Luso Life Issue 005

Nยบ 005

WINTER '19

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CONGRATULATIONS LIUNA LOCAL 506 ON YOUR 100 ANNIVERSARY TH

LiUNA Local 506 Training Centre extends our congratulations to the Members, Retirees, Executive Board, Staff and families of LiUNA Local 506 on the occasion of their 100th anniversary!

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CANADIAN CONSTRUCTION WORKER’S UNION Proud representative of the hard working men and women in the Canadian Construction Industry President: Joel Filipe Financial Secretary: João Dias Vice-President: Victor Ferreira Recording Secretary: Luis Torres Trustee: Ana Aguiar 1170 Sheppard Ave W, Unit 42, North York tel: 416-762-1010 | fax: 416-762-1012

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2019-05-31

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Jack Oliveira Business Manager

Luigi Carrozzi Secretary-Treasurer

Robert Petroni Recording Secretary

Joseph S. Mancinelli President

Brandon MacKinnon Executive Board Member

Carmen Principato Vice President

Mike Maitland Executive Board Member

LiUNA Ontario Provincial District Council 1315 North Service Road E., Suite 701 Oakville, ON L6H 1A7 Tel: (289) 291-3678 Fax: (289) 291-1120 www.liunaopdc.ca

Local 183 Toronto 1263 Wilson Ave., Ste. 200 Toronto, ON M3M 3G3 Tel: (416) 241-1183 Fax: (416) 241-9845 Business Manager: Jack Oliveira

Local 183 East 560 Dodge St. Cobourg, ON K9A 4K5 Tel: (905) 372 - 1183 Fax: (905) 372-7488 Business Manager: Jack Oliveira

Local 183 Kingston 145 Dalton Ave., Unit 1 Kingston, ON K7K 6C2 Tel: (613) 542 - 5950 Fax: (613) 542-2781 Business Manager: Jack Oliveira

Local 493 584 Clinton Ave. Sudbury, ON P3B 2T2 Tel: (705) 674-2515 Fax: (705) 674-6728 Business Manager: Mike Ryan

Local 506 3750 Chesswood Dr. Toronto, ON M3J 2W6 Tel: (416) 638 - 0506 Fax: (416) 638-1334 Business Manager: Carmen Principato

Local 527 6 Corvus Court Ottawa, ON K2E 7Z4 Tel: (613) 521 - 6565 Fax: (613) 521-6580 Business Manager: Luigi Carrozzi

Local 607 730 Balmoral St. Thunder Bay, ON P7C 5V3 Tel: (807) 622 - 0607 Fax: (807) 622-0454 Business Manager: Terry Varga

Local 625 2155 Fasan Dr. Oldcastle, ON N0R 1L0 Tel: (519) 737-0373 Fax: (519) 737-0380 Business Manager: Robert Petroni

Local 837 44 Hughson St. S. Hamilton, ON L8N 2A7 Tel: (905) 529 - 1116 Fax: (905) 529-2723 Business Manager: Manuel Bastos

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London, ON N5W 5L4 Tel: (519) 455 - 8083 Fax: (519) 455-0712 Business Manager: Brandon MacKinnon

Local 1089 1255 Confederation St. Sarnia, ON N7S 4M7 Tel: (519) 332 - 1089 Fax: (519) 332-6378 Business Manager: Mike Maitland

R E S T A U R A N T

The textures and tastes of Portugal 647-345-3019 217 Ossington Avenue, Toronto

You may think Portugal's Coração de Viana (Heart of Viana) originated as a symbol of love for its namesake—the city of Viana do Castelo but it did not. It was a symbol of dedication and worship of the Sacred Heart of Jesus, representative of the country's Catholic roots.

Over time, the coração has become assosciated with love between two people and can be seen throughout northern Portugal printed on fabrics, embroidered onto lenços dos namorados (lovers' handkerchief) and made into intricate filigree jewelry.

CONTENT Director Vince Nigro CREATIVE DIRECTOR David Ganhão

Noah Ganhão

The views expressed throughout Luso Life belong to the respective authors, and do not necessarily represent the views of the company and team.

ADVERTISING DIRECTOR

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José M. Eustáquio

info@lusolife.ca

PHOTOS

CONTACT

Blue Moth Creative Inc. Noah Ganhão Hayley Hruska Paulo Homem de Melo Justyn White

lusolife.ca info@lusolife.ca

art/design DIRECTOR

Cover Noah Ganhão WORDS Julia Dantas David Ganhão Noah Ganhão Dulce Matos Vince Nigro Samantha Rainho Translations Inês Carpinteiro Rute Pinto Coelho

DISTRIBUTION If you would like to carry Luso Life, write to info@lusolife.ca SUBSCRIBE Luso Life is released four times per year. To subscribe, visit lusolife.ca/ subscribe Published by MDC Media Group Manuel DaCosta, President.

Printed in Toronto. ©2019 Luso Life. All rights reserved.

All material in this magazine may not be reproduced, transmitted or distributed in any form without the written permission of Luso Life.

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Beauty by Julia

A mesa da avó

The holiday gift guide is here... and maybe you'll find some items for yourself.

Avó Carolina shares her recipe for Bolo Rei—a Christmas Cake that is fit for a king.

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Sculpting fabric Fashion designer Andrew Coimbra gives us a sneak peak at his Spring 2020 collection and answers a few questions about himself and his creative process.

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IOU $10,000 Addiction. Rehabilitation. Repeat.

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Midnight Ambassador

Here I am world A young woman tells us how she found her voice in this big hectic world.

An interview with singer/songwriter AndrĂŠ after his band played Toronto Indie Week

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A Templar investiture We explain some of the symbols, rituals and traditions of this medieval order.

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Take your pick

Switzerland

Want to stand-out in a crowd? We take you to ten shops where you can pickup stylish preloved clothes.

In the middle of it all, what is historically considered an indecisive country is certain of one thing; it's commitment to beauty.

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Flor Dois

Portrait

Where tapas meets fine dining.

The Mona Lisa.

Is she the only one laughing?

WORDS: JULIA DANTAS

PHOTO: Hayley Hruska

BEAUTY BY JULIA

Gift guide With the holiday season upon us, we all have people on our shopping lists who need some makeup, so I've decided to share some of my go-to Sephora gift sets. From brows to lips these four items make the perfect gift. Warning; they may leave you seriously tempted to grab a few things for yourself! @juliadantasbeauty stylist: michelle laruen wearing: hendrix roe

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$13

$34

$50 ($81 value)

$49 ($81 value)

laneige goodnight kit

morphe james charles mini palette

morphe jaclyn hill eye master brushes

benefit great brow basics pencil & gel set

This gift set is amazing for cold and dry Canadian winters. The perfect luxurious holiday gift for all skin types, to ensure all winter long you and your skin are waking up nourished! Laneige is a highend South-Korean skincare brand that I've been obsessed with. This kit is a perfect stocking stuffer.

This is a versatile palette for any makeup lover.

The mini is ideal for anyone who finds themselves constantly on the go, all while still looking glam. James Charles’ palette is iconic in the beauty industry, which is no surprise because it's possibilities are endless.

This brush set is a great addition to James' mini palette. These synthetic brushes can help you execute any look you want by making blending eyeshadows so much easier.

The brushes are ideal for working with buildable shadows.

My go-to brow set to achieve perfect looking eyebrows. Whether you’re a beginner in the beauty world or a well seasoned pro, this kit is ideal for anyone looking to step up their brow game. This set is seriously a must-have.

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WORDS: DULCE Matos

recipe: Carolina BRITO Matos

PHOTOS: NOAH GANHÃO

A mesa da AVÓ CAROLINA

Queen of the King Cake

N

o Portuguese Christmas is complete without the famous Bolo Rei on the table.

Literally translating to “king-cake,” it's name is derived from it’s round shape, shiny crust and colourful fruit, resembling a crown adorned with jewels. It is eaten throughout the Christmas season which ends on Three King’s Day, January 6.

Growing up my mom was always the one who took on the task of making the Bolo Rei and she continues to do so year after year, baking cakes for each of her sibling’s households. I asked her if this holiday recipe came from my grandmother, but sadly, no. When she was growing up in Portugal, people typically bought their Bolo Rei from the bakery due to the immense amount of work that goes into it making it. The dough requires extensive kneading and rolling to create the perfect shape, texture and of course, taste.

The toppings are carefully selected, then added right before baking, to not only add taste but also make it unignorable on the table. The cake resembles a sweet, dense bread filled with nuts and dried fruits then topped with candied fruit before it is glazed and sprinkled with powdered sugar.

Over the years, my mom has tweaked and adjusted her recipe to find that perfect balance, which is unmatched by any bakery bought cake.

Despite all the time and effort needed to make a Bolo Rei, my mom takes great pride in baking and perfecting this treat each year, for each family gathering over the holiday season.

There are many legends and symbols that surround the Bolo-Rei. Many say that it represents the gifts that the Magi gave to baby Jesus when he was born: the glazed crust symbolizes the gold, the candied and dried fruit symbol-

izes the myrrh and the aroma symbolizes the incense. Traditionally, the Bolo Rei was made with a whole fava bean and a trinket hidden in the cake—whoever found the trinket would have good luck for the next year, and whoever found the bean would buy the Bolo Rei the following year – unless of course, your mãe or avó is the designated baker.

Bolo Rei seems to be one of those many Christmas traditions that is taken for granted but the meal is incomplete without it. With it’s shiny glaze and red and green candied fruit, it resembles a Christmas wreath—it is the centre piece. So many Portuguese traditions are rooted in food and our celebrations just would not feel the same without those favourites.

Although we all know a Portuguese holiday table, or any family meal for that matter, will be filled with more food than we could ever eat, we’d still miss the famous Bolo Rei if it wasn’t there.

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Makes 2

Bolo Rei Cake 40 g baker's yeast warm water 250 g all purpose flour 150 g butter (room temperature) 3 eggs 175 g sugar

Add the chopped candied fruit, raisins and port wine or brandy to a small bowl. Leave the fruit to soak up the liquid while you prepare the dough.

In another bowl, mix together the yeast, the 250 g of flour and enough warm water to create a smooth dough. Roll it into a ball, cover and set aside in a warm place to rise for about 30 minutes or until it has doubled in size.

Once the yeast has risen, Pour the 500g of flour on a pastry board (or any flat surface), and open a cavity in the centre.

Add the sugar, butter, salt, orange rind and orange juice, and knead thoroughly. Do not mix in the flour at this point.

1 orange (finely grated rind and juice)

After these elements are well kneaded, add the yeast dough to it. Knead them together and add eggs one by one, always kneading.

500 g all purpose flour

Drain the chopped fruits and add the liquid to the batter.

1 egg powdered sugar

Next, start combining the flour ring to your dough, and continue kneeing until the dough no longer sticks to the working surface.

Dry fruits

Add the drained fruits and nuts to the dough and combine well.

1 dl port wine or brandy

Sprinkle the dough with flour, make a ball and place it in a container. Cover the container with a clean, warm cloth leave it in a warm, draft-free place. Allow to rise for 1 1/2 -2 hours or until doubled in volume

1 teaspoon salt

75 g raisins 75 g walnuts 75 g pine nuts 75 g blanched slivered almonds 75 g chopped candied fruits Candied fruit to decorate the cake 65 g pumpkin jelly 50 g candied tangerine or orange 2 candied figs 2 candied pears 50 g candied cherries

Divide dough into two parts and make a ball from each part.

Then make a hole in the middle of each cake and then widen until it forms an even ring. Put the cakes on a tray and allow them to rise until they double in size.

Preheat the oven to 350ยบ.

Baste with beaten egg.

Garnish top with candied fruit pieces interspersed with mounds of powdered sugar. The fruits should be placed so as to make the cakes as colourful as possible.

Bake in hot oven at 350ยบ for 35 to 45 minutes. Remove them from the oven. While still warm glaze with pumpkin jelly, Notes: If you want to hide a trinket or a fava bean in the cake, wrap them individually in parchment paper first. Before baking, make a small incision on the inside, insert the trinket or fava bean, then smooth the cake. For safety reasons, we do not recommend adding these things.

Bom apetite

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WORDS: SAMANTHA RAINHO

ILLUSTRATION: DAVID ganhão

Here I

n 2010, an immensely huge projector screen in the Northern Portugal Cultural Centre (NPCC), showed the unimaginable—Porto THRASHING Benfica!

Now this wasn’t your average win; the likes of Hulk, Falcao and Moutinho put on a true spectacle. The rumble and roar of 30 Portuguese men, five times over, is something you never forget. Other than a glorified 5 nil win, this was a typical weekend. Maybe not so typical was me! The 11 year old girl belting out chants, betting on games, and blasting Benfiquistas for their poor excuse for a team.

Fast forwarding 10 years, I found myself in a seemingly similar situation. I took a seat in my first Finance Theory lecture—once again sitting in a room full of men. My professor opened with a simple question: “Who is a good driver?” After a show of hands, it was impossible not to notice that the very few females in class had failed to raise their hand. Contrary to our class survey, females are statistically better drivers than men. Similarly, female CFOs are more successful than their male counterparts. They increase both profit and stock prices at a higher rate than men (S&P Global Market Intelligence). Like our little experiment, the underrepresented females in finance are also less confident. Women typically apply to jobs if they meet 100% of the qualifications; however, males apply when only 60% of the qualifications are met (Hewlett Packard Internal Report).

I too had become one of the numbers. My 11-year-old confidence was gone; now, my male classmates were the ones belting out answers, betting on risk and boasting about their abilities. I had to get my head back into the game.

This time around, I wanted to be more than a spectator. Coincidentally, a friend had told me about a new 30

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initiative at the University of Ottawa—The Women in Management Network (WMN). The women behind it were working to connect students with female business leaders through unique events, workshops and community engagement. I shot my shot and got a position on the team!

Being a part of WMN was much like being a central midfielder. Central midfielders, the team leaders, are charged with linking the defence and offence. Take João Moutinho as an example; he doesn’t make the scoresheet or headlines; nonetheless, his role on the team is indisputable. Moutinho tracks back, tackles and when he wins the ball, distributes it beautifully. Like Moutinho, we were a liaison—outside the game, this meant being the link between current and future female business leaders. Tips for resumes, coding workshops, finance panels—we covered the entire spectrum. WMN was working hard to set women up for success! I was playing an active and integral part in equipping female students with the skills and confidence they need.

When you begin to help others, you are also helping yourself. The confident 11-year-old was subbed back on. Since the golden change, I have completed internships at the Canadian Institutes of Health Research and the Correctional Service of Canada as financial analyst. I spent 6 months on exchange at the Universidade Catolica Portuguesa, which consisted of lots of visits to the Dragão (Porto’s futebol stadium).

Now, having become a vice president at WMN, I can pinpoint that the key to this confidence was finding a team united by passion. I felt supported, which allowed me to strengthen myself and ultimately impact the lives of others. Stepping up made me realize how much more I am capable of. I found my Ottawa version of the NPCC.

I am world

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MIDNIGHT SINGER/SONGWRITER

AMBASSADOR LUSO LIFE

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artwork: vnuggz

interview: david ganhão

PHOTO: PAULO HOMEM DE MELO

Luso Life: Tell us about André.

a good harmony first, then goes the beat, and I would put the melody and words on the same level.

AG: That’s basically all I write about, stories that have happened to me or the people around me.

I’d like to think if I was ever to be a storyteller it would be a very realistic storytelling; I like the intricacies and beauties of each life.

André Graça: Hello! Hope you’re all doing amazing!

Well, this André is 24 years old and born in the good ol’ Portuguese city of Beja. I began learning music at the local conservatory, where I picked up a lot of instruments and soon after I moved to the United Kingdom where I studied Music Composition for Film and Games.

I then moved again to Hungary for a year abroad where I found a passion for songwriting while taking a shower.

LL: Is Midnight Ambassador an alter-ego like Childish Gambino or just a stage name, like Dallas Green as City and Colour?

AG: That’s the thing, I feel like Midnight Ambassador is a big part of me, it’s almost like a venting mechanism for all the good and bad things that happen to me—my own personal Psychiatrist. I wouldn’t really call it just a stage name, I think the alter ego description fits a bit better over here.

LL: Why Midnight Ambassador?

Is there a significance behind the name or were you simply playing with words?

AG: Funny you mention that, I got it the same way Gambino got his. I was addicted to his song Redbone when I wrote my first song, Serial Killer. I was reading up on him and boom, there it is, right in front of me. I’d like to think as if this name was given to me. When we’re born we’re given a name, we don’t have much of a choice, same goes with Midnight Ambassador, everything just felt right.

LL: Beat, melody, words. What do you hear first?

AG: I was asked this by a friend of mine the other day. I’m attracted to 34

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LL: How important are words?

AG: Even though it’s not where my brain goes first, words are definitely important. It’s where everything connects in the end—a good story is as important as a good melody.

Otherwise it just feels hollow.

LL: What do you think is a perfect song?

AG: Oh wow, that’s a big question.

I’m really torn between Redbone by Childish Gambino or Cane Shuga

by Glass Animals.

I think Redbone has had a lot of merit on its own so I’m gonna go with Cane Shuga, I have heard that song more times than I can count.

The instrumentation is so simple, synths going up and down; the beat so simple yet so complex and David Bayley’s voice wildly manipulated with harmonies flying high.

I don’t even know what the lyrics are about but I just love them! This song keeps rising and rising and rising and then... Boom! A simple drop where everything leaves but the synth and that badass conclusion that blows your mind. God I love that song!

LL: Do you think you've written a perfect song?

AG: Oh god, no! Perfection is an impossible standard for most artists, I reckon. That’s not up for me to decide, that should be up to the listeners. I really like Quarantine and Pleasure so far, but then again, whenever I write a new one that’s becomes my favourite. Never perfect though.

LL: Do you write songs about yourself and your personal experiences or are you a storyteller?

I like that every human being has lived their own unique stories.

For now I’m writing my own chapter, but hey, who knows who’s next?

LL: I once read that Elton John scraps a song if he can't get it going within 15 minutes. When you're writing a song that isn't working out, do you continue, put it aside for later or scrap the idea completely?

AG: Elton John and I share that then! We’re both Watford fans, so there’s that as well.

I think it’s really instinctive, it’s either working or not working, it’s like a first date with a song. I don’t think I’ve ever gone back to a song I’ve left behind and it’s worked out so far.

LL: Take us through your songwriting process.

AG: First I take a shower, the melody pops into my head, I run out of the shower, sit down on my computer and don’t stop until it’s finished, at least the structure. Then it’s the filling up the song with little details; at this point I already have a melody going in my head and have some idea of what the story is going to be about. Then it’s time to write the lyrics.

I think lyrics are the hardest part but if I start them I’m not going to bed until I’ve finished.

I don’t start with the lyrics first, if I did then it’s all a big messy chaos ... but hey, that’s how Burned Down Cigarettes came out.

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LL: Despite being a full-time musician, you must have other hobbies that fill your day. What do those look like? Is it during these other happenings that you get inspiration for your songs?

AG: I mean, I have other jobs to support my life in London, rent is quite expensive in that city, but I’m getting closer to being full-full-time.

I’m a giant nerd, I love playing video games, I’m also a TV show addict, I can binge on shows like nothing else. I also like watching football games every now and then, but if I’m being fully fully honest, music is basically my day. When I’m not working on a new song, I’m writing for someone else and if I’m not doing that, I’m trying to learn an instrument (currently learning guitar, because I suck).

It’s quite time consuming, my inspiration for songs come from everything that happens in between, short stories from my life.

Pleasure for example was about a terrible boss I had to deal with for 6 months.

LL: You were born in Portugal and studied music in England.

You now split your time between the two countries. Are there differences in the music scenes?

AG: Exactly, I love that both counties are pretty close to each other so it’s easy to fly between both.

I think they’re quite different, I would say that the British market has a huge amount of competition but equally, a huge amount of opportunity, the Portuguese market has been growing its indie-legs a lot recently and because of that we’ve been getting a lot more opportunities in the Luso-Land.

I’m genuinely happy to be in a place where I’m able to share my music in both these unique markets.

LL: Your roots are raw analogue instruments; piano, percussion and saxophone, yet your music contains layers of synths and has an electronic feel. Is there a chance we'll hear some stripped

down music from you in the future?

AG: Instrumentally Dr. Dre plays a bit part on how I write, Dr. Dre had that unique Dre Electronic Signature that everyone recognized within seconds. Insert some Indie and R&B and boof, you've got Midnight Ambassador.

It may be different stripped down, but I think so; right now I’m quite enjoying the fullness of the electronic sounds I’m going for, but Burned Down is quite stripped I would say. There’s more to that coming, maybe even an acoustic set.

LL: I don't believe you have released any collaborations yet.

Is this something you may do in the future? Are there any names you'd like to work with?

AG: I really want to collaborate with other artists. I could make an endless list, but my top three right now are: Miller Blue, a local artist from London, who’s beyond incredible, love his music to death. Clairo, an amazing Bedroom-Pop/Indie artist who’s been releasing incredible songs one after the other and finally, Glass Animals, who I just love unlike anything else.

LL: The internet has made many pop stars—others rely on playing shows to build their audience.

What has worked best for Midnight Ambassador?

AG: I want to say streaming services and radio stations have been our allies. Playlists was my first big investment, but then again we’ve been creating really solid relationships with stations all over. I think being and making honest relationships is what’s been working for Midnight Ambassador. Being surrounded by a team I love, even if that sounds super cheesy.

LL: You've played Toronto twice, has that experience opened any doors for you?

AG: We’ve played Canadian Music Week, and Indie Week in Toronto.

I think that took us a step further, honestly. Proof to all our followers that this isn’t just a small music project for us, it’s what we love and want to share with the world. Going to another continent helped us with all kinds of new relationships and press. Right now I’m literally in Portugal doing interviews at some amazing radio stations, where a year ago before Canada I wouldn’t even dream of being in. Plus the love that we receive from the Portuguese community and media—I don’t even know how to thank everyone. I owe Toronto.

LL: It's a long plane ride to get to Toronto. How do you kill time at the airport and on the plane?

AG: I don’t know why or how, but I can fall asleep anywhere. If I’m not sleeping I’m about to fall asleep and if I slept enough I just read something on my Kindle or watch some in flight entertainment. I don’t find flights that tedious. I’m a patient person.

LL: Any immediate plans you'd like to share? New releases, tour?

AG: We’ve just recently announced this; it doesn’t have a date, but my next EP has a name, Fragile Igloo.

It should be available early in 2020.

Hopefully a tour comes straight after that, I really want to show this EP to the world, it’s almost, almost finished.

LL: Can you put curate a playlist for us with some songs you love and some songs of your own.

AG: Yes! I love making playlists, thank you for the interview! Now here goes, enjoy! (playlist can be found on the Luso Life Spotify channel) @midnightandre

words: VINCE NIGRO

photos: Blue Moth Creative Inc

A TEMPLAR INVESTITURE photo: nick lachance

photo: nick lachance photo: adam burnett The sovereign military order of the temple of Jerusalem is an organization that works globally to raise funds for various causes and continues their traditional values world-wide.

This past October the priory of St. James here in Toronto had its annual Investiture with the induction of 6 new candidates. This yearly tradition has been going on for hundreds of years and we would like to give you a sneak preview of what happens at a Templar Investiture.

Inductees better known Postulants are under an order of silence during the ceremony. The purpose is to reinforce the contemplative and meditative portion of the retreat and facilitate coming to understand the lessons being presented.

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Postulants are given mantles, ensuring they are properly carried and displayed over the left arm, with the cross completely displayed. They are then escorted with a procession into St. James Cathedral where a full ceremony is completed.

The Investiture will be individual, with each postulant to surrender their mantle and proceed through a ceremony to become knighted. A sword is placed on both sides of your shoulder with the chiming of spurs to both sides of your upper body.

Once the traditional ceremony is performed, he or she is installed as a knights or Dames of the order of the St James priory in this case.

Receiving historically renowned Knighthood or Damehood in the

Templar Order, through the traditional Templar vow of chivalry, is not a mere symbolic act. Swearing the vow of chivalry is not for the benefit of the order, but rather is an esoteric and spiritual act.

Dedicating yourself to chivalry in the Templar order, as a legendary historical institution with ancient roots is something all members take very seriously and continue to this day, both locally and abroad.

The Investiture ceremony of the Order of Templar is usually held in a cooperating church or private chapel affiliated with a Templar Commandery, at a Templar pilgrimage site, but in this case, it was held at St. James Cathedral in Toronto.

Torontotemplars.com

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photos: nick lachance

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photo: adam burnett

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photos: nick lachance

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PHOTOS: noah ganhão

SCULPTING

andrew coimbra

interview: david ganhão

FABRIC

"I think with the gender fluidity movement becoming so much more of a forefront focus, it’s a great time to be in fashion. Androgyny has always been there, but really identifying and establishing the idea of not feeling restricted by any particular identity has a lot of power and freedom."

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y emailed request to photograph and interview Andrew Coimbra was received with an enthusiastic yes. As he swiped through Noah's instagram feed, we began establishing the groundwork for the shoot; Andrew would bring two models to the AGO where we would photograph some pieces from his S/S 2020 collection. Soon after our call, he created a mood board based off of what he envisioned would work with Noah's style so that we could all catch the vibe.

I was impressed. andrew coimbra

We scheduled the shoot and arranged to meet at the AGO on a Sunday morning—there would be less traffic. The plan was in place—Andrew would take the models to change and meet us at the Henry Moore sculpture exhibit on the second floor. After a short wait, the trio appeared—models dressed and Andrew wearing multiple layers of jackets which would be needed for the wardrobe changes.

While the models interacted with the camera, Andrew stood back and watched, being mindful not to interfere, aside from the occasional suggestion.

He was keen on having Noah and models' Nina and Christian interpret his pieces without interference.

The photoshoot was over within an hour and aside from an encounter with an overzealous security guard, everything went well.

While the models changed into their own clothes, Andrew, Noah and I chatted and decided to go back in to visit Yayoi Kusama’s Infinity Mirror Room when I realized we hadn’t taken a photo of Andrew.

He agreed to a few quick shots which Noah snapped before he hugged us and left us to see the Early Rubens exhibit.

I enjoyed the simplicity and honesty of this man and was looking forward to finding out a little bit more about the designer and his creative process.

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Luso Life: Tell us about Andrew Coimbra—the man and the brand.

Andrew Coimbra: I’m a 32-year-old (!), Toronto-born and currently Toronto-based designer. My eponymous label began as a genderless line, but has since evolved to include a womenswear range.

LL: What sparked your interest in fashion?

AC: I was always creative; I started by drawing and painting as a child and all of my teachers and family members encouraged me to keep developing and growing my skills. I think around the age of 12 I became fascinated with music videos and how pop culture could really influence style.

My Avó sewed at home casually and she actually taught me how to use the machine and some basic pattern design techniques.

LL: Your father owns a family-run recycling business. Stereotypically, this wouldn’t be the environment where a future fashion designer is bred. Do you think this background affected your approach to design?

AC: I think the influence our family business has had on my venture has more of an effect in the realm of business management rather than an approach to design.

I think my approach to design has been informed by other life experiences; my affinity to art, pop culture, and I would argue the more sensitive/meaningful relationships I’ve been lucky to have with friends and members of my family.

LL: Was your family supportive of your career choice?

AC: They were and are! In the beginning I think the support for my creative background was in assumption that I would go into architecture or something more familiar to them, business-wise. But as I pushed more toward my own goals it was easier for my family to see a parallel in the way my industry works.

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LL: How has your work evolved since you started the label?

LL: Do you typically design pieces with your yourself in mind?

AC: Originally I intended on making it a menswear label, simply because that’s where my interests were, but as stylists started to borrow pieces for photoshoots and put them on female-identifying models, I was reminded of how fluid my own wardrobe (women’s jackets, jeans etc.) is and so making it genderless became more important.

AC: Yes I do. I like to design pieces that I’d wear, but more specifically that I can see being enjoyed for a long time, not just a fleeting moment to appease a trend.

After a couple of seasons I decided to add a womenswear capsule with pieces that are traditionally worn by women (dresses, skirts etc.) to help bridge the genderless pieces. The capsule has been well received and as of Spring 2020 the womenswear collection is its own entity.

LL: Running your own label obviously comes with a lot of personal sacrifice and some amount of fear. Was it difficult for you to make the leap?

AC: It was - and still is - challenging only because of things like time management, finances, etc. It’s a constant juggling act, which is both tricky and fun. Once I dove in I found a rhythm that works for me.

LL: What is the biggest lesson that you have learned since you started your company?

AC: Time is important.

Not just your own time; the time of others; half of the challenge is managing and coordinating things, the other half is making sure to accomplish them or have them accomplished in an efficient manner that doesn’t rob people of the time they are investing in you/your projects.

That, and having a support system to give you life.

LL: Do you have plans to open your own storefront?

AC: It would be a dream, but I think establishing my name first in order to make the potential storefront a destination is the priority.

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LL: I find it interesting the way you’ve chosen to divide your collection—“women” which falls into a societal gender construct and “genderless”. If you’re drawing a line, how do you decide?

Explain your approach to the genderless category?

AC: Both collections have been evolutionary. The genderless category started after stylists began borrowing pieces for womenswear-geared projects and putting them on female models. It struck me as such a silly thing for me to have denied as being an option since I wear pieces from the womenswear section of stores all the time. I had always developed the collection with the idea of not confirming to a stereotypical menswear aesthetic, so deciding to take it a step further and redefining it as Genderless felt second nature.

Since the label already had a menswear-leaning edge, I wanted to establish pieces that felt more specifically ‘womenswear’ that would help bridge the pieces, and illustrate to buyers and the audience how truly versatile the core collection is. From a business perspective, it helps secure a wider market reach. From a creative perspective, it offered me a fun new challenge and outlet for my ideas.

LL: You come from a diverse cultural background. Your father is Portuguese, your mother is Irish and you grew up in Canada. How does culture influence you?

AC: I think the way the label had developed to have a duality in the gender flexibility is a mirror of the cultural duality I often feel I was raised with. Both sides of my family are so incredibly individual; their cuisine, first language (and accents—both in English and otherwise), style, aesthetic, and approach to their priorities are so different.

With that said, their core values are very much aligned, and by both integrating with society in Canada, there is a unification in identity; a way to exist individually within a common theme.

I don’t know if there is a direct creative inspiration, but it certainly has influenced the way I orchestrate and market the brand - most specifically the Canadian new immigrant aspect. It’s incredibly important to me that the models I hire don’t reflect a homogenized ideal of something.

LL: I see you have the island of Santa Maria, Azores in your logo. Does the physical geography of the island inspire your work in any way? Perhaps colour or textile choice? Are the designs connected to your heritage?

AC: That is a complete coincidence! My father and his family is from the north, bordering Spain, and I’ve never been to the Azores. I just really like amoebic shapes! I find them to be balanced and very much a repeating element in nature (as illustrated by Santa Maria) LL: We’re proud to be debuting some pieces from your upcoming spring collection. Could you speak to the season’s direction?

AC: I’m excited that they’re being featured!

These pieces are from the Spring 2020 genderless collection, which is inspired by beach cities like Barcelona, Lisbon, etc., where there is this sort of balancing act of being part of an urban community and having the freedom to escape to a beach. There is a focus on the idea of an ‘urban uniform’ and subtly deconstructing it with detachable components that informalize things.

LL: You recently worked with Nico Paulo in Portugal, supplying most of the wardrobe for her latest video. Do you often take on projects like this?

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If so, do you vary your style according to the specific mood of the piece?

AC: I love collaborating with other artists—it’s what makes the industry so special and strong. It brings another perspective to the pieces I make, which is the point of them, in the end.

LL: Are any celebrities wearing Andrew Coimbra?

AC: Yes, a few! R&B singer Mya, Alessia Cara, OVO’s Majid Jordan and Charlotte Day Wilson (a favourite of mine), Amanda Brugel (The Handmaids Tale), and Ria Mae, among others.

LL: Is it still exciting to see your clothing walk by you on the street?

AC: It is! It’s also really nice to have people tag and share their outfits—it’s actually more exciting (most of the time) than a feature on a celebrity.

LL: Some artists purposely distance themselves from what their peers are producing. Do you allow yourself to indulge in the work of other fashion designers?

AC: I’m always inspired by art and pop culture, but lately I’ve been really into sculptures and textural works. I love the relationship between shape and texture and how easily transferable those ideas can move to fashion design by way of pattern development and fabric sourcing.

LL: Although I wouldn’t call your clothes trendy, are you driven by trends? Do they influence what you do at given time or perhaps serve as something to react to?

AC: I like to keep an eye on trends - mostly general silhouettes and colour trends just to make sure it’s not too far off the mark.

Retail buyers usually follow trend reports when making their selections and it’s important to stay within the realm of what will sell for that season.

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LL: What’s your thoughts about companies like H&M and Zara copying what they see on the runway and putting them into mass-production?

AC: I hate it and I love it. There is such a talent and skill in being able to recreate pieces especially in the time that these retailers do it, but there is also a complete lack of respect and respectability to it. Worst of all, there is a lack of art, which is the biggest issue because fashion is—at its core—art.

LL: What kind of hobbies do you have outside fashion?

LL: What advice would you give young designers.

AC: I would say it’s important if you have the luxury to do so to intern somewhere at least once. It’s even better if you can do it in another country just to be able to harness that much more experience.

And to be sure to know what your individual style is as a designer, as a label and who that style appeals to.

LL: Is this a good time to be in fashion?

AC: I think with the gender fluidity movement becoming so much more of a forefront focus, it’s a great time to be in Fashion. Androgyny has always been there, but really identifying and establishing the idea of not feeling restricted by any particular identity has a lot of power and freedom.

LL: Instagram can sway how people perceive fashion. How has this acceleration in consumption affected the industry.

AC: In many ways it has fuelled the need for consumption, but more recently its fuelled the need for awareness around consumption, which I think was only a matter of time.

It’s so easy to see how fleeting the

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interests are on social media platforms, and there is a certain richness to being able to enjoy pieces of your wardrobe more than once (again!) and also in different ways than you did before. The challenged has transferred from an unhealthy obsession with new, to the much more reasonable objective of making strong pieces look or feel new.

LL: With regards to fashion sense, do you feel a responsibility to educate the public.

AC: I think people have their own unique styles and I design with the intention of allowing the pieces to be adopted into the wardrobes of a stranger. The idea of imposing an image onto someone feels unnatural to me.

All I can do as a designer is establish a feeling for my label, and hope that it resonates with people on an individual and meaningful level.

LL: Are there any current designers that inspire you?

AC: The designers I’m inspired (aesthetically) by are Ann Demeulemeester and Damir Doma. Neither of them are reflected in my work but I think their work is incredible.

And, of course, Alexander Wang for the business achievements.

AC: I love to read, and I’m obsessive about collecting new music and watching music videos.

I also really love watching documentaries and anything that feeds me with useless trivial knowledge. Jeopardy is one of the best game shows ever developed, FYI. LL: On your website you have a page dedicated to DJs where you say, music is a huge part of your developmental process—what are you listening to right now?

AC: Yes! I looooved doing that series with DJs. It became a little bit too much of an effort to coordinate, and like I mentioned before my biggest concern in working with people is not wasting their time. It’s something I want to explore more in the future when I have the resources to accommodate it.

In terms of what I’m listening to right now, I’m very in Spanish pop singer Rosalia, Dawn Richard, Kali Uchis, Sufjan Stevens, and have been revisiting disco classics by Earth Wind & Fire, Kool & The Gang, Cheryl Lynn and A Taste of Honey. There’s also a Toronto-based DJ I’m really in love with and her name is Bambii. andrewcoimbra.com

WORDS: David ganhão

PHOTOS: justyn white

10 toronto vintage shops

Take your pick The ever-alluring activity of thrifting has only gained fans with time. The moment someone compliments your fit, a sense of pride washes over you because a; you snatched a good piece, and b; even when you tell them where it's from, they can't get find the same item. Some people are drawn to vintage wear because they’re tired of fast-fashion and want to look unique while others enjoy the thrill-of-the-hunt and challenge of styling.

Any reason is a viable one because in doing so, they’re helping lower the mountains of textiles that go to landfills every year.

On average, each Canadian tosses 81 pounds of clothes annually (9.5 million tonnes across North America).

Thats a lot of $5 tees that we’ve imported from China.

So whether you want to stand out in the crowd, score the best deal on a designer brand or help save the planet, these ten shops will have you looking and feeling great about shopping.

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BLACK MARK E T

COURAG E M Y LOV E

@blackmarketvintage

@cececourage

347 queen west

14 kensington avenue

Home of dirt cheap Toronto vintage—everything is $10 (or less). This is one of the oldest and most popular vintage stores in the city which means it's usually busy but not over-crowded.

Serving Kensington Market since 1975, chances are if you love vintage, you've browsed through their collection. With equal parts clothing and accessories it's a great place to get lost for a while.

They have an impressive collection of graphic tees, accessories plaid flannels, and punk necessities— including a great soundtrack for you to enjoy while browsing. If you have the time, you can certainly find some gems to spice up your fits.

They offer one of the most reliable selections in Toronto and have everything from nice cashmere sweaters and hats to knick knacks for your home— don't forget to rummage through the cupboards to find some super cool buttons.

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E X IL E

F AS IN FRANK

@exile.inc

@fasinfranktoronto

60 kensington avenue

418 queen street west

Exile has been doing vintage well since day one. Over 30 years and it has remained a Kensington Market staple. It's a shopping destination for celebrities, movie stylists and anyone who loves thrifting without breaking the bank!

Originally from BC, they made their way to Toronto a few years ago and have been a go-to for anyone who's in the market for brand-name streetware or graphic tees.

Prices are reasonable and the place is huge so be prepared to spend some time sifting through this yellow treasure chest!

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Coats, jackets and sweaters are in season right now (and we appreciate that! The store is well stocked and neatly organized—no digging required.

FLASHBACK

HOUSE OF VINTAGE

@flashbackvintage

@houseofvintagetoronto

793 queen street west

1239 queen street west

A Kensington Market favourite has moved south.

Owner Roger De Souza is the self-proclaimed “King of Vintage," with his shop supporting the claim. They have the basics like band tees and denim but their specialty lies in pre 80s fashion: Hawaiian shirts, 50s bomber jackets, military coats, colourful ties.

Americana is what's in the House: Levi’s, fringed jackets and cowboy boots. Considered one of the premier shops, they also have a flamboyant selection of shirts and dresses.

Added bonus: they've opened a new shop on the second floor—Victory Girl Vintage. Curated for the ladies, they have a lovely collection of dresses and accessories.

Make your way to the back of the House where you'll find racks of band and Harley Davidson tees– which are quite affordable (most under $30). If you're lucky, you'll find some ultra-rare shirts but you'll have to fork out a few more bucks for those.

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IN VINTAGE WE TRUST

P E NN Y ARCAD E

@invtgwetrust

@pennyarcadevintage

1580 queen street west

1177 dundas street west

Originally an e-bay store, this Parkdale menswear shop is carefully curated and organized according to genre—sportswear, streetwear, military jackets, workwear, denim and classic Americana.

The feel at Penny Arcade is more boutique than vintage shop, since everything is neatly arranged on racks and shelves—they even have sofas for you to kick back and get inspired while your shopping partner tries on clothes.

Much of the collection includes rare pieces. Everything is authentic and has been purchased throughout Canada and the United States.

They also have a great selection of band tees and pins.

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It's a mix of both old and new designer pieces and prices range from low to high (the $5 rack always has some great treasures to be discovered). They also have a selection of vintage childrenswear for ages 0-12.

SIB E RIA VINTAG E

SUB ROSA v i n t a g e

@siberiavintage

@subrosavintage

955 bloor street west

16 kensington avenue

If you're looking for women's fashion from 70s, 80s, and 90s check out this gem located in Bloorcourt.

Reasonably priced with a well curated selection of top quality vintage apparel, shoes and accessories for men and women. Their friendly staff helps them stand out from the other shops in Kensington Market.

Retro sunglasses, clothes, accessories, shoes, knits, and just in time for winter, Siberia Vintage is stocked up with faux and real fur coats, and a great selection of leather outerwear as well. They pay special attention to the dresses which are arranged by colour and range from fancy gowns to contemporary everyday pieces

Don't forget to look for discounted treasures on their sale rack. Check out their Instagram page to see what latest (oldest) trends they currently have in stock.

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SWITZERLAND

PHOTOJOURNAL

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Words & ILLUSTRATION: DAVID GANHÃO

IOU $10,000 ADDICTION, REHABILITATION, REPEAT

F

resh out of rehab, he was a store manager for a big company. Clean for a few months he got the urge to use—time to go on a drug run. A few days pass. He’s burned through all his cash and hasn’t shown up for work. The place is running on it’s own and he’s probably lost his job. With his dealer waiting in the car, he walk into his store and gos straight to the washroom to do a hit of crack. He goes downstairs to the office and ask the assistant manager to open the safe, which is quickly emptied into his bag. In the money’s place he leaves a piece of paper that says IOU $10,000 then runs back to the car. He had no way of paying it back but he needed this money and if he left and note, he couldn’t be charged with theft—this is the logic of an addict. A few days later, after the money was gone and he was sober, the guilt set in—what he did was wrong, so he went to the police. Who does this?

Over a lifetime, we cross paths with many people. Most will have no influence on us at all while with others, we create bonds that stay with us forever. To me, Mario falls into the latter. I’ve known him since birth and although our lives intersected, our paths were very different. I spent most of my life raising a family with my wife and developing my career. Mario also has a son, two marriages and has had huge successes in his various careers.

He’s also struggled greatly with addiction. His highs are the things we all wish we could have but his lows are a dark page out of Jim Carroll’s Basketball Diaries.

Last year Mario showed up at his parent’s home after spending time on the streets begging, using and trying to survive. The drugs had worked their magic, beating

him into a thin, paranoid mess who was certain someone was coming to hurt his family—and it was his fault.

He hitched rides with people he knew and traveled the 300 kilometres back to Toronto in an attempt “save” his parents and son—the reality was they would save him.

When I caught wind of his return, I sent a simple message through various people, “have Mario call me if he wants to chat”. Nine months later, he did. We met many times since—drank lots of coffee and chatted while I tried to figure out why our lives were so different.

Although we’re only separated by three years, growing up, Mario was the cool older cousin who would visit from Toronto or if I was lucky, we’d drive into big city and I’d get a sneak peak into his world. Back home, I’d try to emulate his style and lacking an older brother, I’d spend weeks bragging at school about our (mostly made up) adventures. Unfortunately, by the time I was 11, Mario was a teen and at 14 he would pop in and out during our visits—he was obviously a big man around these parts, so I’d follow him to his room and look through his record collection as he’d get ready for what was certainly a big night out. I admired the way he took command at home—he was a picky eater, so when he turned his nose up at my aunt’s dinner, she dug into her purse and handed him some money to get a pepperoni pizza. He’d reappear later, pizza in hand, some cakes from one of the local bakeries and no change. The power this man had was unbelievable. My mother made me eat whatever was put in front of me, but luckily this would only last for another few years. Soon, I too would be handed money to purchase my own dinner, so I thought.

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At family dinners we would have a glass of wine with the adults, which was very normal in Portuguese homes.

What I didn’t realize until much later was that by the age of five, Mario had noticed that the adults at family gatherings were always laughing and having fun—the common denominator was the liquid they held in their hand.

“I started sneaking drinks and since then, I continued using different substances to feel good.”

The worse thing that can happen to a young addict is nothing—when there are no consequences they don’t see anything wrong and the addiction escalates. Our conversations revealed this was the beginning. Sneaking drinks at five evolved into smoking pot with his buddies at 14 which evolved into bigger, much more dangerous substances.

Cocaine was prevalent in the Toronto dance clubs and there was no hesitation to trying this new high. Fuelled by cocaine and alcohol, the night was his—he felt great, probably talked a bit too much but had the energy to dance all night, and that’s what was important. The negative effects of the drug only hit you after—the anger, hostility, depression, paranoia and psychosis. That, of course, wasn’t a concern because being young = being indestructible = trying everything, so when a friend took an 8-ball of cocaine they had bought and started cooking it on a spoon with baking soda, he was curious. “I had no idea what he was doing. He asked if I’d ever tried this—i hadn’t, but I had just spent all this money on dope, so of course I was going to try it…then I fell in love with it.”

Crack-cocaine immediately became his drug of choice.

Enter the kid from the suburbs. At 18 I was going to clubs and when the opportunity to go out with the cool older cousin presented itself, I jumped. Making my debut at Stilife was especially alluring, this club was legend— an edgy mix of concrete and steel with chains as divider walls and eclectic sculptures everywhere. A place where the beautiful people were selected from the lineup to get in, but not Mario—we walked up to the doormen and were immediately waved into this living Dalí painting. I was walking into the basement club where Madonna and Prince had hung out—surreal. We drank, he danced, we mingled, he’d disappear and reappear, I assumed he was off chatting with someone, or maybe he had a small bladder, why else would you keep going to the washroom? Two a.m. and time to leave but too early for bed so we take a detour and visit an after-hours club in Kensington Market—my first glimpse into the seedy underbelly of Toronto. As we walked towards the door, 84

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Mario seemed on guard—looking around corners and behind cars—he seemed paranoid, which 18-year-old me found peculiar yet mildly entertaining. Up the stairs to a locked door with a peephole, this was the stuff from movies—super exciting. Once we got in the reality and fear set in—everyone we were locked in this room with was strung-out—everyone but us, then he disappeared again. At the time, Toronto was full of after-hours clubs which the police largely ignored, serving up prostitution, drugs and gambling. As I stood alone I focused on a man who spent the whole time quickly pacing between the window and the centre of the room, muttering to himself about people who were coming to get him. Jesus, what was Mario doing mixed up with this crowd? I was happy to see him return, we could leave soon, but first, we sat at a table where he unwrapped a tiny packet and dumped its contents on the table making a few small lines—coke.

He used in front of me but didn’t offer—he wasn’t a religious fanatic trying to convert people to believe in his views, he was a man that didn’t want to give his problem to other people—respect.

This night has played over and over in my head for the last 32 years wth many different opinions. Eighteenyear-old me looked at Mario as eclectic party guy—he walked both sides of the fence and could have a great time with the beautiful people and the degenerates— but he definitely wasn’t an addict. Fifty-year-old me is a little more understanding of what actually was going on, is less judgemental of the degenerates and more critical of the beautiful people.

There’s a romance that is associated with certain addictions—Sinatra sipping a bourbon, Bowie holding a cigarette, and even though it has a tragic ending, Johnny Depp playing George Jung in Blow. Pop culture has made these things seem sexy and acceptable—we don’t perceive them as addictions. People look down their noses at addicts. People judge addicts. Watching my cousin do a couple of lines made us so much cooler than the crackheads and heroin junkies that surrounded us. He wasn’t an addict—this man had his shit together. He had a great job, was always stylishly dressed and in a few short years he’d be married. This of course was not reality. He spent 60 of his first 90 nights as a married man away from home.

His wife naturally assumed he was out sleeping with other women but he came clean and told her the truth—it was drugs. She was relieved, “just quit.” It wasn’t that simple.

It’s never that simple. Rehab, repeat.

Years passed and we’d occasionally see each other. I got married, we had kids and Mario’s life quietly spiralled in and out of his control. I’d occasionally hear from a relative that he was or wasn’t doing well—not much more.

This was a cross the immediate family chose to carry quietly. When I heard he was down, I’d send the occasional message—happy birthday…Merry Christmas… hey….nothing back.

Rehab, move.

A long overdue cleanup finally happened—there had been many before, but this one seemed different. A move away from the temptations of the city was in order; followed by a career change and another wedding. I silently cheered as the years passed—one year clean, two years clean, three, four, five, six, seven, eight years clean, repeat. What? How? I didn’t expect the 2014 relapse, yet I wasn’t surprised since there was always a pattern. Once hitting bottom, he’d enter rehab where he would find the clarity he needed to get healthy. Once clean he would re-enter the work force which was always followed by success in business.

At this point he felt in control and the ego would kick in—time to use. Repeat.

How does a person who’s eight years clean, and is living well fall back into the clutches of drug addiction? He developed another addiction—gambling. “I had weeks where I’d clear $10,000 and I’d spend it all because I knew more would come in. I looked at the casino as an escape—I worked too much and wasn’t happy with my life.

The ego kicked in and I started playing the “big shooter”.

One night on my way home from the casino, I was on the phone having an argument with my now ex-wife, and thought, “Fuck this, I’m going to find some dope and I’m going to get high. I had no craving to use, it was a ‘fuck you’.” A phone call to an escort service and within no time, he was meeting one of their girls who was more then happy to take his money in exchange for drugs rather than sex. Two days later he was a missing person. “I don’t go out for one night. If I go out, you may see me in a week because I’ll keep going until I’ve exhausted all my resources. I become a menace to society because I’m wandering around looking for ways to score dope. You feel judged but you don’t care because you’ve accepted that lifestyle.”

He’d pick fights with his wife so he could storm out of the house to go use. The addiction doesn’t want you to

have a relationship; it doesn’t want you to go to work; it doesn’t want you to have friends. The addiction wants you to hang out with other people like yourself and isolate yourself from your family. He listened to his addiction, left his wife and moved in with a girlfriend who was also his dealer. He tried to be a functioning addict—go to work and use at home but this didn’t work out. This time, addiction would lead him straight to the bottom—he’d burned through hundreds of thousands of dollars, lost his wife and possessions then within a 24 hour period it would spiral deeper then ever before. “I lost everything in one night. I was making $6000 a week and spending it all. My boss fired me that week and owed me $14,000 he didn’t pay me, my girlfriend threw me out and kept my car because I had it in her name to avoid paying parking tickets. I was broke overnight—gambling and using.”

He’s seen 18 rehabs in the past 30 years—it’s the high cost of low living that most of us can’t comprehend. If the cure for cancer was going to a few meetings every week and abstaining from drinking, most cancer patients would say, “Thank you very much,” yet an addict, who also suffers from an often terminal illness will say, “Are you crazy?

Why do all of that? Why should I stop everything if I only have an issue with one thing?” Alcohol may not be your issue, but it can put you in a state where you’ll be willing to take risks which will lead you back to the all too familiar path; addiction, rehabilitation, repeat.

Researching this story gave me the opportunity to spend time with my cousin—more uninterrupted, quality time than we ever had in the past—drinking coffee and chatting, about past and future. I’m finishing this story just after he celebrated his one year anniversary of sobriety.

Leading up to it he told me that he felt it was a bad idea to celebrate something that most people achieve without trying. I quickly shut that conversation down, knowing all too well that each of us is one bad decision away from becoming what we fear. Following suit, one step towards betterment always merits acknowledgment. One year clean and Mario seems to be enjoying life as a normie and I for one am proud of this new direction: addiction, rehabilitation, hope.

IF YOU'RE STRUGGLING WITH ADDICTION, THERE IS HELP WAITING. ST JOSEPH'S HEALTH CENTRE: 416.530.6141 TOLL-FREE: 1.866.366.9513 LUSO LIFE

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words: David GANHãO

FLOR DOIS TAPAS AND SUPPER CLUB

PHOTOS: NOAH GANHãO

Tap[as] into something special T

he word tapas evokes imagery of Spain; bars filled with people laughing and chatting, with drinks in their hands and tiny plates of food between them. Keep that concept in mind— polish it, refine it, improve it—now you’re ready to try Flor Dois Tapas and Supper Club.

At its core, “tapeo” (the art of eating tapas) is the gathering of people to socialize as they eat and drink—simple.

This newest addition to the Toronto tapas market takes tapeo and melds it with the world of fine dining to give us a whole new experience.

The kitchen is led by Hugo Saenz (executive chef at sister restaurant Flor de Sal) and Andrew Harasti— it’s Hugo’s menu and Andrew’s kitchen. Basically, Andrew takes Hugo’s ideas and refines them, and since the pair have known each other for a very long time (Andrew worked under Hugo for 9 years) collaborating comes natural. Their approach to the tapas concept is what’s most intriguing—they’ve used Portugal and Spain as their base, and harmoniously infused flavours from the 23 nations whose coasts surround the Mediterranean Sea; resulting in 23 exciting fusions.

With so many countries to draw from, the combinations are unique and our tastebuds are grateful.

Speaking with Chef Andrew over a few drinks, I could hear the passion in his words as he told me a bit about himself. His background is exactly what he brings to the kitchen today, a fusion of flavours—Hungarian, Irish, Scottish and a few other things. As you would expect, his love for food

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has always been present. At four his father would hand him cloves of garlic to chew on, which he jokingly says may be the reason he didn’t have a girlfriend until he was 15. His mother (also a fantastic cook) would prepare special meals for her children’s birthdays, asking them to choose their favourite dish for the evening’s menu.

While his siblings would request “normal kid-food”, Andrew would ask his mother to be a little more creative, “I’d love the scalloped potatoes with the glazed ham, please.” As an adult, he’s done some (“not enough”) traveling and those vacations revolve around food. Andrew believes food is not only about the ingredients, it’s about emotion so when he visits restaurants, he speaks with other chefs to help him understand the feeling behind their flavours. This man loves food.

The Mediterranean theme flows from the kitchen into the dining area where themed rooms are decorated with a nautical flair—pay special attention to the bar which is

designed to look like a ship and the whale skeleton they created in the north dining room. An elegant mix of materials was used to construct the perfect atmosphere for our dining experience. Wood, tiles and metal create the backdrop which is enhanced by the colourful paintings of local artist Stella Jurgen.

I’ve covered the tapas aspect, but there’s a part dois to this place— supper club. Supper club is an American concept; a destination where people would spend the entire evening—go for drinks, have dinner, watch live entertainment and more drinks. Flor Dois transcends borders, borrowing from multiple continents to create the ultimate social fusion.

722 COLLEGE ST, TORONTO FLORDOIS.CA

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Spice crusted ahi tuna Tuna

Spice crust tuna

1 yellowfin “ahi� tuna

cherry tomatoes

Toast all crust spices gently. Keep sesame seeds separate.

cucumber

Using a mortar and pestle, grind toasted spices and seeds.

Avocado mousse: (300mL)

Take ahi tuna and dip into blended spices: coating evenly.

1 ripe avocado

1 tbsp extra virgin olive oil

With a frying pan, on high heat with 1tbsp of oil, sear each side of the tuna for only 10 seconds.

pinch of salt and white pepper

Let rest.

1 lime (juice and zest)

Spice crust blend

Avocado mousse

coriander

fenugreek seed

With a food processor or blender add all avocado mousse components and blitz until smooth.

cumin seeds

turmeric

Squid ink aioli

cinnamon

black peppercorn

Combine egg yolks with vinegar and mustard in a blender.

mustard seeds cardamom

white and black sesame seeds

Then slowly add grape seed oil.

Finish by folding in ink.

Squid ink aioli (makes 1L)

Lemon ginger vinaigrette

3 egg yolks

1 tbsp white wine vinegar

To make the vinaigrette you must begin with lemon, vinegar, ginger, mustard and honey.

2 teaspoons squid or cuddle fish ink

Slowly emulsify with grape seed oil to the base ingredients.

1 teaspoon dijon mustard 250ml grape seed oil

Lemon ginger vinaigrette (1L) 100ml lemon juice

600ml grape seed oil

100ml white wine vinegar

1 teaspoon dijon mustard

100ml fresh ginger

squeeze of honey

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Season to taste.

Adding cucumber and confit cherry tomatoes to this dish will increase the fresh flavours and colour.

Finish by sprinkling Flor de Sal over top.

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WORDS: david GANHãO

PHOTO: NOAH GANHãO

mona lisa

Portrait

She left Italy on the back of a mule with Leonardo da Vinci and moved to France; she’s lived with Francois I, Louis XIV and Napoleon; she moved to the Louvre Museum; she lived with an art thief for two years; she was invited to visit the US by first lady Jackie Kennedy, and did in 1963; and with 30,000 people a day lining up to see her, she is the most visited portrait in the world. She is a celebrity.

Da Vinci’s Mona Lisa was highly regarded from day one but for more than 400 years she was simply considered just another painting. Celebrity-status only came in 1911 after the painting was stolen and hidden in a Paris apartment. The media frenzy that followed gave her worldwide attention driving people to the Louvre where the gawked at the empty space where she once hung. She was recovered, pelted with rocks, acid and coffee and for her own protection she was placed behind bullet-proof glass and given her own room.

During this visit, her room was under renovation in for a new exhibit commemorating the 500th anniversary of da Vinci’s death so the portrait was temporarily moved to 112

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the Medici Gallery, named after the 24 Rubens paintings which surround the portrait.

Sadly, these remarkable paintings are largely ignored by the thousands of visitors who are lined up and led like sheep to the Mona Lisa for their one minute “private” audience with the masterpiece before being shooed away by the guards.

Many of the visitors don’t even want to see her as much as they want to document the event for their social media accounts, which is even sadder. Armed with phones, cameras and selfie-sticks, they walk through metal detectors, up escalators, stand in long lines before they take their place about 15 feet from the painting. Many stare at her through the screens of their smartphones while others turn their backs to her so they can get the perfect selfie to post to Instagram—with Mona photobombing, of course.

At 30 inches high, many people who stand in line to stare at Mona in the flesh, will say it was underwhelming. It’s nice to know she has something to smile about.

Since 1984 74 Advance Road Toronto, ON M8Z 2T7

T 416.763.2664

info@vianaroofing.com vianaroofing.com

Our passion for flavourful cuisine is only matched by our desire to be with friends. Through the tapas tradition we meld these worlds together; presenting you creative dishes intended for sharing over drinks.

722 COLLEGE STREET, LOWER LEVEL, TORONTO 416-516-2539 FLORDOIS.CA