FASHION Magazine

See Luminato opening party photos »

On Friday night, Toronto’s arts elite flooded the sprawling canopied lobby of Brookfield Place for the opening of the Luminato arts festival. The event was activity-stacked, with Yves Saint Laurent handing out engraved Touche Eclat pens and branded cigars and a gigantic claw arcade machine in the centre of the room. The machine, entitled Stockpile, is actually one big performance art piece, with the part of the claw being acted out by nine different artists and the curious items in the cage being donated by the community. Naturally.

Fresh off the debut performance of The Life and Death of Marina Abramovic, Marina Abramović and Willem Dafoe joined in on the festivities alongside Luminato creative director Jörn Weisbrodt and husband Rufus Wainwright, who wore a custom made Jean-Charles de Castelbajac cloud-print suit. Elsewhere, Knot PR’s Amy Burtsyn-Fritz was making her own festive statement in a shimmering 3.1 Phillip Lim cocktail dress alongside freshly minted husband, Graham Smith.

See Big Bang Bash Viktor & Rolf Dolls Luminato photos »

Last Saturday night, the arty A-list gathered to celebrate the opening of the Viktor & Rolf Dolls exhibit at the Royal Ontario Museum in Toronto. As the pre-emptive kick-off to the Luminato arts festival, which officially begins today, patrons, planners and performers came out en masse including the formidable foreign trio of Marina Abramović, Willem Dafoe and creative director Jörn Weisbrodt. To match the quirky aesthetic of the night’s satellite guests of honour (the designers were unable to repeat their May visit to Toronto), the ROM’s crystal lobby was tricked out with curiously interactive decorations like a sky-high mannequin whose dress gave out jewellery when guests placed their hands inside, a conveyor belt of treats and a literal piano bar which thrilled with its makeshift Prohibition vibe. Everything about the event seemed as if part of a surreal dream, which culminated in the fabulously fringed navy coat belonging to a one Suzanne Boyd catching on fire. With a few ceremonious pats, the fire was extinguished, leaving the glitzy gossipers with something especially titillating to talk about.

Few can claim to embody the term “masterclass” the way Marina Abramović can. The Serbian-born, New York-based performance artist has consistently risked her physical and mental health in order to examine the concept of human limitation. In 1974, for a piece called Rhythm 5, Abramović set fire to a large petroleum-soaked pentacle and lay expressionless in the centre of the star as the flames went up (she fainted from a lack of oxygen). Other extreme works—some of which are covered in 2012’s acclaimed documentary on her life, Marina Abramović: The Artist Is Present—had Abramović dripping candle wax on her bare skin, masturbating in public, cleaning human skulls and offering her naked body to strangers, who were encouraged to dress and undress her. One of her most time-consuming pieces—a 1988 performance titled The Lovers—had Abramović walk the east side of the Great Wall of China alone. The trip, which measured more than 2,000 kilometres, was planned alongside a parallel expedition taken by her lover and partner, Ulay, who trekked up the wall’s west side so the two could meet in the middle. When the pair reunited—three months after their respective journeys began—Abramović chose the moment to tell him she was putting an end to their professional and personal relationship.