A New Generation of Women’s Travel Guides You will not find a ‘must-see or do’ list of the top tourist attractions in Heather-Stimmler Hall’s naughty travel guides, but you may find an exclusive boutique hotel or a swanky bar etched with some glamorous history in which to have a cool cocktail in. The American-born author helps women travel independently to the sexiest cities on the planet - Paris and New York - with style, grace, and sex appeal. Heather shows you the slicker side of city life; daring lingerie shops, luxurious hotels, sensuous spas, and romantic restaurants are just a small part of the seductive path she leads you on. Although described as ‘naughty’ travel guides, these books are more about discovering your sensuous and adventurous side rather than misbehaving. But when in Paris it is not just all about tempting lingerie and cabarets. There is advice for what to wear from ‘Petite Brigitte’ (an insider Parisienne view), who describes the fashion as an ‘mélange of artless elegance’ which should encompass silk scarves, tailored white shirts, and flattering white jeans in a dark rinse. There are also recommendations for erotic photographers, body art salons, clubs where you can be a dancing diva, and sexy shoe shopping. More than just your regular tourist guide, these suggestive handbooks provide insight to your inner ‘femme fatale’; perhaps provoking you to explore other areas of the city you may not have previously considered or even knew about. The most famous vintage dealer in Paris, Didier Ludot’s shop overlooking the gardens of Palais Royal, will let you discover 1960’s Givenchy dresses and Hermes bags in pristine condition, and when you’re hungry the decadent Laduree ‘salon de the’ serves up the most exquisite pastries in a sumptuous atmosphere. Or get a custom corset made at Cadolle on rue St-Honore. Herminie Cadolle was the inventor of the bra who freed women from the constraints of the corset, then reintroduced it to the fashion world after World War 1. These are just a few of the hidden gems to be discovered in Naughty Paris. More and more women are traveling alone for business and for pleasure, and they have individual, feminine requirements. According to Wanderlust, even married women are traveling more often alone or with girlfriends. Of course the main concern is safety, but there are still many fun adventures to be had. This is where Heather’s recommendations reflect the strong, independent women of today, as it is foremost a lady’s guide, for girls who are ‘no longer girls but who still want to have fun’. On their own terms, of course. Written with a sophisticated flair, there is nothing seedy or vulgar about the recommendations in this guide. The author has done her research and is refreshingly informative with punchy and clear descriptions of what to expect if you do decide to cross that adventurous line; her writing is as seductive as the content. For the woman who is curious but a bit shy, this book will potentially open up new exciting doors of adventure, or provide them with a perfectly indulgent itinerary to follow. Heather provides the best solo-female-friendly places to go where you can feel wildly independent without being harassed. She also suggests the necessary ‘girly weekend’ places to rendezvous with your gal pals, or the best places for intimate dining a deux with your partner. Beautifully designed and photographed, it was named the Best Travel Guidebook of the year in the 2009 Independent Publisher Book Awards, but be aware; there is a racy side to this book if you so choose to read, and it is fascinating. You can take what you want from this guide and leave the rest. Perhaps just reading about it is enough…but as the saying goes; “what happens in Paris, stays in Paris”. Heather Stimmler-Hall is a travel journalist and creator of the blog Secrets of Paris (www.secretsofparis.com). She has also recently released Naughty New York with the help of eight local experts and journalists. All of the major online booksellers carry the Naughty Paris Guide, including Amazon, Barnes & Nobel, Borders, and Powell’s, as well as the Kindle edition on Amazon.

Chic city cycling - does it exist? Tracey Ellis takes a test drive down the elite runway of one of the world’s busiest and most fashionable cities to see the latest cycling trends. Cycling doesn’t have to be all about skin-tight spandex and sore behinds. It can be a journey meandering from A to B, the quickest route to work, or a relaxing ride to de-stress. Cycling is also better for the environment, good exercise, and quite often a quicker mode of transportation than the clogged commute that exists in most cities. And with more and more women taking to city streets on two wheels, the fashions stakes have diversified with ladies emerging in the shape of sexy, modish forms astride metal stallions of all shapes and sizes. It’s all stemming from where most things fashionable and feminine do - the stylish city of Paris.Riding a bike is not new to most people, but riding it around the gridlocked streets that consume Paris has its challenges. With motorbikes weaving and pedestrians wandering aimlessly, the Parisian roads can be a dangerous obstacle course for cyclists, almost requiring a full suit of armour for protection. But in true French ‘laissez-faire’ style, almost anything goes for cycling attire; combining fashion with an air of sensibility is the key. The introduction of the hugely successful ‘Velib’ in July 2007 - the largest ‘self-service’ public cycling system in the world - has made city cycling easily accessible to everyone, and many women have embraced this healthy lifestyle with handbag and heels in tow. The installation of 1,451 velib stations offering more than 20,000 bicycles has prompted a huge increase in women using the bike for commuting to work, short trips, or when taxis are unavailable. As of May 2008, women riders make up nearly half of the cyclist population in Paris. So, Parisian women are using the bike more, but are they maintaining their renowned ‘chicness’ while cycling? Apparently so (pics) And surely tight, short skirts and high heels are out of the question? Apparently not (pic) It seems some Parisians are not willing to sacrifice style for practicality, and if they turn a few heads in their journey, even better. Cycling fashion has moved on considerably since bicycles were first invented in 1878 - a time when full skirts and ‘woollen suits’ were the outfits women were expected to wear, along with waist-pinching corsets. Cumbersome, heavy, and hot, women’s cycling dress was anything but sensible, but they were determined to master this new two-wheeled contraption while maintaining their decorum. Surprisingly, the cycling trend has prompted trends in fashion over the years. Bloomers were created by skirts being buckled around the ankles for safety, a smart and eventually stylish solution because by the 1890’s bloomers were worn increasingly in public in Paris, not just on bikes. These soon became quite fashionable in the form of ‘Turkish trouser’ style outfits. Then in 1895 came the bloomers costume with high laced boots (pic). Deemed to be safer than a skirt, this outfit also retained a woman’s femininity rather than having to ‘dress like a man’. And let’s not forget the men: cycling in their business suits they look just as smart as the women, cruising along Rue de Rivoli with their briefcases in baskets. Back in the 1890’s, a ‘Norfolk suit’ was the dress of choice, an iconic outfit made of sturdy tweed paired with box pleats over the chest and back and matching baggy-kneed trousers. These ‘knickerbockers’ - worn with knee-length stockings and low shoes - were the sportswear fashion that men wore shooting and golfing as well as cycling. Men of today may have dropped the knickerbockers but remain ever-classy in their Dior or Chanel suits cycling to work. Undoubtedly, today’s cycling fashion has become less bulky and more liberated. Unless one is training for the Tour de France, being fashionable at all times is central to the Parisian spirit. Here’s how they do it:The ‘must-have’ accessory on a bike is sunglasses. Not only do they look cool, but they keep out bugs, harsh wind and dust. As for shoes, flats or wedges are best, but heels are possible too if you can master your balance at the red lights. Parisian women get it right by wearing kitten heels or pretty ballet flats instead of stilettos, remaining stylish but sensible. Scarves are in every Parisian’s wardrobe all year round. They cut the chill on windier days and rarely fail to look stylish.Dresses and skirts may free the legs, but keep in mind they can ride as high as five inches when cycling. Whether a slim-fitting Dior suit or flowing fifties skirt, the Parisians wear them often as it is effortlessly sexy and completely feminine .Tight, skinny jeans teamed with gladiator sandals have been a popular look this past summer, the stretchy variety for ease of movement while pedalling. With fall approaching, classic trench coats of all lengths and colours are appearing, flowing out like mini wing extensions as they ride by.The biggest fashion faux pas on bikes? Riding with low-rise trousers so your underwear is showing (this is like an open invitation to Parisian men). And backpacks; instead you see designer handbags, briefcases, or shopping bags resting in baskets or bags on a long strap across the body. The other reason Parisians are the most fashionable cyclists? They have little interest in wearing helmets. Free-flowing hair overrides safety, but at least the cycling speed is slower in the city. The future of bike fashion looks modern, versatile and creative: the unisexy Dhoti lounge pants from Down Town Betty and Outlier’s daily riding pants for women are two examples of progression created by past trends. And with Bike Fashion Shows popping up in New York and Vancouver presenting ‘fashion-forward’ chic urban clothing designed with the bicyclist in mind, it could help promote a cycling lifestyle to suit everyone. Sportswear is ultimately considered an American invention, while the home of ‘designer sportswear’ resides most definitely in Paris with designers such as Gabrielle Chanel creating haute couture designs, (though they are not as flexible as American sportswear). But when it comes to basic cycling that has a purpose, the Parisians are masters at combining chicness with practicality, especially when using their bike as a way to get to and from work while maintaining a business wardrobe.The French prove that fashion for the active person doesn’t have to be about cycling shorts and t-shirts. It’s more about fashion for the active business person which, for them, doesn’t have to lose style, just as long as you can pedal.

Canada has become a leader on the festival world stage hosting the likes of the Toronto International Film Festival, the Montreal Jazz Festival, and the Edmonton Fringe Festival. Edmonton is also home to the Edmonton Folk Music Festival (EFMF), an event that is now viewed as one of the foremost music festivals in the world offering an incredibly diverse musical range that many say is not just folk-based, at affordable prices. Held in Edmonton’s downtown Gallagher Park every second weekend in August, past performers include Elvis Costello, Sarah McLachlan, Blue Rodeo and Ryan Adams. In 2010, festival goers were treated to performances by artists such as Jakob Dylan, Ben Harper, Gord Downie, Colleen Brown and Basia Bulat. “When I joined the EFMF the festival was $60,000 in debt and weekend passes were selling for $20,” Producer Terry Wickham tells Phabrik Magazine. “I come from a business and economic background. To change an image or perception of something you have to change the programming.” This is exactly what he did. One of his goals was to increase the awareness of folk music through the depth of the performer line-ups selecting artists within a broad musical mandate--mixing familiar and not so familiar as well as repeat and first time performers together. Festival goers have the chance to experience music from around the world such as this past season’s performance by Bassekou Kouyate & Ngoni Ba from Africa. At the same time, the festival maintains at least 40% Canadian content. ”I remember driving back from Calgary after the 1992 North American Folk Alliance Conference. I had this sudden flash of the full potential of our festival and here we are 18 years later,” says Wickham. His goal was realized when his dream came true to have Van Morrison play for the fans in August 2010. When asked who would be next now that this dream has been realized? “There are so many, but I would have to say my next would be Paul Simon. The festival is volunteer driven and works to ensure the proper treatment and respect of the volunteers, audience, performers, sponsors and media. Over 2,000 volunteers work to deliver the majority of services provided to patrons of the festival. Media Liaison, Sylvio Dobri, has been involved with the EFMF for 31 years. “I am encouraged by the growing number of younger volunteers who are becoming involved in the festival community,” says Dobri. The number of youth volunteers continues to grow each year, ensuring there will be a well trained group to keep the festival alive. “Musicians laud and applaud the festival and its army of volunteers. Whether young or old, first-timers or festival veterans, musicians performing here are always eager to talk to the Edmonton writers and broadcasters,” states Dobri. He shares his favourite memory to date of, “Taking Ramblin’ Jack Elliot to a local radio interview and after he was done driving him to the Hudson’s Bay store on Jasper Avenue where he spent an hour trying on colourful Hudson’s Bay coats.”

From the kitchen party culture of the east coast to west coast jazz, Canada’s vibrant music scene boasts a spectacular roster of talent and innumerable ways for fans to enjoy the music. Canadian artists continue to pump out top-drawer recordings notably Calgary-based Grammy Award winning bluesman Donald Ray Johnson, Quebec City’s Carocol, Toronto’s Shakura S’Aida and Vancouver’s Randy Bachman of Bachman Turner Overdrive fame. Recently, Canadian artists made a strong showing at the US Grammy Awards and they may walk away with more awards when we celebrate Canadian talent at the upcoming JUNO Awards in March. Youthful stars such as pop dynamo Justin Beiber, jazz singer Nikki Yanofsky, and classical piano sensation Jan Liesicky have captured the world’s attention, standing shoulder to shoulder with the likes of jazz icon Oliver Jones , and renowned folk/pop artists Joni Mitchell, Neil Young, Bryan Adams, Bruce Coburn, Ian Tyson and Gordon Lightfoot. Events such as the Harvest Jazz & Blues Festival, Fredericton, New Brunswick, Toronto Beaches Jazz Festival, Winnipeg Folkfest, Calgary International Blues Festival and the Vancouver Island MusicFest speak to the range of dynamic, family-oriented events showcasing local, regional and international music. Live clubs have dedicated years to presenting Canadian music notably the Yardbird Suite in Edmonton that recently celebrated 50 years of bringing marvellous music to patrons, Bud’s on Broadway in Saskatoon and the Bistro a Jojo in Montreal. Distinguished venues such as Massey Hall in Toronto, Vancouver’s Orpheum and the Chrysler Theatre in Windsor are home to some of the finest symphony orchestras and opera companies in the world. Radio stations both commercial and commercial-free continue to profile the vast array of up and coming Canadian talent as well as reminding us of those that created the musical footprint. Television programming gives us Elvis Costello’s Spectacle, along with Bravo, Much Music, and CBC television that all profile musical greats for the planet to enjoy. Canadians and visitors to our fair nation can anticipate an exciting and eclectic music scene in any given community across the country, one simply has to choose from a myriad of selections of genres, styles and artists. We are proud of our music and are more than willing to share. Indeed we do, with our artists being picked up by record companies and setting off on tours around the globe for millions of fans. Cindy McLeod producer of the Calgary International Blues Festival calgarybluesfest.com

The Construction of the Self through Clothing The exhibition “Aware: Art Fashion Identity”, currently on at the Royal Academy of Arts in London, sets out to depict how artists and designers examine clothing as a mechanism to construct and communicate individual and collective identities. Despite some lukewarm reviews in a number of newspapers, mostly owing to somewhat set expectations of what themes fashion exhibitions should focus on, this is an outstanding and thought-provoking collection of pieces by talented artists and designers that addresses the conceptual roles that fashion can have. The exhibition contains work by 30 emerging as well as established international contemporary practitioners including Hussein Chalayan, Andreas Gursky, Susie MacMurray, Alexander McQueen, Yoko Ono, Grayson Perry, Cindy Sherman, Yinka Shonibare and Yohji Yamamoto. Occupying the main galleries of the Royal Academy’s Burlington Gardens building, “Aware” is divided into four clearly demarcated sections. The circular and fluid layout of the galleries allows the visitor the possibility of revisiting the art works at different paces and developing personal interpretations of the rich layers of meaning that they produce regarding the role of fashion in the construction of identity. The first section, “Storytelling”, acknowledges the role of clothing in the representation of the self, within a formative background of personal history and moulded by shared cultural experiences. Visitors are welcomed to the exhibition by Grayson Perry’s “Artist’s Robe’”(2004), an elaborate patchwork coat of luxurious fabrics and a comment on the role and the status of artists in today’s world. This section also hosts works by artists Lucy Orta and Cindy Sherman and introduces the narrative of the exhibition by questioning the role of the body and the garment as material embodiments of identity and emotions. In this context, Susie MacMurray’s “Widow (2009), an elegant dress structure of black nappa leather covered in sharp dressmaker pins, translates the internal pain of love loss into an aggressive external presentation of the garment as object that inflicts pain to the wearer while repelling human contact. The second section “Building” addresses the concept that clothing can be both a form of protection and a way to carry one’s own shelter, referencing the nomadic, portable nature of modern life. On display is “Shelter Me 1” (2005) by Mella Jaarsma, well-known for work establishing parallels between garments and architecture. Jaarsma’s piece depicts shelter not as a house but as the minimal construction needed for individual protection according to the proportions of the human body. Similarly, Azra Akšamija’s “Nomadic Mosque” (2005) portrays a garment as wearable religious architecture, challenging commonly held notions of the physical public and collective spaces of worship.

- Photography: Marco Casiraghi When we travel, it is the sounds, smells, tastes and sights that stay in our hearts and minds. Photographer Marco Casiraghi shares these experiences with us as he captures Vietnam’s rich culture that explodes with refreshing colour. Casiraghi is a published photographer, journalist and writer. His work has appeared in Viajes National Geographic, Marie Claire Travel and Yacht and Sail and other major publications.

Creative Confections; Ice-Cream Skulls and Leggy Lolli’s What is your name? Brent Ray Fraser How old are you? 11,491 days. What do you do? I’m a full-time artist. When did you know you were an artist? My first experience was in1984, Miss Smith’s Kindergarten class. I was five years old. We mixed primary colours with our fingers to create paintings for our parents. My mom would hang them on the kitchen fridge. I was motivated to hang art on that door for years. It’s funny because now I create abstract paintings with the very same method I used when I was five. What do you consider yourself then, a painter, a photographer, a performance artist? Right now I consider myself ‘Untitled, 2010’. I don’t fall into a specific category. Not that I don’t want to, I just don’t like restrictive titles. I express myself through my art, which takes on many forms. A single label would make my life pretty narrow. The beautiful aspect to art is that it can change shapes to reflect the artist. Where does your inspiration come from? It comes from experiences. I think about art all the time and always get lost in deep thought. My ideas are found on my way back to reality. Why fashion-based art? When I originally conceived the idea about incorporating clothing and fashion within my work I did not consider it fashion-based art. From 2008-2009 my thoughts revolved around how we are perceived as individuals. The first thing we notice about others is clothing. Our fashion and style depicts who we are. Stereotypes, labels and assumptions follow. Our individuality becomes lost in a sea of brands and labels. All I want is for my work to be seen and understood by all. By portraying the clothing we see around us in my work, I can reflect this characteristic, creating an immediate familiarity with the viewer. Did you view fashion as art before you incorporated it into your work, or more as “lifestlye” and self expression? Fashion is art and designers are artists, but it was not my original intention to portray them or their work within mine. I was intrigued by Marcel Duchampe and the use of ready-mades within art may years ago. It was profound for me, so I decided to investigate its depth by incorporating found objects within my work. It was exciting for me and continues on to this day. Fashion came into play because of its implications as art. The way it can alter ones perception got me thinking about how it can conveyed. The suit jacket was the first to be included because of its characteristics and personality. Luxury brand names later followed due to their social status in consumerism. From that point on I looked at fashion from a different point of view and I wanted others to do the same. How did you come to work with Louis Vuitton? In 2008 I began drawing shoe portraits of women in their favorite heels. I would instruct them to pose for a camera and email me the pics. Then I would choose the best one and create a work of art from it. In 2008 Flare magazine wrote an article about me and my saucy stiletto portraits. Louis Vuitton caught wind shortly after and contacted me. They were looking to boost shoe sales by showcasing me at private events across Canada. I’d come with a pad of paper and sit and draw quick sketches of all the ladies wearing their favorite pair of Louis’s. I was quick enough to draw all the guests and everyone left with a gift portraiture. This went on for a year and took me across Canada. What is your motto? I have more than one motto. First and foremost, “Love what you do and it will love you back”. The second is “life in every breath”. Last but not least, “kick ass and take names”. Your latest venture ‘Popsicles’ ‘examines recognizably contemporary subject matters’, can you elaborate? This is my recent artist statement: “The original idea for this series stems from our urge to collect and consume. It has evolved into a body of work that can be interpreted in a variety of ways. Popsicles is a combination of things. The obvious is the frozen treat we all recognize. I originally wanted to create a body of work that we can all connect with. Confectionery is not only a nostalgic food; it’s a product that is mass-produced in a variety of forms. Popsicles also captures the mystical side of my creative mind. Each work portrays objects I’ve photographed specifically for this series. Things I find not only visually stimulating, but also artistically challenging. I think art should be provocative and intriguing. Candy is fun, interactive, colorful, sweet and sour and has a long history in popular culture. It’s a treat enjoyed by all walks of life. By combining it with unusual elements, the art can begin to speak a different language. Art in many ways is candy. It tempts us, pleases us and continually engages our senses”. How do you know when your art is finished? Creating art is like having a great conversation. It is never finished. You can always pick up where you left off. But at the same time, there comes a point between two, when words are chosen so well, that it leaves you speechless. What have you learned from your art? I’ve learned who I am. What can we expect to see from you in the future? The beautiful thing I love so much about my art’s thought process is that there is always something just around the corner. What I can say is that I am working with a taxidermist’s mannequins. The conceptual elements in my work are beginning to evolve and things are going to get really interesting. For more on Brent Ray Fraser, visit the artist’s website: BrentRayFraser.com

Light-up Lenses, Wheat Corsets, Comic-Book Lamps and Lasers “Blood, sweat and tears,” Jeffrey laughs from his U.K. studio; pricking his finger while putting the finishing touches on the latest costume piece for legendary pop-rock band U2. “It’s true what they say,” he grins, flourishing a half-stitched-together light-up shoe in one hand: “there’s DNA on these babies”. ‘Charming’ is the operative word to describe Jeffrey Michael; sporting large, black rimmed glasses, blonde hair and a boyish grin, the 24 year old Edmonton native is full of insight and amusing quips. His energy is infectious, his eloquence, refreshing and his personality, endearing. Specializing in light-up and avant-garde design, Jeffrey is fast becoming one of the most sought out costume and lighting designers in the world. Inimitable talent has both established and up-and-coming stars (such as pop/punk rocker Johnny Lazer) flocking to the creative genius who fashions one-of-a kind pieces for his clients: “(Lady) Gaga doesn’t want what Beyonce has, Beyonce doesn’t want what Rhianna wants, and Rhianna doesn’t want what anyone has,” he smiles. Self-described as ‘headstrong’, Jeffrey studied architecture at Carleton University, a love of building and creating fueling his years of study. Shifting his attention to a focus on lighting design, Jeffrey refused to be pigeon-holed as a ‘lighting designer’, choosing instead to capitalize on his creativity, dabbling in other design driven industries. A deeply ingrained love of organics and recycling, Jeffrey is always looking for ways to push boundaries; changing ordinary ‘things’ into extraordinary ‘somethings’. ‘Somethings’ which include light-up glasses for pop star Jason Derulo, lighting designs for (make-up giant) Rimmel’s latest campaign, stage designs for songstress Gabby Young, and beautiful installation pieces he’s dubbed ‘The Warhol Screens’ for an art gallery named ‘The Collection’. “I think the weirdest thing I’ve made so far is a wheat corset; it glows from the inside…..The lighting is a secret,” he smiles when I question him about it. “I like the idea that no one knows how any of it’s done; it adds an element of magic to it, I think.” Unlike traditional clothing or lighting designers, Jeffrey’s building blocks know no bounds, citing “maple leafs, Christmas balls, wheat, spoons and sunglass lenses” as materials he has used in the past. “Inspiration is everywhere,” he bubbles. “Just this morning I was walking down the street and came across this pretty purple flower that had little puffs coming off the end of the petals, and as soon as I saw it, ideas started racing through my mind.” A short tour around his London studio reveals a vision-board plastered with pictures of various celebrities, models and pop stars; Beyonce, Katy Perry, Lady Gaga, Coco Rocha. “It’s funny,” he grins, “I’ve actually had to remove some people’s pictures from my inspiration board because I’ve begun working with them…it would be a little unprofessional and embarrassing for them to come in and see their picture up on my wall”. On the opposite side of the room, hidden behind an enormous black and white art piece (which will soon see its way into Liberty House, an art gallery in Chelsea) is a different board, strikingly similar to his vision-board but with one small difference; it’s filled with pictures of those that he has worked with. Sort of a personal homage to what he has already accomplished; amongst the photos on this board are Georgia May Jagger, U2, and Johnny Blue Eyes (stylist of Brit band The Gossip, model Kate Moss, Dragonette and the Scissor Sisters). “I’m terrible at keeping secrets,” he admits while showing me one of his next projects; a light up glass bra for an unnamed celebrity; “I’m not at liberty to say,” he quips. “But, off the record…..” And while I’m also not at liberty to say, I’ll leave off with saying that a good number of pictures are soon going to be transferring vision-boards; an impressive but not surprising accomplishment for such a talented designer. When I question him about his experiences with those in the industry, and whether he’s ever found himself star-struck, he laughs and responds with sincerity: “I freak out on the inside, but I’m composed on the outside. My biggest celebrity freak-out has been Lady Gaga; I immediately called my mom. You hear horror stories about people in the industry, but everyone has been so nice. I think that if I only designed clothing, they would rip me apart, but that I’m involved with so many different mediums, I don’t think they quite know what to make of me. There are so many people I’ve met that I look up to. Johnny Blue Eyes is so intelligent and he gives his clients confidence. Emma Crosby (at London a la Mode) is also a big inspiration. She believed in me and got me into Liberties; we’re still very close.” His next career-move may see him back in his home country (albeit for a short amount of time), and involves a Vogue-caliber photographer, a LABB make-up artist and his team of agents: “You set yourself dreams then when you get to them, you have to make new dreams. You re-prioritize. You can always go harder. You’re the only person that can care about your career”, he says bluntly “you’re the only one that can promote your career.”