What’s a few thousand dollars when it comes with the promise of Klondike adventure? When Dani Reiss started mass-producing pricey coats, in the aughts, he kept all production in Winnipeg and Ontario, further building the brand’s national mystique. Canada, as an idea, has a cachet when it comes to outerwear: the country’s name conjures visions of grizzly bears, snowcaps, moose with antlers as big as tree trunks.
Because there was already a Snow Goose registered in Europe, Reiss changed the name to Canada Goose, a patriotic move that proved to be crucial to the brand’s success. Bean in 1985, when David Reiss, Tick’s son-in-law, bought a majority stake, it started to release its own garments, under the name Snow Goose. The company sold designs to Eddie Bauer and L. The company, which was founded, in 1957, by a Polish immigrant and factory worker named Sam Tick, was first called Metro Sportswear, and made heavy down parkas for workers whose jobs required them to brave frigid Canadian temperatures: park rangers, police officers, scientists exploring ice floes, snowmobile operators. Back then, Canada Goose pulled in only three million dollars per year, mostly by licensing its designs to other outdoorsy retailers. The Hollywood angle was all part of a rebranding blitz that began in 2001, when the Ontario businessman Dani Reiss succeeded his father, David Reiss, as C.E.O. Rihanna has recently been cavorting around the world in a scarlet version that the brand made in partnership with the cheeky French label Vetements. The model and actor Kate Upton wore Canada Goose (and not much else) on the cover of Sports Illustrated, in 2013. A Canada Goose coat says, “I earned the money, and then I spent the money, and now here I am, warmer than you are.”Ĭanada Goose, which is currently worth around three hundred million dollars and is about to announce an I.P.O., which could raise its value to more than two billion dollars, trickled into the mainstream, like most luxury brands do, with cameo appearances. The coats offer the seductive trappings of practical preparedness, the idea that one has a no-nonsense attitude to the wind like zippable Thoreau’s cabins, each one emits a bat signal of self-reliance. Even if the wearer is only walking from the subway to the office, she is ready for freezing conditions and treacherous mountain passes. Instead, they promise eternal warmth-a lifetime guarantee that you will never feel cold again. Bean, or even mid-level ones from Patagonia-they don’t just make their wearers warm. Canada Goose coats do, in fact, provide maximal protection against the wintry mix, but-unlike less expensive models from L. The jackets are unusually expensive-around a thousand dollars-and yet, unlike slipping on, say, an asymmetrical Comme des Garçons garment that also costs the equivalent of a week’s salary, the coat doesn’t aim to awaken one’s senses to new possibilities rather, it exists as a kind of pillowy insurance against the outside environment. From an anthropological perspective, Lonergan’s choice of parka is accurate look around any major city with a chilly climate, and you will see an army of crisp marshmallows, their left shoulders emblazoned with the embroidered “Arctic Program” slogan, shuffling through the slush.
Lonergan’s jacket, made by the label Canada Goose, is a subtle but effective sight gag: it is easy to feel superior in a thousand dollars’ worth of Hutterite goose down.
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His righteous authority is made all the more irritating by what he is wearing: an impeccable aqua parka, with a round red-white-and-blue patch depicting the Arctic Circle on the sleeve, like a badge for orienteering. In one scene, Lee Chandler, played by Casey Affleck, dressed in a short cotton jacket, is having a loud argument with his teen-age nephew in an icy parking lot, when a man-played, in a Hitchcockian cameo, by the film’s director, Kenneth Lonergan-strolls by.
“Manchester by the Sea” is a film in which none of the characters seem to have on the right coat they are always shivering in the New England chill.
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