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Suzzy @ Sober Runway | Photo Credit: Kelly Hofer

Recovery Was Never Meant to Be Hidden

September 11, 2026 in Fashion, Wellness

Suzzy has built Sober Runway to challenge the shame surrounding addiction and recovery, using fashion, community and lived experience to make recovery visible.

By Kimberley Dooshima Jev

When Suzzy began speaking publicly about her experience with alcohol, some members of her community asked why she had told people at all. She had discussed that period of her life while talking about Sober Runway, the organization she founded in 2025 to destigmatize addiction and recovery. Afterward, people she knew wondered why she had not asked for the reference to alcoholism to be removed.

For Suzzy, that reaction explained exactly why the work was necessary. “You see, that is the problem,” she recalled during an interview with Afros in tha City.

Sober Runway places people in addiction and mental-health recovery where professional models would usually stand. Fashion becomes a vehicle for visibility, giving people whose lives may once have been defined by crisis or illness a chance to be seen differently: dressed, celebrated and walking in front of an audience because they made it through something difficult.

The idea brings together several parts of Suzzy’s life. She has a background in education and counselling psychology, worked for years in addiction and mental-health services, and studied Fashion Apparel Technology at Olds College. She also has lived experience of the stigma Sober Runway is trying to dismantle.

After coming to Canada, Suzzy pursued fashion and eventually started a clothing line. Around the same period, her marriage was deteriorating, the COVID-19 pandemic arrived and she experienced serious health complications. Alcohol became something she used privately to numb what she was carrying and, at times, to help her sleep.

She believed her children did not know. Her daughter eventually confronted her with concern rather than anger. The conversation forced Suzzy to consider what would happen if she continued on the same path.

Her decision to change also meant confronting cultural, social and religious expectations surrounding marriage and endurance. She had been married for more than two decades. Leaving was not simply a private relationship decision. It meant challenging the idea that staying, regardless of what was happening inside the marriage, was the only acceptable outcome.

Suzzy is careful not to reduce that experience to an indictment of her community. People often try to help using the beliefs they inherited themselves. When addiction is understood primarily as a moral failing, shame can replace care. When mental illness is something families are taught not to discuss, silence can look like protection.

She eventually left the marriage and spent years working in addiction and mental-health treatment. The work changed how she understood recovery and forced her to unlearn assumptions she had previously held about addiction, parenting and support.

That experience raised one of the central questions behind Sober Runway: why are people so rarely celebrated for recovering?

Some forms of illness are readily met with empathy, fundraising and community support. Addiction often carries a different burden. People can be expected to conceal the illness, the treatment and sometimes the recovery itself.

Sober Runway reverses that expectation by making the person in recovery the person everyone has come to see. Participants must have lived experience of recovery. Conventional fashion standards are largely irrelevant. Suzzy recalled that some organizations and prospective models had asked whether Sober Runway had preferred model sizes.

Her response was simple:

“Addiction does not discriminate, so we don’t discriminate.”

The runway is an effective place to make that argument because fashion is already built around visibility. Models are presented deliberately and audiences are expected to look. Sober Runway gives that attention to people who may have spent years believing parts of their lives needed to remain hidden.

Last year, one participant wanted her father to attend the show but told Suzzy that he could not afford a ticket. Suzzy made sure he could come.

After watching his daughter walk the runway, the father approached Suzzy overwhelmed with emotion. He wanted reassurance that what he had just witnessed meant his daughter was doing well. She was, and the woman plans to walk again.

The moment illustrates what Suzzy believes celebration can offer. Treatment may stabilize someone’s life, but recovery continues long after a person leaves a facility. People return to families, work, bills and environments that may have little understanding of what recovery requires.

That gap is why she does not want Sober Runway to exist only as an annual fashion show. “I want it to be a community,” she said. “I want it to be a movement.”

Sober Runway is now a registered non-profit, with plans for programming that includes recovery coaches, counselling resources and ongoing spaces where people can connect after treatment. Suzzy imagines a community where people can access practical support, spend time with others or simply have somewhere they feel safe being present.

Her approach is rooted in the belief that support should not depend on someone proving they are already well. Recovery can be uneven, and people can finish treatment while still feeling isolated, misunderstood or unsure of what comes next.

That wider vision keeps Sober Runway from being simply a feel-good fashion event. The runway may be the most visible part of the project, but Suzzy is ultimately interested in what happens when the lights go down.

She wants a culture where saying “I struggled with addiction” is not immediately followed by the question she received after her own story became public: why did you tell people?

For Suzzy, telling people is part of freedom. Her history is not where her story ends. The years since have included professional growth, further education, community work and the creation of an organization built around making recovery visible without making it shameful.

On September 26, those stories will return to the runway at Platform Calgary. There will be clothes, music and the familiar structure of a fashion show, but fashion is ultimately the vehicle rather than the destination.

Sober Runway’s larger argument is simpler:

Recovery deserves to be seen.-Suzzy

Sober Runway takes place Saturday, September 26, 2026, from 1 p.m. to 4 p.m. at Platform Calgary.

Tickets and additional information are available through Sober Runway.

@soberunway on Instagram | Facebook.com/SoberRunway

Tags: Sober Runway
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AITC - October 2026

Featured
AITC October  2026 - The Currency of Time - Kardinal Offishall
Music
AITC October 2026 - The Currency of Time - Kardinal Offishall
Music

Kardinal Offishall fronts the October issue of Afros in tha City.

In The Currency of Time, Kardi goes beyond the highlight reel to talk about independence, attention, longevity, family, the business of music and what it takes to keep creating after more than three decades in the industry.

“We’re not fighting for their money. We are fighting for attention.”

The October issue is here. 

Read more →
Music
Afros Picks: October 2026
Afros Picks: October 2026

Seven artists, seven distinct sounds. The October 2026 edition of Afros Picks highlights musicians connecting heritage, experimentation and creative independence across generations and borders.

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THE WOUNDS WE CANNOT SEE
Wellness
THE WOUNDS WE CANNOT SEE
Wellness

What lies beneath the way we react? Calgary counsellor Ekene Balogun explores how past experiences shape our behaviour, relationships and sense of safety. The author of Internal Bleed speaks with Afros in Tha City about compassion, healing and creating space for culturally sensitive support.

Read the feature in our October issue. Sign up for the Afros in Tha City newsletter to hear when the print issue is released.

Read more →
Wellness
The Joy of Being Human: Alana Fairchild, Sobriety and the Power of Being Present
Wellness
The Joy of Being Human: Alana Fairchild, Sobriety and the Power of Being Present
Wellness

An unexpected encounter with spiritual teacher Alana Fairchild opens a conversation about sobriety, music and finding joy through change. Kimberley Dooshima Jev reflects on her longtime connection to Fairchild’s oracle cards and explores the ideas behind her upcoming sober Halloween ritual rave in Calgary.

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Wellness
Rapsody Questions the Future of Hip-Hop Journalism as God Gotta Afro & Gold Hoops Challenges the Attention Economy
Entertainment, Hip-Hop, Music
Rapsody Questions the Future of Hip-Hop Journalism as God Gotta Afro & Gold Hoops Challenges the Attention Economy
Entertainment, Hip-Hop, Music

Grammy-winning rapper Rapsody is raising questions about the future of hip-hop journalism and the shrinking space for artists whose work demands more than a viral headline.

In a 14-slide Instagram post, the North Carolina artist questioned why meaningful music often struggles to receive serious coverage, even when it connects deeply with listeners.

Her concerns extend beyond artists seeking publicity. Rapsody pointed to declining newsroom resources, fewer music writers, reduced print coverage and fewer opportunities for journalists to spend time exploring albums in depth.

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Entertainment, Hip-Hop, Music
Inside Asia Clarke’s Braided Future
Inside Asia Clarke’s Braided Future

Step inside Asia Clarke’s braided future, where Black hair, community care and science fiction meet. Inspired by African symbols and the bold styling of The Fifth Element, the multidisciplinary designer imagines a world where hair braiders shape new technologies through BRAID2BRAIN and Ama’s Salon.

Read the feature online now. Sign up for the Afros in Tha City newsletter to be notified when our October print issue is released.

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Freedom Is the Work: Spicey Landé and Jai Nitai Lotus Find A Way Through Mōnad
Dance, Hip-Hop
Freedom Is the Work: Spicey Landé and Jai Nitai Lotus Find A Way Through Mōnad
Dance, Hip-Hop

The Montreal artists bring Mōnad to Calgary’s Fluid Fest with a work rooted in hip-hop, grief, spirit, community and the freedom to show up whole. Alexandra “Spicey” Landé had one condition for returning to the stage.

“If I’m going on stage, I’m doing whatever the hell I want.”

It sounds like a declaration because it is one. After two decades of building choreography, teaching, mentoring and helping push street dance into spaces that did not always know what to do with it, Landé was not interested in returning to performance to satisfy somebody else’s idea of what a Black woman, a hip-hop artist or a contemporary dancer should look like. She wanted freedom.

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Dance, Hip-Hop
A Century of Faust: Silent Cinema Meets Live Music in Calgary
Film
A Century of Faust: Silent Cinema Meets Live Music in Calgary
Film

Released in 1926, Faust is among the defining works of German Expressionist cinema. Directed by F. W. Murnau, the film draws on centuries of European folklore and literature to tell the story of a man who makes a bargain with the devil in exchange for knowledge, power and youth.

The film stars Swedish actor Gösta Ekman in the title role alongside Emil Jannings as Mephistopheles. Through elaborate sets, visual effects and dramatic contrasts between light and shadow, Murnau created a world where the boundaries between good and evil, faith and temptation, become increasingly difficult to separate.

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Film
Movie Stars Linda Ejiofor-Suleiman & Ibrahim Suleiman are headed to Calgary!
Podcast
Movie Stars Linda Ejiofor-Suleiman & Ibrahim Suleiman are headed to Calgary!
Podcast

Calgary-based producers Ejiro Onobrakpor and Nenritji Suwa are bringing the acclaimed Due Parenting Podcast Live to the stage.

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Podcast
Beyoncé Is Coming to the Symphony. Do You Understand What Is Happening Here?
Music
Beyoncé Is Coming to the Symphony. Do You Understand What Is Happening Here?
Music

Composer and conductor Steve Hackman brings Beethoven X Beyoncé to Calgary, weaving Beyoncé’s music through Beethoven’s Seventh Symphony.

Kimberley Dooshima Jev talks with Hackman about “Halo,” Beyoncé’s musical intelligence, classical music’s boundaries and what happens when two musical worlds are allowed to meet.

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Music
Cover (1).png
AITC September 2026 - What Will It Take For Us To Feed One Another - Aquakultre

COVER STORY PREVIEW

Through 1783 and Matriarchs, Aquakultre is transforming family memory into a living archive while asking Black Nova Scotian communities to remember how deeply they belong to one another.

By Kimberley Dooshima Jev

Lance Sampson was standing in front of a video kiosk at the Africville Museum when a familiar name appeared on the screen. The woman speaking was his great-great-grandmother. Sampson had stumbled onto what he understands to be the only surviving recording of her voice.

His first instinct was reverence. His second was hip-hop.

“I immediately went into hip-hop mode,” he remembers. “Let me sample this right quick.”

That impulse sits at the centre of Sampson’s work as Aquakultre: find what remains, listen closely, then give it somewhere new to live.

Read the full cover story

Aquakultre covers the September 2026 issue of Afros in tha City. The complete story explores 1783, Matriarchs, the family histories behind the work and the moment Lance Sampson found his voice.

The full feature and photo story will be released with the September digital issue and limited print edition.

Join the Afros in tha City newsletter to be the first to know when both editions become available.

Read more →
How Springboard Is Building Calgary’s Cultural Ecosystem
Art, Contemporary Dance
How Springboard Is Building Calgary’s Cultural Ecosystem
Art, Contemporary Dance

Dance, public space, galleries and live performance become part of the same conversation when Springboard Performance asks what a cultural ecosystem can look like.

Through Fluid Fest and its wider programming, artistic director Nicole Mion is building connections between artists, audiences and ideas in Calgary while placing the city within national and international conversations about contemporary performance.

In How Springboard Is Building Calgary’s Cultural Ecosystem, Afros in tha City looks at the systems behind the art, the importance of circulation and the artists using movement, theatre, music and visual art to create new ways into performance.

The full feature and photo story will be released with the September digital issue and limited print edition.

Join the Afros in tha City newsletter to be the first to know when both editions become available.

Read more →
Art, Contemporary Dance
What Sugar and Indigo Remember
What Sugar and Indigo Remember

Sugar, indigo, family photographs and the Atlantic carry histories that are easy to overlook until someone asks us to look again.

At Dalhousie Art Gallery, curator francesca ekwuyasi brings together Stina Baudin, Adama Delphine Fawundu, Bushra Junaid and Christina Leslie for Burnt Sugar Blue, an exhibition examining colonialism, Black diasporic memory, family, spirituality and the histories embedded in everyday materials.

In What Sugar and Indigo Remember, Afros in tha City looks at how these artists turn materials and archives into something living, while Roger Mooking’s SoundBites continues the conversation from across the gallery.

The full feature and photo story will be released with the September digital issue and limited print edition.

Join the Afros in tha City newsletter to be the first to know when both editions become available.

Read more →
Roger Mooking Is Building Beyond the Algorithm
Roger Mooking Is Building Beyond the Algorithm

Roger Mooking is thinking beyond the algorithm.

With SoundBites, the Canadian multidisciplinary artist is responding to streaming culture, shrinking attention spans and the rise of AI by asking a different question: what happens when technology distributes the work, but does not define its value?

In conversation with Afros in tha City, Mooking talks about the state of the music industry, the value of slow creative practice and why the future of music may look a lot more like a campfire than a platform.

The full feature and photo story will be released with the September digital issue and limited print edition.

Join the Afros in tha City newsletter to be the first to know when both editions become available.

Read more →
Alberta Doesn’t Have a Talent Problem. It Has an Access Problem.
Film
Alberta Doesn’t Have a Talent Problem. It Has an Access Problem.
Film

Talent, ambition and strong ideas are not always enough when the people with the power to finance, develop and distribute them are somewhere else.

At the inaugural TIFF: The Market, Creatives Empowered brings Alberta creators Sandra Bueckert, Tobit Luyeye Lemba and Flordeliza Dayrit into conversations with producers, buyers, distributors and other industry decision-makers from around the world.

In Alberta Doesn’t Have a Talent Problem. It Has an Access Problem., Afros in tha City looks at what meaningful industry access can mean for creators working outside Canada’s largest production centres, and why visibility only matters if the conversation continues after the festival.

The full web exclusive is available now on Afros in tha City.

Read more →
Film

July 2026 - The Omnibus - Print July 2026 - The Omnibus - Print
Sold Out
July 2026 - The Omnibus - Print
CA$50.00

The Summer Omnibus is our most ambitious issue yet. Bringing together seven months of journalism, photography, and storytelling, this special collector's edition celebrates Black arts, business, fashion, music, and community across Canada and the diaspora.

Featuring exclusive cover stories with Judith Demosthene, Funmi Osatuyi, Adrianne Williams, Nancy Nixon, Ayokunle Akinsebikan, Femi Jr., and more, this 70-page volume captures the people, ideas, and conversations shaping culture today.

Beautifully printed in limited quantities, the Summer Omnibus is designed to be collected, shared, and revisited long after publication.

Limited print copies available.


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— Nelson Mandela



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