Greta Constantine is an accessible luxury line of ready-to-wear womenswear based in Toronto, Canada.
Founded in 2006 by designers Kirk Pickersgill and Stephen Wong, the label is derived from the combination of the name of the latter’s mother, Greta, with that of the former’s grandfather, Constantine.
The collection is available in over 40-doors worldwide spanning 15-countries including Hudson’s Bay in Canada, Nordstrom in the United States, and both Moda Operandi and Farfetch online.
The pair works together in their Toronto-area studio – – conceptualizing, exploring, and challenging the fashions of today for the women of tomorrow.
Greta Constantine has garnered attention from premium fashion and lifestyle publications including ELLE, Essence, InStyle, Marie Claire, Maxim, People, US Weekly, Variety, Vogue, Vogue UK, and WWD.
The collection has also become a go-to for celebrities given its streamlined, feminine-forward aesthetic.
As a result, the duo have dressed over the span of the past year Amy Poehler, Angela Bassett, Ava DuVernay, Catherine Zeta-Jones, Demi Lovato, Fergie, Freida Pinto, Holly Hunter, Kathryn Hahn, Katy Perry, Mary J Blige, Mindy Kaling, Molly Sims, Taraji P Henson, and Tiffany Haddish with appearances at high profile events including the Golden Globe Awards, the American Music Awards, the Grammy Awards, and the Screen Actors Guild Awards.
While collaboration in the fashion industry is not without precedent, each design partnership experiences its own nuances as a collection transitions from inspiration to muslin, sample to fashion show and finally, retail.
Where the contribution of one begins and the other ends is often difficult to map with the duo, however it becomes clear rather quickly that Greta Constantine is the collaboration. Neither would have achieved it alone.
As individuals, Kirk Pickersgill and Stephen Wong have rather distinct approaches and viewpoints on design. Wong skews towards the fantastical, as Pickersgill is concerned with wearability; the former focuses in on the finest of details of a piece of clothing, while the latter on the whole look.
However, as collaborators, it’s a mistake to say that their strong aesthetic is more the product of one’s mind than the others. To see such polish and signature come out of a rather young designer label suggests that maybe it really is the fusion of the two perspectives that has made it a truly Canadian success story.
Greta Constantine prospers as a label of ever-evolving signatures. In the late 2000s, this came in the form of Grecian jersey gowns with gathers, tucks, and swathes of fabric that enveloped the wearer.
These designs soon gave way to more minimal, column silhouettes as broader waves in fashion ushered in an era of simplicity. Over the past three seasons, drapery has been eschewed in favour of structure with the introduction of a microfiber knit technical fabrication.
Jutting peplums, criss-cross folds, nipped in waists, and razor-sharp shoulders define the duo’s collections as Greta Constantine surpasses ten years of business.
While this may come across as a bold shift from the jersey cowls of yesteryear, Pickersgill and Wong’s approach remains loyally rooted in shape — that of the female form, rather than of the abstract, sculptural variety.
For more info visit gretaconstantine.com/