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David Szeto and Ruffian display new takes on classic looks at The ShOws

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Just when you think you’re done with fashion (for a few weeks, at least), along come The ShOws.

The ShOws are organized by Paola Fullerton, who decided to create the event after noticing that she often met talented Canadian designers abroad, but hadn’t heard of them back home. Fullerton threw all her efforts into bringing collections to Canada, hoping to give her fellow citizens the opportunity to embrace the talent we didn’t necessarily know we had.

Now in its second season, the collections were presented at the Ritz-Carlton over a course of two days: David Szeto and Ruffian on Monday, and Jean-Pierre Braganza and Jeremy Laing Tuesday night. We’ve already given a run-down of Braganza and Laing’s collections, so we’ll keep the focus trained on the first day.

Currently residing in Brussels and showing in Paris, David Szeto’s designs have been spotted on the backs of Audrey Tautou and Gwen Stefani, though the designer himself chooses to keep a low profile. Szeto’s ladylike collection had a whiff of Victoriana to it, with details like ruffles and puffed sleeves. Our favourite looks were a forest green frock and a swing coat. The dress had a gold chain looped through gathers at the waist, while the cropped coat had some gold-edged lace peeking out from underneath. The show’s styling tended to distract from rather than enhance the garments; we liked the idea of the mussed-up two-tone hair, but it didn’t quite work.

At Ruffian we were transported to the English countryside (see gallery, below), with plenty of plaids, tweeds, corduroy and lots of large, black buttons. Designers Brian Wolk and Claude Morais, who are based in New York, accented the fabrics with leather; our favourite was a blue tweed jacket with a leather bib, sleeves and hip detailing. We liked a look that matched a double-breasted plaid jacket — shot with rich blues, greens and fuchsia — with a relaxed jodhpur. A series of softer looks were also thrown in the mix, with loose bows on the necks of some blouses and a dramatic set of ruffles on another.

Unfortunately, The ShOws were rather under-attended, clearly due to a case of fashion fatigue. And with that, an extended Fashion Week came to a close.
 

Bob Blumer’s breakthrough dish was Caesar salad

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The process of shaping raw ingredients into something palatable — and the events that surround this endeavour — can lead to all kinds of unforgettable moments: kitchen disasters, severed digits, epic struggles with newfangled culinary gadgets and, sometimes, personal triumphs. So why not ask some of the city’s top chefs for their most memorable recipes? Why not, indeed? No, really — that’s what we did, and will continue to do weekly.

Celebrity chef Bob Blumer is setting up shop in Toronto next week, promising patrons at The Drake a “unique” pop-up dining experience — replete with beef short ribs served in a toilet bowl. Blumer is perhaps best known for his TV shows, but he’s also written a number of cookbooks over the years. Herewith, Blumer shares one of his breakthrough dishes — Caesar salad — adapted from his Glutton for Pleasure cookbook.

Says Bloomer:

“My history with the Caesar goes way back to my starving student, college years. My unlikely cooking teacher was Scott Wilson, a practical-joking, golf-loving classmate who put himself through business school by preparing Caesar salads table-side at a swish restaurant in London, Ontario. At that point in my life, the only thing I knew about cooking was that it was a good way to impress a date. So one Saturday, in anticipation of a first date, I woke Scott up at two in the afternoon and begged him for a tutorial.

Five hundred salads and several truckloads of romaine lettuce later, I have fine-tuned the ingredients and learned the nuances that make or break a Caesar. These days, I am so obsessed with the ritual that I carry my well-worn salad bowl with me in a snare drum case when I take my show on the road. (Two years ago on my show Glutton for Punishment, I established a Guinness World Record for the most tableside Caesar salads made in an hour — but that’s another story).

Since this recipe was published in my first book 20 years ago, I have received hundreds of letters (now emails) from readers who have mastered the art of making Caesar salad and been deified by their friends. The ultimate compliment came from a waitress at the now-defunct Bamboo Club in Toronto who took me aside and whispered, ‘Every time I make your Caesar salad for a date, I get laid.’ I should have been so lucky.”

Chez Bob’s Caesar

Ingredients

¼ teaspoon salt
½ teaspoon coarsely ground black pepper
3 garlic cloves
3 anchovies, or 1 heaping teaspoon anchovy paste
2 teaspoons Dijon mustard
1 egg yolk
1 tablespoon freshly squeezed lemon juice
1 teaspoon Worcestershire sauce
5 tablespoons safflower or canola oil
1½ teaspoons red wine vinegar
1 large head romaine lettuce, washed and trimmed. If lettuce looks anorexic, or is in need of a serious trim, buy 2 heads.
½ cup (about 2 ounces) freshly grated Parmegiano-Reggiano
For the croutons (makes 1½ cups):
3  thick slices of slightly stale sourdough or rustic country-style bread, cut into ¾-inch cubes
3  tablespoons olive oil

Directions

1. Preheat oven to 350°F.
2. Place the bread cubes in a large bowl and add olive oil. Toss and squish the bread like a sponge until the oil is evenly absorbed.
3. Place the croutons on a baking sheet or aluminum foil and bake in the oven for 20 watchful minutes, or until golden brown. Turn once or twice. Try not to forget about them in the oven — as I often do.
4. Add salt and pepper to the salad bowl (this creates a sandpaper-like base that will make the next steps easier).
5. Add the garlic. Use the tines of a fork to smash up the garlic, then use the back of a soup spoon to grind the garlic against the wall of the bowl until it is thoroughly pulverized.
6. Add anchovy and once again use the back of the spoon to grind it into a paste.
7. Follow the same procedure, adding the Dijon, egg yolk, lemon juice and Worcestershire sauce one at a time. Make sure that each ingredient is fully incorporated into the previous ingredients before proceeding. It should take about 15 seconds of muscle power to blend in each new ingredient.
8. Add the oil and vinegar. Blend well.
9. Tear or slice the lettuce into bite-size pieces and add them to the salad bowl. Toss thoroughly with dressing.
10. Add the croutons and cheese, toss again, and serve immediately.

Notes

1. If you don’t have a rough wooden salad bowl, the dressing can be made (with some sacrifice) in a blender or food processor: Add the salt, pepper, garlic, anchovy, Dijon, lemon juice, and Worcestershire. Purée. Add the oil and vinegar and pulse several times. Then add yolk and pulse a couple of times — just enough to blend it without causing the dressing to turn mayonnaisey.
2. If you are serving your salad to anyone over 100 years old or to anyone with a compromised immune system, coddle your eggs to diminish the risks involved in using raw egg yolks. Begin with a properly refrigerated egg. Submerge the whole egg in a pot of boiling water for exactly 40 seconds, then remove from the water, crack and separate the yolk from the white.
3. I find that the flavor of olive oil overwhelms the dressing so I use safflower oil. Other light vegetable oils or a light olive oil may be substituted.
4. The lettuce leaves should be coated, but not soaked, in dressing. To play it safe, remove and reserve one third of the dressing from the bowl before tossing the salad. Then add back as necessary until your salad is “dressed” appropriately.

Yield: serves 4-6
Level of difficulty: requires the strength of a flyweight arm wrestler and a bit of dedication.
Active prep: 20 minutes
Inactive cooking time: 20 minutes
Shortcuts: buy pre-washed romaine hearts and pre-grated parmiggiano reggiano
Advance work: dressing, croutons, lettuce and cheese can be all be prepped earlier in the day. Dressing and lettuce should be refrigerated individually. Toss salad just before serving.

How to become a rock star at Canadian Music Week

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For many people, Canadian Music Week is a chance to see some big-name bands — and some smaller ones, too. But there’s also a whole music industry pow-wow-cum-networking-fest going on that’ll interest Toronto’s up and coming bands. And this city has no shortage of bands who dream big, so there'll probably be no shortage of people lining up for the Songwriters' Summit on Saturday (March 24).

The price is a hefty $249, but it does give the opportunity for some face time with major players in the industry. If we had the cash (and some form of musical talent), here’s a few of the sessions we’d drop into.

Learn the secrets to writing a hit song

Get your notepad ready, because the men behind such hits as “The Gambler,” “Don’t Forget Me (When I’m Gone),” “I Believe,” “Closing Time” and “I Wanna Dance With Somebody” will talk about the art of songwriting. Alan Frew (Glass Tiger) will provide Canadian representation on a panel that also includes Nashville icon Don Schlitz, Semisonic frontman Dan Wilson and former Whitney Houston songwriter George Merrill.
Kings of Songwriting: CMW Songwriters Circle, 12:30 p.m.

Get the skinny on becoming a rock star … from a rock star

Rock legend and newly-minted Canadian Paul Rodgers will discuss his career, which has spanned 43 years and seen him front ’70s bands Bad Company and Free. He also collaborated with Queen in the mid-2000s. Rodgers will answer questions from rock journalist Jeff Woods about his career, getting into music and becoming a Canadian citizen last October.
All Right Now: Celebrity Interview with Paul Rodgers, 2.45 p.m.

Get yourself a brand

It doesn’t pack the on-stage star power of the above sessions, but this should be on the to-do list of any would-be rock god. CelebrityAccess senior editor Larry LeBlanc will lead a discussion on what it takes for an artist to make it big in the digital world (apparently, sending a scratchy demo tape to your local radio station just doesn’t cut it anymore). The line up of industry power players includes A&R Worldwide founder Sat Bisla, Universal senior director Mark Spicoluk, Glassnote president Daniel Glass, Bedlam Music manager Nathan Stein and Music Dealers vice-president Kavi Ohri.
How Artists Are Being Discovered: A&R in a New World, 4 p.m.

Songwriters’ Summit, Fairmont Royal York, March 24, 9 a.m. – 7 p.m.

Goodbye, goulash: Church Street loses the longstanding Reither’s Fine Food

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The curtains are drawn tight over the windows at Reither’s Fine Food International.

After 23 years of providing Church Street shoppers with meats, seafood and other edibles from all over the world, owner and Austrian master butcher Peter Reither has decided to close the deli and specialty food store.

A farewell sign on the door thanks staff and customers for their loyalty and cites Reither’s retirement as the reason for the close.

The abrupt departure came with little notice and will certainly leave a void in the neighbourhood. No word yet as to what will take its place, but this much is certain: Church Wellesley village just got a lot less schnitzel-friendly.

Band of the Week: Blackie and the Rodeo Kings

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Blackie and the Rodeo Kings are ever-nearing a legendary position in the Canadian roots music canon. Not a small feat for a group of solo musicians who got together for a one-off project 16 years ago. That project — a tribute to oft-overlooked but highly regarded Canadian songwriter Willie P. Bennett — still echoes throughout the band’s work to this day, but manages to avoid being a hindrance to their musical growth.

On their newest outing, Kings and Queens, the band teams up with some of the finest female vocalists to have stomped a cowboy boot on a North American stage. Emmylou Harris, Rosanne Cash and Serena Ryder are just some of the many talented people that appear on this disc, their distinct voices giving every song magic while the common thread of the original band provides the grounding necessary to give this record a classic, cohesive feel.

We caught up with vocalist/guitarist Tom Wilson as the band prepares for its big Canadian Music Week showcase tonight at Massey Hall to talk about the record and what to expect this evening.

Can we start by talking about the new record?
Kings and Queens was an idea we came up with six years ago. I mean, really, officially from the minute the idea came up it took us six years to make the record. That’s unusual for Blackie and the Rodeo Kings because we usually make records in about five days, y’know? So six years made us a little anxious. But I think we did something that we’re going to hold really high for the rest of our lives. For as long as we’re playing music, this is going to be a real high point.

Why did it take so long to complete?
Well, the idea came along really innocently. [Vocalist and guitarist] Colin Linden said, “Wouldn’t it be great if we did an album of duets?” So, that’s literally how it came together. And about five minutes later he said, “Well, since we’re the Rodeo Kings we should do it with queens and we could call the album Kings and Queens,” and we all thought that was a really great idea. Then there were a few phone calls made by Colin to women who were fans of ours or who had sung with us. The first calls were to Rosanne Cash and Emmylou Harris and Lucinda Williams and Pam Tillis, and once we had those girls on board we all said yes immediately. We were kind of committed to making it. So what was involved was finding the material, writing the songs, making it all right, then getting the girls to record it with us. So it took a while to execute.

Did you write these songs with specific singers in mind or did you match it up later?
Some of them, like “If I Can’t Have You,” I wrote with Colin James and said, “Wouldn’t it be cool if Lucinda Williams recorded this song?” We actually sat down to record because Colin’s a big Lucinda fan, so we tried to write a song that would be reminiscent of what she does and it just ended up that she did a duet with me on it.

Was there anyone on the record that you were just like “Wow, I can’t believe I get to work with this person?”
Well, a life in music is really frustrating, it’s really hard, but the magical moments are really magical. And I have to say that there’s no one on that record who didn’t blow my mind. It’s funny because I’ve been fans of a lot of those girls; Patti Scialfa I’ve been listening to for years with Bruce Springsteen and she’s an unbelievable singer and a great talent. But the girl that really rings my bell is Serena Ryder. She’s just so talented and so wonderful and such a team player. She’s a great band member, she knows how to respect the songs the same way we do; we speak the same language.

And was there anyone you wanted to work with but it just didn’t pan out?
Wanda Jackson didn’t work out, but that was because she was making a record at the time with Jack White. That was one. We would have loved to have had Anne Murray sing with us, but she was busy. I think she was writing a book. As a working musician myself I know that when I have spare time I really cherish it. I cherish the time with my family. So people who said ‘no’ we completely respected because, y’know, they’re coming off the road, they’re coming off of other projects; they work really hard. We were on the hunt for 14 queens and we got them and we love every one of those women.

It seems to me that you guys write a lot, or at least collaborate with a lot of other musicians — Ron Sexsmith comes to mind. What is it that reaching outside of the band provides you with?
I think that whether you’re playing music with a band, which is a small community that you build, or whether you build a creative community that involves writers like Ron Sexsmith or Colin James, it’s kind of like sleeping around: it’s a lot of fun and sometimes the results stick.

Is there anything that you took away from this project that you weren’t expecting?
I found out that hearing some of my songs sung by some of the women on that album — y’know, seeing my melodies and the words that I came up with — that’s pretty mind blowing to me. It’s always mind blowing when someone covers your songs, especially when you’re doing duets with them.

So will we be able to see any of the queens get up with you guys at your Massey Hall show?
We have four Queens and two special guests that we just can’t announce yet. It’s going to be a fun night, with six guests getting on stage with us. It’s going to be a wonderful evening.

Blackie and the Rodeo Kings are:
Stephen Fearing — guitars and vocals
Tom Wilson — guitars and vocals
Colin Linden — guitars and vocals

Blackie and the Rodeo Kings, Massey Hall, March 21

Theatre Review: Shrek the Musical

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There aren’t too many productions out there where the leads fall in love during a tuneful belching contest, but then, few shows value releasing your inner self quite as much as Shrek the Musical

Dreamworks' Broadway show, which opened last night at the Toronto Centre for the Arts, is a lively if slightly uneven re-telling of the hit movie and William Steig’s original book. 

No effort has been spared in ensuring that the production overflows with fun factor: the rapidly changing sets are big and bold, there’s an impressive four-person dragon puppet and a dress with built-in fairy lights is rather nifty.

There are some fun sight gags — not least of which is Merritt David Janes’ performance as the vertically challenged Lord Farquaad, which involves him walking on his knees for the entire production — and the big musical numbers come off well, not least thanks to the surprisingly witty lyrics.

But the show stumbles when the music stops, losing momentum more than once in over-long scenes of dialogue. In the title role, Lukas Poost seems constrained by his character’s gruff misanthropy (not to mention a hefty green prosthetic mask) and he is overshadowed by Liz Shivener as the bipolar Princess Fiona and André Jordan, who gets most of the laughs as Donkey.   

Like countless pantomimes and animated movies before it, Shrek tries to keep the kids entertained with visual gags while lobbing wise cracks over the young ones’ heads to their parents. And, largely, it suceeds. Shrek doesn’t have the flawless perfection of a fairytale princess, but it's no ogre either.

Toronto Centre for the Arts, 5040 Yonge St., 416-733-9388. To April 1.
   

One-night-only exhibition at ROM explores Canada’s threatened rainforest

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With Toronto’s temperatures sitting a healthy 20 degrees above seasonal, you’d be forgiven for wondering what's going on with our climate.

We can’t answer that, but we can point you in the direction of an evening at the ROM that highlights one of the country’s most stunning environments while bringing up concerns over our gas-guzzling ways.

Thursday night, the Made in Toronto Film Festival and World Wildlife Fund Canada will come together to screen Spoil, an award-winning documentary made by the International League of Conservation Photographers on an expedition into B.C.’s Great Bear Rainforest. Images taken by the photographers on the expedition (like the really cute bear above) will also be on display.

The evening is being held to mark World Water Day, the UN’s campaign to promote clean water around the globe.

The Great Bear region of B.C’s north coast contains one of the largest tracts of unspoiled temperate rainforest left in the world and is also an important marine ecosystem. Large parts of the rainforest are protected but environmentalists are concerned that the proposed Northern Gateway oil pipeline project could damage the area. 

“These amazing photographs, and the stories that accompany them, make it very clear that this is no place for an oil pipeline or supertankers,” said Darcy Dobell, vice president of WWF Canada’s Pacific Region. “Protecting the Great Bear Sea is like protecting the Galapagos Islands or the Amazon rainforest.”

The Made in Toronto Film Festival is a monthly event held to showcase the work of local documentary filmmakers.

Royal Ontario Museum, 100 Queen’s Park, 416-707-1077. March 22, 7 p.m. Adults $15 advance/$17.50 door; students and seniors $13 advance/$15 door.
 

Trending in Theatre This Week: Shrek, My Granny the Goldfish, The Seagull and more

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Shrek the Musical

Based on the Oscar-winning film, the musical features all of your favourite characters (Donkey wears a cool pair of shades this time around) plus 19 brand-new songs. It’s worth seeing for the giant lady dragon alone.
Toronto Centre for the Arts, 5040 Yonge St., 416-644-3665. March 20 – April 1.
 


My Granny the Goldfish

A neurotic man’s grandmother travels all the way from Bombay to Vancouver to help him recover from his illness with the best medicine of all: laughter.
Factory Theatre, 125 Bathurst St., 416-504-9971. To April 15
 


The Seagull

Anton Chekhov’s classic (and depressing) play is translated into John Neumeier’s ballet with all of its dramatic characterization and intense emotion intact.
Four Seasons for the Performing Arts, 145 Queen St. W., 416-345-9595. March 21 – 25.
 


Morro and Jasp: Go Bake Yourself

The hugely popular Fringe favourite serves up another edition of their clownsters’ culinary adventures.   
Cahoots Theatre Company, 388 Queen St. E., 416-203-9000. March 22 – 31.
 


The Vindication of Senyora Clito Mestres

Playwright Montserrat Roig uses the metaphor of Greek queen Clitemnestra to explore one woman’s extreme transformation from having no will of her own to being in charge of her life.
Theatre Passe Muraille, Backspace, 16 Ryerson Ave., 416-504-7529. March 21 – 25.
 

Duo behind The Oxley in Yorkville promise English comfort food with a touch of elegance

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After three years at the helm of classic English pub The Queen and Beaver, Jamieson Kerr and executive chef Andrew Carter are embarking on a new venture: The Oxley. Located on Yorkville Avenue opposite the Hazelton Hotel, the new restaurant will cater to the area’s clientele with a slightly more upscale play on what the duo currently has going on at their Elm Street location.

“I think what we do best is comfort food,” says Carter. “But this will definitely have more of an elegance to it.”

The concept, though, will be familiar to anyone who has visited The Queen and Beaver, with two bars over two floors and a dining room. Kerr says, “It might be a bit cosier inside, but we’ll have more room outside.” The venue will seat 45 in the dining room (where they will be taking dinner reservations) and have two patios, a small one at the front with space for 25 and an enclosed rear one with seating for 45. Once again, Kerr and Carter have enlisted the help of Elisa Sauvé to design the space, so guests can expect the same homey, British pub-style decor they’ve grown accustomed to.

The pair, though, expects the Yorkville venture to attract a different crowd. “There’s a bit of a cross over in terms of clientele,” explains Carter. “We have customers who live up there, but work downtown, so we’ll have some of them. But in general it’s a very different neighbourhood.”  

Though there will be an area in the upstairs bar where sports fans can watch their events like the Euro Cup or the Olympics on a big screen, Kerr says that, unlike The Queen and Beaver, The Oxley will not be marketed as a place to catch a game.

Carter plans to take his menu in a more refined direction. “We don’t want to stay stagnant and do the same thing over again,” says the chef. “I think people have come to expect more from us.”

Instead, Carter plans to take traditional English comfort food and cross it with fine dining. “That’s my background, I went to school in England,” he says, but adds “Any chef’s training really comes from working.”

Carter will now split his time between the two restaurants, though mostly he expects to be at the new location. “I have a great team that’s been with me for two years,” Carter says. “They know the ebb and flow of The Queen and Beaver, but like a mother hen, I’ll pop in every once in a while.”

The Oxley is set to open in mid April, but the pair have yet to announce a firm date as renovations are still underway. When asked if they have plans to further expand, Kerr and Carter said they would consider it, should the opportunity arise in the future.

The Oxley, 121 Yorkville Ave.
 

Hidden gems at Canadian Music Fest

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Canadian Music Week hits town tomorrow with performers from all over the world descending on Toronto for five days of live music. For every established act like Blackie & The Rodeo Kings or Jeff Beck that plays to packed houses, there will be many more emerging artists seeking their big break. Here are five names that you may not be able to catch in small venues for long.
 

Cold Specks

The 23-year old Etobicoke native Al Spx (a.k.a. Cold Specks) has already picked up a huge following in the U.K. for her bluesy, soulful Southern style and bold, confident stage presence.
Brings to mind: A female Tom Waits.

Cold Specks plays Music Gallery on March 22.
 

Big Scary

The Aussie duo’s eclectic mix of sounds is reflected in both their choice of instruments and the vocals. Tom Iansek and Jo Syme boast a diverse array of piano ballads, instrumentals and straight guitar riffs which, coupled with their contrasting voices, makes for some unpredictable, fun tracks.
Brings to mind: Florence and the Machine, but without that distinct voice.

Big Scary play Lee’s Palace on March 23.
 

Wintersleep

For a truly Canadian experience at the nation’s music week, you could do worse than this Halifax-based quartet. Their music brings to mind ice fishing on a desolate, frozen pond — even if you’ve never been ice fishing before.
Brings to mind: The Hip seems too obvious, so let’s go with Matthew Good.

Wintersleep play The Rivoli on March 24.
 

Redgy Blackout

Too often the temptation in music is to break things down into genres. That proves awfully hard to do when you listen to Vancouverites Scott Perrie and Jeremy Breaks, which likely stems from their two very different musical backgrounds (Perrie was a choir singer, while Breaks performed in several hardcore metal bands). What emerges from their pairing, then, is a quirky, intriguing mix of soft and hard sounds with some reggae thrown in for good measure.
Brings to mind: A slightly softer Incubus.

Redgy Blackout play The Sister on March 21.
 

Joseph Arthur

Arthur is a lyricist in the purest sense, evoking both meaning and emotion through the words in his songs (albeit occasionally at the expense of melody). After enjoying a modest breakout at the turn of the millennium, his follow-up offerings featuring back-up bands lacked the same critical acclaim. Now, he is back to his roots, touring solo to the benefit of his intimate audiences.
Brings to mind: James Blunt

Joseph Arthur plays Horseshoe Tavern on March 22.
 

Canadian Music Fest, March 21-25, various venues.
 

Five must-see acts at this week’s Canadian International Comedy Fest

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The funny folks behind Bite TV are putting on the very first Canadian International Comedy Fest this week, featuring a star-studded line-up of comedians for five straight days of laughter. The big draw of the festival is expected to be outrageous 30 Rock star Tracy Morgan. Here’s a run down of five other must-see acts that will be sure to get you ROFLing.
 

Chris Kattan

Funnily enough, the SNL alum who’s made us laugh with unforgettable characters like Mr. Peepers and Mango is new to stand-up comedy. This is supposed to be a brand new creative outlet for Kattan, so we’re sure he wouldn’t mind a few head-bobbers in the crowd.
Toronto Underground Cinema, 186 Spadina Ave., 647-992-4335. March 24.
 

Debra DiGiovanni 

Voted as Canada’s “Best Female Comedian” at the 2007 Canadian Comedy Awards, DiGiovanni also appeared as a top ten finalist on NBC’s Last Comic Standing and is a favourite snarker on MuchMusic’s Video on Trial. And if those weren’t enough reasons to catch her act, she’s also been voted “the best comic to see after a messy breakup” — you’ll cry ‘til you laugh.  
The Best of Absolute Comedy, Absolute Comedy, 2335 Yonge St., 416-486-7700. March 21-24.
 

Steve-O

We didn’t know the Jackass star was a stand-up comic, but since he does have a flair for the obscene and a diploma from clown college, making a group of strangers laugh shouldn’t be too hard for the stuntman. At any rate, you can bet he’ll do something outrageous.   
The Danforth Music Hall, 147 Danforth Ave., 416-778-8163. March 24.
 

Scott Thompson

One of the kids from Toronto’s legendary sketch troupe, The Kids in the Hall, Thompson brings his irrverant — and often flamboyant — humour back to his roots at The Second City stage. Here’s hoping Buddy Cole makes a cameo.  
Stand Up With Bite, The Second City, 51 Mercer St., 416-343-0011. March 21.
 

Julia Hladkowicz

You may not recognize Julia Hladkowicz’s name (or know how to pronounce it, for that matter) but you may recognize her face from that Lindt Chocolate commercial with tennis star Roger Federer. A quarter-finalist at the Great Canadian Laugh Off, this pretty and super-funny comic will be seen a this year’s NXNE fest.
Cool Chicks of Comedy, Yuk Yuk’s, 224 Richmond St. W., 416-967-6425. March 23 & 24.Cool Chicks of Comedy,

Canadian International Comedy Fest runs March 21-25 at various venues.

 

Fashion Week Diaries: Arthur Mendonça, Travis Taddeo, Joeffer Caoc, RAD by Rad Hourani

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As Fashion Week neared its end — drawing a sigh of relief from most — the promise of Arthur Mendonça managed to keep even the weariest attendees upbeat, with Nicholas Mellamphy, Fiona Green, Bernadette Morra and Jully Black all present. The show ran late, but the wait was worth it.  

Opening with a fuchsia and black patent-leather coat, which featured a dolman sleeve, Mendonça’s main message for fall was sophisticated colour — with a dash of edge. Despite being styled with bowler hats and latex boots, the looks themselves were very ladylike. A two-toned wool and lambskin sheath was paired with a burgundy fur collar, creating vertical blocks of colour in contrasting textures. While some of the double-breasted jackets came off as a bit matronly, a pale pink dress starring tinfoil lace was arresting, and the teal stole slung over the shoulder made the look. Not all was colourful, though: a black V-neck crêpe de chine gown, edged in patent leather, featured a breathtaking racer back. As the designer came out to take his bow, the crowd erupted in cheers.
 

Travis Taddeo

Up next was Travis Taddeo, a young designer who drew a bevy of other young designers: Chloé and Parris Gordon, Ashley Rowe and Evan Biddell. Prefixed with a clip of the designer speaking about his muse — a “bit of a rebel…not happy, not sad,” apparently — the collection was titled “Doomed Generation.” Using shades of grey, white and black, alongside a vibrant fire-engine red, Taddeo wished to mimic a world exploding, which was a comment on the world in which we live.

Many of the garments had very simple silhouettes, some with a swirl of chiffon or silk cutting the hardness of the geometric lines. While this translated into great wearability, we preferred the pieces that had a little more flourish to them. A long-sleeved jersey tee with red fox-fur sleeves was an enviably casual way to wear fur, while a grey dress was printed with what looked like the aftermath of the previously mentioned explosion. Taddeo’s final look was the best: a red leather jacket featuring an asymmetrical zip and fox-fur sleeves, evidently a big trend for fall.
 

Joeffer Caoc

At the Joeffer Caoc show, which was held in the larger runway room, Post City’s fashion columnist Jeanne Beker looked very smart in all black, while Stacey McKenzie was as enthused as ever. We did, however, note a dearth of people on the media side — many, presumably, having had their fashion fill for the season.

Like Mendonça, Caoc also presented plenty of colour for fall: tweeds in burnt orange and olive green; marigold and fuchsia coats; a multicoloured dress in a painterly print. Waists were cinched with studded belts, and there were peplums galore. A series of looks mixing greys, silver and bronzes made up the second half of his show. We didn’t care much for the lamé looks (once again), but loved a dress with a draped collar that ran over the shoulder and dipped in the back.
 

RAD by Rad Hourani

The Fashion Design Council of Canada’s major feat of the week was luring Rad Hourani to show his ready-to-wear line RAD at Fashion Week. After sheepishly admitting that he hadn’t been to Toronto in 10 years, the expat designer — whose garments are manufactured in Montreal, though he resides in Brussels — sent an arresting series of looks down the runway. As a black-and-white video grid screened images from his previous collections, local musician Diamond Rings (a.k.a. John O), Stacey McKenzie — nestled next to Evan Biddell — and street-style photographer Tommy Ton readied themselves for the show.

Opening with internationally renowned model Liisa Winkler, a series of male and female models marched out with makeup-free faces and slicked back hair. Hourani’s work is aseasonal and asexual, with each collection identified by a number: last week’s was #5 for RAD. In his work, Hourani pairs black with an accent colour; last season’s blues made way for this season’s olives and hunter greens, resulting in a look that was both futuristic and militaristic.

Each model wore a number of garments, layered over either slim-fitting pants (for the men) or opaque tights (for the women). While layering often conjures up images of a loose, flowing silhouette, Hourani’s vision was executed with incredible precision. The majority of the looks were finished with a leather harness, ensuring that the figure was not lost beneath the layers. While each garment combination was just as impressive as the last, we liked a male model in a hunter green coat with leather sleeves, patch pockets and a triangular lapel, with a black hooded sweatshirt peeking out. For us, it was a flawless end to a whirlwind week.
 


Also in Fashion Week Diaries

Day One: Lucian Matis’ darkly romantic vision, Holt Renfrew lacks panache
Day Two: impressive looks from Adrian Wu, Laura Siegel and Sid Neigum and Chloé Comme Parris, Martin Lim, Lundström Collection
Day Three: Vawk, Line, Bustle, Mélissa Nepton, Joe Fresh
Day Four: Rudsak, Ezra Constantine, Pink Tartan, David Dixon