Spanning almost two decades, Joleen Mitton’s modeling career took her across the globe, featuring in campaigns for renowned brands like Kenzo, Clinique, and Vivienne Westwood, as well as on countless runways in Asia. She also appeared in print advertisements for everything from high-tech air conditioners to Hello Kitty paraphernalia. However, Joleen’s passion extended far beyond the glamorous world of fashion.

In 2017, Joleen founded the world’s first Indigenous Fashion Week, Vancouver Indigenous Fashion Week (VIFW), establishing a groundbreaking platform for celebrating and uplifting Indigenous fashion, art, and culture. Over the years, she has worked with more than 100 Indigenous designers and has collaborated with prominent organizations and events, including the Toronto Raptors, Truth and Reconciliation Day in Winnipeg, and the Vancouver Art Gallery’s FUSE. Through Indigenous fashion, Joleen has consistently created spaces for healing, education, and change.

Joleen also co-founded Supernaturals Modelling, the first Indigenous modeling agency, which serves as a platform to elevate Indigenous talent in the fashion industry. This agency works to challenge stereotypes, amplify Indigenous voices, and create opportunities for Indigenous models to thrive in a global industry.
As the founder and operator of All My Relations Ltd. and VIFW, Joleen has focused on producing fashion shows that exclusively feature clothing designed by local Indigenous designers and modeled by individuals of First Nation, Métis, and Inuit descent. Her work is deeply rooted in her desire to reclaim narratives and highlight the power of Indigenous voices through art, fashion, and community engagement.

Although Joleen appreciated the artistic aspects of the global fashion industry, she often felt disconnected from its lack of substance. This prompted her to redirect her focus toward creating meaningful connections in her community. Joleen dedicates her time to Indigenous community work. She collaborates with numerous non-profits, using art, fashion, and education to connect and inspire.

Through producing Indigenous fashion shows and organizing basketball tournaments across the city, Joleen has raised awareness about local Indigenous fashion and the Native basketball community. Her contributions include hosting tournaments, mentoring youth, and creating platforms that highlight the vibrancy of Indigenous talent.

A proud Cree woman, Joleen grew up in Vancouver's Downtown Eastside with her mother and spent significant time with her Kokum Alice Ward, who shaped her resilience and worldview. Following in her Kokum's footsteps, Joleen became a community support worker, assisting Indigenous youth in foster care, supporting families transitioning out of high-risk situations, and working closely with elders.
 

Caroline Phelps, whose ancestral name is QwAACWA from Ahousaht, BC, is of Nuu-chah-nulth, Stó:lō, and of Hawaiian descent. She is deeply committed to creating safe and empowering spaces for Indigenous artists, with a strong focus on advancing financial prosperity, economic sovereignty, and cultural self-determination. Caroline is a tireless advocate for Indigenous representation and leadership across the creative industries, working to ensure that Indigenous voices are not only heard but thrive. She currently serves as the General Manager of Vancouver Indigenous Fashion Week, is a board member of Canoe Cultures, and is the owner of TATUS Talent Agency and President of the Board for TATUS Creative Society. Through her work, Caroline continues to uplift Indigenous communities and support the next generation of creators and leaders. 

Kaelen Wilson-Goldie is a journalist, critic, and art historian. She is the author of two books — Etel Adnan (2018) and Beautiful, Gruesome, and True: Artists at Work in the Face of War (2022) — and contributes regularly to Aperture, e-flux Criticism, 4Columns, and Mousse, among other publications. Wilson-Goldie was a practitioner in residence at NYU’s Hagop Kevorkian Center for Near Eastern Studies in 2022 and won a grant from the Andy Warhol Foundation Art Writers Grant Program in 2013. 

She is a PhD candidate in art history and criticism at Stony Brook University, where her research focuses modernism, feminism, and decolonization in the Middle East and North Africa, emphasizing the work of groundbreaking but understudied women artists and the importance of cities such as Beirut, Cairo, and Algiers as major centers of art, culture, and political thought.

Nour Bishouty is a multidisciplinary artist working across video, sculpture, works on paper, digital images, and writing. Broadly concerned with gaps in archival memory and the Western production of knowledge and fantasy, her practice explores notions of articulation, permission, and the generative possibilities of misunderstanding. 

Her work has been exhibited internationally at Museo Universitario del Chopo (forthcoming 2026), Mexico City; Liverpool Biennial; Cooper Cole, Toronto; Art Jameel, Jeddah; La biennale de Québec; Gallery 44 Centre for Contemporary Photography, Toronto; the Museum of Contemporary Art, Toronto; Darat Al Funun, Amman; Casa Árabe, Madrid; Access Gallery, Vancouver; The Mosaic Rooms, London; and Beirut Art Centre, Beirut. Her artist books include “1—130: Selected works Ghassan Bishouty b. 1941 Safad, Palestine — d. 2004 Amman, Jordan,” (2020) edited by Jacob Korczynski and co-published by Art Metropole and Motto Books; and “731.52 cm of land,” (2025) published by Art Metropole in conjunction with Liverpool Biennial. 

She is currently represented by Cooper Cole (Toronto).

Jacob Korczynski is a curator and PhD candidate at the Malmö Art Academy. He has curated projects for the Stedelijk Museum, Cooper Cole, Western Front, and the Badischer Kunstverein, and his writing has been published by Afterall, BOMB, Camera Austria, and Flash Art. With his curatorial projects taking the form of exhibitions, screenings, and publications, he is also the editor of I See/La Camera: I (If I Can't Dance I Don't Want to Be Part of Your Revolution), Andrew James Paterson's Collection/Correction (Kunstverein Toronto & Mousse Publishing), Jimmy Robert's Revue (Leopold-Hoesch-Museum), and Nour Bishouty's 1—130 Selected Works Ghassan Bishouty b. 1941 Safad, Palestine — d. 2004 Amman, Jordan (Art Metropole & Motto Books). The recent recipient of a Curatorial Research Fellowship from The Andy Warhol Foundation for the Visual Arts, he is also the recipient of the inaugural General Idea Fellowship from The National Gallery of Canada.

Anastasia (she/her) is a queer, certified intimacy director, coordinator and fight designer from Mohkinstsis (Calgary) on Treaty 7 Territory. She is a founding member of Principal Intimacy Professionals (PIPs), and an instructor for the PIP’s SAG-AFTRA accredited intimacy training program. She’s worked with students at Ambrose University, UBC and UofA and is on the Board for the National Society of Intimacy Professionals. Anastasia holds mental health and trauma-informed care as central to her practice.

Select credits include: Legally Blonde (Citadel Co pro), A Streetcar Named Desire, Beaches the Musical, Selma Burke (Alberta Theatre Projects Co Pro), Meteor Shower, Escape To Margaritaville (Theatre Calgary), Hurry Hard (Western Canada Theatre), Mary Stuart (SAGE Theatre), Girl On The Train (Vertigo), Bombay Black (Alberta Theatre Projects), A Midsummer Nights Dream, Measure For Measure (Free Will Shakespeare), Genesis: The Mary Shelley Play (ACT Edinburgh Fringe), Guilty Party (Paramount+), Peacemaker (HBO), Upload S2 (Amazon). Special thanks to her PIPs Pals and loved ones for their ongoing support.