BY: Alan Herscovici, Senior Researcher, Truth About Fur
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.
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.
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.”
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.
“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!”
Yassine Touati attended our March 2022 workshop and expressed his appreciation for the knowledge we were able to provide him in the pursuit of fur excellence. This is his story:
My interest in fur grew exponentially since my arrival to Canada about 18 months ago. I learned about the FurCanada workshop on the website “The Truth About Fur” at the occasion of my participation at the Canadian Fur Council Design Competition for which I was a finalist (I was lately able to attend their amazing Fur workshop which was delayed because of Covid). I was very eager to learn more about fur and working with it as soon as possible. Consequently, I reached out and I got to communicate directly with Calvin who was approachable and welcoming. I kept following the updates and as soon as I got the chance to come to Nanaimo for the workshop, I rushed to book my trip from Montréal to the Canada’s West Coast to attend two Fur design workshop sessions after saving for several months to be able to afford it. Following the footsteps of Canadian Explorers, in pursuit of furs, I embarked on this exciting journey to discover a new territory/part of Canada, the stunning nature and the rich cultural heritage. After a long Montreal winter, I was striving to learn new skills and fuel my inspiration and creativity.
At FurCanada, the charismatic Panos supervised and directed the workshop. He is a very knowledgeable teacher/instructor who I had the pleasure to get to know and connect with him partially due to Mediterranean shared culture and around the passion for fur. Every morning, Panos gathered the participants to discuss our questions and warm up the session. On the other side, Calvin played the role of maestro coordinating all aspects of the workshop. Even though, he was in the background, I got the chance to discuss with him and listen to his stories, his entrepreneurial vision, and his experience in the realm of Taxidermy and fur trapping which goes along with his passion to preserve traditions and trades fundamental to Canadian identity and embedded in its history as a nation. The workshop was an amazing experience where Panos brought his expertise from Kastoria, the Greek fur Capital, from the Old World to the New World all the way to the Pacific coast of Canada. Panos introduced his approach and demonstrated the fundamentals of that every furrier must master. He taught us how to examine the anatomy of skins/pelts while considering the individuality of each animal. We learned how to recognize and determine the features as well as any visible defects, scars… This observational step is crucial to making the necessary corrections using well defined classical techniques. We spent a considerable amount of time blocking several skins of different sizes such as Canadian sable, Fox, and Canadian beaver. I realized the importance of blocking and shaping the skin to define the dimensions required to fit our patterns/designs. As a leather designer working with leather, these techniques were a revelation and new knowledge. A pelt is more shapable and allows the furrier and fur designer more flexibility than leather. On the other hand, the animal skin in its natural format and color must be considered as an individual and therefore assembling skins from the same animal specie should involve another set of skills and the expertise related to colour grading (another technique Panos was eager for us to practice extensively).
During the workshop, I was able to meet and interact with other students each from a different walk of life. We all shared our knowledge and a common passion for fur. The classroom environment encouraged interactions, open discussions, and lot of questions, all in a general atmosphere of hospitality and generosity. Panos was generous with all the information he shared and motivating us to ask the most questions. I personally enjoyed learning the techniques of blocking and stretching the skins which involved dexterity and manual skills. Working with my hands and touching the materials was a great source of satisfaction.
I am very happy that I was able to meet and learn from both Calvin and Panos. It is a pleasure for me to be part of this community and to do my best as a designer to promote fur designs and contribute to it through my personal vision. My dream is to see the Canadian fur industry once again thriving and celebrating tradition, innovation, technology, and excellence as a gratitude for the wealth of natural resources and a connecting point with the cultural heritage of Canada’s first nations.
The Department of Industry, Tourism and Investment’s NWT Arts Program held the 3rd annual Sealebration Workshop from February 28-March 1, 2022 in Inuvik, NT. This workshop was open to Indigenous artists, registered in the NWT Arts Program, who work with seal. There was no cost to participate, and all materials and supplies were provided to the artists.
Eight Indigenous artists from three communities (Inuvik, Tuktoyaktuk, and Yellowknife) took part in this five-day workshop. Participants included:
The workshop was held at the Midnight Sun Recreating Complex and was instructed by Master furrier, Panagiotis (Panos) Panagiotidis, from Fur Canada. Panos has taught at the Fur School of Kastoria in Greece and has three decades of experience in the fur trade, in Europe and now in Canada. The workshop curriculum focused on skin grading, blocking, pattern design, and using a fur sewing machine and an industrial sewing machine.
NWT Arts also presented their eight workshop video series NWT Arts Workshop Series: Selling Your Art. This workshop series was developed to help NWT Artists to learn about the different ways that are available to sell their artwork. Participants learned about pricing artwork, the importance of creating an artist portfolio, marketing, and how to sell their artwork.
An industrial sewing machine and a fur sewing machine were purchased using the project budget. These two machines, as well as the tools below were gifted to the Town of Inuvik. They will be housed in the new facility currently under construction in Chief Jim Koe Park, the Inuvik Welcome Centre. The Inuvik Welcome Centre will be a combination space of both a covered, but open-air wood & beam promenade adjacent to an enclosed visitor reception building that is set to have visual and digital displays for visitor and residents. Also included in this space is a small multi-purpose community room to be used for workshops, meetings, and presentations. These two machines will become part of the offering to community residents, artists and crafters to use, access, and demonstrate throughout the year.
The Town of Inuvik received:
• Techew fur sewing machine
• Jukki industrial sewing machine
• French curve ruler
• Metallic ruler in inuvik –
• Dress Making shears
• Chalk x 3 black, grey, red
• Fur comb
• Blocking plyer
• Round staple remover
• Variety of needles/threads
• Jacquard fabrics
Each participant received a sewing kit that contained:
• French curve ruler
• Metallic ruler
• Dress Making shears
• Furrier knife w blades
• Professional grade needles for hand sewing
• Chalk x3 black, grey, red
• Fur comb
NWT Arts was also able to donate a sewing kit to the Tuktoyaktuk Community Corporation (TCC) who has a fur sewing machine for artists in the community to use.
At the end of the workshop, each participant filled out an NWT Arts Workshop Survey. The feedback was incredibly positive. The only negative comments were that the workshop wasn’t long enough and that it went by too quickly.
Participant feedback from Taalrumiq Christina King:
“It was wonderful, educational, and life-changing in regards to my work. I learned so much that I look forward to putting into practice.”
A fresh opportunity is coming soon for future designers to receive a holistic education on working with fur, against a backdrop of its cultural and historical importance to British Columbia’s Indigenous First Nations.
The Learning Hub of Education and Design School will be held in Alert Bay on the ‘Namgis Indigenous First Nations Traditional Territory of Vancouver Island. It’s a product of a partnership among BC’s First Nations, Pacific Balance Marine Management Inc., and Nanaimo-based FurCanada. The ultimate aim of this partnership is to re-establish sealing and the fur trade as an important player in the economy of BC, where commercial sealing ended in the early 1970s. The Learning Hub executive would like to thank the ‘Namgis First Nations for sponsoring this program.
Pacific Balance Marine Management Inc. is a First Nations group pushing for a license to sell pinniped products, including furs, human and pet food, and seal oil. FurCanada, which will organise the Learning Hub, is a fur manufacturing company in Nanaimo specialising in luxurious home décor, including blankets, pillows, floor coverings, garments, furniture and accessories. It is also known for its museum-quality taxidermy mounts.
FurCanada CEO and president Calvin Kania had hoped to welcome the inaugural batch of students this March, but Covid-19 has pushed the launch back to at least November. Once the green light is given to proceed, 25 students will engage in 10 days of intensive study, with all materials, tools, machinery, accommodation, meals, transportation, field trips and instructors covered by a nominal fee of $500 per head. Prior experience will not be a factor in the selection process, but prospective participants must demonstrate a genuine interest in learning about fur, including its history.
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