Cozette

Rocky

Rosie, buckled up

I met up with a few friends in Trinity Bellwood on Thursday for some early evening drinking, including Roy who wore a hand beaded necklace pouch from the Philippines.

Miles sporting a custom head wrap from South Africa.

Emilia and Electra

A few of us then headed to the Vice photography show at 47 Gallery, but it was tragically anticlimactic (minus the above outfit). The exhibition was supposed to go on until 11pm, but they decided to shut it down at 10pm when the liquor ran out. I was so disappointed, when I arrived at 10:15pm. As if liquor has anything to do with the dissemination of art. Damn hipster parties!

Late night G&Ts made up for earlier annoyances though!

Later that same evening, I headed to 69 Collective for Holy Frock, a soiree in celebration of the collective’s two newest members: Tomorrow Never Knows and Electric Eel.

As always, Emma’s displays were fantastical.

Just another day in the life of Ms. Leah . . .

and Lady Michelle.

Starkers Corsetry by Dianna DiNoble was sent down the runway on Thursday, night two, to the operatic vocals of award-winning dramatic coloratura soprano Patrizia. In line with FAT’s theme  - Made with Love – DiNoble’s inspiration was “L’amour est un Oiseau Rebelle” (“Love is a Rebellious Bird”) from Georges Bizet’s opera, Carmen.

DiNoble customizes her work using the finest fabrics, steel boning and couture techniques, with clients ranging from brides to drag queens.

The Venetian masks added a whimsical element to the collection, making the looks seem more playful.

This black rooster tail ensemble was my favourite. The boning was beautifully executed and the cropped bolero was both inventive and wearable. The shoes were pretty damn fantastic too!

Veronique Boileau’s One of Us Swimwear collection got me excited for the summer, because it’s really hard to find beachwear that’s both unique and comfortable.

Her cuts were fantastic, but I wasn’t a big fan of some of her fabric choices, especially this late 90s pop-punk skull print. Patterns like this should have died with Avril Lavigne’s career.

I’m such a big fan of black and white pattern mixing though, so this piece might make its way into my closet.

These typewriter bags, displayed in one of the installation rooms backstage, were inventive and methodically designed. I liked how some of the handles and leather panels were done in shades of yellow, in order to play off of the crème brûlée patina on the letter keys.

Kealan backstage, looking Provence chic.

Emilia wore a vintage cheetah coat, 1950s dress from Franny’s in Parkdale and a hair piece that I made at a Make Sale event last summer.

Melissa Nicholl, one of the head makeup artists.

Broadway and Phynx performing between fashion sets.

Evan Biddell, in collabopration with Cher Thornton from The Refinery Vintage, energized the stage with an upcycled vintage collection. The pieces were well tailored, wearable and Biddell used some of his closest friends as models. This blue leather dress, worn by Leesa Butler, was particularly well done. Rather than going with a traditional black or brown, he opted for a soft palette that was less seasonally restrictive.

I love that everyone styled their own outfit – that Biddell shared the creative process – because personal style is all about inventive appropriation. Kealan, for instance, was very à la 69 Vintage with her thigh high pirate boots, vintage shades and silk head scarf.

Biddell taking a bow, while Cher congratulates the models.

Dewar Couture presented a line of dropped-crotch bathing suits, micro minis (some of which were a tad trashy) as well as a line of creatively tailored pants. My favourite pair, not pictured, had a series of rings looping around the calves that were reminiscent of a solar orbit.

Magpie presented a theatrical collection to the beat of a latin drum track.

Models danced down the runway, revealing subtle details that might have gone unnoticed otherwise.

The collection married different techniques – ruching, pleating, floral embellishments – to create unique, rich hued pieces that weren’t over-designed. The fabrics were layered and stitched  in various ways to create original textures and shapes, making each piece totally unique.

I found the cutest cotton candy maiden in the bathroom.

Curtis Santiago performed a strong set and rocked a strong look, as per usual.

Emma’s mane was the best. I’ve always envied girls with curly hair.

Russell and Kealan, as classic as the vintage they sell.

Now in its fifth year, FAT is an event as much as an ideology. Rather than pandering to corporate advertising, organizer Vanja Vasic continues to focus on the artistic integrity of fashion and its integration into various art forms, including film, dance, music, photography and installation.

The five day alternative to mainstream LG Fashion Week opened with 3 SOLOS 1 DUET by Marq Frerichs. The powerful operatic performance and accompanying ballet duet perfectly articulated the day’s theme – longing – by exploring a person’s relationship with him/herself and the other.

It’s a good thing that the Davidamor collection was nice, because the show was a mess. The smoke machines, intended to create a romantic 1960s ambiance, did little more than choke the audience (including an unimpressed Jeanne Beker) and you could barely see the first few looks through the thick, smelly smoke. The haze quickly cleared, though, to reveal classic dresses and skirts in muted plums, moss greens and midnight blues.

Joelle Wall’s work was well tailored, nicely finished and practical for the working woman.

And yet, she also pushed the envelope.

Epoque by Thea Barber was supposedly inspired by her travels in Morocco, but the collection was quite banal. At the heart of the line was a series of simple, nude dresses that lacked creativity and/or any connection to the vibrant, rich culture of northern Africa. The I Dream of Jeannie hair styling was fantastic and yes, she used eco-friendly fabrics, but I’m becoming increasingly annoyed with designer bs when it comes to their inspirations.

Ryerson graduate Hilary Sampliner, on the other hand, presented an interesting take on frilly glamour. The line, Ruth Weil, is named after Sampliner’s grandmother who left the young designer her entire sewing kit and name labels when she passed.

I was quite impressed with the young designer’s workmanship, especially her use of layering and biased cuts.

Photographer Stefania Yarhi has mastered practical chic, ’cause you have to be comfortable if you’re going to battle the big boys for that perfect shot in the pit.

Melow presented an uninspiring collection of separates that was reminiscent of The Fairies Pyjamas. I also really wish that designers like Melissa Bolduc would leave headwear design to the professionals.

You can’t just throw raw edged crinoline on a headband and call it millinery design!

Thank goodness for artists like Jasper Garvida, however. His 1920s inspired collection was breathtaking, particularly this wool cashmere blend. I fell even more in love after seeing the dress backstage. The black ground was a single, laser cut panel into which he perfectly sewed puzzle pieces of fabric and leather.

His capes and jackets were also stunning, panels of shaved mink being seamlessly joined to create works of wearable art. This piece was my favourite of the series, probably because I own its vintage Parisian equivalent.

I’m happy to say that I snagged a pair of the shoes from this show at the designer sale FAT hosted this past Sunday. $40!

New York based musician Jet Phynx

Philipe and I explored the many installations and interactive rooms that were set up backstage . . .

While I’m disappointed that David Dixon decided to do yet another Barbie collection, the line wasn’t bad.

Dixon could have been more adventurous in his use of colour, but the textiles – however pink – were beautifully made. This three-dimensional fabric, for instance, had a life of its own. The lightly sewn scales dipped and ruffled with every step, as if the dress was breathing. That being said, the extra layers were distracting and too heavy for an otherwise airy look.

His raw silk take on houndstooth was also quite nice. The pattern was imperfect and looked more like rorschach blotting than the traditional Scottish pattern.

I was so excited to wear my favourite vintage hat! I found it last fall at The Stella Antiques Show in New York and I’d been waiting MONTHS for the perfect occasion. I was even happier after organizers handed out dozens of cases of beer!

Dixon’s own line was more refined. He created a perfect hybrid between classic and modern tailoring.

His colour palette was also more wearable and elegant.

The only look that I really loathed was this one. Dixon tried to hit too many trend points, the result being a disjointed fashion Picasso. The lace was too heavy for the feathers, the skirt was too conservative for the top and the belt was unnecessary.

This dress, on the other hand, had all the features that the previous outfit lacked. I loved the chiffon petal layering!

David Dixon, taking a walk

Karen and Amy of Freedom Clothing Collective

Women like Christine are a rare breed. Her looks are always head-to-toe and they tell a story: one day she’s an afro sporting diva from the 70′s and next she’s ready to throw a 40′s dinner party. I fell in love with this particular outfit from across the runway. We were checking out one another’s hats and the rest is history. Christine works at Bungalow in Kensington, so be sure to stop in and say hello.

Emma, myself and Christine

Belly tops are back!

Stacey McKenzie at the beginning of night four

Photographer James Kachan

Briony in her staple/amazing clear heels

Sarah M and Sarah M

Leah in yet another leather-centric ensemble

Photographer Jonathan Loek

Emma and Erin, waiting for the Joe Fresh show to begin

I wasn’t impressed with Mimran’s most recent collection. The designs were as stale as day old Loblaws bread.

The 69 Vintage crew: owner Kealan, employee Emma and Leah of lost+found

Ran into Cat Essiambre of The Deadly Nightshades on my way into Tuesday’s shows. Her Le Petit Beret looked adorable and I want to steal her glasses, on loan from boss Philip Sparks.

I’m so happy that Pat McDonagh didn’t do another Baskin-Robbins collection. I was concerned about seeing more ice cream flavor dresses. This time, the show started with a series of Russian military looks. There was lots of red, thick fabrics, gold detailing and structure. Pat does beautiful tailoring, but I wasn’t impressed creatively. It’s been done.

The later portion was very different: a couple Emilia Earheart outfits, a block of white, mal-executed feathers, a tacky lingerie dress and then bridal.

This photo makes the dress look better than it actually was. The shoulders weren’t wings, but fake doves that flopped around as she walked. It’s as if they were thrown on last minute, in an attempt to save an otherwise boring look.

Ashley Winnington-Ball was selling her resin-coated jewelry in the boutique section throughout the week. She’s also the manager of Shopgirls in Parkdale, a fantastic boutqiue that features the work of canadian designers and artists.

Erin in a Chanel headscarf and Leah, the leather queen.

Stefania needs to come out from behind the camera more often. I love the colours in her smock!

The LUNDSTROM show was nice but simple. I liked the use of muted velvet and the sparkly black evening jacket at the end was nice, but I wasn’t left swooning.

Evan Biddell did a melange of exoskeletons, fashion ninjas and a splash of cat for good measure.

I loved Biddell’s injection of colour and, as always, his creative use of hoods was great; but, the prints were a tad busy for me.

The detail on this jacket was unreal. The basket weaving technique was beautifully executed, creating a structured look that wasn’t too stiff.

Some of his pieces were quite unflattering though, like the stout metallic pants and dress with stuffed back humps.

More than anything, I was in love with his cropped tiger trench. Seeing as it’s the year of the tiger – my year  - it was very appropriate. I want it!

I liked his use of cork – especially the skirt – but this piece was rigid and cumbersome. I couldn’t help but think of an armadillo. That being said, art doesn’t always have to be practical and I like that Biddell takes risks.

Irene Stickney of The Make Den in one of her own creations.

Jeff Rustia of Club Fashion Television reinvigorates disco chic

The infamous milliner, Jorge

One of his creations

Kealan and Russell of 69 Vintage

Michelle between bites of birthday cake

I love impromptu photo shoots! Leah just happened to match Michelle’s room perfectly. Meow!

I headed to 69 Vintage Collective this evening where a few of my friends were hosting the Spring OUT Fashion Sale. Basically, a bunch of hoarders decided to purge their closets.

Sian was the head buyer at Black Market, which means that she has dressed most of us in one way or another. “I like to think that my job was making boys look hot.”

I asked Philipe to pose for a shot and, as always, he amazed me. Grabbing a random jacket from a nearby clothes pile, he created an awesome poncho to finish the outfit. A twist of fabric, throw in some red for good measure et voila!

Daniel did quite well for himself. He found a $4 Vegas-eat-your-heart-out top and matched it with an Egyptian fox sweater that he instantly cut up.

It’s funny that three of the major sellers walked away with the biggest hauls. Another failed attempt at fashion love suppression.

Cavanaugh really knows how to combine textures and colour, not surprising for a Parsons fashion major. I love how he mixes bold parachute pants (his own design) with worn-in ankle boots. The result is a look that’s casually elegant.

With his white blonde hair and ultra modern metallic tote, I can’t help but think of Roy Batty from Bladerunner.