Maison Alysia’s Alysia Yip-hoi Martin a goddess of jewel revival

If diamonds are forever, stunning and supremely talented fine-jewellery designer Alysia Yip-Hoi Martin is graced with goddess-like eternalness.

Alysia channels her otherworldly gifts into her eponymous jewellery line, Maison Alysia, a best-kept secret of the Montreal fashion elite—a you-know-if-you-know (ykiyk) fashion house for the super luxe. Her beguilingly beautiful jewels shine with opulence thanks to her using only solid gold and platinum and the finest ethically sourced stones. Yet the contemporary nowness and edgy halo effect that illuminate her pieces are thanks to her incredible out-of-this-world knack for redefining classics for the future.

Her latest Maison Alysia collection takes the sensibility of old regal heirlooms and updates them with fresh design. An ethos of sustainability threads it together and adds an enduring soul. “We have to consider sustainability these days. And unlike transient clothes or furniture, you can reuse stones and gold, and it’s the same stones and gold your mother held close to her heart—and then someday your kid can attach their own memories to it,” she says.

Many Maison Alysia pieces are made-to-order for the company’s haute-flying, ultra-stylish clientele, eager to revive a gem they scooped up on an exotic excursion or who want to reinvigorate an emerald or diamond keepsake from deep inside their jewellery collection with Alysia’s ultra-cool glisten.

Fortunately for non-heirs, Alysia’s sultry and sophisticated Berceau collection pieces can also be bought on MaisonAlysia.com—only these one-off, gasp-worthy originals sell out almost immediately, though they can be custom made in a similar inspiration. Pieces include vintage brooches refashioned as a genius ultra-hip “Firefly” double-ring worn on two fingers. One spear is set with an amethyst stone, the other with aquamarine. This not-quite-matching “sisters-not-twins” asymmetry is a common theme in her pieces.

Other Maison Alysia designs are made from new materials yet still have the quality of an heirloom that’s been masterfully up-leveled. One stunner necklace features an emerald-hued mythical glass cameo floating in a skeleton setting of recycled 18-karat gold and seemingly hanging on by a thread, perched onto a weightless swing. The fluidity, mobility, and delicateness of her designs are a counterpoint to the richness of her materials. And the edgy youthfulness of, say, her Quis paperclip-style bracelet gives her collection an ultramodern look. But again, it’s Alysia’s je-ne-sais-quoi larger-than-life halo effect that gives the collection a coveted air of timelessness redefined.

Mysterious as it is, what I can say for sure, being blessed to call Alysia a close friend, is that her shimmering influence—along with her creativity, talent, hilarious wit, and super-pumping heart—graces everything in her sphere beyond jewellery design. She’s married to a most wonderful and super-kind husband and is the proudest mom of two beautiful girls. And Alysia’s prestigious philanthropic contributions reveal how generous and diverse she is with her talents. She’s a board director of the Opéra de Montréal and a board director of the Visual Art Center. She’s a member of the Decorative Arts Acquisitions Committee and Executive Committee of the “Women of Influence” circle at the Musée des Beaux-Arts (MMFA). And she’s also co-chair of the Kahnawà:ke Cultural Arts Cabinet and also on the Women’s Committee of Centraide.

She’s both well-educated and a natural ambidextrous flamethrower. Her M.F.A. in Industrial and Furniture Design is from Accademia Italiana in Florence, and her B.F.A. is in Sculpture at Concordia. Her seamless move from furniture designer to fine jewellery designer was thanks to the well-trained eye of illustrious Montreal jeweller Eric Goldberg of Atelier Lou. He saw the potential in Alysia’s fashion and furniture design aesthetic and offered her an opportunity to design a collection. She nailed it with her beloved capsule collection, which included a saucy horn-shaped ear pin and circular spinner rings where wearers could alter the position.

Her latest Maison Alysia designs are even more lyrical. “It’s chapters, it’s characters, it’s plots,” she says of her revival pieces. Then she recounts the story of a personal gift she designed for her mother-in-law. It was a brooch she’d inherited from her grandmother-in-law, repurposed into a ring with diamonds. “She shows everybody in her family; do you remember this brooch? Then she tells stories about the jeweller that she and her mom used to buy from.”

And that’s how Alysia’s goddess-like talents flow. She takes the light within her and reshapes tarnished gold so that it shines anew. And from there, she pushes it forward into forever.

Remembering Gord Downie’s Great Cause Can Save A Life

Gord Downie has chosen an excellent — and personal — benefit for his final tour. Glioblastoma (GBM, or stage 4 brain tumour) is among the number one causes of death for 40 to 60 year old Canadians. It also affects children and adults of all ages, without any genetic predisposition.

If you are tempted into buying a knock-off version of Tragically Hip’s final tour T-shirt at this Saturday’s concert in Kingston or at your local Hip bash, I ask that you to please remember the cause, too.

Gord Downie has chosen an excellent — and personal — benefit for his final tour. Glioblastoma (GBM, or stage 4 brain tumour) is among the number one causes of death for 40 to 60 year old Canadians. It also affects children and adults of all ages, without any genetic predisposition. Thanks to Downie’s push, HUGE milestones can be reached in this disease, already at the forefront of medical breakthroughs.Ten years ago, patients with the disease were given months to live. Nowadays, because of advances, some patients survive years.

I’ve witnessed firsthand the benefits of aggressive treatment: When my beautiful mother, Sharon Wexler, PhD, was diagnosed with a GBM in 2011 while vacationing in Florida, she was given a devastating six months to live. She decided to go home and be treated at The Neuro in Montreal instead.

Good thing she did. Dr. Kevin Petrecca — a pioneering neurosurgeon who recently invented the Raman probe to detect microscopic cancer cells, and now chief of neurosurgery and brain cancer research at The Neuro — performed a 10-and-a-half hour craniotomy on my mom, removing her entire tumour with a two-centimeter margin of normal tissue (the neurosurgeon in Boca had proposed a three-hour operation).

Thanks to Downie’s push, HUGE milestones can be reached in this disease, already at the forefront of medical breakthroughs.

Thanks to this remarkable surgery, supported by chemo and radiation treatments, Sharon survived almost four years, and her tumour never returned. Sadly, she passed away of rare post-operative complications and treatment-related declines last year. But with her extended days, she delighted in countless meals with family and friends and enjoyed three new grandchildren born.

It has been said before: It took courage for Gord Downie to announce his terminal GBM brain tumour to the public.

“His final concert could have been just as successful had he said nothing about his illness,” noted Susan Marshall, chief executive of the Brain Tumour Foundation of Canada.

Many celebrities keep mum about their terminal illness, even Nora Ephron, a champion of the confessional essay. Early in 2016, David Bowie kept his cancer secret and channeled his inter-galactic creative energy into his final album, Blackstar, which gave hints towards his demise.

Downie, however, announced his story to public (fully, completely) on May 24, 2016. He had an incurable GBM, according to Dr. James Perry. Furthermore, Downie also did the incredibly mensch-y thing by stating that proceeds from his farewell tour would be donated to The Gord Downie Fund For Brain Cancer Research at Sunnybrook Hospital where he was treated.

Exactly how much of Downie’s raised funds will go towards the hospital is unclear, along with whether this money will be allocated to new drugs, surgical techniques and/or genetic therapies, all great potentials listed on the hospital’s website.

But given the Canadian climactic moment of Saturday’s final Tragically Hip show in Kingston, Ontario, naturally (if making money is your nature) people will be out hawking homemade iron-ons at the show itself or at a local Hip party.

So, again: Don’t buy faux-Hip T-shirts at the Man Machine Poem farewell concert! Or if you are tempted, please remember Downie’s great cause, brain cancer research, too.

Merch is probably where the bulk of The Hip’s tour’s money is being made, after all. At prior shows, the operating hours of the (clearly indicated) “official merchandise” stands were reportedly 11 a.m. to 1 a.m.

T-shirts on the TheHip.com have been long sold out.

Downie’s impact on brain cancer awareness in Canada has been immense.

“Brain cancer is usually very difficult for people to talk about… And what Downie has done is encourage so many other people to come forward with their stories too,” Marshall said.

Many fans have created initiatives, such as #Courage4Gord, where maple leafs on red cardstock will be distributed at Saturday’s show, featuring the hashtag and donation instructions to his Sunnybrook charity. The intention is to send well-wishes to Downie as he plays the song “Courage,” stoke social media and encourage donations. The blog associated with it is #Courage4GordKingston.

As for Marshall, she has asked those in her network who are making satellite parties during The Hip’s final Kingston show to give proceeds to the Canadian Brain Tumour Registry Project, an initiative of The Brain Tumour Foundation of Canada.

Does she believe the Brain Tumour Foundation of Canada’s Registry fund takes away from The Hip’s Sunnybrook charity?

“I would be fundraising for it anyway,” Marshall said. (There is a message of courage on the Foundation’s website.)

Also, she noted how Downie’s announcement about his illness has given momentum for GBM awareness and causes all throughout Canada. This ripple effect can benefit the tens of thousands Canadians currently suffering from brain cancer — and have an actual impact on current and future patients, possibly extending the life of someone’s mother or father, husband or wife, son or daughter, or a friend.

As for myself, I will be handing out information at The Neuro’s booth on Monkland Ave. in Montreal where The Hip’s final show will be live-streamed at an outdoor street festival. I, along with several others, have co-founded The Neuro’s A Brilliant Night gala, in honor of my mother, Sharon Wexler, and other loved ones who were, or are currently, stricken with brain cancer.

This year’s event will be held on Wed. Oct. 19, 2016 at Windsor Station in downtown Montreal and will once again feature the coolest, most cutting-edge immersive entertainment and music. Proceeds will go towards Dr. Petrecca and his research team, who are coming up with next generation ways to extend more patient prognosis into the three- to- five-year range, and who even dare hope for a cure.

Thanks to Downie’s help, and his inspiration, we can all be ahead by a century when it comes to ending this disease.

Barbie Expo Montreal: The Only Review You Need to Read

*This article was first published on fab feminist site Bust.com

 

I loved Barbies as a kid. Then as an adult, I learned that the dolls were an embarrassment to humanity. Now, I’m back: I heart Barbie. My change of opinion happened after visiting the new BARBIE EXPO that opened mid-February in downtown Montreal. The must-see exhibit claims to boast the largest permanent collection of Barbie dolls in the world, from JLo and Duchess Kate Barbies, to Chanel and Vera Wang Barbies, to Steampunk Barbie with green hair and a long frightening coiled neck.

After perusing the expo’s mind-boggling array of 1000+ high-fashion Barbie dolls, I was reminded that Barbie is just a fun dress-up toy to inspire the imagination—and is probably not a symbol of all that is evil in this world.

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After Hijab Barbie and Mattel’s tall, curvy, and petite Barbies created recent media stirs, now in proper Montreal form, Barbie gets reinvented once again as a cool-girl with a fantastical fashion streak. This depiction manages to transcend Barbie’s locked and loaded reputation as an icon of conformity—a reputation Mattel has long tried to reinvigorate after she was introduced in 1959. But Expo Barbie likely succeeds in transforming her image because the collection was put together by independent curators, and not by Mattel. As such, these dolls don’t look like they’re trying to sell anything—they simply appear as fixtures of private life, and reflections of whoever bothered to collect or design the elaborate outfits in the first place (some garments went through 200 hours of fittings with their designer.).

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With Barbie as fashion muse, the exhibit is flying high with entertainment: There are Barbies à la Beyonce, Kimora Lee Simmons, Cher, Farrah Fawcet, Marilyn Monroe, and Princess Grace. There are dolls outfitted by Dior, Armani, Bob Mackie, and Ralph Lauren. Then there are Barbies donning feathers, kimonos, a sari. There are even underground alternatives tattooed Barbies. In terms of diversity, there are Barbies of various races and complexions represented, although the majority of dolls are white, though not necessarily blond. Barbie’s body proportions from head shape to height are even toyed with—though again, she’s almost always skinny, or in the case of Flashdance Barbie, gaspingly thin.

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Even with the expo’s all-encompassing lens, the doll still gives off an unrealistic body image.

But overall, the expo creates a more forgiving impression of Barbie, allowing the doll to come across as whimsical and playful—a woman of reinvention like Madonna, or an eccentric style blogger of sorts—rather than a blond blue-eyed bombshell who mothers have come to protest against, not to mention who has attracted a string of tacky plastic-surgery enhanced followers. And like me, you may end up leaving the expo remembering Barbie as that childhood doll you adored because it was simply fun as heck to change her outfits—not because you were somehow brainwashed and misguided by the Dreamhouse fantasy.

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The Barbie Expo was put together by the administration of Les Cours Mont-Royal, a shopping mall in downtown Montreal that was once regarded as the city’s mecca of fashion, but now has an unfortunate vacancy rate. Looking to bring-in a high-style attraction, the administrators created a committee of curators, architects, designers to collect the Barbie Expo dolls from around the globe. The team purchased some of the Barbies outright from collectors, while others were donated. The free-of-charge Expo gives 100% of proceeds from the suggested donations to the Make-A-Wish foundation of Quebec.

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Many of the Barbies featured were once sold to the public as limited-edition dolls by Mattel. Others were created by artists or private collectors themselves, allowing Barbie to surpass market barriers and enter more expansive spheres, such as the one exhibited by Hijab Barbie (a.k.a. @hijarbie), sewn by 24-year old Haneefa Adam of Nigeria (Hijarbie is not part of the exhibit).

“Pure coincidence,” Valerie Law said of the expo’s timing, which opened on Feb. 10, right on the heels of Barbie’s new silhouettes featured in Time, and moments after Hijab Barbie became an internet darling. Law is the VP of marketing for the Soltron Group that owns Les Cours Mont-Royal. “We brought this exhibition here to Montreal because it is a fashion capital. And no one is really highlighting that about the city.” Law cites the elegant Zuhair Murad Barbie as her favorite.

As Montreal’s Barbie Expo is not affiliated with Mattel, the exhibit is likewise sans bubble gum pink displays. (The much-maligned gender-specific sales presentation found in many toy stores is a stigma Mattel also tried to overcome by featuring a boy in a 2015 commercial.) Rather, at the expo, the backdrop is a fresh white and black, with swirling crystal chandeliers. This more classical, and far less dizzying environment is more suited to dragged-along daddies, brothers, or even not-quite-so girly-girls visiting the expo. Meanwhile, Barbie aficionado’s will have their eyes popping out at every turn. They may even find themselves manically posing in the Barbie selfie booth with #ExpoBarbie. (umm… guilty.)

Heads-up: There are no actual Barbies for sale at this independent charity exhibit. Also, curvy, tall, and petite Barbies and Hijarbie have yet to make their debuts at the Barbie Expo.

 

Once upon a time, while at The New School, Suzanne Wexler wrote her M.A. thesis on “The Erosion of Public Discourse: The Martha Stewart Trial and Other Provocative Tales.” It was supervised by the late and great Christopher Hitchens, along with linguist Melissa Monroe. After moving back to Montreal, she wrote feature articles and trend reports for major Canadian newspapers. She also got married and had some super-cute kids. Now she’s working on a book of humor essays. Find her at www.suzannewexler.com.

There’s Something About Seniors

 

***Images from PowerHouse books.

 

These days, women 70 and older are expanding our gaze to appreciate one of the most often forgotten forms of physical beauty: old age.

That’s right: Our obsession with youth and smooth skin has just been given a wrinkle that may never be Botoxed. A stunning book called Advanced Style (PowerHouse Books, $40) by street style photographer Ari Seth Cohen released this month captures New York City’s most elegant grandes dames. They sport glamorous hats, gold drop earrings, oversized glasses and colourful vintage scarves. Many are regulars on Cohen’s popular blog (advancedstyle.blogspot.ca), on which the book is based. There is also a third prong to the project, a documentary, which will be released this summer.

“I’ve always been interested in style and fashion, and I thought it would be a great way for people to have an inspiring image of what it is to grow older,” Cohen, 30, said of the project, which he started four years ago as an homage to both his grandmothers.

The book’s cover art features the glorious Gitte Lee, a former model revived in an Italian Vogue 2010 editorial.

A few pages later, there is the simply named Rose, wearing a purpled print kimono dress. At 100 years old, she insists no outfit is complete without an eye-catching belt or elegant strand of beads.

Marc Jacobs was so inspired by Cohen’s blog, he based his Fall 2012 collection on it, the designer revealed to WWD and the New York Times.

“I hope I’m like this when I’m older,” Kim Kardashian tweeted upon viewing the YouTube trailer to the Advanced Style documentary, a playful four-minute clip featuring mega-stylish seniors praising colour, leopard print and larger-than-life accessories.

To them, fashion is a vibrant form of self-expression and an unrelenting source of creative freedom.

“I get emails from younger women all the time saying, ‘I can’t wait to get older’ – that’s the most amazing thing to me,” Cohen said. To him, Advanced Style was always about more than capturing golden- and platinum-age fashion: It was about showing how his muses are advanced in many aspect of life. “Style is a reflection of their vitality and spirit,” he said. Many of his subjects experience daily pains and have suffered through tragedy, but they still enjoy their lives brilliantly. Fashion is simply one of those ways.

Cohen adds quotes to the photos in the book, and posts videos of seniors on his blog, where their personalities come through, and are ultimately where Cohen’s project really hooks you.

“I’m old and nobody has to like (what I’m wearing) as far as fashion is concerned,” says Ilona Royce Smithkin, a 92-year old artist-turned-cabaret performer (who still performs), in a video.

With bright orange hair and long matching eyelashes, Smithkin is one of Cohen’s more eccentric dressers and wittiest personalities. “As long as I look in the mirror and (see) – AH! – this is me,” she says, everything is all right. A Q&A with burlesque star Dita Von Teese and Smithkin is printed at the end of the book.

Once entrenched in Cohen’s old-timey world, and peering through his rectangular looking glass – whether in blog, book or video form – one’s eyes are changed for good. Even Beatrix Ost who wears a vibrant emerald turban (for fashion, not religion) with a matching flower appliqué suddenly doesn’t seem, well, so kooky anymore. Rather, personal style becomes an invitation into someone’s autobiography.

 

Style strata

Since most advanced-style women shop within their own closet, Cohen says, their wardrobe not only reflects their personal style, but also the era they come from.

“Women in their 80s, 90s, and 100s dress very differently from women in their 60s and 70s,” he points out. “This sense of elegance of grace, and putting on hats and gloves, is definitely more alive in the older, older women.” During the Depression, he says, style was ultimately a sign of dignity and not giving up. This mentality continued in later life.

Meanwhile, women in their 60s and 70s “went through feminism, and they were influenced by hippie culture,” he said. As a result, some wardrobes tend to have ethnic and even punk influences.

Seventy-four year old Montreal model and actress Francine Lacroix still has a talent agent: Sybille Sasse, one of the few who will represent models 60 and older. Lacroix has fond early memories of fashion. She is also amazed about how much has changed over the years.

“My fun growing up was looking at my mom before she went out at night,” Lacroix said staring off wistfully. “I thought she was beautiful, and she was.” Her father owned well-known furrier J.K. Walkden on Sherbrooke St. downtown, and she can remember the pair heading off to the opening of the Queen Elizabeth (1958), the opening of Places des Arts (1963), and, and then to Expo 67. Her mother often wore custom garments by Leo Chevalier, Marie-Paule Nolin and Michel Robichaud.

As her everyday dress code, her mother used to wear a tweed skirt, a cashmere sweater and pearls. But only a generation apart, and outliving her mother by a number of years, Lacroix says she is deeply influenced by casual dressing. She wears Hue jeggings to the mall.

“There were all kinds of balls with the long white gloves,” she recalls of her own glamorous past spent with her late husband, who worked in advertising. Yet today, for openings at the Musée des Beaux Arts, or at La Maison Symphonique, which she still attends, Lacroix dons a nice slacks suit and cape. Because of arthritis, she says she avoids heels (“I wish I still could!”), and says that pants look better than skirts and dresses with the sensible footwear. Rarely does any event she attend require greater formality than a pantsuit.

Lacroix acknowledges that many Montrealers still live glamorous lives but there is a certain formality that is gone. For instance, people here once danced and dined at the piano bar, which has been uprooted by loud, casual restaurants. New York women, like the ones Cohen photographs, are the rare few who can still enjoy that element of life.

“We hope elegance lasts,” she says, noting how daughters used to copy her mothers’ fashions and now it’s the daughters who tell the mommies what to wear. Today, Lacroix also tries to mix and match like young women do. She’ll toss together a blazer, a pair of pants with Hermès jewels and scarves she collected on exotic trips with her husband. “I think it’s so much fun,” she says of the approach, even though she grew up wearing matching skirt suits, and regards formal style with nostalgia. But however casual Lacroix deems herself to be, her style, her jewels, and her radiant complexion (she swears by Lancôme beauty products) tells of her glamorous past.

 

Facts of life

Living to a certain age, where arthritis becomes a problem for the feet, and buttons become a challenge for the hands, there are certain wardrobe tricks many seniors turn to. Namely, elastic waistband pants, slipover tops, shirts with Velcro, long sleeves and mock turtlenecks. Clothes tend to be less clingy, too. But true advanced-style women, such as the ones selected by Cohen, tend to gravitate toward fine fabrics regardless of physical constraints. They’re also masters at making a stylish impact with bold palettes and accessories.

Cohen’s Valerie (part of the Jean and Valerie fashion duo) may wear head-to-toe leopard print; Mary says “sunglasses are better than a facelift”; Joyce wears gold chandelier earrings and carries Chanel bags; and elegant 80-year-old former dancer Jacquie Tajah Murdoch wears a long black dress, an oversized hat and boasts sharp red painted nails. But in general, there is a formula, Cohen says. “They love accessories and tend to be very good with colour, which helps them feel ‘less invisible,’ ” he says. But their biggest trick, he says, is knowing what they are comfortable wearing.

The hats, the gloves, the confidence, the glamour – there are many reasons why Cohen’s muses and senior style in general seem to be impressing upon younger generations. And while senior fashion fever may not have picked up much beyond Vogue’s annual Age Issue just yet, trendsetters sure seem to be paying attention.

To get a taste of Cohen’s Advanced Style documentary: visit youtube.com and enter the keywords: advanced style film trailer.

Electro-fabulous Snowglobes

* The design story below detailed a winter light installation piece on display in downtown Montreal until about March 2011. The best part of doing this piece was how utterly enthusiastic designer, Bernard Duguay, was about doing the project, called Spheres Polaires. (I-heart-enthusiasm, btw. It’s a sentiment oftentimes lost in ultra-cool Montreal!). Duguay wanted to create a winterland of snowglobes, an abstract bubble-icious microcosm of the city, and totally succeeded.


This beautiful shot of the installation was taken by Dario Ayala, one of the my favorite Montreal Gazette photographers.

*The article below appeared in the Montreal Gazette and the National Post.

Electro-Snowglobes

An outdoor light installation featuring 25 giant glowing bubbles is set up in Montreal’s Place des Spectacles and the adjoining Place des Arts area, inspiring hordes of photo-happy tourists and passersby to interact with the urban landscape this season.

“It’s land art for winter, plus it makes you feel like you’re in the future,” explains Bernard Duguay, the art director of the project, Spheres Polaires. Duguay conceived of the electrofabulous snowglobe scene in response to a contest, open to the public, organized by the Quartier des spectacles Partnership.

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“They wanted to populate the outdoor space with something dream-like and interactive,” he says. Duguay is founder of multimedia installation company Lucion Media, which has put on shows during Canada Day festivities and produced interactive displays at the Science Centre in Old Montreal. After hearing about the contest, Duguay quickly envisioned the micro-city of spheres. But at first he was hoping to do something high-tech with the bubbles, such as having people electronically paint on them. “After a lot of [research and development], we decided to go more artistic, which meant we had to be crafty. We thought of shadow theatre,” he says. Duguay’s winning project, Spheres Polaires, executed in collaboration with his colleagues at Lucion Media and with musical director Pierre Gagnon, is among three light installation works on display at three locations along St. Catherine Street in the Quartier des spectacles.

The visceral, magical-style bubbles of Spheres Polaires are made of white, reinforced vinyl hollow domes, which Duguay says appear ” E. T.-like” during the day (they’re meant to be viewed in the evening or night).

These inflated domes, or bubbles, range from three metres to 10 metres in circumference. Their interiors are lit and have one-metre-square speakers. Some contain a rotating mobile for producing special effects.

From the exterior, the bubbles boast three different themes — winter light, urban winter and winter games. These themes determine whether the bubbles are aglow with disco-like projections activated by sensors (winter lights), or covered in swirling shadow puppets featuring the Jacques Cartier Bridge or an airplane zooming by (urban winter). Expect to see abstract scenes of children playing hockey in the winter games theme.

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Spectators can control the position of the lights in a few bubbles with the swish of a hand, thanks to a one-metre-tall puck-shaped sensor on the outside. The bubbles also emit sounds ranging from New Age whispers to exuberant roars. This unexpected audio helps shake you to the core.

“We made the bubbles close enough so they feel like the squeeze of the city. And like a dance with traffic lights, sound adds to the experience,” Duguay says.

– Spheres Polaires will be on display at Montreal’s Quartier des spectacles until Feb. 27.

The Art of the Window Display

This is a kind of holiday-inspired story I wrote, even though window dressers work all year round. It was fascinating to learn was just how artistically driven these crafty workers can be and also how utterly detailed oriented the whole process is. Here’s a gasp-worthy display from Bergdorf’s from the limited-edition book by Tashen, followed by my article.

From new limited-edition book “Windows at Bergdorf Goodman” released by Assouline. A Compendium of Curiosities III: Illogical Lexicons and Convivial Characters, Holiday 2009. With Jay Soonthornsawad. Fabricated entirely in paper. Sculpture by Biak Kerdkan, Matt Northridge, and James Vance. Inspired by “Alice” books by Lewis Carroll.

* This article originally appeared in the Montreal Gazette and online versions in the Calgary Herald, the Star Pheonix, the Windsor Star and on Canada.com.

“Window Wonderland” 

Take the imagination of Dali and swirl it into the colour sensibility of Klimt. Then pour the mixture into a curvy mould clad in lingerie, and pop on 24 heads. Only then will you be halfway able to grasp the macabre and magnificence required to dress the windows at Bergdorf Goodman on Fifth Ave. in New York.

“Minimalism is great. Maximalism, too. What we avoid is mediumism,” writes David Hoey, senior director of visual presentation at Bergdorf’s, in the preface of Windows at Bergdorf Goodman, recently released by Assouline. This mother of all

coffee table books (it costs $560) catalogues the awe-inspiring storefront windows created by Hoey and Linda Fargo, senior vice-president of fashion office and store presentation. Displays include two giant polar bears in a wrestling ring, a wedge wearing tightrope walker and a series of enchanted forests, razzle dazzle assemblages inspired by Lewis Carroll’s “Alice” books.

Bergdorf’s elaborately themed window spaces, which span the block between 57th and 58th Sts., are changed almost weekly, revealing a shocking rebirth of imagination. Each space is about four metres high and a mere 1.2 metres deep.

Whether to attract the attention of fast-paced denizens in Manhattan or to please the savvy shoppers of Montreal, window displays are a spectator’s delight. Especially in late November and December, when store owners treat shoppers to the nostalgia of Christmas lights mixed with innovative whimsy.

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Social Photography 101 and the SELFIE; Becoming Master of your iPhoto Domain is all about Planned Casualness

How to pose for the oh-so-casual selfie?

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Hair up with whispers of a come-hither look?…. OR

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… Hair down and a pearly white, off-kilter smile?

As you can see from my webpage photo, I tend to prefer the sultry look. Regardless, since it took me a zillion tries to even get those semi-decent photos, I think I should practice my casual pic pose a little more!

*The article below appeared, in full or in part, in The Montreal Gazette, The Vancouver Sun, Edmonton Journal, and The Province.

Social Photography 101

The camera doesn’t love me. It doesn’t quite loathe me, either. Occasionally, it warms up to my crooked nose and zigzag smile. But based on the law of averages, I can safely predict that I’d rather see most shots taken of me disappear into the vast digital universe where they came from.

Unfortunately, they often pop up on someone else’s Flickr photo montage or Facebook page. But I’m trying to get over it. Online photo albums and social networking sites are flourishing, and embedded cameras on cellphones, iPhones and computers give millions of new photo diarists endless opportunities to showcase their skill.

And true, the skill can get ugly. Much like most new art forms, social photography — photographs intended to be shared with a large network of people — is one that beats to the most unusual sensibility. Formalities like posing or centring the shot become extraneous. Rather, it’s all about documenting your own real-time narrative, and you don’t even need a third party to help you do it.

According to a recent article in the New York Times, all you need to do is to reach out your arm, aim somewhere around your nose and snap, flash or click! You’ve got a perfectly acceptable self-portrait, aka “Selfie”, to post online. An instructional online slide show running with the piece explained that these shots should look fun and slightly off-kilter. And, like the self-portrait artist Cindy Sherman, funny costumes are welcome, too.

Whether it’s a wonky selfie, or you posting a few action shots of your pals, photography this millennium is certainly not what it used to be. But, like everything else that looks effortlessly cool, major preparation is often involved.

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Graffiti Avant-Garde Art

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SKAM painting Louis Vuitton store (*This article appeared, in full or in part, in The Vancouver Sun, The Montreal Gazette, The Edmonton Journal, The Calgary Herald, and more.)

 

It’s been sprayed on trains and scrawled across skyscrapers. This year, it was even splattered on Louis Vuitton handbags.

When, exactly, did graffiti get so glamorous?

Painters like Jean-Michel Basquiat (1960-1988) and Keith Haring (1958-1990) first brought graffiti into the avant-garde art world during the ’80s, though both passed away as their careers were launching.

Today, second generation vandals-turned-artists are earning critical respect and commercial success in the worlds of art and fashion in Canada and worldwide, leaving many hooligans with trickster smiles on their faces.

One by the name of Banksy (b. 1974) from the U.K. fetches up to $500,000 for his graffiti-inspired artwork. His pieces include a reproduction of Andy Warhol’s portrait of Marilyn Monroe, but using Kate Moss’s image instead; another piece features a live elephant painted like wallpaper. Despite his successful tongue-in-cheek gallery work, Banksy continues to post his graffiti all over the world in places like New Orleans, London and Israel. He keeps his identity secret to evade police and border patrols.

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