From Sept. 6 to 9, our cultural metropolis captivated the industry and the public alike at the 21st edition of Montreal Fashion Week. Bonsecours Market, in the hub of the Old Port, was the place to be seen and heard by buyers, bloggers, journalists, fashionistas, and fans, as all gathered to witness the Spring/Summer 2012 collections of both new and veteran local designers. With fashion shows, cocktail receptions, and off-site events, it was a jam-packed week of things to do and people to see. Although much of Fashion Week is about buying and selling, the events have recently come to attract more attention worldwide, as Montreal creeps up the fashion ladder and becomes more visible to competitor fashion cities. Surrounded by fashion-loving attendees and Spring/Summer 2012 looks, Montreal presented a variety of fun and fresh styles to look forward to after the dreaded winter months.

 

Barila

Barila’s collection had a peaceful, real-life feel. Antique floral prints with exposed shoulders, frocks, and shirts and dresses alike came alive in pastel blue with tan accessories to boot. Barila is often able to weave femininity into her collections while using edgy and relaxed designs.

Spring into fashion with … a classic, ‘all-American’ shirt dress with Barila distinction.

 

Melissa Nepton

Melissa Nepton’s collection improved with each piece that walked down the runway and those drawn to black and white will be impressed. But the focus was on a new style of drapery, a recurrent black and white tribal print shown in different formats, on oversized cowl necks and hoods in a beautiful balance of fitted and swathed; and amidst the black and white, spots of tan, olive, and pale orange.  

Spring into fashion with … a beige open-neck, long-sleeved, boyfriend-fit onesie with orange waist bow tie.

 

Martin Lim

Martin Lim used soft materials to express his Spring/Summer 2012 collection. Neutrals, as well as delicate pinks, greys, and browns, complemented his ensemble. Many of his pieces had a ‘60s mod spin to them, but Lim still managed to keep it modern with flowing accents. Horizontal and vertical stripes also made their way into his collection, but without the typical nautical look due to his color palette and piece design. He kept his collection both calm and upbeat by including simple yet striking ensembles.  

Spring into fashion with … a loose bubblegum pink and black spaghetti strap dress with ivory folds in the detail.

 

Second

Second has thoroughly expanded from their original denim line toward a wonderful collection of youthful and chic women’s wear, complementing a variety of styles in their design. They had a light yet structured feel to their collection, with very real-looking flowers in dresses, shirts, and even sash belts. Light denim colour made another appearance in dresses, skirts, pants, and coats as they mixed fresh whites, pale pinks, and corals for a very wearable and playful collection. With flowing tops, whimsical summer dresses, colourful shirt and skirt pairings, Second pleased yet again.

Spring into fashion with … a Gardenia printed strapless gown.

 

Travis Taddeo

Many of Taddeo’s pieces followed the expected Spring/Summer template, but then came the feathers, combined with a lovely use of blush tones and peachy-tan-pink colours that set his work apart from the floral inspiration for this season. The inclusion of lightweight and pale denim in anything other than pant format was well done, but the acid wash and paint splatter weren’t as successful. His western-style cloth poncho and subsequent two-piece were intriguing, and provided a different look for spring and summer. It was also nice to see how he balanced his leather pieces with flowing, light-coloured materials. Except for a couple of pieces, Travis Taddeo’s overall collection was strong.  

Spring into fashion with … a cocktail-length feather appliqué dress.

 

Denis Gagnon

It was great to see Gagnon use more colour than usual at this year’s Fashion Week. Mini floral patterns were intertwined with fiercer black leather, as well as champagne satin and shimmering highlights. Gagnon does not cease to amaze with his intricate detailing in every collection. There was a nice combination of tuxedo suiting as well as flirty and fun materials in rompers, dresses, and gowns as Gagnon mixed feminine and masculine borders.

Spring into fashion with … a black chiffon, white-bibbed shirt with pleated collar and cuffs over a pair of white shorts.

 

Anomal Couture

Daring bodysuits were the ultimate show-stopper for designer Sonia Leclair. Shimmering caramel, black, gold, and midnight blue were in the works for her Spring/Summer 2012 collection in both fierce and elegant ensembles. Leather, satin, and eclectic patterns were eye-catchers along with kimono-inspired detailing.

Spring into fashion with … a sequined gold and black draped kimono.

 

Dimitri Chris

Chris’ collections are always cute and preppy, and his male models oh-so-well-coiffed and put together. His work just makes you want to have a good old-fashioned, clean-cut boy to take home. Chris made great use of the nautical/sailor look that’s been seen time and time again, but what makes him Fashion Week-worthy is his tidy and fresh take on it. The little boat print was not as wearable in the suiting department, but was definitely a cute touch as a muscle tee. Chris showed that short-shorts can never really be too short, and looked classic with a blazer and relaxed sleeveless shirt to pair.  

Spring into fashion with … a boat-print sleeveless top with white fitted blazer and navy shorts. Classic and unbeatable. 

 

UNTTLD

UNTTLD wasn’t shy about making a strong statement on the runway at their debut at Fashion Week. Their fierce attitude paid off, with a unique combination of pieces demonstrating an outside-the-box mentality.

The collection is p
rimarily black and white but fear not fashionistas, UNTTLD balanced the simple colouring with a wide variety of textures, including leather, chiffon, mesh, and crochet. They also used a diverse cast of models to display their collection, connecting with Montrealers’ wide variety of lifestyles.

Spring into fashion with … a high neck, backless, black crochet, sleeveless top with black full-length skirt … silver chunk accessories more than welcome.

 

Dinh Ba Design

Dinh Ba showed an extensive collection for Spring/Summer 2012, but perhaps most exciting was the prospect of seeing tribal prints integrated into next year’s collection. The use of both bright colours and blacks in the collection was a nice change as we often see designers using solely monochromatic palettes or bright colours alone. There were a number of floral details used, including both petal and flower appliqué and pattern to the designs. While there wasn’t as much continuity between each piece as with other designers, Dinh Ba did a fine job bringing together many different styles and looks.

Spring into fashion with … a sleeveless, brighter-than-bright-blue, fitted dress with rose appliqué detail in the bottom half, worn with tone-on-tone blue tights. 

 

Soia & Kyo

You can always count on Soia & Kyo’s Ilan Elfassy to keep a youthful yet classic vibe to his jacket and coat designs for both men and women. This upcoming Spring/Summer collection creates room for some new, fun styles but doesn’t foresake attention to detail. Black, tan, ivory, and some splashes of colour make way for a glamorous array of fits as well as a great selection of unique looks for every individual style. Leather fitted jackets and bombers, trench coats, and sporty apparel too—Soia & Kyo’s focus is unforgettable, as is their ability to style head-to-toe.

Spring into fashion with … a shiny burgundy red bomber jacket.

Nowadays, music genres rise and fall in popularity on a yearly, if not monthly, basis. There was a time when Texas’ Neon Indian was the vanguard of “chillwave,” named for its dreamy synthwork layered around deliciously nebulous vocals. The group’s debut Psychic Chasms—which did much to establish the movement—was applauded by hipsters and critics alike.

But two years can be a long time. While contemporaries like Washed Out and Toro y Moi sharpened and expanded their sounds to dizzying effects, Neon Indian’s sophomore effort Era Extraña seems more like a reactionary response. It’s murkier and less lucid, though not without moments of nostalgic brilliance. Standout “Polish Girl” features a simple but irresistible riff looping over flaring synth lines. “Future Sick” puts Palermo’s whispy vocals on top of lurching, glittering arrangements. The titular “Era Extraña” cuts through the synth haze of previous tracks with a spacious and  grandiose delivery.  

Yet these few tracks all share a mere comparability with Neon Indian’s brilliant debut disc. The rest of Era Extraña either embodies directionless blips and beeps (“Suns Irrupt”) or overdoses on fuzzy din (“The Blindside Kiss”). Much of the disc is schizophrenic rather than psychedelic.  

This shouldn’t set Neon Indian back indefinitely, but for a band that was at the pinnacle of experimental sound, Era Extraña lacks the artistic vigour to hurdle the sophomore slump, let alone revolutionize a genre as they had done before.

I’m With You, the tenth record from the Red Hot Chili Peppers and the first after a five-year hiatus, takes the signature Pepper funk sound in a different direction.

The new route is undoubtedly due to the departure of long time guitarist John Frusciante, the band’s musical compass, and his subsequent replacement by Josh Klinghoffer.

It is evident that Frusciante’s exit has triggered a streak of self-reflectiveness among the remaining members, given the succinct length of the record and the wistful, intuitive nature of the lyrics. Anthony Kiedis’  voice is steady and poised as always. His classic speak-sing technique doesn’t have the same range as other front men, but he projects confidence in the power and depth of his vocals. Flea’s funky bass lines and Chad Smith’s pounding, cathartic beats are quick and excellent as always. Klinghoffer is searching for his footing with the band, however he does an admirable job finding his place with three men who have been playing together since the ‘80s.

Standout tracks include “Meet Me at the Corner,” a melodic, soulful number, and the cool funk of the album’s first single, “The Adventures of Rain Dance Maggie.”

It’s a solid and enjoyable album, but not fully up to Chili Pepper standards. Far from needing to prove themselves as musicians, a few tracks give a bit of a waning edge and could have been snipped for an even more concise, clipped gem.

If comedians were meals, Hari Kondabolu would be the delicious, home-cooked variety. Other stand-up comics are frequently almost equally tasty, but often, I find myself enjoying a routine only to feel nauseous looking back at what I’ve tacitly endorsed with my laughter—exactly how I feel after eating McDonald’s. Following a Kondabolu set, I feel good.

Don’t get me wrong, I don’t want to make the guy sound boring—he is laugh-until-you-hurt funny. What’s special is that Kondabolu’s brand of socially conscious stand-up manages to be utterly hilarious while also utterly avoiding the racist, sexist, and homophobic jokes that have made such easy fodder for others. Sitting in the audience, I laughed hard at everything, without glancing around guiltily to see if other members of the audience were the butt of the joke.

Kondabolu got into comedy at an early age, starting to write at age 16,  influenced by the likes of Margaret Cho, Stewart Lee, and Paul Mooney. At Bowdoin College he started to move away from some of the easy, sometimes stereotypical jokes of his youth and towards political humour, and particularly, the politics of race.

In 2006 Kondabolu made a short movie, Manoj, where he portrays both an Indian comic named Manoj who uses stereotypical portrayals of Indians for easy laughs—”A lot of times people come up to me and say, ‘Manoj, why do Indian people eat monkey brains all the time?'” Manoj says in the film. “That is simply not true. If you knew anything about monkey brains you’d know monkey brains are very, very expensive. You can’t just eat them all the time. If I had a dime for every time someone came up to me and asked, I could actually afford to eat monkey brains!”—and himself, an Indian comic disgusted by Manoj’s material. The film was a hit, airing at the Just For Laughs Comedy Festival .

Kondabolu didn’t take a normal road to comedy, if there is such a thing. After graduating from Bowdoin College he moved to Seattle to work as an immigrant rights organizer, focusing on “detention and deportation issues,” while continuing to do stand-up at night. There, he found a supportive community of comedians and other artists and was able to make new strides with his material. Eventually, he applied to a human rights masters program at the London School of Economics.  

Everything happened at once for Kondabolu: he was discovered by the HBO comedy festival, he got a set on Jimmy Kimmel Live, and he got into LSE, all in the same week.

“I didn’t know what the fuck to do because comedy wasn’t the plan. I just really liked doing it and you’ve seen what I do, I just didn’t assume this would work in more than Seattle, San Francisco, now Montreal, … there’s [only] a handful of places I could play, so it was kind of weird I was getting mainstream national recognition,” Kondabolu said.

He decided to take a year off from comedy to get his masters, but came right back afterwards. For the past three years he’s travelled and performed, played a part in a Sandra Bullock movie, and built his reputation.

“I don’t want to be niche to be perfectly honest. I don’t think the issues I’m talking about are niche. Racism should not be fucking niche. This should be mainstream and my goal is to be mainstream.”

*****

Kondabolu performed to a standing-room-only crowd at the centre culturel Georges-Vanier this past Thursday Sept. 8, at an event co-hosted by CKUT, Rad Frosh 2011, and QPIRG Concordia and McGill.

The organizers led the set with the 15-minute film Manoj, which got big laughs, even though more than a few of those were for the simple jokes that Manoj was satirizing. Regardless, the audience was ready when Kondabolu took the stage.

It’s difficult to imagine an audience and a performer more perfect for each other than the crowd there and Hari Kondabolu. Educated young people who are politically aware seem to be the target market, and the Montreal crowd couldn’t get enough of the jokes or the worldview. He received a semi-standing ovation, which he later mocked in his Q&A.

Later he tweeted, “Fun show in Montreal. Had poutine after. Feel bad I need to leave this city so quickly.”

So does Montreal.

Visit harikondabolu.com for more information.

It’s 690 B.C. in ancient China, on the eve of a coronation that will vest a woman with the power of emperor for the first time in China’s history. Looming in the background is a titanic Buddha, under construction as a tribute to the empress’ power and the witness of several spontaneous human combustions. This is the mystery that the empress  calls Detective Dee back from prison to solve—the mystery of the phantom flame, a phenomenon that has felled several important personages surrounding the empress and the construction of the Buddha.  

Dee, played by leading talent Andy Lau, is a sagacious, kung fu-fighting sleuth who commits his all to solving the case despite a history of fomenting rebellion against the empress. In the process, he discovers a cloak-and-dagger subplot involving contending factions vying for the crown à la Game of Thrones. While Dee steers clear of external pressures and incentives, he becomes pseudo-romantically involved with the empress’ loyal protector, Jing’er, a feisty and limber sidekick with her own branch of rope-whipping kung fu (the movie approaches a sex scene but disappointingly fails to deliver).  

While the plot is certainly convoluted enough to engross most people for two hours, the real magnum-ness of the opus is the visual eye-feast. Each scene is lush with magical floating petals, lambent gold lighting, majestic talking deer, purple skies, or subterranean Dante-esque rivers populated by airborne automatons. The kung fu scenes amplify the imagery and make the action scenes resemble a prolonged minuet danced underwater. It is elaborate and entertaining. The choreography, engineered by Jackie Chan’s masterful mentor Sammo Hung, is drum-tight and applicable anywhere in the movie, from fighting deer to one-on-one battles suspended in mid-air by ropes. The rapid-fire kung fu movements parallel the battery of plot twists, and both work to keep the viewer attentive.  

Like any movie that employs fantasy elements and details a complicated story, Detective Dee toes the line of melodrama. This is compounded by the sometimes artificial graphics, such as the immolating victims of the phantom flame or city-wide shots that end up not being on-par with the rest of the movie’s visual splendor. Bouts of humor manage to mitigate this, allowing the artificiality to fit with the style of the movie—a tad over-the-top, like many wuxia films, but by no means kitsch or pretentious.  

Certain melodramatic instances are also infused with greater meaning considering contemporary China’s repressive atmosphere. The movie ends with the compelling message that right and wrong should not be confused when in office, and that there is a right time to turn power over to others. Echoing Henry David Thoreau, a blind man warns Dee as he is released from incarceration that one might be ultimately freer “inside” (of prison) than “outside,” where the empress’s dissenter-crushing stratagems have engendered fear and dissent. Her adage “to achieve greatness, everyone is expendable,” has motivated her to employ ruthless schemes against the people and inevitably brings to mind the current Chinese authorities’ reactions to the tragic train crash this past summer. Dee, in the end, gently reminds her that it’s torture that alienates the people from the empire. The film thus shies away from a typically Manichean good-bad dichotomy and, despite its sweeping imagery, offers some important messages.

In theatres Sept. 16.