Heritage, Runways, and Remembrance: Marichka Baysa on Lvivna’s 2025 Momentum

Author(s): Scott Douglas Jacobsen

Publication (Outlet/Website): The Good Men Project

Publication Date (yyyy/mm/dd): 2025/11/05

Marichka Baysa, founder and designer of Lvivna, reflects on a year of growth across Toronto Kids Fashion Week runways in Calgary, Edmonton, and Toronto, where blue-and-yellow pieces resonated with diaspora audiences while a red suit and new floral line connected with Toronto’s multicultural crowd. She details backstage realities, curating repeat work for Vyshyvanyj Vechir, and foregrounds Ontario’s 2025 mandate to teach the Holodomor, a step she welcomes for broader public awareness. As SUSK’s external relations lead, she reports revived campus clubs nationwide and a mentorship program. Lvivna’s mission remains heritage-forward modernity, with embroidery and flag motifs, and a forthcoming, everyday-wear Christmas capsule.

In this interview with Scott Douglas Jacobsen, Baysa charts Lvivna’s year: blue-and-yellow pieces selling out with Ukrainian-Canadian audiences in Calgary and Edmonton, while a red suit and floral line speak to Toronto’s multicultural runway. She outlines the chaos and craft of backstage work, repeats curatorial choices for Vyshyvanyj Vechir, and doubles down on heritage—modern embroidery, flag motifs, and a forthcoming everyday Christmas capsule. Wearing her SUSK hat, Baysa describes reviving student clubs nationwide, building mentorships, and partnering with UCC. She welcomes Ontario’s 2025 Holodomor mandate, expecting broader awareness to follow. Children’s couture pauses; women’s wear leads amid industry retrenchment and war-time resilience through the winter.  

Scott Douglas Jacobsen: We are here again with Marichka Baysa, founder of the kidswear label Lvivna, after about a year—or maybe less. This time, we are discussing a new set of questions. Lvivna appeared on multiple runways at Toronto Kids Fashion Week in 2025, including Calgary, Edmonton, and Toronto. What design unified those shows?

Marichka Baysa: Toronto was different from Calgary and Edmonton because those two cities have long-standing Ukrainian-Canadian communities and very active local organizations. In pastyears, many Ukrainians who immigrated to Canada have settled mainly in Edmonton and Calgary, though quite a few have also moved to Toronto recently.

Most of the blue-and-yellow Lvivna designs sold out. Those were the most popular in Calgary and Edmonton because they resonated strongly with the Ukrainian-Canadian community. I reached out to the Ukrainian Canadian Congress’s local branches and offered tickets to the shows—they were very supportive.

Toronto was different because it is a more multicultural city. The red suit received the most applause, as did the new collection featuring floral designs—those connected better with the diverse audience. People from Europe came up to me afterward and said they recognized the modern cut and Eastern European influence. Meanwhile, Canadians and people from the Middle East or Hispanic backgrounds told me, “It is beautiful, but we do not really understand it.”

The new floral collection drew many comments, like “It is beautiful” and “Wow, it is painted.” That is what I heard from people there.

Jacobsen: For the Vyshyvanyj Vechir 2025 event at Palais Royale in Toronto, what was your curatorial brief?

Baysa: It was essentially the same as last year since the event was repeated. I did not have the new collection ready yet, so I showed the same one with a few added pieces. Everything was quite similar this year, although it didn’t go as smoothly as before because part of the organizing team was away. I was managing another designer’s collection, styling the models, and running my own line at the same time. If you’ve ever been backstage at a fashion show, you know it’s chaos.

It’s hectic—you’re constantly looking for models, telling them, “Please don’t go anywhere.” Young girls want to take photos or have a drink, so you’re always trying to corral them. When I finally got everyone back to the backstage area, the organizers and I were frustrated because the models weren’t listening. This year was challenging, but it still turned out well in the end.

The main thing is that even if you don’t know exactly what you’re doing on stage, act like you do so the audience believes it. That was my focus. If you don’t know how to walk, pretend you do and work it out in the moment.

My goal was to have everyone ready, relaxed, and smiling on stage. We had the same challenges as before, but regardless of what they were wearing or how nervous they were, they managed to relax and perform confidently in front of the audience.

Baysa: Some designs—mine and those of other designers—had elements at the back or front that required the models to adjust their hair, so I constantly reminded them about that too.

Jacobsen: Ontario’s decision to mandate Holodomor education in high schools takes effect in 2025. How are you translating policy into practice?

Baysa: First of all, I’m thrilled it happened. I’m grateful to Minister Stephen Lecce, former Minister of Education, who introduced the policy, and to Minister Jill Dunlop, who continues to support it. Both have done a great deal for the Ukrainian community. I know them personally—we work in the same building—so I often see them in the elevator or the lobby.

The Holodomor is one of the most tragic events in Ukrainian history, and it’s crucial to discuss it. I’m happy this policy has gone through and is now part of the education system. We’re teaching the children. Of course, Ukrainian schools in Canada have always taught about the Holodomor and other parts of our history, but that was limited to a few Ukrainian-language schools in the Greater Toronto Area. Now, not only Ukrainian or European children will learn about it—Canadian students in general will.

The Holodomor is comparable to, or perhaps even greater in scale than, other genocides. It’s similar in nature to the Holocaust, which took place only about a decade later. There were three major Holodomors: the first in 1921–23, the largest in 1932–33, and another in 1946–47. Then the Holocaust began in 1941 and lasted through much of the Second World War. So there’s roughly a ten-year gap between these two horrific tragedies that devastated Eastern Europe.

The Holocaust also took place in Ukraine, under both Nazi and Soviet occupation. For example, in my hometown, Lviv, there was the third-largest Jewish ghetto in Europe. It’s important to acknowledge that, just as Jewish people have done a remarkable job of ensuring the world never forgets the Holocaust, we now have a similar responsibility to ensure that Ukrainian suffering under Stalin’s regime is remembered.

We’re talking about it much more now, and I’m glad that local media are beginning to cover it too. When I first came to Canada in 2022, the Ukrainian diaspora would hold memorial events, give speeches, and observe Holodomor Remembrance Day—but outside our community, few people even knew about it. When I spoke to Canadian or international friends, they would ask, “What is that? A celebration?” I would have to explain that it’s a memorial for a tragedy caused by Soviet policies.

Now, awareness is growing. We’ll see how Canadian schools handle it in practice, but I hope the topic remains part of the curriculum. I remember attending the 2023 announcement where Minister Lecce officially declared the Holodomor a mandatory part of the Ontario curriculum. Several MPPs and community representatives were there. It’s been about a year or two since implementation, and from the Ukrainian schools’ perspective, we’re teaching it even more actively.

From what I’ve heard—since I don’t have children myself—Canadian schools are also beginning to discuss it. My neighbours’ kids, who are five or six, come home from school speaking English fluently and tell me, “We learned about the Holodomor today.” It’s wonderful to see that level of awareness starting so young.

Jacobsen: Well, when they have a runway show, you’ll be right there.

Baysa: Exactly! Some of the kids told me, “This happened to Ukrainians?” and I said, “Yes, that’s our history.” They were surprised that such a tragedy had taken place. So yes—it’s working. The Holodomor is now in the curriculum and mandatory, at least in elementary school. Ontario Education Minister Stephen Lecce announces the province is introducing new mandatory learning about the Holodomor famine of 1932-33 and its impacts on the Ukrainian community in Canada. The subject will be taught as part of the Grade 10 Canadian History course and will begin in September 2025.

 Its now mandatory for Gr. 10 History course. From what I’ve seen, most high school students I’ve spoken with in Toronto and Mississauga briefly cover World War I and World War II, and, of course, the Holocaust. But I haven’t heard them mention the Holodomor. It may still be optional for teachers to include it. At least in elementary schools, it’s being taught, which is essential. High schools is now following the same system.

Jacobsen: In a prior interview with International Policy Digest, you linked SUSK outreach to newcomer support. Any measurable wins this year? Any caveats in the responses?

Baysa: We accomplished a lot this year, though not just me alone, but as a team. Every May, we hold a board election and a presidential election or re-election, depending on the cycle. This year, we have a new president, and about half the team is new. I’m thrilled to see new faces and new students. Some are from Ukraine, but the majority were born here in Canada, which is terrific—they’re still strongly supporting Ukrainian values.

In terms of measurable achievements, we now have a Ukrainian Students’ Club in every university across Canada, except for a few colleges where communication has been inconsistent, so we’re still verifying whether those clubs are active. Otherwise, yes—every major university has one.

This year, I’m thrilled because it was my initiative. Last year, we didn’t have any active Ukrainian student clubs in Eastern Canada. Now we do—in Halifax, Nova Scotia, and St. John’s, Newfoundland. I contacted a friend there. We found students willing to start a club. We also reactivated the club in Vancouver and reached out to every inactive chapter across the country. Now they have funding and organizational support, which is excellent.

Our partnership with the Ukrainian Canadian Congress (UCC) has also improved significantly since SUSKgot the new president, especially since the summer. The students are energetic and have more time to work on our projects. Personally, it’s all the same to me—summer or winter; I’m always working—but the new leadership really strengthened communication and collaboration.

We’re also organizing the Arts Night event, where Lvivna will showcase its designs. It’s happening on November 13, 2025 and will include an exhibition of artworks by Ukrainian and Ukrainian-Canadian artists. The goal is to raise funds for SUSK and for the Help Us Help Children of Ukraine organization, which supports children affected by the war in Ukraine.

It’s been a great year overall. We’re already preparing for next year’s SUSK Congress, and I’m optimistic about the direction we’re heading in.

As the Director of External Relations, I’m currently looking for new students to join upcoming events—mainly to expand the network, meet new people, and connect them with Ukrainian youth. We’re also developing a mentorship program to pair students with professionals in their fields so they can receive guidance, learn practical skills, and gain insight into their future careers. If all goes well, we plan to launch the program next year.

Jacobsen: Ukrainian Fashion Week 2025 spotlighted resilience and heritage. Resilience is evident, given the war context. As for heritage, based on my conversations with people in Ukraine, it remains a core national value. How does Lvivna’s craft align with that?

Baysa: I agree. Heritage has become one of the most vital themes since the full-scale invasion. Over the past few years, we’ve spoken constantly about our cultural heritage—what defines it, and how it differs from Russian heritage. Historically, Russian culture appropriated parts of ours. They didn’t inherit it; they steal it. That’s why heritage keeps us alive as people—it’s what sustains us as a nation, especially for those of us far from home.

Canada is oceans away from Ukraine. In Europe, it’s easier to stay connected to one’s roots, but here it requires deliberate effort. 

Jacobsen: For example, my family has Dutch heritage. My grandfather was part of the Dutch resistance during World War II, and in 2016, our family received recognition from Yad Vashem for sheltering a Jewish couple during the Holocaust. The Dutch were also victims of Nazi occupation, though in different ways than the Jews, and many risked their lives to help others under a brutal regime.

Baysa: That’s exactly it! What I’ve noticed is that before the full-scale invasion, Ukrainians in Europe didn’t emphasize their heritage as much—it was simply part of life. But in Canada, heritage has always been the cornerstone of the Ukrainian diaspora. People here had limited opportunities to visit or return home, so cultural traditions, language, and community became lifelines for identity.

For Lvivna, Ukrainian heritage is one of the brand’s foundation stones. My interpretation focuses on the heritage of our traditions, language, and colours—those elements carry meaning beyond aesthetics. When I visited Ukraine recently, I noticed how modernized everything has become, especially in fashion. Many Ukrainian designers now aim to emulate global or American design styles and colour palettes. That may help internationally, but for me, preserving our unique heritage is far more critical.

For Lvivna, the essence lies in expressing ancient Ukrainian desings, and traditional househod items, like motanka doll—often depicted on the Lvivna garments and blazers. I also created a small patriotic collection featuring the national colours, blue and yellow. In one series, I painted women with the pigeon with blue and yellow hues, symbolizing freedom and our national spirit. Those are the colours of our flag—our visual identity—and we should be proud of them.

As a preview, I’m currently developing a new Christmas collection that will incorporate more traditional Ukrainian elements into wearable, everyday fashion. I want to design pieces that can be worn casually—not just for cultural performances or concerts—but that still express elegance and tradition. The goal is subtle recognition: garments that speak of heritage without shouting it. From a distance, you can still tell—they carry that quiet, unmistakable Ukrainian character.

You would definitely stand out wearing something like that. It captures attention immediately. Heritage is significant, and portraying it through clothing—whether in fashion, art, or design—is essential. The small details matter most. It’s not only about large embroidered patterns or bold prints on Lvivna garments but also about the subtle elements. I’m now designing a new collection and accompanying brochures for Lvivna, which will highlight specifically Lviv’s cultural heritage in next year’s line.

Jacobsen: About Toronto Kids Fashion Week, how does that work, especially given that kids are naturally energetic, rambunctious, and clearly don’t need coffee to stay lively?

Baysa: They definitely don’t need coffee! But that’s an excellent and essential question. Unfortunately, the fashion industry in Toronto—and in Canada generally—is still evolving. That’s the diplomatic way to put it.

Toronto Kids Fashion Week operates more as a platform that gathers designers willing to participate under their terms. Once designers sign a contract, the organizers showcase them across North America. There isn’t a strict framework or clear criteria for trends or for what qualifies as children’s wear. Whether that’s fortunate or not, I’ll refrain from judging.

When it comes to trends in children’s fashion, I’d suggest looking more toward Europe or major international brands, since smaller designers tend to focus on custom, stylized pieces. For Lvivna, the kids’ collection is entirely custom-made. I only produce it upon order, not for public showcases, because children’s fashion presents a unique challenge: kids grow fast. What fits this year won’t fit next year.

That approach doesn’t align well with Lvivna’s core philosophy, which emphasizes longevity, craftsmanship, and heritage—creating pieces meant to last for years, even to be passed down as heirlooms, like jewelry or art. Children’s wear doesn’t lend itself to that ideal, since it’s so short-lived.

From experience backstage at fashion shows, I’ve learned that working with kids can be chaotic. No matter how careful you are, something will spill, rip, or stain. I’ve seen tea, juice, and popsicles all end up on the garments. I’ve had to clean my own designs after shows, and I’ve watched other designers do the same. You can’t control a group of twenty excited children running around before a show.

When I compared that to adult models—like at the Vyshyvanyj Vechir event I mentioned earlier—handling children was far more demanding, even with three assistants, the backstage environment was hectic and stressful.

One memorable moment: some designers showcased elegant white gowns for children. After the show, none were white anymore—they were gray, light pink, even slightly black from the stage floor and makeup. So that’s another challenge. Kids’ clothing, once worn a few times, quickly loses its pristine condition, which is why parents rarely invest in expensive children’s couture.

Women’s wear, on the other hand, remains far more practical and in higher demand. It’s not just a matter of trend—it’s longevity and utility. Especially in today’s economic and geopolitical climate, adult fashion continues to sustain both creative expression and market viability in a way kids’ fashion rarely can.

As you may have noticed, major international fashion brands are currently seeing sales decline. So, children’s wear is unlikely to be profitable or in high demand anytime soon. Even women’s wear is shifting—fashion is moving back toward classic, minimalist collections: refined cuts, muted colours, and simplicity over extravagance. I expect the industry will continue this correction over the next six months, both stylistically and economically. For that reason, we’ll be focusing less on children’s lines for now.

Jacobsen: Anything last items to plug?

Baysa: Here’s something you might find interesting: Zlata Barciuk, one of my students, is also a singer. She’s turning ten this year—a beautiful, talented girl.

I’m designing another outfit for Zlata’s concert in December. I’m doing the whole look—makeup, hair, clothing, how she presents herself on stage, everything. We’ve had much preparation for that. I still have several custom orders to complete for clients who commissioned pieces two or three months ago. That’s been taking up much of my time.

Then there are upcoming community events—some international forums, too, which I might attend. I still try to make time for the gym or a ballet class—I used to dance, and I miss it. But all my weekends are booked with meetings, interviews, art classes, or work for Lvivna.

It’s been hectic. Honestly, there’s no “life”-work balance. I don’t even know when my next vacation will be—December, when things slow down a little because of Christmas and New Year’s. People usually take some time off then, so it should be easier.

Politics and the arts are deeply connected. I have friends in the Ministry of Tourism, Culture, and Gaming, and it’s been lovely going to the ballet with them or discussing art over lunch. When we meet with stakeholders, it’s often helpful to talk about art—it helps build rapport. There are so many beautiful paintings in the legislature, which also makes for good conversation.

When I was in Ukraine, I met several incredible artists and the curator of a relatively new gallery—only two years old—already hosting international exhibitions. She’s a fantastic woman from my hometown, and she asked for my help organizing an exhibition at the Royal Ontario Museum. My political work and connections have helped her reach the right people and explore those opportunities. So yes, politics and art absolutely intersect.

But as you meet more and more people, you have less and less time for anything else—especially personal life. It’s all work now.

Jacobsen: In the long run, that pace tends to compound. Five years from now, people will start reaching out about the projects you’ve done, and that momentum will grow. You’ll probably become more selective—but also more efficient.

Baysa: I’m looking forward to that.

Jacobsen: What events should people look forward to in November and December, as the year wraps up? Especially regarding Ukraine, several experts I’ve spoken with emphasize two urgent issues: children returning home and the heating systems, particularly redundancies, since winters can be brutal.

Baysa: Yes, this winter is already very harsh for Ukrainians. I’ve been speaking with friends in Kyiv, and they’ve had power outages lasting half a day or half a night—no electricity, no heating—and it’s only the end of October. From what I’ve heard, this winter may be the worst one yet, unfortunately.

In terms of upcoming events, definitely, Rebuild Ukraine will be a major one. The Ukrainian World Congress is also organizing a similar event, but that one will take place in Poland, in Poznań, if I’m not mistaken. I understand that for a Canadian audience, it may be difficult to travel there, but it will be an excellent event.

The University of Toronto is also hosting a lecture on November 12 by a professor who will speak about Ukrainian heritage—specifically, music in Ukrainian culture—but unfortunately, it coincides with the G7 meeting. So we’ll need to decide which one to attend, since we can’t do both.

Those are the major events I can think of right now. The Ukrainian Canadian Congress in Calgary is very active and will be hosting several cultural events. In Toronto, the big political ones are the ones I already mentioned. On the artistic side, some Ukrainian musicians are coming to perform for the Christmas season, so we’ll be having concerts and carol events.

Holodomor Remembrance Day is coming up, and November 8 is the Veterans’ Remembrance Day for the Second World War. That one’s more of a cultural remembrance event than a large gathering, but still significant. And there’s always something new coming up—when I hear of it, I’ll forward it to you.

Jacobsen: Thank you for the opportunity and your time, Marichka. 

Baysa: Thank you for your time. I hope I answered your questions satisfactorily. I wish you a good Sunday—well, what’s left of the morning, at least.

Jacobsen: Thank you. It’s pretty early here—coffee will suffice for now. 

Baysa: My pleasure. Have a good day.

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