As spring had sprung, so did Vancouver’s annual Nifty for Fifty, a seven year run, trunk style shopping sensation showcasing local designers’ original pieces at discounted prices. The event was held at Heritage Hall and was buzzing with fashionistas and bargain hunters. Vintage pieces, eccentric finds and jazzy jewelry, all for under fifty dollars! SAD MAG was on location and between change room fittings and cash dispensing, we spoke to a few of the designers about their pieces, their inspirations and how they got to be involved with Nifty for Fifty.

Mellissa Ferriera / Adhesif Clothing, Owner and Designer /Nifty for Fifty Founder

Sad Mag: So, who are you?

Melissa Ferriera: My name is Melissa Ferreira and I was born and raised in Montreal until the age of 12, when I moved to Vancouver with my mother and brother. I’m Portuguese Canadian which says a lot about my colourfully expressive personality, temperament, and sense of humour.

SM: Where does your inspiration come from?

MF: A lot of my inspiration comes from my European background and I love traveling to Europe whenever possible. I have been lucky to call Germany my second home over the last few years as my partner is German… I grew up with my mother sewing at the kitchen table when not working in garment production factories in Montreal. Naturally I learned how to sew from her. I taught myself how to design from taking apart vintage garments and seeing how they were put together, after spending many years as a vintage clothing buyer out of high school. I love everything vintage and it remains to this day my main source of inspiration… I have been in and out of retail/fashion related jobs my whole life. I started Adhesif Clothing in 2003, opened my own boutique in 2010 and never looked back.

SM:  Tell us about Nifty for Fifty.  How did you come up with the event? 

MF: Nifty for Fifty started 7 years ago… Basically I wanted to throw a high end sale with low end prices, a sort of give back to the people kind of thing where I could get rid of prototypes, samples and vintage pieces that were taking up too much space in my studio. I refer to the show as “an indie designer blowout sale. It’s Adhesif Clothing’s “Boxing Day” event, unofficially… I LOVE the Heritage Hall. It’s central and a beautiful old building so it worked out perfectly. I actually have a waiting list of 40 people for next year’s event already!

Allison Smith / Designer, Allison Wonderland

SM: So, who are you?

AS: Allison Smith, born in Richmond, raised in Tsawwassen, living in Mount Pleasant. I have a 13 month old daughter named Violet, her dad and I are “married”… I love living in this city and ride my bike all over. I am looking forward to this spring when Violet and I can tear around on the bike together.

SM:  Tell us about your fashion career.  How did that begin? 

AS: I went to Kwantlen right after high school. I started sewing young and made or altered my own clothes. I lived in Montreal and travelled before coming back to Vancouver. I have been designing Allison Wonderland since the 90’s. It started out as more crazy rave, party clothes and has evolved as I have.  In 2011 I added Pillar as an eco line.

SM:  Who (or what, if that’s more fitting for you) are you fashion inspirations?  How would you describe your style/pieces?

AS: Living life is my inspiration. I day dream what I’d like to wear, what my friends would like to wear… Allison Wonderland is a fun sophisticated line. The styles can be worn to work and out on the town. Pillar is a bit more casual, weekend fun wear.

SM:  How did you get involved with Nifty for Fifty?  Is this your first year contributing?

AS: I first did Nifty 5 years ago, stopped for a year and then started again when Melissa moved it to the Heritage Hall. I have stock left over from so many seasons it is a great way to blow it out… I have to say sometimes it breaks my heart to part with certain pieces for so little. But that it fashion for you!

Trudy Wynans // Designer and owner of Toodlebunny

SM: So, who are you?

TW:  My name is Trudy Wynans and I’m the designer behind TOODLEBUNNY.  I grew up in a small town on Vancouver Island but have been a Vancouverite for most of my adult life.  I currently reside and work from my studio on the North Shore.  I’m a bit of a night owl and work into the wee hours of the morning.  I think my creativity peaks in the first two to three hours after midnight.  I’m still waiting for the day that I’ll just wake up and be that ‘morning’ person.  One day maybe?
I live and breathe jewellery, a bit of a workaholic but in a good way!   Whenever I travel I’m always on the hunt for new materials and inspiration for new designs.  Handpicking these sometimes rare and unique components keep my line fresh and constantly evolving.  The best part of my ‘job’ is creating shiny, pretty things every day. 

Trudy Wynans / Toodlebunny Designer

SM:  Tell us about your fashion career.  How did that begin? 

TW:  Toodlebunny was launched in the spring of 2006 while I still was working a full time job in the restaurant industry. ..I made a decision to go full time with my jewellery in the fall of 2007 and have never looked back. Sometimes it can be tough to wear so many hats: designer, manufacturer, bookkeeper, web designer, photographer, graphics artist, marketing, social media, PR and sales rep – but I wouldn’t change a thing.  I absolutely love what I do!

People always ask:  Where does the name TOODLEBUNNY come from?  My boyfriend’s pet name for me is toodles and one year he had addressed an Easter card with ‘to my little toodlebunny’ so it kinda melted my heart a little bit and just stuck.  When I was just starting out with the jewels and racking my brain for a company name he had registered the domain name toodlebunny.com and tucked it into my Xmas stocking.  So I guess you could say it was chosen for me!

SM:  Where does your inspiration come from?  How would you describe your style/pieces?

TW:  My inspiration begins with the discovery of the materials themselves, hand picked on my travels.   Rummaging through aisles of vintage deadstock components always creates major excitement!  Finding these treasures and literally deciding on the spot what I will transform the pieces into is how I begin the design process.  Once back in the studio I need to look at everything and just start creating… Asymmetry, yet balanced, is one of the key elements of my design.  I love the challenge of designing asymmetrical necklaces as well as complimentary “mismatched” earrings using the same disparate elements.  The pieces vary from being simple and pretty to ones that are a bit more rock n’ roll…something for every woman.

SM:  How did you get involved with Nifty for Fifty?  Is this your first year contributing?

TW: I met Melissa in 2006 at one of the local markets when I was just starting my line.   She was super helpful and answering questions from a newbie to the scene, which I am forever grateful for.   Being a fellow aries we hit it off right from the start and both had a mutual admiration for each other’s work.   I was invited to participate in the first Nifty for Fifty in 2008 and have participated every year since.  Well I did miss one year in 2009 but who’s counting?

Well Trudy, we are counting!  Because the next Nifty for Fifty is a whole year away! This year the annual event hosted a total of 30 local designers.  Other contributors included Bronsino, Bueno Style, Daub + Design, Elroy Apparel, Flightpath, Floating Gold Iceberg, Irit Sorokin Designs, Kdon, Shop Cocoon and more. With its growing popularity and demand for local design exposure, we imagine the event will be even larger next year and boast some of Vancouver’s best talent.  If you’re interested in getting involved or want to learn more, check out the Nifty for Fifty website. Until next year, farewell in good fashion!

Sad Mag sits down with the ever-so-pretty Boy Funk before their opening performance for Zebra Katz. Remember that time you smoked heaps of weed in your early twenties and made some mind-blowing music videos with elaborate costume changes and slow-mo dancing in front of flocks of birds?

Where are you from, and how long have you been play­ing?
I am from Portland, OR. I have been creating music and writing songs for as long as my stoner mind can recall. Being an only child–I was always the star of the show and the entire cast. I’ve been rapping since I was 12. Performing as Boy Funk for 3 years.

What draws you to ‘Mo-Wave?
An opportunity to unite (queer) musicians, artists, and people from all walks of life to come together and get it on!

What do you think can be done to make more stages for queer artists?
Not listening to some heterosexual guy talk to you about “Same Love”–follow your own heart and find your own love. Also if more people in the industry would come out of the closet it would show how many of us there actually are. If you have a problem, don’t find a solution–start a revolution.

Life or Daily Mantra: Don’t Cry, Get High

I never leave home without: Marijuana

If I weren’t a musician/performer I would be: in jail

A good show means: that I made people laugh, dance, and horny. You know: celebrate life!

Your backing band is: my best friend in the universe, Rap Girl. She’s my co-MC. Charley Sharp who is THE go-go bear superstar diva dancer H.B.I.C. in the world. And Saffron… who just simply is.

Boy Funk be playing Vancouver’s Main Stage Pride as well as other parties this year. Check out their sweet beats at http://theboyfunk.com/

Getting ready for her EP release party Thursday April 10th at The Biltmore, Tamara Nile is pretty excited. After taking a break from her last release, Nile is back with a freshly pressed EP called Tingle and Spark, and she’s ready for people to hear it. Packed in a tight 5-song format, Tingle and Spark (EP) has many of the same folk sensibilities we’ve come to expect from Nile, but with added musical textures that include beats and synths. I, myself, felt a tingle and saw a spark as Nile spoke about creating her new album.

“I was influenced by bands like The Knife, Chromeo…having access to electronic instruments gives you a much broader pallet. If you imagine it like painting, it’s the difference between having two colours and a thousand colours to paint with.”

And while Nile stands behind her previous releases, she feels like they expressed only a fraction of her creative vision.

“That’s one of the reasons I took a breather after releasing The Cabin Song EP (2009). I was ready to evolve creatively but because I didn’t see anyone else doing what heard in my head, I felt shy to share it.”

These days, Nile doesn’t hold back. She’s always been interested in “blending genres and even different artistic disciplines together.” Recently, she’s been working with a dancer/choreographer Cayley Hanrahan on a multi-media theatre show that incorporates her songs as the backdrop and inspiration for dance and movement.

“I’m a fangirl for dance. To me, it’s just a natural extension of my first love, music. I’m enchanted by the way that dancers can create a visceral visual representation of how music affects the human mind, body and soul.”

Whatever her project, expect Nile to write honest songs with emotional gusto. Her full-length album drops in August. In the meantime, see her at the Biltmore Cabaret on April 10 with special guest Frankie and David Ward.

Check out T.Nile tonight at The Biltmore. Details and tickets online. 

Larissa Blokhuis is doing some wild stuff with glass. My favourite thing she says is that contrary to popular (amateur) belief, glass does not behave in random ways. The artist can very palpably be in control of the material. A dedicated glass artist for over 5 years now, Blokhuis has taken the earth and rendered it in this series with varying levels of abstraction. While the sculptures may not precisely resem­ble the bushes, flames, smoke, ani­mals, buds, jel­ly­fish, branches, water and other frag­ments of Mama Nature that inspired them, the glass func­tions as an apt medium to depict the tone or feel­ing of the forms. It’s a stroll through a sort of futuristic forest. The sculptures are sometimes bulbous, strange, but they seem familiar and organic the way earthy matter does.

Sad Mag: You work with glass in some truly unique ways. How did you come to feel like glass was primarily the medium for you?

Larissa Blokuis: When I was entering the BFA program at Alberta College of Art and Design (ACAD), I decided to take glass because it was so unique. I didn’t think there would be many other opportunities to learn glassblowing. I knew that if I decided to use other materials after graduating, I would have more varied opportunities to develop skills related to those mediums.

Glassblowing is a skill that takes a lot of practice. You can learn quite a bit from watching, and from discussing with other glassblowers, but ultimately it comes down to hours spent working in the studio. A pet peeve of mine is when inexperienced glassblowers say that the glass behaves in a ‘random’ way. When you spend enough hours working with glass, you realise that glass is a consistent material, and what changes is the attention of the artist or craftsperson. When you reach the point of feeling like you understand the material, it’s hard to turn your back because it takes years to get there. I have recently enjoyed experimenting with new materials, but glass makes each piece come alive. Blown glass is a rare element in sculptural work, and I feel it sets me apart.

SM: There are lots of forms in your work that resemble nature and do well balancing a combination of  hard and soft materials. How would you describe the intention of your practice at this moment in time? How have you seen it progress since you began?

LB: When I first began blowing glass professionally, I was working in a studio that was very different from the one I’d learned in. The glass was a different brand, and the peculiarities of the heat and working time were something to get used to. So my intention was centred around trying to re-learn things I had felt I had already learned before I graduated. I wanted to be good enough to work efficiently, and I was very focused on glassblowing. In those first years I was a bit lost, regurgitating ideas I had in school and trying to figure out how to take art ideas and make sellable objects.

In 2011, I took a 3-week intensive glassblowing class at Pilchuck [Glass School], and it completely changed my way of working. It’s so strange to think now that I needed to be reminded that I am an artist who blows glass, not a glassblower. The difference is that as an artist who blows glass, I give myself permission to work in any medium. Before the 2011 class, I was too focused on glass, wanting everything I made to be pure glass, that it caused stagnation in my creative process.

Although the class I took was glass-centred, I think what really helped me was being out of my familiar surroundings, and immersed in a community of artists. While in art school I was in a happy art bubble, and when I graduated I was out on my own. When stagnation occurs it can be difficult to asses the situation and figure out what needs to change.

The intention of my practice now is to create work that excites me. Since the 2011 class, I have developed new concepts, separate from the ones I used in art school. I feel that I have found my adult voice as an artist in the last few years.

SM: Are there any glass or mixed-media artists in particular that you would say have influenced your work?

LB: In terms of technical possibilities, I have been influenced by artists around me, artists who I have worked with, TA-ed [teacher’s assistant] for, and assisted. Each artist usually has a specialty and a particular way of working. Although I don’t incorporate every technique I see, working with many other artists helps me build on my understanding of what is possible.

Themes of my work are influenced by a desire to learn about the world. I watch documentaries, read articles, and do research before or while developing my visual concepts.

SM: How does the experience of teaching effect your personal practice, if at all?

LB: Teaching has made me realize how much I do without thinking. As well, performing a task and explaining that task are two separate skills. Teaching has made me think more technically about why I do certain steps, because I will have to explain what I am doing and why.

One of my teachers at ACAD told me that subtle movements are what make a good glassblower. When I am working as a TA, I have to focus on the subtle movements of the teacher to replicate them for the students, and I have learned from each teacher I’ve TA-ed for.

In terms of the work I’m interested in creating, teaching hasn’t had much influence because concept development hasn’t been part of the directive for any class I’ve taught or TA-ed.

SM: Would you say that the classes you offer are more oriented around technique or concept? Tell us a little about that approach.

LB: At this point, I have taught and TA-ed beginner/intermediate glassblowing mostly to hobbyists. My goal in learning to blow glass has always been to use glass as an artist, but glassblowing is a technique used by artists and craftspeople. The classes I have taught and TA-ed have mostly happened outside the context of any long-term course of study at art school, and have therefore had craft-focused curricula. I don’t find it useful to push concept on students who may not have the same motivations as me. I am always happy to discuss concept with students, but many are excited by the material and challenged with the heat and motor skills needed for glassblowing. Concepts are more easily pursued after skills are developed past the beginner/intermediate stage. I don’t want new students to feel discouraged by the gap in what they want to make vs. what they are capable of as beginners. I believe that anybody who can do the basic steps of glassblowing can develop their skills until they are masters, but it depends on the dedication of the student.

SM: What is the definition of the collaboration here with Cheryl Hamilton? What has it been like to work alongside each other on this exhibition?

LB: For several years I worked at New-Small and Sterling on Granville Island, which shares an interior wall with Cheryl’s studio, ie creative. When Cheryl and her studio partner first moved to Granville Island, she was mesmerised watching David New-Small blow glass. She decided to learn how to blow glass, and has worked at New-Small and Sterling’s studio developing her skills for about 10 years. We had casual interactions for a while, and when I needed help hosting workshops at New-Small’s, I asked her if she was interested. Since teaming up for the workshops, I have also started to learn some metalworking skills from Cheryl. She is a very accomplished metalworker, the only full-time TIG welder on Granville Island, and has been making public art sculptures with her studio partner for about 20 years.

We are each showing our work as individuals in “Growing Connections,” so our collaboration has had more to do with sharing skills and information. When I was accepted for this exhibition, I was also asked to select an artist to exhibit with. I knew Cheryl would be a good choice because she is a dedicated artist. She works hard and does what it takes to make things happen, while maintaining a generous spirit and a sense of humour.

SM: What can people expect to see at this particular exhibition?

LB: This is an opportunity for the public to see Cheryl’s 2D work. She has established herself as a sculptor, but her skills are diverse and she paints and draws as well. This work is very personal for her, and is not shown frequently. Her 2D work draws on internal organ forms, interpreted in stark black and white or wildly vivid colours, utilising her great cartooning abilities.

My work is part of a relatively recent exploration of using mixed media elements. I combine glass, ceramic, wool, polymer, concrete, wood, steel, and anything else I think will work to make forms which imitate parts of existing or extinct organisms. I re-organise those parts and add imagined elements to create new forms. Some bizarre-looking forms have evolved throughout the history of Earth, and so many new forms are possible.

Larissa Blokhuis is currently exhibiting in tandem with Cheryl Hamilton at Leigh Square Community Arts Village in Port Coquitlam. The show is called Growing Connections, an expression both of their comparable fascination with terrene forms as well as of the cross-over and knowledge-sharing between each of their individual practices. The gallery is open: Mon, Wed (10:00am to 6:30pm); Tue, Thurs (10:00am to 7:00pm);Friday (9:30am to 6:30pm); and Saturday (12:00pm to 4:00pm); closed on Sundays. Visit Larissa online here and Cheryl Hamilton here.

Shoulder to Shoulder – A Preview of Gender Failure by Rae Spoon and Ivan E. Coyote – Arsenal Pulp Press (2014)

If the title does not clue you in, this is not the queer give-to-your-grandmother story collection for which Coyote is famous. It does not sing to an electro-pop beat. There are no country roots, but there is wilderness–and in this wilderness, Rae and Ivan have decided to come out.

Gender Failure is a non-fiction, storytelling piece which represents a distinct departure from the trans* narratives before it.  The “trapped my body” trans* tropes are shelved, while gender is shown to be highly personable, subject to a dialectic. The book is a joint manifesto of sorts, separating sexual preference firmly from gender identity. It draws us into the roots of binary discomfort with a camera lens that, at times, feels like the Blair Witch Project: immediate, disorienting, raw, unflattering messy, and circumscribed by fear.

Our two heroes, alternating chapters, weave through personal histories and presentations. Pronouns are placed in situ but by the end of the book, we must confront that the singular “they” pronoun is requested–plain and simple. Their stories are so compelling in fact, the reader might want to take the cue from Rae and announce their own gender retirement.  As Ivan suggests, this could be our second chance too.

– K Wade

Gender Failure is co-written by Rae and Ivan and published by Arsenal Pulp Press.

Join Sad Mag TONIGHT at the Rio Theatre (1660 East Broadway, Vancouver) for the official book launch of Gender Failure.
This show is All Ages. Box office and Will Call will open with doors at 7pm. Advance tickets are no longer available. Tickets will be $25 at the door.  

Refill those ink pots and sharpen your quills, Poetry is Dead’s new issue is out soon. And this time with some funny people. To help launch their Humour Issue, Poetry is Dead is hosting a variety show, featuring poets, comedians and even some poets-cum-comedians. For your listening and seeing pleasure, there will be a plethora of readings, performances and sketches from issue contributors and local comedians.

Unfamiliar with the publication? Poetry is Dead is a semi-annual magazine full of poetry (obviously), art, reviews and essays, with an overarching mission to connect poetry and non-poetry readers. Sara Bynoe, a prolific Vancouver comedy performer let us in on what to expect from the variety show launch party (let’s hope there’s some debauchery!)

Sad Mag: How did you get involved with the Humour Issue Variety Show?
Sara Bynoe: I’m not exactly sure. It probably happened over Bangas at The Union. I contributed a poem to the humour issue. Oh and, I’ve been working for months to become Dina [Del Bucchia, the Humour Issue’s guest editor]’s BFF. My work seems to be paying off.

SM: What will you be performing?
SB: I’m in the opening piece and Cynara Geissler and I have been paired up to do a thing. I will not be reading any poetry. All I can say is that it’s going to involve music.

SM: Who are you looking forward to seeing perform?
SB: Everyone. It’s a great group of people. Don’t make me choose!

SM: What can the audience expect from the show?
SB: I’m expecting variety. Expect the unexpected. Here’s a tip, the bar will be open during the show. At least that’s what I’ve heard.

If poetry and comedy is your thing, then here’s your chance to see those two live. There will be some guaranteed knee-slappers.
Get tickets for the show here!

Wednesday March 26^th, 2014
Tickets: $20.00
Doors: 7:00 pm
Show starts: 8:00 pm
Venue: Performance Works
1218 Cartwright St
Granville Island

With her unique ivory silk dress featured in our latest Fantasy issue, Jordanna Hardy is hitting the fashion market by storm at the young age of 22. Recently featured in pRIZE Magazine, FaceON UK, and The Scene PG, this Prince George native decided to move to Vancouver after being accepted into the Blanche Macdonald Fashion program. First fearful of the big city, Hardy excelled in the Fashion diploma program and released a line like no other.

This talented designer decided to take the historic tale of King Arthur and his Knights at the Round table to a whole new level. She refurbished the idea of chain mail with modern flare. The fantastical line features evening gowns that have a gothic romanticism about them you can only dream of. She puts an emphasis on combining her European heritage with history, film, and fantasy, while using contrasting fabrics and textures.

Hardy has plans to hit the Vancouver fashion scene head on by releasing a second line in the near future. I had the chance to sit with the inspiring artist to discuss her past, present and future:

Sad Mag: What inspired you to create designs based on King Arthur and his Knights of the Round Table?

Jordanna Hardy: That’s a good question! I actually have British heritage, I’ve always been a big fantasy and literature buff. I’m not sure why, but I wanted to do something with chainmail. Coincidentally, there was a TV show at the time called Merlin, It featured young King Arthur and of course, Merlin. Looking at the costumes inspired me to do more reading.

SM: We honestly love all your pieces, especially the dress featured in the latest Fantasy issue. What materials do you usually look for when you’re in sewing designs?

JH: Even though I’m starting a new collection right now, I try to be consistent. I look for 100% silk and 100% wool. I don’t like chemical blends, the quality isn’t always there. I try to keep it simple with those types of fabrics.

SM: What does the future hold for you, an up and coming designer?

JH: Hopefully good things! There is so much going on at the moment that I’m taking it one day at a time. I really want to get my own line off the ground, that’s definitely my primary goal.

After a two-hour sit down with Hardy, I knew it wouldn’t be the last time. Her kind-nature and friendly smile made me excited for her future. She is a gem of a person, and I can’t wait for her next collection. If you’re interested in finding out more about Jordanna Hardy, check out her website, or Facebook.