The 71st Venice Film Festival opened today and — face it! — you want to see beautiful people swanning around in their finest designer loans. Here they are at the opening ceremony, which also served as the premiere for Birdman, starring Michael Keaton, Emma Stone, and Edward Norton...
Emma Stone in Valentino
Edward Norton in Dior Homme
Constance Jablonski in Alberta Ferretti
Bianca Balti in Dolce & Gabbana
The award ceremony known for its shock value didn't disappoint, until it did. Here, our instant reactions...
Taylor Swift in Mary Katrantzou
Beyoncé in Nicolas Jebran
Grisly (it's just...neither here nor there)
Miley Cyrus in Alexandre Vauthier
Iggy Azalea in Atelier Versace
Great (if a little too Star Trek)
Chanel Iman in Balmain
Each fall, the New York City Ballet — among the most distinguished ballet companies in the world — holds its big Fall Gala at Lincoln Center, showcasing live snippets of the season's new performances.
Increasingly, to generate a little extra excitement, choreographers are being paired with fashion designers. This year's gala will bring together Liam Scarlett's new work with Sarah Burton of Alexander McQueen, Troy Schumacher's mainstage choreographic debut with Thom Browne, Justin Peck's world premiere with Mary Katrantzou, and balletmaster-in-chief Peter Martins with Carolina Herrera for the retelling of Morgen. Further, an existing piece by Christopher Wheeldon will be costumed by Valentino Garavani, who'll reimagine his pieces from the 2012 staging.
Naturally, the costumes are top secret until the Fall Gala on September 23, but here's a look at the most memorable pairings of ballet and fashion...
A loyalist, Hedi Slimane has traditionally shown his photography only in Almine Rech Gallery in Paris and Brussels. But now he's branching out — just a little.
Bowing in September (just before the spring collections), the Saint Laurent designer-photographer will present Sonic, an exhibition of his more significant rock portraits over the years — think Lou Reed, Amy Winehouse, and Keith Richards.
Hand-picked by himself, naturally, the images will go on display in the intimate Pierre Bergé - Yves Saint Laurent Foundation in Paris, culminating in a video installation juxtaposing the now-Angeleno's London series (2003 - 2007) with his California series (2007 - present).
Sonic, September 18, 2014 - January 11, 2015, Fondation Pierre Bergé - Yves Saint Laurent, 3 rue Léonce Reynaud, Paris
Before Boyhood, the gritty new coming-of-age film from Richard Linklater that everyone is crowing about, there was Dazed & Confused — which brought both Matthew McConaughey and Milla Jovovich to the collective consciousness — and before that, Slacker. Both of those seminal works from Linklater and many more (sadly, not Before Sunrise) will screen at the Anthology Film Archives through the rest of July as part of a tribute to his friend, the avant-garde filmmaker James Benning.
Visit Anthology Film Archives
When the hair stylist extraordinaire Charlie Le Mindu isn't creating elaborate headpieces destined to grace the craniums of Lady Gaga, Peaches, and many more ladies of the avant-garde, he's staging tonsorial theater during the Paris couture shows that at times feels more like kabuki theater. He calls it, fittingly, haute coiffure. Last season his theme was Seapunk, in homage to an obscure scene that combines the usual punk accoutrements with elements of sea life. This season's theme could have been Sasquatchpunk, if such a scene exists — and surely it does somewhere...
The Brooklyn-based and still-nascent label Hood by Air has already scored a museum exhibition, NYC Makers, part of the MAD Biennial. In the compact yet ambitious show at the Museum of Arts and Design, designer Shayne Oliver's laced-up two-piece masterwork for HBA — a parachute Jacket and flight shorts for spring 2014 — counts among the items loaned by 100 artists who call the city home, including Laurie Anderson, Aisen Caro Chacin, Chris Pellettieri, and Rafael de Cárdenas. It's the first exhibition organized under the aegis of MAD's new director, Glenn Adamson — an auspicious new beginning.
NYC Makers, July 1 - October 12, 2014, Museum of Arts and Design, 2 Columbus Circle, NYC
Ryan McNamara, the Brooklyn-based performance artist who once staged a commissioned piece in Louis Vuitton's flagship, a "showboy production line" in which, for two hours, 30 male dancers conga-lined through the store to a loop of old chorus-line music created by McNamara. As they danced, they passed various Louis Vuitton bags, spontaneously licking them. “Performance is inherently subversive," McNamara said, "in that the presenting institution cannot guarantee what is going to happen."
Now he's presenting Misty Malarky Ying Yang, a new performance at High Line Art that commemorates the 35th anniversary of Jimmy Carter’s ill-received Malaise Speech, given July 15, 1979. McNamara and a group of performers will use the televised address — in which the president blamed the oil crisis on over-consumption by the American public — as the point of departure for a choreographed, immersive spectacle that will snake along the length of the High Line from its southernmost point to its northernmost. The title of the show, Misty Malarky Ying Yang, refers to the name of the Siamese cat belonging by the president's daughter, Amy Carter, while in the White House.
July 15–17, 2014, 7:30 pm, south end of the High Line @ Gansevoort Street
Evoking the passage of time and its corrosive ravages, New York artist Daniel Arsham brings his signature erosion technique to more cherished items, this time musical instruments. All new works, The Future Is Always Now at Galerie Perrotin features plaster casts of guitars, turntables, microphones, boomboxes, speakers, keyboards and the like, whose volcanic and obsidian composition has been degraded and fossilized to the point of no return.
Fashion followers may recall that, in 2005, Hedi Slimane commissioned Arsham to create the dressing rooms for his new Dior Homme store in Los Angeles. The designer's only requirements were "a hook, a seat and a mirror." Thus, Arsham's implemented a hollowed-out, excavated look in which walls appeared to be in mid-crumble.
Daniel Arsham, The Future Is Always Now, June 12 - July 26, 2014, Galerie Perrotin, 76 rue de Turenne, Paris