of synthetics as environmentally desirable despite questions over synthetics’ environmental toll."

In particular, critics say the Index doesn't accurately reflect the full life-cycles of synthetics, including harmful emissions during production, how much ends up in landfills or incinerators, and microfibres polluting the oceans.

Shortly after, the SAC announced that it was pausing the use of consumer-facing Higgs labels globally, following a conclusion by the Norwegian Consumer Authority that the Higg Index was misleading consumers.

Bottom Line

While the debate will continue to rage about how best to clothe 8 billion humans, the simple truth is that all currently available alternatives have their downsides. They all result, directly or indirectly, in the deaths of animals, and leave environmental footprints of varying size.

But since the two major claims being made for vegan fashion are simple, let's try to answer them in simple terms:

Does vegan fashion save animal lives? If enough people were to wear vegan fashion, and especially if they were to adopt a vegan diet too, fewer barnyard animals would be bred. So in that sense, yes, vegan fashion has the potential to save the lives of domesticated species like cows, pigs and sheep. But if all animal lives are given equal weight (i.e., a snake or boll weevil is equal to a cow), this saving would be more than offset by the loss of animal life caused by converting more land to plant agriculture.

As for petrochemical synthetics like polyester, it is now universally recognised that their usage is harmful to the environment, including wildlife. So even if your polyester blouse is made from recycled soda bottles, it may slow the production of virgin polyester, but in the long term it offers nothing in the way of a solution.

Is vegan fashion more sustainable than alternative choices? There is almost no basis for this claim, as vegan fashion currently exists.

Noble efforts make the headlines regularly as innovative companies strive to develop more sustainable materials and methods of producing them. But we're not there yet. Which means that vegan fashion will continue to rely on crops like cotton, which are harmful to the environment, and petrochemical plastics like polyester, which are not only harmful but also the antithesis of sustainable.

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The proposed fur ban in Rhode Island has been defeated. The bill, HB7361/SB246, which, if passed, would have banned the retail sale of fur, was defeated last week when the Rhode Island legislature convened.

Even in light of the industry being outspent by the Animal Legal Defense Fund, the Humane Society and other groups, as well as a digital campaign and the overwhelming support the bill received in the house, it was not enough to get the bill passed.

SEE ALSO: US legislators should be promoting natural fur, not seeking to ban it. Truth About Fur.

Dino Quaglietta of Northeast Furs, a local retailer in Warwick, has been engaged in fighting the ban since it was first proposed. Upon learning of the ban’s defeat, Quaglietta said, “It’s great that we won, for sure! It was a hard-fought battle. Good news for Rhode Island, but outside of the industry, who knows about this?

“The industry needs to band together and get on the offensive. We need a spokesperson to get the word out to the public, not just talk to ourselves. We must convey all the positives of fur and show the public that animal welfare includes all animals and point to the hypocrisy of this movement; that putting on a fur coat is no different than putting on a pair of shoes.

“The industry has had so much negative press, we must do damage control to get to the minds of our customers. This is a quintessential freedom of choice issue. This bill will come up again next year when we’ll have to fight it again. At least we got through this year.”

The International Fur Federation-Americas, who spearheaded the fight, will continue to be engaged in Rhode Island with the unwavering support of Quaglietta and Northeast Furs.

Similar bills have been defeated in Connecticut, Massachusetts and New York – in both the House and the Senate.

SEE ALSO: “Fur Fights Back!” It’s time for a strong industry communications campaign. Truth About Fur.

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

Like most writers, those of us in public relations are prone to vanity. If we can choose between having an op-ed piece in a prestigious newspaper or a column in the local supermarket rag, we choose the former, even if it means far fewer people see our work. So is our professional pride causing us to ignore the power of low-brow publications to change hearts and minds? In particular, should the fur trade be taking the UK tabloids more seriously?

The UK Is a special case for a few reasons, notably:

• Everyone speaks English. There’s no denying the impact of the English language in shaping any debate of international concern, including the fur debate. By all means publish in Russian or Portuguese, but don’t expect a global audience.

• The entire UK is a little smaller than the state of Michigan, so many print tabloids (and of course their affiliated websites) have national circulations. Indeed, two in particular, the Mirror and the Sun, are said to carry more weight in national elections than esteemed broadsheets like the Telegraph and the Guardian.

• The UK is the spiritual home of the animal rights movement. When it comes to activists making life hard for animal industries, only Californians come close.

SEE ALSO: Brexit, fur-trimmed parkas, and trendy vegans in London Town. Truth About Fur.

Check Out the Boots!

Enter the Daily Mail, the country’s most notorious tabloid since the News of the World was forced to close a decade ago. On May 23, the Mail ran a piece on two huge fans of fur, Judi Caldwell and partner Lukasz Dlubek from Northern Ireland, while commissioning Mercury Press to take lots of lovely photos. (We all like photos, but for the tabloids, they are essential, and the more provocative the better. Conveniently, Lukasz looks like a cross between Conor McGregor and a member of Ukraine’s Azov regiment. One look at his boots would send most Russian soldiers running!)

This article was not standard Mail fare, but not unprecedented either. Typically, Mail pieces on fur are negative, and for the last several years have involved recycling old photos from a Scandinavian fox farm, with regurgitated sound bites from animal rights leaders implying they have just concluded an “investigation”.

Sometimes, though, the thoroughly unprincipled Mail will change tack on an issue completely, just to keep readers on their toes. This time it chose to tell us that some people – well, these two anyway – think fur is great.

The headline (if this can be called a “headline”) literally says it all: “Couple who love the ‘classy’ feel of wearing real fur claim they have ‘higher morals’ than the vegans who send them death threats online because it’s more sustainable than fake fabrics.”

Then for good measure, the body reiterates the main points: “The pair believe that not only does wearing real fur make them look incredible, but they also say that it is more sustainable and environmentally friendly than faux alternatives and a lot of vegan products.”

Says Lukasz (of the scary boots): “Real fur lasts for so much longer when it’s cared for correctly whereas fake fur is fast fashion – what do they think happens to all the plastic that is used to make it!”

Judi drives the message home: “Nowadays, there is a lot of ‘green washing’ and a big emphasis on veganism and vegetarianism. We are trying to promote sustainable fashion by wearing fur, but people are quick to jump online and judge us.”

SEE ALSO: Fur is a sustainable natural resource. Truth About Fur.

The point about sustainability is well made, of course, and especially pertinent in the UK where the absurd notion is widely accepted that “vegan fashion” (including clothes and shoes made from plastic) is, almost by definition, more “sustainable” than anything which involves the direct killing of animals.

But as anyone familiar with the Mail knows, it is not in the business of educating people. It just wants outraged readers to go, “Whoa! That’s crazy!” – then share the piece widely and hopefully click on some ads. (If you find this interpretation too cynical, another headline used for the same article by an Indian website tells us exactly what we’re supposed to think: “Bizarre: Couple who wear real fur say they are ‘more sustainable’ than vegans; leaves netizens confused.”)

Then the Mail throws more fuel on the fire by having Judi suggest vegans are psychopaths. “The hate we receive from a lot of vegans online is appalling,” she says, “and I’ve even had messages from someone who was threatening to slit mine and my dog’s throat because we wear fur.”

Incredible Reach

Since money is the only reason the Mail publishes such stories, and almost no one reads the comments that follow, it makes no sense for the fur trade to bother responding. But that doesn’t mean we shouldn’t try to get in the game. The reach of these stories is potentially enormous, and frequently far greater than anything published by a reputable media company.

For starters, big UK tabloids like the Mail belong to larger media groups with a slew of other outlets, both in print and on the web, including every popular social media platform. The Mail comes under the umbrella of DMG Media, whose stable includes Metro.co.uk, a tabloid website that also ran a pared-down version of the Judi and Lukasz story. And though we have not confirmed this, it seems highly likely that the story also ran in the print version of Metro. This is the UK’s largest-circulation tabloid (though the fact it’s free must help).

Then there’s life beyond DMG Media. Within days of the Mail publishing its story, it popped up on News India Studio, WST Post, Unilad, Granthshala News, News Dubai, and an ominous-sounding site called Internet Cloning. And these were just the links near the top of our Google search.

Only through serious research could we know which of these recyclers are legitimate and which are simply plagiarists. But that’s the problem of DMG Media’s licensing department.

The fact is, though, that the stuff of UK tabloids is perfect fodder for today’s legions of ad-driven websites employing underpaid rewriters to push trending news stories. In short, a shoddily written story, with no redeeming qualities other than a catchy headline and provocative photos, can reach far more hearts and minds than an op-ed piece in a prestigious broadsheet ever can.

The fur trade has always tried to take the high road when it comes to public relations materials. But maybe we should be taking the low road too. Everyone else is.

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If you have a story that you think would be good fodder for the UK tabloids, send it our way and we’ll see if we can get an editor to take the bait! It needs to promote the message that fur is sustainable, and don’t forget the pics. But other than that, anything goes!

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