With just five days’ no­tice, Lana No­bre­ga had to pull off the im­pos­si­ble. But when her Car­ni­val cre­ations ex­plod­ed on­to the New York Fash­ion Week (NYFW) run­way, the crowd’s stand­ing ova­tion proved she had turned pres­sure in­to pure spec­ta­cle.

Fash­ion, en­ter­tain­ment, tea and com­mu­ni­ty ser­vice took cen­tre stage at the Hy­att Re­gency Trinidad when Ro­tary Trinidad and To­ba­go host­ed its sig­na­ture fundrais­ing event, Hats & Heels, on Sep­tem­ber 21.

Across dance stu­dios and the­atre halls in T&T, the name Al­lan Bal­four is syn­ony­mous with artistry, in­no­va­tion, and Caribbean pride. Per­former, chore­o­g­ra­ph­er, and artis­tic di­rec­tor, Bal­four has thread­ed the spir­it of the Caribbean in­to con­cert stages and com­mer­cial are­nas world­wide, leav­ing au­di­ences stirred and in­spired.

Pe­ru’s Am­bas­sador to T&T, Clau­dia Giu­liana Be­tal­leluz Otiu­ra, has thanked this coun­try for do­nat­ing vi­tal im­munoglob­u­lin used to treat pa­tients with Guil­lain-Bar­ré syn­drome, de­scrib­ing the ges­ture as a sign of deep­en­ing bi­lat­er­al ties.

When the artist Françoise Gilot pub­lished Life with Pi­cas­so (Mc­Graw-Hill, 1964), gal­leries and col­lec­tors shut her out, block­ing her ca­reer for years. Reis­sued in 2019, it was hailed both as art his­to­ry and a fem­i­nist man­i­festo. Un­til then, Pi­cas­so’s women were pli­ant, abused, and ob­jec­ti­fied—vis­i­ble on­ly in his paint­ings, in the way he chose to present them.

In her home tucked away in Diego Mar­tin, Avion Gray was the mid­dle child of three sis­ters in a tight­ly knit fam­i­ly with an en­tre­pre­neur­ial streak. From an ear­ly age, she ex­hib­it­ed a dri­ve to cre­ate and achieve. To­day, as a fin­tech en­tre­pre­neur and co-founder and CEO of Be­long, Gray has achieved re­mark­able suc­cess, over­com­ing sig­nif­i­cant chal­lenges. Her plat­form is ded­i­cat­ed to her gen­er­a­tion—mil­len­ni­als—help­ing young peo­ple build long-term wealth through in­no­v­a­tive in­vest­ment so­lu­tions.

Wy­att Gallery’s so­lo on­go­ing ex­hi­bi­tion of cyan­otype prints in part con­sti­tutes (among nu­mer­ous oth­er things) the chal­lenge of un­rav­el­ling sev­er­al key per­son­al and tech­ni­cal el­e­ments. For one, as the artist de­clares on his web­site, Wy­att Gallery hap­pens to be “a per­son not a place.”

When doc­tors ex­am­ined Lisa Feveck for heart pal­pi­ta­tions, they couldn’t find her heart­beat on the left side of her chest. Mo­ments lat­er, the car­di­ol­o­gist dis­cov­ered it was beat­ing clos­er to the right. She would lat­er learn she had one and a half lungs. Tests re­vealed even more sur­pris­es: an in­vert­ed stom­ach and a womb turned up­side down.

Fe­lix Roach was a fa­mil­iar fig­ure be­hind the pi­ano and or­gan. Af­fec­tion­ate­ly called “Un­cle Fe” and “Sug­ar Fin­gers,” he guid­ed choirs and en­ter­tained au­di­ences for decades.

The Can­dice Clarke Acad­e­my of Dance (CCAD) wrapped up its Cre­o­la In­ter­na­tion­al Dance Tour 4 from Au­gust 1–15, show­cas­ing 30 dancers from its lo­cal and in­ter­na­tion­al stu­dios. The tour fea­tured a mix of work­shops, cul­tur­al ex­changes, and per­for­mances that cel­e­brat­ed the fu­sion of artistry, faith, and com­mu­ni­ty.

On Sep­tem­ber 6, the In­sur­ance As­so­ci­a­tion South Chap­ter brought the house down with their very first Back in Time fundrais­er par­ty at Car­ni­val City—and what a blast it was!

C ana­da re­cent­ly en­joyed an im­mer­sive dose of T&T’s cul­ture, spir­it, and vi­bran­cy through a se­ries of events show­cas­ing mu­sic, en­ter­tain­ment, culi­nary de­lights, and ca­ma­raderie—each steeped in un­bri­dled pa­tri­o­tism.