Evidence of meeting #23 for Canadian Heritage in the 42nd Parliament, 1st Session. (The original version is on Parliament’s site, as are the minutes.) The winning word was fashion.
A recording is available from Parliament.
General Director, Fashion Museum
That's one of the challenges. One of our hundred challenges is to promote and unite the emerging fashion industry.
General Director, Fashion Museum
We submitted a proposal for a Canada-wide virtual exhibit project with the theme of 150 years of fashion in Canada. We submitted it twice, but, unfortunately, the project was not accepted. At the Fashion Museum, we are very interested in forging many links across Canada based on our theme. However, once again, we need the means to do so. If the process always consists of trying to create a project proposal, submitting it under a very specific framework, and waiting for a response—which generally comes six months later—we would have had time to do something else in the interim.
It's thus extremely difficult to carry out day-to-day activities, especially solicitation and development activities. It's not possible right now, but we would very much like to expand across the country.
President, Fashion Museum
Yes. When I started as a fashion designer, I was part of the Fashion Designers Association of Canada. The great thing was that shows were always being held in Toronto, Montreal, and Vancouver, followed by a tour of all the Canadian cities. The association no longer exists. I think the museum can represent the link, the creative hub that takes Canadian and pan-Canadian fashion across Canada.
Conservative
Peter Van Loan Conservative York—Simcoe, ON
I don't have much time left, but I'm told we might get another five-minute round.
Conservative
Peter Van Loan Conservative York—Simcoe, ON
Think about this to answer in the next round.
Some museum experts in the United States, and this builds on the last question, say there is a transition occurring from museums as quasi-public institutions to becoming part of civil society, more divorced from public funding, and more committed to having separate identities, foundation funding, industry funding, and public-generated funds, and that has been happening in the United States.
I'd like both sets of witnesses to think about that question, because you're not going to have time to answer now.
Conservative
Peter Van Loan Conservative York—Simcoe, ON
Think about that question, and if that's something that's happening in Canada and elsewhere in the Commonwealth. Is that something that will happen, and what are the implications?
Pierre Nantel NDP Longueuil—Saint-Hubert, QC
Thank you, Madam Chair.
Thank you to the three witnesses for being here this morning. It's certainly very informative to learn about your situation, which is obviously very different from that at other museums.
Regardless, parallels can be made between the remarks we've heard from the various witnesses. For example, when she was here on Tuesday, Ms. Blanchette, from the Musée Pointe-à-Callière, said it would be good to have a program to generate support from the industry and private sector.
I think you made good points, Mr. Poitras, and I have the impression you're on a mission. Thank you. Honestly, it's rare to find someone with such a strong background in design and fashion on a board of directors.
Another observation was made when we heard from René Rivard, who identified...
I see you agree.
General Director, Fashion Museum
Of course, we know each other. It's a network.
NDP
Pierre Nantel NDP Longueuil—Saint-Hubert, QC
Mr. Rivard spoke of the importance of creating a national storage system or a similar structure. If a material were difficult to store, I suppose it would be clothing as opposed to a marble sculpture.
The key question I want to ask—and the reason why I think it's very worthwhile to have you here—concerns your recent move. It's very important because, for the Saint-Lambert community, which is very close to my Longueuil community, the Musée du costume et du textile du Québec was long seen as a forgotten gem. It was located in a very visible spot, but on a very inaccessible street corner without parking. The students from the school next door would visit the museum, but other than that, I don't think it had many visitors. I want you to tell us about this little museum, which may have been too large for its location.
Today, you have a new location. The change corresponds perfectly to the new trend referred to by Mr. Van Loan of museums becoming places to bring people together in society.
You're now at the Bonsecours Market, where the Grande braderie de mode québécoise is located. The stars are aligned. All the elements are in place, but some magic needs to happen to move things forward.
General Director, Fashion Museum
Indeed.
The museum is 37 years old. It was located in Saint-Lambert, in a very small historic building. Nevertheless, many large exhibits were held there. The collections were put together with the help of donations. In 2005, the management at the time agreed the collection was made up much more of things like textiles and fashion. That's why the Musée Marcil became the Musée du costume et du textile du Québec.
Five years ago, when I started working at the museum, which, back then, was in Saint-Lambert, as the executive director, my mandate was to look at what had been done to move the museum and to find a solution. Projects to move the museum to Longueuil, Saint-Lambert, or the post office had been ongoing for 20 years. However, it was clear that if the museum wanted to expand while keeping its fashion and textile art focus, it had to move to Montreal.
We looked at the possible locations, and the Bonsecours Market turned out to be the right spot, specifically because the museum's main theme is tied to what goes on at the market. However, I won't deny that going from paying a modest rent to a high rent has caused an additional problem with covering the museum's operating costs.
That said, we're very pleased. The location is suitable, and the number of visitors has doubled. We want it to quadruple or quintuple. Each year, 700,000 people visit the Bonsecours Market. While studying the business plan that enabled us to move the museum to Montreal, it became clear to me that if 10% of those people visited the museum, we would be doing well.
I also spoke to you about a signage problem at the market. There's not enough signage, which is a drawback. I will soon be meeting with a Canadian Heritage official to study the matter and look for a solution, and not only for the museum. We are located in a heritage building, and the area is popular with everyone.
President, Fashion Museum
Joanne, I would like to add something.
Mr. Nantel, what you said is very important. We are at the museum, and there is the Grande braderie de mode québécoise. The people at the market have seen that we've really changed things. They are now giving us space throughout the market, which is quite extraordinary.
Also, the Quebec Craft Council is already established at the Bonsecours Market. We think the area could very easily become a design and fashion centre for tourists to discover. When they leave the museum, all the tourists tell us that it taught them that Canadian fashion existed. That's quite significant. Almost everything is in place to establish this creative fashion and design hub.
NDP
Pierre Nantel NDP Longueuil—Saint-Hubert, QC
If you have time before leaving, I suggest that you visit the Byward Market and look at the main building. There are strange and worrying similarities between the two locations. In that building, the signage is very confusing. It think it's an example of what not to do.
The location of your museum in Montreal is very popular with tourists. Everyone goes there.
Are there fashion lovers in Montreal who subscribe to magazines but know nothing about all this? Do you think a partnership would be possible? The costume dimension has become more prominent as a result of Montreal's Grand Costumier, which saved Radio-Canada's wardrobe collection.
Can your profile be raised by our stars?
General Director, Fashion Museum
The Grand Costumier is a completely different ball game. Also, they have just hired a director and they're involved in their own moving project. In that vein, I was on the board of directors of the Centre national du costume, a large costume collection in Montreal created by François Barbeau, who passed away recently. It's a completely different market. The Grand Costumier's goal is to rent out costumes and recover its costs. However, I did tell them that, if they're interested, certain donations that we receive but don't keep could go to them. The fact remains that it's a completely different dynamic, process, and so on.
Liberal
The Chair Liberal Hedy Fry
Thank you.
If we want to have a five-minute second round, we're going to have to stick to the time.
Now we go to Mr. O'Regan for the Liberals.
Liberal
Seamus O'Regan Liberal St. John's South—Mount Pearl, NL
Thank you very much.
Ms. Cole, I'll begin with you. I'm less interested in comparison to American best practices than I am in comparisons to those of our European, Australian, and New Zealand friends. In terms of where they're going and the models they're following, particularly when it comes to funding, are you witnessing any changes there, or are they in the same place as we are?