I met up with my sister and a few of her friends last Thursday for the fall/winter incarnation of Edmonton Fashion Week.

Serendipity by Kelsey McIntyre
The final night of the weeklong celebration of fashion saw a mix of seasonally appropriate, cold weather wear, alongside optimistic, albeit out of place, spring lines. Although I appreciate that the organizers provide designers with seemingly free reign when it came to exhibiting their collections, I think some control should be exerted – otherwise, the show comes off as disjointed and inconsistent.
More than other Fashion Week shows I have attended in the past, the age range of the audience varied widely this time around – from families with young children, to groups of teenage girls, to clusters of retirees. I think it’s great that such diverse individuals decided to attend the event.
I have to also make mention that I loved the music played that night. And probably because of being trained after numerous seasons of The Hills, I almost expected (and wanted) a continuous listing of the the evening’s soundtrack.
As for the collections themselves, Kelsey McIntyre and Jason Matlo stood out the most for me, although for different reasons. I was happy to have had the opportunity to see McIntyre’s Serendipity collection again (she also exhibited in the spring), and as previous, I could definitely see myself wearing her designs – fitted pants, feminine but practical sweaters, and flirty skirts. And oh, the dresses…

Serendipity by Kelsey McIntyre
Matlo’s shows (he had two) got off to an odd start. Instead of letting the collections speak for themselves, he felt the need to project choice words up on the backdrop, such as “chic”, “classy” and “sexy”, prior to his first model hitting the catwalk. Form-fitting, Babe by Jason Matlo definitely displayed his appreciation of the female figure.

Babe by Jason Matlo
His second showcase wasn’t notable so much for the clothes, but for his choice of models, which included the runner up in this past season of Canada’s Next Top Model, Linsay Willier. As someone commented, her air of confidence was unmistakable. Although she wasn’t necessarily much taller than her fellow models, she definitely seemed to be.

Linsay Willier wearing Jason Matlo
The other three collections didn’t really appeal to me, although Lani Van Rooyen had some show stopping gowns (why the models had to walk like they were jilted brides was another issue entirely). Amanda’s favourite outfit of the night was by Laura Dreger, which featured a leopard print coat, leggings, and a Starbucks cup as an accessory (you can read more about her thoughts about fashion at her blog).

Lani Van Rooyen

Laura Dreger (not Amanda’s favourite outfit, but another leopard print one)
Edmonton Fashion Week Spring/Summer will be returning in April – check the website for updates in the spring.
Thanks to Amanda and Eric for taking all of the photos – you can take a look at the photo set here.



We started the afternoon off at a new Fringe venue – The Laugh Shop – to see The Art of Being a Bastard. Set-up cabaret style not unlike the Yardbird Suite (which I similarly don’t like), the hodgepodge of chairs and tables wasn’t an ideal theatre. The play, one of two written by Matt Alden this year, was another very contemporary look at life, this time out of the lens of three shy twenty-somethings who wished they had more luck with the ladies. It was an enjoyable hour, though it did take a while to get going. The three actors kept up with the fast-paced production very well, juggling multiple characters and visibly sweating after a few of the frantic side-scenes (Mack in particular enjoyed the rap number, while I loved the Saturday Night Fever nod). It was another light, fun play that I imagine was written specifically for the Fringe, but of the two I watched in this category,
Our last play this year was David Belke’s A Final Whimsy. Watching Belke’s yearly offering (this year marked his twentieth festival) has become a tradition for me. Whimsy focused on two sisters rehearsing a song for their father’s upcoming wedding, and needing to hash out some of the mysteries surrounding their mother’s departure from their young lives. Although the church setting was appropriate given the context of the play, the echoing acoustics made the dialogue hard to follow sometimes, particularly when the conversations were heated. That said, the vaulted ceilings worked for the musical portions of the show, with Andrea House’s rendition of “All I Have to Do is Dream” being the delightful standout. In all, it was a sweet story about family and what people will do to protect each other from painful truths.







The Plays: perhaps this one is too obvious, but the Edmonton Fringe needs your help to break the ticket plateau of 77,000+. While that number seems like a lot, and did help us earn and keep the title of the largest North American Fringe for many years, we have now been surpassed by Winnipeg, who amassed over 81,000 in ticket sales this year. Given the maximum you will pay for a ticket is $14 ($12 of which go directly to the artist), it is not only a steal for some of the best theatre to hit the streets, but also $6-$10 cheaper than comparable productions in the city throughout the year.
The Vendors: though craft shows may be all the rage now, I still love to stroll the vendor-lined alleys for handmade treasures. Whether it be jewelry, fashions or keepsakes, there are always interesting booths to be explored at the Fringe.











