Off-grid treehouse model villas make up this eco-resort that takes inspiration from Mobula Rays

Playa Viva is a ecosort in Juluchuca, Mexico consisting of off-grid tree house style villas with roofs shaped like the wings of Mobula Rays.

The beauty of biophilic architecture is that nature provides the blueprint. In environments with dense foliage and uneven terrain, the integration of the natural landscape with the location of the building helps define the floor plan parameters and structural shape of the building. The biophilic architecture immerses guests in nature and artfully dissolves the barrier between outdoor and indoor spaces. Atelier Nomadic, a Rotterdam-based architecture firm specializing in biophilic architecture, designed Playa Viva, an eco-resort village of treehouse-style villas that places guests directly on the Pacific Ocean breakers in Juluchuca, Mexico.

Designers: Atelier Nomadic

Contrary to their usual approach, Atelier Nomadic had to meet online with the client behind Playa Viva due to the pandemic restricting travel. From these virtual workshops, Atelier Nomadic architects envisioned the structural shape of Playa Viva to replicate the curved wings of a Mobula Ray. A familiar sight on the shores of Mexico, Mobula Rays seem to embody Atelier Nomadic’s mission to incorporate nature into their designs, as well as the spirit of Playa Viva. The hyperbolic and paraboloid shaped roof works like a giant umbrella, offering complete protection from the blazing sun and heavy rain. At the opposite end, each treehouse villa stands on a cluster of wooden stilts that support the larger bamboo dwelling.

Guadua bamboo was chosen for its rapid regeneration process and includes the construction of the main living volume, roof structure, facade louvers and ceiling of each villa. In the main living area, guests will find the master bedroom and pristine views of the sea while enjoying the natural cross ventilation provided by the bamboo louvers. In addition to Guadua, fishpole bamboo was used to create the walls and siding of the Playa Viva annex. Cumaru wood was chosen for the flooring in each structure. In the outbuildings, Atelier Nomadic placed the bathroom and additional sleeping accommodation or a lounge area.


As part of Playa Viva’s eco-resort appeal and mission, each villa is completely self-sufficient, collecting energy from the sun to power all facilities and amenities. Working closely with the local community, Playa Viva supports health and education services for the local people and works year-round to restore the surrounding land. Playa Viva provides access to the rugged, untouched beauty of Mexico’s land and also works hard to protect it through La Tortuga Viva Turtle Sanctuary, a non-profit organization rooted in sea turtle conservation.


Alteronce Gumby on How His Expansive Fashion Attracts Inspiration From Each Picasso and Music Sampling

This article is part of a series of interviews by Folasade Ologundudu exploring the evolving conversation about abstract art among Black artists across different generations.

 

Alteronce Gumby has had quite a year.

After closing his highly successful dual-site exhibition, Somewhere Under the Rainbow/The Sky Is Blue and What Am I,” this past summer at False Flag and Charles Moffett galleries, the Yale-trained painter released his first monograph, Colour Is a Beautiful Thing, with contributions by star-making figures Antwaun Sargent and Ashely James, chronicling Gumby’s experimentations in color, form, and texture.

Gumby’s dynamic abstract paintings are rich with context, and Colour Is a Beautiful Thing presents the artist’s musings on the ways in which we interpret and perceive color. Much of Gumby’s work centers around color theory, African American culture, and the history of tonal painting. 

In Miami for the 2021 art fairs, the artist also participated in Nicola Vassell Gallery’s first Art Basel presentation, “Color Vaults,” an intergenerational dialogue between Fred Eversley and Gumby about abstraction. While the two artists differ widely in their approach to art-making, each subverts assumptions of color and perception. 

In a recent interview, Gumby shared with me his thoughts on the importance of leaving a legacy, the ways in which people make assumptions about his work as a Black abstract painter—and why he has one eyebrow raised at the art world and the newfound success of Black artists. 

 

Talk to me about your upbringing. Where are you from? What are some of the experiences that shaped you as an artist in your formative years?

I was born and raised in Harrisburg, Pennsylvania. I’m the youngest of five. My mother was a minister so I grew up in a church, which definitely made me more aware of my spirituality and believing in things that aren’t seen. I have a lot of faith in my work and my practice.

That may also tie into my fascination with the cosmos. That’s another thing that we as human beings kind of believe is there—but very few of us have actually left this planet. When I look at Rothko, Ellsworth Kelly, Stanley Whitney, or Alma Thomas, I feel as if they’re relating to not only the physical world but also to a spiritual or subconscious level of thinking that is intangible.

I didn’t grow up in an artistic family. I feel like my whole life I’ve been searching for the person that I want to be. As artists, you kind of come to this realization, when you’re working in your studio, that you’re not only trying to figure out a painting; you’re trying to figure out who you are as a human being. 

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at Charles Moffett Gallery. Image courtesy Charles Moffett Gallery.

I’m always interested in how artists come to the art world. What were some of the experiences that led you to pursue art-making as a career? 

I was 19 and studying architecture in Harrisburg. A study abroad program came up and I begged my mom and dad to fund me on the trip to Spain.

On the first day in Spain we were on a walking tour of Antoni Gaudí and I was really into the way he thought outside the box in terms of architecture. After that, we had free tickets to go to the Picasso Museum. Before that I had never stepped foot inside of an art museum, and didn’t have a reference for who Picasso was or the impact he had on art and culture. I was mesmerized and taken by his vision for the world and the progression through his artistic practice.

I came back from that trip telling all my friends about Picasso. I actually dropped out of architecture school and moved to New York City!

From that moment, I started having a growing interest in art. A show at the MoMA really opened my eyes to abstraction, to painting, to the New York School. I fell in love with abstract painting. That was the moment I told myself I would like to go back to school to study art. It was at Hunter College, working on my BFA, that I began meeting with artists like Rashid Johnson and Stanley Whitney. I decided that I wanted to pursue a career as an artist.

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at False Flag. Image courtesy False Flag.

What experiences did you have coming into contact with and learning about Black abstract artists in school?

When I was at Hunter College, there wasn’t a lot of teaching about Black abstract artists. I wasn’t seeing any artists in the market that looked like me. In our history class the closest thing you got to abstraction was Basquiat.

I asked one of my professors if there were any contemporary Black abstract artists I could check out and she told me about Jack Whitten, Frank Bowling, Howardena Pindell, Alma Thomas, Stanley Whitney, Mark Bradford. I started seeking these people out. It got to the point where I just started running into them at openings in Chelsea and started asking them if I could go to their studios. From there a kind of mentorship developed. It wasn’t until I got to Yale that I took an Afro-Modernism class. 

You’ve often described your artworks as vehicles for travel—most specifically, as spaceships. Why are you interested in this element in your work? What are the larger underlying ideas that you’re trying to work through or bring to life?

I grew up in Central Pennsylvania. It’s a driving culture. Freedom for a teenager who grew up in that type of environment was when you got your own wheels. You could do whatever you wanted within that vehicle. When I’m working on a painting, I’m interested in ideas that lead me to a sense of freedom, whether it’s physically, spiritually, or mentally.

Installation view of Alteronce Gumby,

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at Charles Moffett Gallery. Image courtesy Charles Moffett Gallery.

You’ve talked about the importance of “the unknown.” How do elements of the unknown influence you and the way you work, create, and come up with ideas?

The idea of the unknown keeps me on my toes. It keeps things fresh—not necessarily knowing what’s going to happen when I put two materials together keeps this dimension of playfulness and experimentation alive in a studio. I like that.

Every artist who was an innovator in their craft had to think outside of the box with a sense of curiosity behind their practice so that they actually got to a place where they were in uncharted territory, where they were putting these formulas and equations together.

And they had to have this sense of curiosity about them to keep moving forward and to keep a sense of hunger and curiosity behind their practice so that they actually got to a place where they were in uncharted territory formulating equations together.

How did you arrive at abstraction as a form of creativity? 

When I came to New York I ended up going to school for audio production and recording. They trained us so that we could walk into any recording studio and mix music. I grew up listening to nothing but straight R&B and hip-hop and gospel music. That was the first time I listened to the Rolling Stones, to the Beatles. And it was the first time I listened to a lot of jazz.

Listening to all these various genres of music I found references from samples of hip hop songs. I noticed that there was actually a combination of a lot of different genres of music in hip-hop.

So when it came to thinking about abstraction, I could look at a Rothko or a Pollock and I could see Rembrandt, jazz, nature, past memories, future manifestations. My imagination ran wild. I felt like abstraction was limitless. It allowed me to evoke all these various experiences within one object.

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<p class=Alteronce Gumby,
Amazing Grace (2021). Image courtesy False Flag.

What function does abstract art play in your life? How does the medium itself serve a function and or purpose in your life to communicate ideas?

Abstraction allows me to think outside the box and have perspectives on a world other than the one I can see, feel, touch, taste, and smell. It opened another way to experience the world. And I’m trying to exercise that sensibility. And I think that, already in my practice within my studio, I’m not necessarily trying to just use the traditional way of thinking about an abstract painting, but to kind of solve an abstract painting.

Alteronce Gumby, <em>Amazing Grace</em> (2021) [detail]. Image courtesy False Flag.” width=”640″ height=”427″ srcset=”https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-amazing-grace-detail.jpeg 640w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-amazing-grace-detail-300×200.jpeg 300w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-amazing-grace-detail-50×33.jpeg 50w” sizes=”(max-width: 640px) 100vw, 640px”/></p>
<p class=Alteronce Gumby, Amazing Grace (2021) [detail]. Image courtesy False Flag.

Do you think that is there anything problematic about the hotness of Black art, whether figurative or abstract right now?

Now you see more and more Black artists coming out of school who are hot to the market. I think the visibility is good, but I do have my suspicions about the surge of Black figuration. There were moments I felt pressured to maybe make figurative paintings because I’m a Black person. But I really wanted to stick to my love for what got me involved in art to begin with. I think everyone who is a Black artist right now having success in the art world, I think it’s a great thing—but I do question the market’s motive behind it.

What are some of your thoughts about what’s behind the rise in popularity of Black artists? Why are there such skyrocketing prices for Black art on the secondary market?

I think, historically, everything we’ve touched has turned to gold. Everything Black people touch to turns to gold. I think we’re just magical beings that way. And I think that the art market at large knows that anything Black people innovate and make hot is in some way, shape, or form going to turn a profit.

The market is correcting itself historically for the exclusion of Black artists from the canon. The Black Lives Matter movement and other social justice movements have influenced the art world as much as in has every other industry. I’m happy to see that all the Black talent that was overlooked because of racism is now getting its due today.

Alteronce Gumby, <em>Purple Rain</em> (2021). Image courtesy Charles Moffett.” width=”1024″ height=”1024″ srcset=”https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-1024×1024.jpeg 1024w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-150×150.jpeg 150w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-300×300.jpeg 300w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-32×32.jpeg 32w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-50×50.jpeg 50w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-64×64.jpeg 64w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-96×96.jpeg 96w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-128×128.jpeg 128w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-256×256.jpeg 256w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain-434×434.jpeg 434w, https://news.artnet.com/app/news-upload/2021/12/alteronce-gumby-purple-rain.jpeg 1500w” sizes=”(max-width: 1024px) 100vw, 1024px”/></p>
<p class=Alteronce Gumby, Purple Rain (2021). Image courtesy Charles Moffett.

Who are some of the artists who’ve inspired you? What is it about them, their practice, their way of thinking that really speaks to you?

Rauschenberg, Rothko, Jack Whitten, Picasso. I think all of these artists were really innovative. They were doing something different. They seem to be habitual risk-takers in their studios and practice and it shows in the work. 

For Picasso to do Cubism with Braque—it was a really a way of changing style and looking at the world. Rauschenberg was taking discarded objects from the streets of New York and bringing collage into his paintings. Jack Whitten created his own tool for making a mark. Mark Bradford is another person who uses objects from the streets.

These people were outside thinkers, they weren’t just taking paint out of a tube and a brush and going back to this academic way of thinking of how to make a mark or how to make a painting

To me, [encountering these artists] was almost like coming across like an alien language or looking at hieroglyphics. You can tell it’s manmade but it speaks with this sense of otherness.

That’s something I strive for within my practice: Trying to develop this language for myself to speak to the world.

Installation view of Alteronce Gumby,

Installation view of Alteronce Gumby, ” Somewhere Under the Rainbow / The Sky is Blue and What am I” at Charles Moffett Gallery. Image courtesy Charles Moffett Gallery.

Can you talk to me a little bit about your experience at Yale? Talk to me about the critique process, and being a Black artist in a historically segregated white space. What was that like for you?

You trying to get the juice! Yale was definitely an experience. You know, there were only a handful of us, artists of color, there. It definitely wasn’t easy being a Black man in a very white space. I will say at Yale, I had an intention in mind going in, of what I wanted from graduate school, and I just kept that intention through my two years there.An

The world was an interesting place back then. The killings of unarmed Black people at the hands of police didn’t help in terms of mental health. The school held town halls and brought in specialists to help guide conversations around race and diversity. The curriculum was changing, the university as a whole was changing, and I was trying to find myself and evolve as an artist at the same time. Overall it was a great learning experience for me.

There were definitely moments where people were putting their own personal perceptions of me as a Black man onto my work and I had to develop a thick skin for how people were talking about my work. But through those conversations, I realized that abstraction, color, and materials is the language through which I speak. 

Alteronce Gumby.

Alteronce Gumby.

Earlier in the interview, we talked a little bit about Black artists who are having a lot of success in their careers right now, but wanting to remain critical about the work at large. So I wanted to ask you about your monograph. It’s your first piece of published work and it features essays by Antwaun Sargent and Ashley James. How did the monograph come to life? 

I interviewed Stanley Whitney for Bomb magazine. And I remember asking him, “why aren’t there more Black artists working abstraction?” It seemed like when I was in school, there was not as much text about their story, their contribution. So I asked him and he pointed me to the oral history project that was apart of the Smithsonian. They had interviewed a few Black artists like Jack Whitten, Sam Gilliam, and Alma Thomas. 

They were all oral histories. I felt like that aspect of keeping records of one’s story, especially as an artist, especially as a Black artist, is something that’s needed. I wanted to make sure that my history, my story, and my work were being recorded. And I didn’t want to wait for another institution or someone else to come along and give me that opportunity. I wanted to take that power into my own hands.

My monograph came about working on a show with Charles Moffett and False Flag, as a part of that collaboration. It outlines six years of my practice, focused on painting specifically. I wanted to focus on painting for this edition, leaving room for other monographs to be created in the future.

So you’re saying the monograph was made intentionally with a focus on painting so that other books could focus on other parts of your practice?

It leaves the door open. I was at the Jasper Johns retrospective at the Whitney, and as someone who likes to grab the catalogue, I’m in the bookstore and they show me basically an encyclopedia—they have five volumes of Jasper Johns paintings! It’s like a box set. Then there’s another five volumes of Jasper Johns drawings. And then there is another five volumes of Jasper Johns sculptures or prints. And I’m like, “are you shitting me right now?” I think that record that he’s leaving behind that’s so important. 

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KU college students discover fashion inspiration in popular culture | Arts & Tradition

Streaming services like Netflix and Hulu have enabled television and movie characters – new and old – to revive clothing styles and influence fashion trends.

Katie Dixon, senior business analytics and accounting major, said that movies and television have a huge impact on fashion trends.

“I remember when ‘Euphoria’ came out and everyone wanted to experiment with makeup,” said Dixon. “Or when I was in middle school, Pretty Little Liars was the greatest show and everyone wanted to dress like these girls.”

Middle school trends that Dixon is referring to include skinny jeans with wedges and large accessories.

However, some students feel that social media has a greater impact on influencing trends than television.

Lulu Stones, a senior strategic communications major of Raleigh, North Carolina, said that fashion on television had taken a back seat to influence trends. With social media platforms such as Youtube, Instagram and TikTok, Stones felt personally inspired by the apps.

“I think the more people stream, the less relevant fashion is on TV compared to what can be seen on social media and what influencers do on Instagram, Pinterest, [and] TikTok, ”said Stones. “During the quarantine, I was definitely heavily influenced by TikTok style trends.”

The trends she is referring to are oversized button-ups, sweater vests, and skater skirts, Stones said.

While she doesn’t believe that television has the greatest influence on current styles, Stones recognizes that television has some influence on trends. Shows like “Outer Banks” and the HBO Max reboot of “Gossip Girl” have sparked an influx of new trends, Stones said.

“The release of the new ‘Gossip Girl’ was in vogue around the same time [Tik]Tok exploded with preppy street styles like oversized button-ups, sweater vests and skater skirts, ”said Stones.

Although various media outlets have taken over the fashion influences, iconic characters and their style choices continue to dominate the clothes people buy, like that a report from Lyst. Shows like “Emily in Paris” and “Normal People” have been featured as the top two fashion influences on the silver screen of 2020.

Films like “The Devil Wears Prada” changed Dixon’s view of the fashion industry.

“I was in my uncomfortable teenage years where I still didn’t know how to dress or what to and shouldn’t wear,” said Dixon. “I remember sitting in the living room with my mom and watching this movie and how much I was involved with Anne Hathaway’s character. At that time I didn’t care how I look and just put on clean clothes. “

It was the iconic Meryl Streep monologue that shamed Hathaway’s sky blue sweater, which emphasized the importance of fashion to Dixon and showed her how powerful the fashion industry can be.

“Describes that clothes are not ‘just stuff’, that they are jobs and millions of dollars that go into just one color, that the fashion industry is not just about clothes, but the meaning behind it and the work [that] was only used to make a piece, ”said Dixon.

Dixon said she has begun relativizing her own style choices and discovering a new appreciation for what the industry has to offer.

As for Stones, she believes relatable movie and television characters can influence personal style.

“At some point, when you get into the character, you get to know the celebrity in their real life and look up to them and know that if they can play great roles in movies and TV, they can have a cool or interesting real life, and you pay attention to details, ”said Stones. “That’s what stays in your mind, and that’s what you look for, after all [in] yourself.”

Although her style has changed, Stones feels that her personal style has taken on fewer rules as she is more exposed to trends from the media.

“My view of fashion was less about sticking to a certain style and just letting me buy things that catch my eye or things that I like, whether it’s preppy, boho, chic, [or] sporty, ”said Stones.

Similarly, Dixon said her fashion developed beyond the characters she used to idolize in television and film.

“It’s funny looking back at the movies I’ve watched religiously and trying to imagine how I’m wearing this stuff now,” said Dixon. “I think at that time it was a lot easier to reflect on what the TV shows and movies attract their characters. Now I think the industry has changed so much that there are so many different trends to follow.”

Regardless, Dixon believes the impact that characters and on-screen shows have had on the fashion industry is undeniable.

“If you are to be successful in the industry, you have to keep up with what affects everyone most,” said Dixon. “Sometimes it can be a trend that lasts for a week while others can last for months.”

Easy methods to put on a white button-up shirt | Type inspiration

The white shirt with buttons is a very powerful wardrobe. Add one to your closet and you’ll quickly find that it can be styled from the boardroom to the beach without looking out of place in either location.

Regardless of the fit or feel (we currently love the stiff cotton types on offer), which variant you choose, it’s worth every penny (and more) because the white shirt is the gift that keeps going … season according to season.

How to style the classic white shirt with buttons in seven different ways, just like an it girl – yes! That’s the value of a whole week of looks with a staple.

CONNECTED: 7 ways to style a black blazer

Wear it as an over shirt

Tash Oakley has the right idea. (Instagram / @tashoakley)

For those days when you need an extra layer but don’t want anything too bulky or flashy in color, the white shirt is your best friend.

Always wear it with blue jeans!

Anine Bing shows the perfect weekend outfit. (Instagram / @aninebing)

There are so many ways to pair your jeans and a crisp white shirt look. You can knot it (see below), you can try (and love) the French Tuck – For info: this is where you tuck one side of the shirt into your pants and let the other side hang out – roll up your sleeves, fold up the collar on and if you’re a fan of the oversized fit you can even buckle it up.

So many. Options.

Wear it over swimmers

Jacey Duprie proves that the white shirt is essential all year round. (Instagram / @jaceyduprie)

It’s hard to imagine a day at the beach when most of the country is in the middle of a cold spell, but a crisp white shirt (oversized, even better!) Over the togs is a comfortable and stylish way to cover up the water.

Tie it in a knot

Or you just knot it à la Jasmin Howell. (Instagram / @jasminhowell)

Leaving the last buttons open, grab both ends of the shirt and tie it in a knot. This simple change goes perfectly with your high-waisted jeans, shorts, pants, and skirts, and even better for those into the cropped trend that is making the rounds.

Layer it

Jade Tuncdoruk piles up! (Instagram / @jadetunchy)

Wear it under or over almost anything in your wardrobe – the white shirt really is The versatile. Under clothes, knitwear, jackets, coats, a lot! Or you can’t go wrong about t-shirts, lacy camis, and knitwear if you add a crisp white shirt to the mix.

Wear it as a mini dress

Julie Sarinana and Jade Tuncdoruk in their version of the white shirt mini. (Instagram / @sincerelyjules and @jadetunchy)

It depends on the length of your white shirt, but if you’ve been to any high street store recently or browsing their listings online, you’ve come across a number of oversized (also known as “boyfriends”) shirts. If you want to give the white shirt mini look a try, choose an plus size shirt first. Then pair it with boots, a knitted vest, cozy knit, or try the layering trick – it’s almost impossible to screw up this look.

Put it in

Elle Ferguson and Sara Crampton go for the full tuck. (Instagram / @elle_ferguson and @harperandharley)

Tucking in a white shirt sounds like a no-brainer, but this simple adjustment can really spice up your look. If you find there is too much fabric to tuck into the front, just tuck in the ends and pull the rest of the shirt back so the collar sits away from the neck. This creates a chic, loosely fitting neckline, perfect for showing a little more skin.

Where to Buy the Best White Button Down Shirts

This Spring, I’m Turning to Elton John For Fashion Inspiration

Sir Elton John, our patron saint of sky-high platforms, feather boas and larger-than-life sunglasses, turns 74 today. While it’s worth celebrating his formidable career with a candle-it-cake, I’ve revamped some of his best fashion moments in honor of the occasion. Nobody has done extravagant maximalism like the English singer. Over the years he has become synonymous with his over-the-top stage outfits – but off-duty, John’s personal style was just as exuberant, often wearing the chicest suits you’ve ever seen.

His early stage performance looks are really iconic. Do you remember his sold out Dodger Stadium concerts in the 1970s when he was wearing one stunned Dodger’s uniform? Or when he was singing on Sesame Street in a feathered cloak? One of John’s recent style hits that pop into my mind is the purple suit with black tuxedo lapels studded with crystals that he’s been wearing lately Grammy Awards. He also rocked flashy suits during his Rocketman press tour in 2019. At the Cannes Film Festival, he wore a powder blue Gucci two-piece suit with matching giant sunglasses. John always took plays and then pulled them off with ease.

Photo: Getty Images

My fashion sense over the last year has been pretty much the opposite of John’s. Like the rest of the world, I lived in tracksuits. But beyond that, I was interested in a more basic uniform. I work from home and mostly wear black pants and a printed shirt. While the prints are, if I may say, very fun, the formula itself is devoid of any pizazz whatsoever. I am suddenly a shell of my former self that would dress up to the nines to go to the office! But with spring here now, I challenge myself to step things up all over again – and who better to look for style inspiration than the master of shine?

Not quite ready to wear feathered jumpsuit just yet, I’m drawn to John’s talent because I’m just a match for him. By choosing sets with large lapels or flared legs, John has a kitschy way of dressing that doesn’t feel stiff or corporate. Since I’m not going to an office right now, I think this look is perfect for springtime, a fun, elegant way to swap things over over coffee. On my more casual days, I want to wear bold accessories again – a John signature. Suddenly John’s iconic heart-shaped glasses call my name.

Gucci spring 2021Photo: Gus Van Sant / Courtesy GucciLudovic De Saint Sernin Spring 2021Photo: Bruno Staub / Courtesy Ludovic De Saint Sernin

It seems like I’m not alone in my appreciation for John’s maximalist, oversized wardrobe. The fashion world has always oriented itself towards the singer, but this season many designers have poured their outré energy into their men’s collections. Gucci featured plush, embroidered suits with a pussy bow blouse (something John is sure to have placed a personal order for); There were blazers in Saint Laurent heavily printed in a luxurious fabric; Even with smaller labels like Ludovic de Saint SerninA rainbow top adorned with crystals seems like something John could easily have worn in his youth.

I’m not saying I need to buy a new designer wardrobe here, but the spring message on the runways is clearly more – and I totally agree with the idea. I may not look as wild as John, but I want to channel that energy and just get back to having fun in style. My spring mood is going to be loud, proud and a great return to how I used to dress before COVID. As John would sing, the bitch is back!

Below are more stylish moments from Sir Elton John.