Abstract
Numerous visual allusions to and citations of the global art world proliferate in the objects and events of luxury fashion of the recent past. By analyzing the reappearance of Olafur Eliasson's 2003 installation The Weather Project as the setting for Marc Jacobs’ Fall 2013 collection show, this article examines the formal sympathies between large-scale installation art and the luxury fashion show. Such intersections of fashion and art alter the disciplinary boundaries and reshape the status of both fields. Repeatedly utilizing the sun as a visual metaphor, Eliasson and Jacobs encourage a notion of authorship that seeks not only to design significant objects but also to control the space and event of perception itself.
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