We’ve been seeing Marina Abramovic quite a lot lately, both in the art world and elsewhere. Earlier this year, the performance artist worked alongside longtime pal Riccardo Tisci on the Opéra de Paris’ short production of Boléro—the designer created a range of ethereal costumes; the artist (a die-hard Givenchy devotee) conceived the set and scenography. A few weeks ago, Abramovic popped up alongside Jay Z at Pace Gallery, where she starred in the shoot for Hova’s forthcoming Picasso Baby music video. And this weekend, at the Watermill Center Benefit, a surprisingly pared-down Lady Gaga—whose reemergence, it would seem, is in full swing—stepped onstage with Abramovic and announced that she’ll be training under the conceptual provocateur. Their hard work will be revealed during the pop star’s upcoming collaboration with Robert Wilson at the Louvre Museum in Paris this fall. However, we’re not saying that extreme exposure is necessarily bad for business—at the event, a quartz stone from Abramovic’s work Black Dragon was auctioned off for a cool $60K. The high bidder, of course, was Gaga herself.
Red carpets and the perennial summer press stops, including Comic-Con, don’t cease because of the heat. Taking a cue from Resort ’14, stylists are getting creative with ways to temper the temps. “We dress our clients in shorts on the red carpet—in lieu of a short skirt—when we’re looking to achieve a smaller proportion on bottom to balance a more oversize top or jacket,” offered designers and stylists Emily Current and Meritt Elliott. Not unlike A.L.C.‘s Andrea Lieberman, who used a tailored button-down and structured wool coat to do just that in her Resort collection, Elizabeth Olsen made a stop in San Diego promoting Godzilla in black-and-white Balenciaga, offsetting a super-short—and slim—shorts hemline with additional volume on top.
Sticking with sport instead of Resort’s usual frocks, Marc Jacobs dressed up his Marc by Marc shorts by lowering their length and contrasting their ease with a tailored top. So too did Amy Poehler, at the New York premiere of Woody Allen’s Blue Jasmine, who forwent the familiarity of a flirty designer dress for a seasonally appropriate shorts-and-button-down combo. The result was a cool, casual alternative to the standard summer uniform.
From the runway to the street to the closets of sports stars, the color red has found its way onto the current sartorial playlist, especially—and excitingly—across men’s suiting.
“Red has great energy and signifies a decadence other colors can’t,” Barneys New York’s general merchandise manager and executive vice president Tom Kalenderian told Style.com. “Remember Diana Vreeland’s famous red chinoiserie walls—didn’t she once say, ‘I want this place to look like a garden, but a garden in hell?’” After hearing Vreeland’s take on the hue, who wouldn’t want to wrap himself up in Haider Ackermann‘s ruby-toned sleeveless Spring ’14 waistcoat, Roberto Cavalli‘s oxblood shawl-collared stunner, or Thom Browne‘s cherry-red generalissimo uniforms?
Just off the runway, our intrepid Tommy Ton lensed red peaked-lapel blazers from Firenze to Paris. One fellow stood out in particular, pairing his vermilion jacket with a medium-grade chambray shirt-and-tie combo underneath. And finally, at last week’s ESPY Awards, a number of athletes hot-stepped it down the red carpet in matching wares: Chicago Bears’ wide receiver Brandon Marshall in a Hugh Hefner-esque burgundy smoking jacket; San Francisco 49ers’ quarterback Colin Kaepernick in a simple scarlet sport jacket; and the King himself, the NBA’s LeBron James, in a muted carmine tux whipped up by L.A.-based tailor Waraire Boswell. As Kalenderian keenly noted, “Making a statement is the new normal.”
This month at the Fall ’13 Couture shows, a string of designers skipped the strapless cut and instead embraced a crisscross or strip of fabric just above the heart. “The cross-body neckline is a modern look at Couture,” stylist Jessica de Ruiter explains. “It allows for a flash of skin despite the dress being quiet, covered with long sleeves, or classic in its silhouette.”
At Atelier Versace, Donatella deftly proved her hand at Couture (having returned to show again in Paris only a year and a half ago) with a striking body-con number featuring open panels, which, to de Ruiter’s point, revealed nothing and everything all at once. Subtle seduction appeared at Bouchra Jarrar, too, where the designer paired the cross-my-heart neckline with menswear separates, tempering its overt sex appeal with trousers. And Alexandre Vauthier brought a new draped take to the trend, artfully crossing the fabric over the chest while still leaving plenty of skin on display. The design even made its way across the Atlantic, landing on Catherine Zeta-Jones at New York’s Red 2 premiere. She donned a revelatory Michael Kors (from Fall ’13, no less) that kept the trend on track despite New York’s near-triple-digit weather.
While we saw a slouchy softness across the Resort ’14 collections, a few designers offered an architectural counterproposal by employing sculptural elements, particularly at the shoulder.
Roksanda Ilincic, for example, showed voluminous sleeves that were part bell and part calla lily in shape. The designer accented these silhouettes with glittering PVC—a structural cue in its own right. At Balenciaga, Alexander Wang created a swooped-back crop top, its glacial silk forming an awning over the shoulder blades. J.W. Anderson‘s Jonathan Anderson, too, turned out striking arms in his continued experiment with knitwear, which he describes as “forms of construction.” The designer’s opening Resort look—an all-black knit dress—featured an oversize origami-pleat sleeve that arced over the deltoid. Of his choice to embrace the look, Anderson told us, “I think it was the abstraction in finding something new.”