Made in Montreal: The Next Generation

Lou Eymenier & Zahra Boujrad

Raphaëlle Daigle et Stella Mireault-Legaré

Léa Martel

TESSÈLES draws inspiration from the principles of mosaic and urban architecture: each fragment retains its identity while contributing to a new overall composition. The project gives rise to a feminine silhouette constructed from square and rectangular modules, evoking patchwork, architectural façades, and the visual signage of advertising banners. Recycled denim — an iconic everyday material — enters into dialogue with Première Vision’s signage banner, an ephemeral communication medium, to create a garment that is both durable and expressive. The deliberate asymmetry and repetition of squares convey the idea of non-linear reconstruction, where constraint becomes a driving force for creativity.

The silhouette consists of a structured ensemble. The top, made from recycled denim, features a clean cut across the bust and shoulders. Its fastening system, slightly shifted to the left, enhances the asymmetry and closes with metal eyelets sourced from the banner, combined with lacing. The long, voluminous sleeves are built through the layering of multicolored squares, bringing structure, movement, and rich texture. The short skirt extends this modular approach through a patchwork of denim mixed with tessellated pieces of signage banner in vibrant hues — blue, pink, red, and violet. Assembled irregularly, the modules create a dynamic visual rhythm. Original denim elements — pockets and topstitching — remain visible and fully contribute to the garment’s upcycled aesthetic.

TESSÈLES questions the notion of value in fashion: how can materials destined to be discarded become the core of a contemporary piece — strong, expressive, and designed to last?
Through the careful optimization of surfaces — layering and patchwork allowing for the complete use of the banner — no new textile is introduced. Visible topstitching ensures both structural strength and visual expression. The project thus proposes a responsible approach in which technical constraints, sustainability, and creativity are closely intertwined.

Harmonie Ribet

Sabrina Lemay et Ann Bellemare-Langlois

Sophie Shan-Gagnon

At the origin of the project lies a simple observation: a significant stock of jeans to be upcycled, some of which were too worn to be transformed back into garments. Rather than discarding them, the idea emerged to create a more compact object — yet one that would remain useful, wearable, and comfortable. The hat quickly became an obvious choice: a transformable accessory designed to be worn year-round and to accompany every adventure. To ensure proper structure, a rigid framework was required. PVC banner material proved ideal, allowing two main materials to be upcycled within a single piece — three, if the lining is included.

The design merges two inspirations: the desert bucket hat and the trapper hat. Its deliberately worn aesthetic evokes exploration and travel. Thanks to its detachable panels, it adapts to different situations — offering protection from wind while hiking, shielding from the sun at the beach, or serving as a functional companion for outdoor activities.

The structure is made from PVC banner, covered with strips of worn denim applied with contrasting thread and left unfinished to preserve a raw appearance. The strips are arranged irregularly, enhancing the handcrafted, adventurous feel and moving away from the original design drawing. The interior is lined with a lightweight reclaimed denim shirt, and the brim is spiral topstitched in the tradition of the classic bucket hat.

Touches of paint, created from leftover acrylic tubes, punctuate each piece, making every hat unique.

This project transforms wear into both an aesthetic and technical quality, giving new life to materials that were once destined to be abandoned.

This project takes the form of a coat designed to accompany everyday life. Worn over a simple T-shirt or layered over a wool sweater, it transitions seamlessly from spring to fall and adapts to different contexts. Its reversible design offers stylistic versatility depending on the occasion, extending its use and contributing to a reduction in clothing consumption.

Entirely crafted from denim and banner offcuts, the coat follows a logic of material valorization and maximum waste reduction. Its aesthetic is built on the interplay of shapes, colors, and layered elements. Visible topstitching contributes both to the garment’s durability and to its visual expression. Cut asymmetrically, it features a front opening slit and a semi-high collar extended by a tie-like flap that fastens toward the back. Hip-length, with ease at the waist, wide straight sleeves, and generous cuffs, its silhouette is both structured and fluid.

The first side is composed of a patchwork of recycled denim. The reverse side is made from offcuts of black denim previously developed within a fashion design program. Banner material is integrated into the hem to improve drape through its weight while reinforcing durability. Strong and waterproof, it resists creasing, friction, and weather conditions. It is also used for the front pocket — covered with denim — as well as at the back, where a rectangular patchwork panel valorizes the smallest offcuts, evoking a textile composition close to an artwork.

Conceived within a circular framework, the coat anticipates its own transformation: when worn out, the denim can be recovered to create new objects — a tote bag, handbag, or pouch — further extending the material’s lifecycle.

Camille Dorvilier-Schell et Simon Lamoureux 

Emma Langlois et Ezra Le Vallée-Molina 

Fuji Chen et Kalina Pageau

Adorned with textured accessories reminiscent of reptile leather and paired with a removable, washable cover, this bag breathes new life into Première Vision Montréal signage banners, deadstock denim offcuts, and upcycled trims.

Entirely upcycled, it combines strength, waterproofness, and adaptability for everyday use — without compromising on aesthetics. Its design is grounded in deliberate creative and technical choices: cuts that are both organic and structured; coordinated, modular accessories; the application of a matte protective finish on transformed elements; and a balance between raw edges and denim binding to tame the rigidity of the banner and allow it to develop a patina over time. Construction combines machine and hand stitching as needed, using durable nylon thread suited for accessories. An interior facing protects personal belongings while reinforcing the lining.

The sustainable approach is reflected in a pattern designed to minimize waste, as well as in accessories created from offcuts generated by the Collège LaSalle group. The upcycled hardware — feet, zippers, rings, and clasp — serves protective, decorative, and modular functions, contributing to the bag’s personalization.

Following this same evolving logic, the stylized and modular cover facilitates transport and maintenance. Secured with integrated snap buttons, it can be replaced, offering multiple lives to a single object — continuously renewable and customizable.

“Buccaneer” is an ensemble composed of a pirate-inspired coat and a dress developed within the same aesthetic language. The rigidity of the vinyl canvas provided guided the design of the coat: its structure, drape, and durability became central elements of the project.

Driven by a shared interest in costume, the designers revisited certain sartorial codes of historical buccaneers — wide cuffed sleeves, a bold pointed collar — reinterpreting them within a contemporary proposal. The dress, conceived to maximize the use of offcuts, draws inspiration from the V-shaped corsets of the era and extends into a structured circular skirt designed to amplify volume.

The coat combines structured canvas panels with strips of jeans framing each section, creating visual contrast while optimizing material use. The patchwork, lined with denim at the waist and sleeves, enhances mobility despite the rigidity of the vinyl. The denim strips — used on the bias and as inserts — were strategically cut to make the most of the available jeans.

The dress reflects meticulous upcycling. Its bodice, lined without interfacing, maintains a supple structure that allows it to adjust to the body. The circular skirt, where interfacing fuses the outer fabric and lining, creates voluminous, structured flounces. The patchwork alternates between small elements — strips echoing the coat, original jean pockets, fragments of waistbands — and larger panels forming the base. At the back, lacing made from reclaimed seam allowances and hems is paired with a zipper for ease of wear.

“Encircled” is a play on words evoking the idea of being surrounded by waste — both literally and symbolically. The dress materializes this concept: it visually represents the excess that surrounds us, transforming materials destined for disposal into an artistic, expressive, and wearable piece.

Beyond simple reuse, the project incorporates an in-depth reflection on pattern-making and production processes, embedding the creation within a truly sustainable approach.

Aware of the structural properties of the banner material, the designers chose to integrate it into the outer elements of the dress. During cutting, only long rectangular strips were extracted in order to maximize material use. These strips were then painted, giving them a new visual identity.

To allow the outer elements to extend away from the body, an internal structure was required. This was created from reclaimed metal wires, straightened from used dry-cleaning hangers collected from individuals — transforming a common waste item into a sculptural framework.

The denim elements, inserted between the banner strips and forming the gradient of the dress, come from surplus stock, samples, and damaged jeans provided by Collège LaSalle and the local company N.F. Company. These were also cut into strips to optimize material usage. By harnessing the natural shades and properties of denim, a gradient pattern emerged, further developed through draping into the final shape of the dress.

Graham Otis Proulx

Marcela Vasconcellos et Riddhima Kumar

Samuel Ouellet

Created entirely from recycled denim and upcycled signage banner, this look consists of a dress, a top with a deliberately abstract construction, and accessories worn on the ears and fingers.

The inspiration is rooted in a city dear to the designer: Montréal. Architectural forms and the repetition of squares evoke the skyscrapers and urban density that shape her daily landscape. The color palette, achieved through a bleaching process using household products, recalls the subtle tones of the pigeons that inhabit the metropolis — familiar silhouettes within Montréal’s cityscape.

Through this composition, a singular abstraction emerges, suggesting both the vastness and vitality of the city. The look thus becomes a textile interpretation of Montréal’s urban beauty: raw, structured, and profoundly alive.

“Woven Rebirth” emerges from the encounter between two distinct concepts — “Weaving Through Discards” and “Trash to Treasure” — united by a shared concern: the consequences of overpopulation, overconsumption, and the growing accumulation of waste. From this collaboration arises a collective project in which both visions intertwine to form a singular proposal.

The piece offers a reflection on the cycles of excess, disposal, and renewal that define our contemporary society. In a world saturated with material, what is perceived as useless becomes a creative starting point, inviting a reconsideration of value and luxury within the fashion industry.

The final silhouette, composed of a voluminous skirt and a structured bustier, is entirely created using textile weaving techniques. Offcuts of recycled denim and upcycled event banners are interlaced and reconstructed. Weaving thus becomes both a method of fabrication and a symbolic gesture: it connects, transforms, and brings material back to life.

Conceived as an evening look, the piece redefines luxury through sustainability, artisanal craftsmanship, and the conscious use of resources. “Woven Rebirth” demonstrates that materials destined for disposal can metamorphose into a refined and expressive creation, offering a renewed perspective on waste, value, and fashion’s responsibility in a constantly evolving world.

The main challenge of the project lay in anticipating the drape, gesture, and distinctive rigidity inherent to the advertising banner — a raw, constraining material with a strong structural presence.

The accessory imagined wraps around the body, following its lines while negotiating the limitations imposed by the material. Designed to optimize the recovery of the banner, it can be worn in multiple ways, encouraging both modularity and durability.

Draping tests were carried out directly on the body to extract the pattern pieces. This approach ensured accurate proportions and a deliberately rigid drape. The binding was prepared by making the most of the detailed areas of recycled denim, then cut into strips before the final assembly. The various components were subsequently joined and finished with the binding, which structures the overall piece.

The accessory is composed of two distinct elements that wrap around the body and fasten with multiple snap points. They can be worn together or separately, depending on the desired stylistic intention.

Tristan Benjamin et Lambert Desjardins

Grégoire Cantin et Christophe Paré

Myriem Schaffner et Lauralie Légal-Bissonnette

Developed as part of the Première Vision competition, this pair of boots draws inspiration from medieval aesthetics — particularly knights’ armor — as well as from Antiquity, referencing gladiator sandals. The ambition was to create a strong editorial design whose composition and construction are entirely grounded in an eco-responsible approach.

Rising to mid-calf, the boots feature an adjustment system composed of straps connected by deadstock snap buttons. The exterior is crafted from upcycled banner material, while the interior is fully lined with denim to ensure comfort and breathability. Straps at the calf and across the instep reinforce both functionality and support.

The soles, also made from upcycled denim, underwent several rounds of experimentation in order to avoid the use of polluting rubber or silicone. The selected solution consists of multiple layers of denim fused together, then coated with beeswax to ensure durability and waterproofing. This process enables long-lasting outdoor use, capable of withstanding weather conditions without compromising the structure.

The exterior of the boots was patinated with a fine layer of charcoal, revealing the raw, irregular texture of the banner material and enhancing their antique dimension. The result is a silhouette that is both referential and contemporary.

Beyond the object itself, the project asserts the largely untapped potential of upcycling within footwear design. As a first exploration in this field, this pair embodies an “armor of tomorrow”: a demonstration that creativity and upcycling can move forward together. Every constraint encountered became a driver of innovation, revealing the expressive richness of so-called unconventional materials.

Influenced by the Canadian tuxedo, an emblematic icon of our national identity, this project offers a contemporary reinterpretation of its codes. A vintage Americana aesthetic is juxtaposed with meticulous weaving techniques, creating a dialogue between tradition and innovation — much like Première Vision Montréal itself, a crossroads of craftsmanship and creation.

The garment’s DNA lies in the meeting of French artisanal heritage and a robust silhouette adapted to the realities of Québec’s territory. The reuse approach goes beyond the simple incorporation of advertising banner material; it unfolds through a logic of patchwork and assembly in which originally utilitarian elements become adornment. This approach draws from the DIY spirit, upcycling practices, and the culture of personalization embraced by local artistic communities that shape Montréal’s urban landscape.

In alignment with Première Vision’s values, the objective was to generate no new waste. Rather than designing a new object from scratch, the project is based on the revalorization of an existing denim jacket. The banner material is progressively integrated, harnessing its resistance properties. The two materials are interwoven to create an unprecedented textile, born from their hybridization. The jacket’s traditional silhouette contrasts with the dynamic lines and industrial rhythm of the applied weaving. The pattern, inspired both by the ceinture fléchée of Québec folklore and the diagonal of twill, reaffirms the importance of cultural origins and materiality within the creative process.

The research process — visible through numerous study samples — reflects a constant evolution of craftsmanship, with each experimentation adapting techniques to the available resources. This exploration culminates in a computer-designed matrix system combined with meticulous hand weaving.

For this project, the research focused on shapes, volumes, and proportions, guided by a central question: what creates universal harmony? This exploration led to a reflection on balance — both formal and existential — and on how each element finds its place within a larger whole.

This quest brought the designers to the Nautilus spiral, an organic form governed by universal mathematical principles such as the Fibonacci sequence and the golden ratio. Found throughout the living world — in shells, plants, the human body, and even galaxies — it symbolizes growth, continuity, and proportion. It also functions as a natural protection, enveloping without constraining. Through this reference, the project establishes a parallel between the structure of the garment and the human condition: like the spiral, the individual evolves within a constant tension between expansion and protection, movement and stability. The form becomes an evolving armor, capable of protecting while supporting growth.

The garment is composed of a structured shell connected to a bodice featuring a high collar and pockets designed as defensive elements, reinforcing the idea of contemporary armor. A transformable hood — which can fold and convert into a crossbody bag — deliberately blurs the boundary between garment and accessory. The entire piece is fully reversible, offering two distinct aesthetic and functional readings depending on which side is worn.

This reversibility, combined with the garment’s modularity, lies at the heart of its sustainable approach: a single object capable of adapting to different uses, contexts, and moments in time, thereby extending its lifespan and limiting the multiplication of clothing. The garment thus becomes an evolving, multifunctional, and responsible object, in dialogue with the principles of balance and proportion that guided its conception.