Project Red’s latest show, “Odyssey,” transcended fashion—it was a journey of self-discovery.
Since its inception in 2010, Project Red has been raising funds for the Heart and Stroke Foundation of Canada through their annual Charity Fashion Show. Over the last 14 years, the student-run show has raised over $200,000 in support of the foundation while providing students with an avenue for creative expression.
This year’s show, which graced the stage of Grant Hall on Feb. 9 and 10, took on the theme “Odyssey,” and curated an exploration of life stages, reminding the audience self-discovery is an evolving journey.
“Odyssey is really important because it takes you through all of the life stages of absolutely hating yourself and not feeling like you can express yourself to pushing the limits of self-expression,” Co-Creative Director Zoë Mickelson, ArtSci ’25, said in an interview with The Journal.
A vibrant homage to retro 80s workout culture, the two-hour show opened with a scene dedicated to the Heart and Stroke Foundation. Choreographed with light, springy movements, the scene served as a reminder that maintaining heart health can be fun and accessible for all.
Following the invigorating start, the audience was transported through a series of meticulously curated scenes, each representing a distinct stage of the human experience.
The first scene, “Arcadia,” opened with a beautiful acoustic performance of “La Vie en rose” by Edith Piaf, sang by Julia Deuville, HealthSci ’25, and Michelle Mosu, ConEd ’26. Inspired by the beginning of life, the collection was dreamy, incorporating lace and silk, to emulate naivety and innocence.
“Imagination” came next, shifting the show to feel playful, yet eery. Drawing inspiration from Alice in Wonderland, Imagination expressed the raw feeling of youth through playful and carefree exploration.
The scene concluded with a hauntingly beautiful cover of Gene Wilder’s “Pure Imagination” by Mosu. Ballet dancers complemented the performance with breathtaking choreography and grand lifts.
The third scene, “Vulnerability,” brought a stark contrast to the other scenes, portraying the reality of not knowing how to express yourself while losing one’s spark. Devoid of colours and pattern, the designs represented insecurity in the face of vulnerability.
A fan favourite amongst the audience, “Dimensionless” was up next. Defined as a physical quantity with no assigned quantity, Dimensionless encapsulated what it’s like to be free—whether that be from societal expectations, conventional norms, or judgment.
“We wanted there to be a huge contrast between ‘Vulnerability’ to ‘Dimensionless,’ where you go from absolutely nothing, no colour, no pattern to this huge explosion [and] burst of energy,” said Cara Mackenzie, ArtSci ’25, co-creative director.
The scene—which paid tribute to artists Elton John, David Bowie, and Freddie Mercury—showcased maximalist, free-flowing designs, pushing against the gender binary.
“Dimensionless” was then followed by “Reminiscence,” a bittersweet reflection of accepting change after going through the non-linear path of finding oneself. The scene opened with a cover of “Wild Horses” by The Rolling Stones, performed by Claire Alden, ArtSci ’26, Sofia Leach, ArtSci ’26, and Ronin Offman, HealthSci ’26.
After the musical performance, a series of home videos of the Heads of Designs, Sydney Fridmann, HealthSci ’25, and Zayah Kraftcheck, ArtSci ’26—the two of which were tasked with revamping and reimagining an outfit from their childhood—played.
Fridmann drew inspiration from a baby photo hung in her family home, which captures her wearing a strawberry patterned outfit. Her reimagined version featured a strawberry patterned top and a flowy white skirt.
“It looks exactly the way I imagined, but just an elevated, more classy, adult version,” Fridmann said in an interview with The Journal.
When Kraftcheck was told she’d have to recreate and modernize one of her childhood outfits, she knew straightaway what she wanted to do. Playing with the same colours from her childhood outfit, red and purple, Kraftcheck created an outfit that was both playful but still reminiscent of her current style.
The entire scene was nostalgic and bittersweet.
“Catharsis,” the sixth and final scene, represented a time in which individuals can express their true selves without judgment. Drawing inspiration from Greek gods, the designs were ethereal, flowy, and featured a lot of gold.
‘Like in every play, there’s a moment of catharsis where there’s a purge of emotions. And that’s exactly what we wanted to encapsulate: this purge where everyone’s just ready to be themselves and they feel comfortable,” Mackenzie said.
The show was a celebration of individuality and self-expression, and marked a triumphant affirmation that true beauty lies in embracing one’s unique identity—the ultimate release and culmination of the journey of self-discovery. This is the show everyone so desperately needed.
Tags
fashion show, Heart and Stroke, Project Red
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