Mr. Singh Goes to Queens Park: A Candid Conversation With NDP MPP Jagmeet Singh

He's the most photographed man and one of the highly interesting figures to appear on this street style blog: NDP MPP Jagmeet Singh.

Last year, after losing the Federal NDP election for Bramalea-Gore-Malton by a mere 539 votes, the ambitious criminal defence lawyer took his chances as a Provincial candidate and won the seat in an impressive landslide.

Not your typical politician, Singh was ranked #1 in the GTA for submission grappling (or wrestling) in his weigh-class, carries swim shorts in his car because he's obsessed with swimming in natural bodies of water and has a penchant for wearing elegant Bespoke suits.

Recently, TorontoVerve was invited to his Queen's Park office to discuss his personal life, political highlights and, of course, men's fashion.

TorontoVerve: Let’s start from the beginning -- tell us about your childhood. What kind of kid were you? 

Jagmeet Singh: I was really a good kid. I never got into trouble. I did everything my parents told me to do – except I got into a lot of fights. I grew up in Windsor. There’s a country song that says if you want your son to be tough, name him Sue. Similarly if you’re Brown and have long hair and you’re a boy who’s growing up in Windsor, you’ll either become meek & quiet OR tough. And I ended up being tough as I kid. I took Martial Arts and got into different competitions. So I was fighting in a formalize sense and fighting kids who were picking on me. Besides that, I was a studious. I read a lot and played lots of sports.

TV: Tell us about your parents. 

JS: My dad’s a psychiatrist...he didn’t analyze me much, but he did do one thing that developed into a good habit for me. When he lectured me, he would always point out when I was fidgeting. He’d say, ‘right now you’re being passive aggressive and you don’t want to listen to what I’m saying.’ So he actually taught me to be still and focussed when listening. He was also very generous and worldly. He liked the finer things in life like nice watches, pens and cars. My mom is the exact opposite. My dad would beg her to buy fancy jewellery and clothes and she wouldn’t be interested. I remember on my 16th birthday, I wanted to buy a $200 watch and my mom said ‘No! There’s no way at 16 you’re wearing a watch that expensive. Stick to Timex for $50.' That’s my mom. On the other hand, my dad wanted to buy me a Rolex. That’s the dichotomy between my mom and dad. But I appreciated having a mom like her because she kept me grounded and not be obsessed with material goods. I realized that sometimes a $20 object would suffice over a $1000 object.

[Jagmeet's Kirpan, one of the 5 articles of faith Sikhs carry -- symbolizing their commitment for justice]

TV: How did your mother become so frugal?

JS: My mom worked on a farm. She was very ‘Salt of the Earth’. Her family was hard-working and didn’t want to waste anything. She had the belief that anything in excess was not good. My dad was from a wealthier family who had excess. So they actually complemented each other well. She would bring him down to earth and as for me, although I have a taste for the finer things, I also appreciate the simple pleasures in life, for which I give my mom a lot of credit.

TV: Since we’re on the topic of your personal life,  is there anyone special in your life right now? Anything that you can share?

JS: Umm no, nothing that I can share (we both laugh).

TV: What sparked your political ambitions?

JS: I am a lawyer by profession and [last year] I bought an office to expand my practice before the Federal election, so I had no intention of pursuing politics. It was later that some good friends and civil rights youth groups encouraged me to get into politics. And there was this spectre of a potential election at any time because of the minority government situation. So I finally acquiesced and announced my candidacy in March 2011 and ran in that election.

TV: And how did the New Democratic Party fit in your political plans?

JS: My father is a psychiatrist, my mom’s a teacher and my brother and I are lawyers -- so it doesn’t sound like what you would expect from a New Democratic leaning, but because I faced a lot of inequity that was based on race, I was sensitive to inequity in general. So while I didn’t have the socio-economic barriers that others faced, like access to education or employment, I did face discrimination, which opened my mind up to the inequalities that other people endure. Specifically, as a lawyer, I was always interested in human rights and the Canadian Charter of Rights so that led to my progressive politics and the NDP was the most progressive of all the major parties in Canada.

TV: Take us back to the night when you were announced as Bramalea-Gore-Malton’s new MPP. What was going through your mind?

JS: Actually, we have an amazing video that captures the moment.

TV: The one where they’re carrying you?

JS: Yeah, the video captures the carrying, the dancing and the emotion and you’ll see the crowd is a mixture of high school kids up to seniors. We were ecstatic. It was a sense of accomplishment for the community. We did it against the odds because the NDP had never won in that riding before. It really made the team feel like they made a difference, and I really emphasize that this was a team effort. We get a lot of media coverage reporting that typically the youth are apathetic in politics, but in this case, it was the youth that drove my campaign [to victory].

TV: You’re only 33 years old and you’ve achieved so much already -- The Toronto Star named you one of 12 to watch in 2012.  What would you attribute to your success?

JS: Lots of good luck. I try not to give too much credit to myself. I was in the right place at the right time. I was lucky enough to have a mom who stayed at home and spent so much time on educating me and teaching me how to read and do math -- all these skills, beyond my years, well ahead of everyone else. I put an effort in everything I did, but I feel that I had so many advantages that I have to give credit to the universe for giving me those advantages and specifically to my family for all the support....and luck. A lot of luck! You can have two people doing the exact same thing -- one is successful and one is not -- sometimes it really comes down to chance. That’s a small bit of humility -- normally I’m the opposite of being humble (laughing).

[Jagmeet's congratulatory gift to himself for winning the election: a handsome Gazelle bike]

TV: You ran an incredible youth-driven campaign and continue to connect with them through social media. Besides being young yourself, how do you succeed in inspiring the youth where other politicians have failed?

JS: I actually answer that question by saying I’m young (laughs). I have this one philosophy -- I probably borrowed it from someone else, but I’m going to take credit for it -- if you want anything to grow, you need space for it. So if you want to grow vegetables, you have to create the space for a garden. Similarly for ideas, you have to create a physical and ideological space for the idea in order to nurture it. So with the youth, we physically created a space in the sense that we made the campaign office a place that was very welcoming to young people. The kids designed and decorated it themselves and really made it youth-focussed. Ideologically, young people in the campaign were given important roles and tasks. Their voices were heard and their feedback was taken seriously. They felt both respected and valued. That’s how we created a space for the movement to grow.

TV: After winning your MPP seat, what was the first thing that you tackled in office?

JS: [When I knocked on doors campaigning], there were 3 big issues that came up: auto insurance, temporary job agencies and the local hospital. I tackled the number 1 issue first: auto insurance. Auto insurance is not a sexy issue -- not like human rights, but it turned out that there were a lot of layers to the problem. In particular, there was a discriminatory factor called ‘Red Lining’ in the States. I discovered that high auto insurance rates were not only a pocketbook issue -- they were discrimination issues as well. Red Lining is the practice of targeting low income or immigrant communities for higher insurance rates. [When this was revealed], I knew I was doing something right because the insurance companies released 4 different pamphlets against me and launched a million dollar campaign across Ontario with newspaper, billboard and radio ads attacking me personally and the bill that I put forward addressing these inequities. So if you’re up against a very influential group and you ruffle the feathers enough to have them put that much effort against you, well, I knew that I was doing something right for the community, and I got a lot of positive feedback for my efforts.

TV: What’s the leading thing that keeps you up at night right now? 

JS: I’m really concerned about the youth -- about what we’re doing and more importantly, what we’re not doing for young people. I want kids to feel a courageous sense of ‘self-worth’ -- not pride because sometimes pride has a negative connotation that you’re better than other people. That’s why I like courageous self-worth. I think that if we can inspire more self-worth in people, they could resist a lot of the oppression or negativity that goes on. This could address racism with children or women who are disproportionally represented in politics and all areas of society. Racism and sexism are very much alive today. As a leader, I cannot do everything myself, but if I can help empower people to do things, that’s a more powerful movement. 

TV: You recently paid your respects in Oak Creek, Wisconsin after the Sikh Temple shooting. What’s your account of how the community is coping with the tragedy? 

JS: I was really blown away by that incident. Violence is disturbing -- the attack at Eaton Centre, Scarborough and Colorado upset everyone, however it wasn’t targeted against a particular group of people, it was just rampant violence, which is troubling, but doesn’t touch on the same heartstrings. Recently in Joplin, Missouri, there was a mosque burning and, of course the shooting in a Sikh Temple in Oak Creek, Wisconsin. They were attacks against a specific people. When I went to Wisconsin, I was very proud to see that the Sikh community weren’t trying to explain who they weren’t in order deflect violence to another group. Instead their message was violence against any community is wrong and I believe that is a more powerful message. The Wisconsin residents also took this opportunity to educate people and examine the root causes of violence, which are fear and ignorance -- the breeding grounds of hatred. I was really inspired by the fact that the community was responding with a lot of love and understanding as opposed to being vengeful.

[The Legislative Assembly of Ontario located in the Ontario Legislative Building at Queen's Park]

TV: Did you personally meet with the family members of the victims?

JS: Yes, when I was there, many of the people knew who I was already. So I met a lot of the victims’ families. It was a very emotional time, but there was a lot of hope and a lot of positivity and the community felt very blessed that so many people had driven or flown down from across the States and Canada. That support gave the Wisconsin community a lot of feelings of courage.

TV: What did it mean for you to be there for the funeral service?

JS: I wanted to express solidarity…that we’re not going anywhere. Attacks against the Sikh community doesn’t mean that we’re going to go into hiding. I really wanted people to know that. Yes we’re hurting, but we’re here to stay -- strong and proud. The same rhetoric of “taking back the night”. When something bad happens, you don’t lose hope or courage, but you come back more hopeful and courageous.

TV: In spite of the recent tragedies in Colorado and Wisconsin, Canadians can’t say that gun violence is an American problem. Toronto has seen its share of violence lately; what do you think is the root problem?

JS: Gun violence is a very serious issue and something needs to be done, but what I’m really afraid of is the knee-jerk reaction to say that more laws and more police are the solution. We’ve seen in society that more laws, more police and more punishment are not the solution to systemic problems. You can’t just catch one individual to solve gun violence. If you look at the countries across the world where they have the least amount of violence and compare them to countries with the most violence, you’ll see that the solution is not based on who has the most police and worst punishments. It’s based on which societies have the best protections for their community, who has the strongest social network, which communities have the least gap between the rich and the poor and which societies have the most opportunities for youth and employment. It’s a long and slow solution. It can’t be fixed tomorrow because gun violence is a symptom of a much deeper problem.

TV: What can the community do to help solve this epidemic?

JS: When there’s less hope and opportunity, there’s more despair. With more despair, you’re willing to do anything because there are no other options. I have a nephew and he’s learning his first words from his mother -- my sister. If my sister taught him words like “love”, “respect” and “kindness”, that’s all my nephew would know, but if he was only taught words like “hate”, “hurt” and “harm”, that’s what he would learn instead. Similarly, the community can address the fact that we’re on a particular path because people only know what they’re taught. And if you don’t have the proper role models or the proper social structures that can teach [alternate] options, then you’re left with what you know. And it’s no surprise that parents who are poor, have children who are poor, and parents who are involved in the criminal system, have kids in the criminal system. There’s a clear link between criminality and poverty. So if you only know crime, it’s more than likely that you’ll pass on that lifestyle.

TV: So let’s switch gears to a lighter subject.

JS: Yeah, we were getting deep and heavy there (laughs).

TV: Men’s fashion. After all, that’s how we met. I've approached you three times on the streets of Toronto to photograph your sophisticated street style. How has fashion played a part in your life?

JS: Unfortunately, people judge others by their appearance. We always say ‘never judge a book by its cover’, but that’s what we do, and I realized the same thing was happening to me. I think of clothing as social armour -- if you dress really well, maybe some of the misconceptions and fear that people have can be dispelled by looking sharp. Clothing is a big part of how we interact in society and a well-tailored suit will open doors for you that you wouldn’t otherwise have. I have a turban and beard and some people might feel a little bit uncomfortable with that because they’re not used to it, but by being well-dressed, it helps break the ice and open doors.

TV: And you design your own clothes?

JS: I do. Some are flops, but some turn out really well. I have a tailor in India [who puts my designs together]. I designed a linen jacket and at first glance, everyone loves it, but if you look closely, [it’s obvious that there are flaws]. I did, however, improve on that design with a wool version.

TV: Can you tell us more about your designing process?

JS: Yes, I show the tailor different pictures with my drawings and explain what I want. Occasionally the tailor will tell me that my designs don’t make sense [or they’re impractical]. Sometimes I’ll take their feedback – other times, I won’t, which I learn to regret later. Once I wanted silk lining in some of my suits and the tailor was very adamant that silk lining is a bad idea because silk will always wear out before wool. I didn’t believe him at first, but now I have a number of beautiful Bespoke custom suits with frayed silk inner lining. I should have gone with my tailor’s recommendation and use a sturdier fabric like Bemberg instead.

TV: How would you rate fashion in Canadian politics?

JS: It’s pretty bad. I apologize to all my colleagues (laughing). When I first started in law, like my friends, I had a strict budget for buying suits. My friends bought 10 suits. I wanted to look really well-dressed so I just bought two suits of high quality [and rotated them]. I’ve always done that. People compliment me on my suits and I really don’t have that many. I probably have 5 suits. And that’s what politicians should do. Avoid buying 20 [mediocre] suits and buy 3 of high quality. I think they would be much better off. And they should really support local industry and buy custom-made suits. A lot of suits off the rack don’t fit very well. A custom suit fits better and will last you a lifetime.

TV: Are your peers receptive to your advice?

JS: Some people are. They see it makes sense, but they’ve already gone down a path and it’s hard to shift your paradigm. I read this article in a woman’s magazine about spring cleaning. The question was put: if you have 10 pairs of jeans and you only look good in two of them, why not get rid of the other 8? Just wear what you look best in. Similarly, that’s the argument I raise.

TV: Did you convert anybody?

JS: I’m excited to say that one guy is actually trying out a custom suit.

TV: Last question, what are you most happy about in your life right now?

JS: That’s a really good question. My family had some ups and downs. Right now, we’re on a really strong up. I’m very thankful for my good health and my family being strongly connected. In terms of what I’ve achieved, I’m really proud that I inspire a wide variety of people. Specifically, a lot of young Sikh men and women in my riding come into the office and tell me that they can see themselves becoming lawyers and politicians as well. So I’m really happy that I have the opportunity to touch lives and motivate people to achieve more.

Click 'PLAY' below to see Jagmeet in action at Queen's Park.

Amber Joliat: Farewell to Summer

It's hard to believe that summer's over, but before we bid it a fond farewell to make way for chilly Fall, let's enjoy one last warm day at Ashbridges Bays (otherwise known as The Beaches or The Beach) with Yoga & Pilates instructor Amber Joliat of Misfit Studio.

TorontoVerve: Amber, you've appeared on TorontoVerve twice before -- the last time celebrating New Year's resolutions and fitness. Since then you've moved your thriving Misfit Studio to a bigger location and you've been named as one of BlogTo's Best Yoga Studios in Toronto. Can you tell us a bit about who you were before your success?

Amber Joliat:  I was a dancer -- it was my first language as a child. Always painting and dancing, my life was fuelled by creativity. I started teaching dance when I was 14, working in a company or performing. After finishing my art degree in Italy, I pursued a career in art by drawing and painting. But realizing how difficult it was surviving as a painter, I went back to dance and inevitably taught Yoga and Pilates.

TV: How does dancing help you express yourself?

AJ: It just flows from me. I feel like a vessel of pure divine spirit. And here I am, running a studio 2 years deep. Still trying to figure out HOW to, but following so honestly and truthfully my inner language.

TV: And what has the response been like from your students?

AJ: They really feel that it's innovative, creative, passionate and expressive, which I guess is new and different. They also feel that there is an authentic sense of community and connection. My philosophy is 'let's just dance, love and learn from each other.' And that actually happens.

TV: Obviously things are going well for you. How did you feel when BlogTo named you as one of the best Yoga studios in Toronto?

AJ: It's interesting. We live in a time where we want to rank things and make lists. In that sense, it's an honour. In the same breath, I feel like every single day I'm humbled and there's so much more to learn.

TV: You have many unique and artistic tattoos.  What inspires your choices?

AJ: My tattoos started at 15 and are like a body map of time --  where I was and what influenced me.
I have chakras, flowers, birds, a dragon, an anatomical heart, and a pirate ship on my back. It continues...my dragon will soon hold a pearl of wisdom, and then, well, I never know when inspiration strikes! They each tell a story. I'm a moving art piece.

TV: Your Yoga classes have been described as 'alternative'. Why is that?

AJ: Yoga is so straight. People roll out their mats and don't talk or laugh. And God forbid if you play loud music -- let alone Rock N' Roll. Part of the success with me and my method is that we're shaking things up. I brought a DJ to the Thomson Hotel and led a Rock n' Roll and a Hip Hop Yoga class in front of 200 people. But, while I bring in this element of playfulness and encourage conversation, I draw from my strong Yoga foundation of 13 years.

TV: So would you say that your Yoga is an evolution from the standard art form?

AJ: Yeah...although people want to have fun and shake things up in Yoga, it still speaks to them spiritually.

TV: Sounds like church. There are churches that are tranquil and serene and other churches where people are jumping up and dancing, but both congregations still receive the same message.

AJ: Exactly, it's like Yoga is the new gospel.

Christine Estima: Off the Wall!

"I cannot wear white without spilling something on it, but I mean well."   
- Christine Estima

If you're a lover of gritty street art and risqué Twitter humour, then you've likely already heard of Christine Estima. Christine is a film critic, author and former Reality-TV star whose gained a lot of attention with her worldwide reporting of graffiti art on her popular blog, The Spadina Monologues.

When I first visited her website, I was impressed with her dedication to graffiti (graff) culture. She's scoured the dark alleys and grungy corners of Lima, Peru; London, England; New York, Vancouver, Montreal and, of course, Toronto in search of quintessential street art.  Her knowledge of these street creations is remarkable and certainly indicative of her passion for the art form.

So when I wanted to take a tour of Queen Street West's famed Graffiti Alley, who better to guide me than Christine herself.

TorontoVerve: How did you get into graffiti -- when did it all start?

Christine Estima: I got into graff sometime around 2004 after hearing about the secret swing that was erected in graffiti alley.  That was my first time venturing into the alley, and taking photos of myself on that swing.  I instantly became attracted to the way citizens can interact with each other and share inside jokes and secrets through the medium of street art.  It was a truly ephemeral experience, democratic and liveable. It made me excited to check out what other secrets the streets of Toronto were holding.

TV: How does graffiti art inspire you?

CE: I love the political statements that can be embedded within clever sayings and provocative images. I love anything that asks questions, provokes thoughts whilst simultaneously taking the viewer on an emotional journey.  Sometimes the work is just aesthetically pleasing as well. As a creative person myself, I am inspired by many different art forms, and street art seems to be less influenced by curators, censorship, editors and therefore more open and honest.

TV: I love these rabbits. What can you tell us about them?

CE: These were drawn by Poser, who is just in his 20's.  He's fresh out of OCAD, but he's already bombed a lot of Toronto, and you can find his rabbits all over the city. He's also been commisioned to do murals on schools that promote anti-bullying. I heard rumours that Poser actually considers these rabbits to be bears, but I say they're rabbits! So, these rabbits have been in graff alley for at least a year because I remember photographing them a year ago in the same spot.

TV: Unlike most of the other graffiti art, these rabbits haven't been painted-over (tagged) by other artists.

CE:  Poser has a lot of cred in the community and so his pieces probably haven't been tagged because of the 'honour and cred' code. If you have a lot of haters, expect your work to last for a week, tops. But if you can keep the haters at bay, the highest form of respect in the graff community is to have your work untagged.

TV: You obviously have a lot of love for graffiti. Do you have any graff-skills yourself?

CE: I have absolutely no graff-skills.  Last year I bought some equipment and tried to make a stencil, but it was a disaster and I never used it.  I am not a visual artist at all -- except for my mad photog skillz (laughs).

TV: Walking down this alley, I'm amazed by the amount of creativity in one place, but there are a lot of people who do not share the same appreciation. What do you say to those people who believe that graff-art is vandalism?

CE: I would suggest to those people that instead of getting their back up over graffiti, they should perhaps be more angry about the state-sanctioned visual pollution of advertising. Yonge and Dundas Square is a gawdy monstrosity with distracting adverts that in no way increase the quality of life of Torontonians, but it is tolerated because those spaces were "paid" for. But no one asked me if I liked having 5-storey adverts in my face as I walk through my city. To me, that is BRANDALISM and it affects my life such that I feel bombarded by a capitalistic consuming frenzy. I am not a consumer -- I am a citizen. So if it's a choice between the illegal-but-beautiful graffiti or the legal-but-vomit-ugly advertising, I will take graffiti every time. For more on this issue, i would suggest people research the city of Sao Paolo and their absolute ban on outdoor advertising and how it improved the quality of life for its citizens.

TV: So back to the graffiti. Do you know who painted these sly-looking grenades?

CE: The artist's name is Spud and he's from Toronto. He's one of the longest players in the Toronto graff-scene -- several years. Last fall, he got a lot of attention when he was arrested for street art, which created a huge amount of support in the graff-community to help him out. Ultimately, the fame helped get him his first gallery show, which was a complete success.

TV: What is the significance of the grenades?

CE: In the graff-world, when you paint over a new wall, it's called 'bombing'; hence the grenades. The [smiley] face is his signature. He'll paint this face over Rob Ford's face or a potato -- because his name is spud. This is all done with a stencil, which is a cardboard cut-out of a drawing that you spray over and then add details by hand. Because he's getting more popular, you'll notice that none of his art is tagged-over.

TV: Has his gallery showing brought Spud any international success?

CE: Actually, there's a huge outdoor graffiti yard in Queens, New York called 5 Pointz, which is very prestigious in the graff-world and he was invited to put the same grenades all over it. Also, he put up a lampoon of Mayor Rob Ford in 5 Pointz so everyone in Queens is well-aware of who Rob Ford is.

TV: Speaking of Mayor Rob Ford, he recently intensified an anti-graffiti campaign that would rid the city of graff-art -- many of which are parodies of him; like these two here.

CE: These Rob Ford faces were also done by Spud. The face was done with a stencil and the worm [body] was done by free-hand. They were put up as a reaction to several initiatives and by-laws that he tried to pass; [including] removing graffiti and cutting funding to after-school programs and the TTC. Ford's base is really the affluent parts of society, which leaves people on the lower end feeling disenfranchised and left out. Here, you'll notice that his face has a sinister laugh. This is really lampooning Rob Ford and shows that he's not well-respected amongst Torontonians. You can find these in many different alleyways in Toronto, but the fact that these have been here for over a year shows that people appreciate Spud, his artistry and the political statement [he's making].

TV: Why do you think his art was tagged over?

CE: There's a turf war between graffitists and street-artists. I think Spud would identify himself as a graffitist, but because he uses things like stencilling, it could lump him in with the street-artists. [Consequently], pure graffitists would take their spray cans and tag over [his stencilled work] to show that using stencils is cheating in graff. [Graffitists] may also tag Spud's art because they want their name up there or they think the art is old or they may not respect him, but I think that most people in the graff community have a high regard for Spud.

TV: So there's less respect for stencilling?

CE: Yeah, because stencilling is technically cheating -- the same with wheatpasting. You can get things done a lot quicker and easier with stencilling, and it does provide a higher quality picture. Stencilling and wheatpasting are predominately used by street-artists. Graff-artists are purists at heart and they [paint] free-hand using just spray cans. I find the debate to be really petty because I think street-artists and graff-artists are on the same side, but sometimes turf wars erupt.  It's happens in the United States, London, Berlin, San Paolo and it happens here. For whatever reason, graff-artists see themselves as the original vandalists -- they're the bombers...they're the ones who [painted] trains way back in the day. [Graffitists] don't consider stencilling as the original form. That's probably why [Spud's art here] was tagged over by free-hand.

TV: I would think that stencilling would be advantageous because you can quickly spray something and run before getting caught.

CE: Absolutely. Banksy once said in an interview that while he was doing free-hand graff with a spray can, these cops started chasing him.  He hid underneath a huge dump-truck and looked up at the gas tank and saw that they had stencilled 'flammable' on it. A light went off in his head and he said 'this is how you do it'. [Put a stencil down, spray and get out of there quickly]. I think that any form of graffiti: free-hand, stencil, wheatpaste or sculpture...I don't care how it's done, if I like the way it looks, I'm going to appreciate it. So I ignore the debate.

TV: Is there a Banksy in Toronto?

CE: Banksy? There's only one Banksy left in Toronto.

TV: Why only one?

CE: He was here in early 2011, but the very next day, half of Toronto's graffitists had tagged and gone over his [work].

TV: That's unfortunate.  Where's the only Banksy in town?

CE: Just up the street at the Ocho Hotel.

TV: I see what you mean that his work was tagged over.

CE: This entire wall was completely tagged and when the Ocho Hotel [acquired the building], they wanted to preserve the Banksy that was still here. So they went to great lengths to remove some of the tags over the rat. Banksy's artwork can be worth up to hundreds and hundreds of pounds. This is the very last Banksy that is untouched in Toronto. There is one other Banksy up on Dundas West, but it's been tagged over. You can kinda see it through the tags, but for the most part, it's gone. This is the last one.

[A framed photo of the Banksy rat on the Ocho Hotel wall before it was tagged over]

TV: Do you have any advice for budding graffiti artists who want to make their mark in Toronto or anywhere else?

CE: Budding graff artists should remember that talent is their most important asset. So forget about becoming famous or infamous or trying to start a revolution. Do it because you want people to see your work. Do it for the streets, do it for the city, do it for the love of it.

The World According to Wu: Canadian Fashion Designer Adrian Wu Talks About Family, Success & X-Men

Adrian Wu is one of Canada’s fastest rising fashion designers and no one is more surprised about that than Wu himself. Since igniting Canadian runways at the tender age of 18, the 21 year old is poised to realize his dream of designing in Europe. Within the next few weeks, some of the most famous fashion houses in the world, including Jean Paul Gaultier, Chanel, Lanvin Paris, Yves Saint Laurent and Christian Dior, will review his body of work. It’s all too much for a young man who used to call Burlington his home, but Wu is anxious to begin the next chapter of his life.

TorontoVerve recently sat down with the talented designer in his downtown Toronto studio for a very revealing interview.



TorontoVerve: Tell us about your childhood. Who was Adrian Wu before all the media attention and fame?

Adrian Wu: I was a naive homosexual. I was a little spoiled. Since I was born, I wanted to be a sex therapist until I [dropped out of the University of Toronto]. So who was I before all of this? Well, I was in love and I think that’s also what led me to drop out and re-evaluate what I wanted to do. Because when you’re young and you’re in love, you just go along with what’s going on, and you forget about the bigger questions.

TV: Was your heart broken?

AW: Yeah, I guess so. A lot of what I do is try to find my passion. What am I passionate about? I think we’re all trying to ask that question. And surprisingly no one in high school asked me that. I’m also passionate about reform and education because that’s the only way we can move forward in society. Anyways, I’m going off in a tangent.

TV: So would you say that this person who broke your heart is the reason why you’re here today?

AW: One could be so idealistic or dramatic, but yeah, I think love -- just the philosophical question of love, what Plato and Aristotle said of love, brings up a much deeper question of existence. It can sound so vague or cliché, but at the end of the day I’m just making clothes. In reality, what’s the point? Eventually I’m going to die. This is my life now, but all this is going to be gone some day. So why are we all kicking and screaming? Why are we all fighting and getting angry? Why is this plane taking so long; when 50 years ago we can barely do that. So again, what I’m saying, let’s ask the bigger questions. And I think that I use fashion as a medium to spread that message.

TV: But what do you say to those people who aspire to attain your status?

AW: It’s just marketing. Let’s face it, this business is about making money. How many fashion designers will admit to you that our job is to convince stupid people to pay large amounts of money for a rag. It’s business. [A journalist once said that I shamelessly self-promote myself], and I do. How else am I going to get people to buy my product? And the irony is I’m not even interested in selling the product yet because there is no market in Canada -- I hate to say it. What fashion industry do we have here? Who is making money? Joe Fresh! They are. This is the reality of it and yet not a single journalist would dare write that almost no Canadian fashion designers are breaking even. The average consumer is not going pay $800 for a [Canadian design] when they can spend an extra $100 for a Mark Jacobs made in Italy. That is the Canadian fashion industry summed up in a nutshell. I’m 21 years old...what do I know? I’m just telling you what I’m seeing. I’m seeing designers with a second job. I’m very fortunate doing what I do, but I have my [financial] backers and that’s the only way I can do it.

TV: Are you worried that there may be some backlash from the Canadian fashion industry and your peers about what you are saying?

AW: No, because I say this all the time. I’ve been saying this since 2008. People know I feel this way, but no one cares or writes about it. [There are Canadian fashion designers] asking for investors on North American websites. They’re asking for money publicly. Literally admitting to the public that they’re not making money so they’re asking people for help. No one is going to say that out loud.

TV: Are you saying that all these Canadian fashion magazines and critics are perpetuating a false image of a thriving Canadian Fashion industry?

AW: You have to ask yourself the question, ‘what is the Canadian fashion industry?’ If you ask me what the Canadian fashion industry is, it’s Aritzia and Joe Fresh. Most people don’t even know that they’re Canadian.

TV: Since you were 3, you went to private school and wore a uniform. What was it like growing up with all that order and regimen?

AW: I think it’s a factor and not a cause of who I am. I have not had individuality until just 3 years ago. Do I even know who I am right now? I don’t even know. But definitely, wearing a uniform since I was 3 years old was frustrating.

TV: Tell us about your family. What are they like?

AW: That’s a vague question, BUT my mother is an extreme idealist. She makes a point to enjoy life and spend the most money to get the best. From her, I’ve learned to enjoy the best things in life. My father, on the other hand, will go to Walmart [to buy clothes], yet he’s a very respected physician - makes a decent salary and he’s always taught me to be a realist and spend money wisely. 'Buy things that have resale value because the world revolves around money.'  My mom is Christian and an idealist and my dad is atheist and a realist and I think I’ve gotten the best of both worlds from them.

TV: Your personal style is androgyny-inspired. I remember the first time I approached you for TorontoVerve street style. You had a mohawk and were wearing a man’s dress shirt, a skirt with platform shoes and carrying a fur purse. You were born and raised in conservative Burlington. How did your friends and family react when you first stepped out in this style?

AW: Honestly, it was more shocking to them than me coming out. I was asked, ‘Adrian, why are you wearing a dress? Do you want to be a woman? Are you transexual? Do you want a sex change?’ You hear it in every gay story that parents can’t accept the lifestyle, but in the 21st century, my parents understand that the world is changing. That’s how Westernized they are. My friends thought my style was weird. I think that’s what the average person would think. It was tough. Even today, people stare at me all the time. I don’t even think it’s how I dress. I can go on about the Asian culture, but I don’t want to go into it too much; there are stereotypes and I don’t fit under a stereotype.

TV: Did you wear androgynous styles before coming out?

AW: Noooo, but I was the club scene gay. Slutty. After I started sewing, I asked, why can’t I wear dresses? And just for the record, I don’t use the word ‘androgyny’ anymore because androgyny implies ‘male’ and ‘female’, which have their own [interpretations in society]. I prefer ‘genderless’.

TV: How old were you when you came out?

AW: I was 14 in white suburbia. It was difficult, but I was safe and blessed. I was looked after very well.

TV: How would you best describe your designs?

AW: Draping. I’m gifted in the art of draping. It’s something very dear to my heart. It’s something that I discovered that I’m good at. You can throw in androgyny and sexuality. It’s part of me being vulgar. I think sex is the last exciting thing in the world. It’s a lasting topic. People can’t say the word and that’s what I’m intrigued about. Sex brings up the discussion of something stimulating and that’s what I think good art is. [It’s what turns you on]. Eventually, that’s what I’d like to be known for. To bring a light to sexuality and the importance of having that discussion.

TV: You created quite a stir with the ‘period’ dress (a dress with a conspicuous blood stain in front).

AW: Yeah, I just wanted to throw it in there. No one really thought of the collection as a group of pieces in an art collection. If you stepped back and looked at the bigger picture of what was said, that’s what was beautiful. I don’t care what the individual pieces say. The ‘period’ dress was one thing, but I just thought it would look aesthetically pleasing as a whole. That’s how my mind works.

TV: You’ve said that you don’t care about fashion. You care about art and fashion is your medium for art...

AW: I said that 2 years ago [when I was naive]. Fashion is my philosophy. A discussion about art is ultimately a discussion about philosophy. It’s like what Warhol said, “art is what you can get away with.” That’s completely true. C’mon, you guys are sitting here right now and I’m 21 years old and you’re actually taking me seriously. I can talk like a 50 year old right now. I can put on any face that I want. That’s what’s interesting about this world. It’s about what you can get away with and what you can get people to buy.

TV: How do you explain your success immersing yourself into something you don’t care about?

AW: There’s this illusion that what I care about is skinny people and that fashion designers [should only dress women]. Why is there this assumption? I would love to do a collection for obese women. A collection is a message. One can argue that a dress looks better on a skinny person, but fashion isn’t just about that. I hate fashion. I really do. Everyone is so caught up in the glamour of it all. It’s frustrating for me that people just go into fashion because of the parties and it’s way more than that.

TV: So you’re saying the fashion industry is shallow?

AW: It is. That’s why I say I hate fashion because there’s this illusion that’s been created. Delusion. And I’m here to say that there’s another option.

TV: The high-concepts of your fashion collections often draw mixed reactions from the press. They’re not quite sure what to make of it. National Post’s Nathalie Atkinson even wondered if you were mocking the fashion industry with your theatrics. How do you respond to that kind of criticism?

AW: I appreciated her article. That was the most well-written view of my work. Whether I agree with it...that’s a different story. One can also argue that it was an insult to my intelligence when she questioned [what I did] because you don’t see [fashion critics questioning other designers like that]. Maybe I am mocking the fashion industry (laughing), but I’m bringing up a discussion and that’s what I care about. That’s the beauty of what I do. I’m forcing people to talk. That’s art.

TV: What do you love about fashion?

AW: I relate to Gabrielle Chanel. Sounds so cliché, but have you seen the movie Coco Avant Chanel? She started from nothing and ultimately asked the question, ‘why is everyone dressing like this?’ And she was the first person to bring black and a simple dress into the [fashion scene]. Everyone [else] was wearing plum and feathers. I relate to that Gabrielle story because now in the 21st century, I’m walking around [asking] why is everyone wearing Lululemon pants? Why is everyone wearing jeans or sweat pants to the grocery store? Do they not care what they look like? [I want to] bring back Dior’s silhouette and femininity. That’s what I love about fashion -- women can look beautiful. Men can look beautiful. Men can be pretty and women can be handsome.

TV: You said that the film Amelie and V for Vendetta inspired your last Toronto Fashion Week collection. How much do movies influence your designs?

AW: Nothing. Ideas influence my designs and my life. Emotion is choice. Call me naive, but I really believe that. When you cry it’s because you associate death as a bad thing. That’s why you cry. That’s an idea. Death is an idea. So when I say inspire...yeah...movies....ok, but it’s the ideas that inspire me. [Long pause] A guy I was seeing at the time introduced me to Amelie the soundtrack. That’s why I did the collection. [That’s] a little tidbit for you. (smile)

TV: You’ve once said that you’re fascinated with inhuman qualities and have a love for X-Men. In the comics and movies, the X-Men are misunderstood by society because they’re different - sort of like what’s happening to you in the fashion community now. Wouldn’t you say?

AW: (laughs) Yeah, I love that reference. Interesting. Am I being misunderstood? I hope I will always be misunderstood because then it forces you guys to come here and talk to me. When was the last time we were ever inspired by something that we understood. So, I hope I continue to be misunderstood.

TV: You know what I find interesting about that? A lot of critics ask a lot of questions about you and your collections, but they never think to ask you for the answers.

AW: No. Very few, like you guys, have come to actually find out who this guy is and I appreciate that. I appreciate when people can come forward and have a discussion with me. [About] X-Men, I like to think that I do have a voice for the youth. There’s corporate [pressure] to satisfy the youth and that’s why I do things. I want to do a collection inspired by Pokémon, but take it into a sophisticated [realm] where even 50 year olds can relate.

TV: The X-Men are evolved versions of humanity. Would you say that your designs are an evolution of Canadian fashion?

AW: That is a very nice thing to say. I appreciate that. Evolution. Moving forward. My mother taught me that. Always changing. My mother, Asian-Christian, is obsessed with R&B and Hip-Hop because she’s very ‘let’s go with the times’. That’s evolution right there. Darwin -- survival of the fittest. And that’s the irony of business and fashion -- I need to care about people, but also need to think of myself and keep moving forward.

TV: What do you recommend to people who love fashion but just can’t afford it?

AW: I don’t believe that fashion is a discussion about money in any way. I love that there’s this assumption that fashion has to do with nice clothing. It’s an interesting topic because style and fashion are two different things. One can say fashion is about wearing what’s in -- the latest Louis Vuitton heels, even Zara or H&M clothing. But, when you’re talking about wanting to afford...I like to argue that anyone can afford anything. Save up your money. Even a homeless person -- save up your change, you can afford that Louis Vuitton purse. Again, it’s a philosophical question. That’s my advice: save your money.

TV: You once said that your dream job is to work for the House of Dior...

AW: I take that back.

TV: ....and be a great apprentice under the tutelage of a master class fashion designer. If that became a reality and your master advised you to tone down your conceptual-vision, what would you do?

AW: I would not be surprised [if I was told to tone it down] because I would be working for someone else. That’s why I said I take if back. If you talked to me 4 weeks ago, before I went to Paris, I wouldn’t have had the confidence to say that ‘maybe I can make it on my own’. But I think maybe a month or year ago, there’s a lot more doubt in me to work for Christian Dior. If it happens that would be great because how many people can do that? But I’m still trucking away and doing what I love. And if that happens, it happens.

TV: In a previous interview, you stated that you battle with LOVE. Trying to find one person who connects with you. Are you winning that battle yet?

AW: You’re the first person to ever ask me this question. [long pause. Adrian is full of emotion. He takes off his glasses and rubs his eyes] Where do I start? I can only say what I’ve experienced. When I first believed I fell in love, it changed my life. It was a long time ago. It was this REAL feeling that nothing else matters in this world. It was the most beautiful moment that I had ever experienced. After that disappeared, it’s been a battle to get that back again. It’s not about a relationship or dating. There’s that pressure for everyone to find one person. Why aren’t we searching for that feeling? It’s so indescribable. That ultimate feeling. It drives me to do a lot of what I do. Every day is a battle. Everyone deserves love. I’m talking about romantic love. Romantic love is the icing on the cake that everyone should be striving for. The irony is that I support an industry that doesn’t help people looking for love because there’s [pressure] to look a certain way when in reality, love has no boundaries. I’m always about shedding away my judgment and seeing that beauty in everyone, and that is a battle within itself.

TV: Let me just come out and ask, is there someone special in your life right now?

AW: Nooo. No. No. Maybe I still think about that ONE. The one who touched me and was the cause of my career. And maybe I will die, and this person will only know after I go.

TV: Sounds like an Adele song.

AW: Maybe it is. (smiling)

TV: You mentioned that the fashion industry is shallow, but yet you've chosen to work there.  Isn’t it going to be harder for you to find that real love?

AW: You’re the first person to say [that] out loud. You’re right. You’re right. I’m lucky enough to experience it once. So if I die now, [after inspiring people with that lost love], then I’m ok with that.

TV: A fashion critic (freelance style reporter Christian Allaire) said you’re destined for greatness if only you had a more coherent message in your collections. How would you respond to that?

AW: I do have a coherent [message].  I 100% disagree with that statement.  I completely disagree.  I make a point to make it coherent. I didn’t sleep for 24 hours before my first collection at Toronto Fashion Week because I was rearranging the order of the clothing to make it look as coherent as possible. Not to put myself on a pedestal, [but] some of the most respected psychiatrists, architects and PHD’s understand me better than my fashion critics. That just says something about my work. If the Harvard University professor understands my work better than fashion journalists, then where is our fashion industry heading?

TV: Let’s close with word association.

AW: Ok. I like this. This is different.

TV: Fashion.

AW: Art

TV: Man

AW: Sex

TV: Woman

AW: Sex

TV: Beauty

AW: Beauty. The two go hand in hand.

TV: Love

AW: ‘The meaning of Life’. The most rational way I can put it, really. If everyone understood that, the world would be a happier place and I don’t think I’m the only person who feels that way.

Angel Reda Dances Toe to Toe with Hugh Jackman

Before sharpening his claws for another Wolverine movie, Hugh Jackman touched down in Toronto to perform his elaborate stage show, Hugh Jackman In Concert, for a limited engagement.

Last night, we attended the event and were charmed by the charismatic and multi-talented star, who carried the show brilliantly with the help of his big band and back-up singers/dancers: Merle Dandridge and Angel Reda.

Prior to attending the show, we were fortunate to have a TorontoVerve moment with Angel.  The LA-based performer graciously shared her thoughts about Hugh, performing and, of course, fashion.

TorontoVerve: What can theatre audiences expect from the show?

Angel Reda: The best way to describe it is 'expect the unexpected'.  The show is never the same each night because Hugh has this amazing spontaneity.

TV: How did you first get involved in the production?

AR: I got a phone call from casting in L.A.  They said they were looking for 'me' (laugh).  I quickly got on a plane for rehearsal and not long after, we opened in San Francisco.  The show was literally put together that quickly.

TV: So tell us what your first meeting was like with Hugh.

AR: He walked into rehearsal and he couldn't be nicer.  He was genuine...a real guy's guy.  He's not like any star I ever met.  I knew he performed in The Boy from OZ, but I had no idea how much he loved theatre and this show clearly demonstrates that.

TV: What's it like to sing back up for the famous film actor?

AR: It's absolutely amazing! I feel very blessed to be a part of the project.  Often what happens in theatre, people are thrown together and you don't know what you're going to get, but from top to bottom, everyone has been so great.  Despite the show being his baby, Hugh graciously shares a bit of the spotlight with Merle and me.  He introduces us as Broadway stars and let's us do our thing.  We also back him in whatever he needs throughout the evening.

TV: The show first debuted in San Francisco and now it's in Toronto until Sunday.   Can you tell us about the show's future....is Broadway on the horizon?

AR: Right now Hugh is busy with many film projects so rumours aside -- no one really knows the future of the show.

TV: Since this is a street style blog, I'm obligated to ask: what is your sense of style?

AR: Well, I obviously love boots...even in the heat of summer.  My night-wear is sexy but classy and I usually pull out a three-quarter length skirt.  My day-wear is funky and alternative, and I'm always showing some leg (laughs).  When I was a teenager, my mom would often encourage a classy black dress and then my father would interject with "you look like a million bucks."  Today, my closet is basically black with a few colours thrown in.  So I'm guessing I took what they said to heart. (laughs).

TV: Did you do any shopping while you were in the city?  If so, what did you buy and where?

AR: Well, I bought these boots (pictured below) at B2.  I wish Browns were in the States.  I just love them.  I'm visiting the Distillery tomorrow - so I plan to pick up some jewellery...something sentimental.  Here's wishing the exchange rate was better right now!

TV: Do you ever have any input on what to wear on stage?

AR: Anna Bingemann, our costume designer, was brought in for our Toronto run.  We were first outfitted in a spicy sequin number for the San Francisco shows.  Anna really wanted us to feel comfortable but great in our clothes.  For my track, I do a bit of dancing so being able to move and kick my legs was a big deal.  She dressed me in a Dolce and Gabbana full skirt that certainly does the trick.  Why not have sexy and sleek with a complete range of movement?  It's quite a treat.

TV: So what's next for you personally and professionally?

AR: I have a one-woman show that I'm still trying to piece together myself.  And I'm going back to L.A. to hunt for more film and TV work and, of course, work on my own recording, which could be associated with my future one-woman show.  I really want it to be a throwback perhaps in the likeness of Michael Buble.  He has definitely rocked the charts, bringing that Sinatra savoir-faire back to life.  There aren't many women who do the big band thing like him -- I simply adore it.  I'm definitely on a mission when I get back home.

TV: Can you tell us about your future one-woman show?

AR: Well, it's still in the early stages so I can't say much about it, but it's a tribute to an iconic starlet who's a huge inspiration for me.



Hugh Jackman In Concert closes tomorrow after its afternoon performance.