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First up on last night's dance card was the New Museum's annual Spring Gala at Cipriani Wall Street. To fit in with the "red and racy" theme—Ferrari underwrote the fundraiser—hostess Greta Gerwig wore an oxblood Stella McCartney jumpsuit, and she wasn't shy about the problems such a garment poses. "I love a jumpsuit—there's something so Lauren Hutton about it—but I'm afraid to drink too much because I'd have to take the whole thing off to go to the bathroom!"

Wardrobe complications aside, Gerwig believes the New Museum is an institution worth gussying up for. "I feel like I get an education every time I go to the New Museum," the actress told Style.com. "And they actually have employed many of my friends! The people I know who are really smart and do interesting things, the New Museum employed them, and I think that's a great testament to the museum's taste."

Uptown, the Observer threw a cocktail party at Casa Lever in honor of its recent redesign. The iconic salmon broadsheet is no more, and the paper's makeover had the fashion contingent considering what, if anything, they would make over on themselves. Alek Wek vowed to start wearing more color, and Kate Foley wished she could get just another inch or two of height. Leigh Lezark, who dyes her fair hair jet black, vowed not to go light again: "They say blonds have more fun. I definitely don't think so."

Considering the power players who came out to play on a school night— Katie Couric, Martha Stewart, and Donald Trump, among them—it's fair to assume the paper's new format will broker as much influence as the old one. The idea wasn't just to preserve the paper, said Observer publisher Jared Kushner, but to drive it forward. "We just wanted to do something that would reincarnate what a New York paper can be," he said, "to give it a future and life."

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The Tribeca Film Festival is two weeks away, but it's always movie night in NYC. Last night's double feature kicked off when the Cinema Society and Gucci Guilty screened Captain America: The Winter Soldier at the Tribeca Grand. Chris Evans plays the masked superhero, and had some choice words to describe the on-set experience: "It was sweaty. Those spandex suits are always uncomfortable. To be honest, I don't even think they wash those things!"

Jokes aside, Evans is pretty modest about being the eye of this particular Hollywood storm. "I never really thought this would happen," he told Style.com. "No one really thinks that they'll ever end up with a part like this. It's overwhelming, exciting, and humbling. There's this enormous sense of gratitude." Helena Christensen, Toni Garrn, and Liya Kebede all turned out to see Evans in his skintight suits.

Meanwhile, at MoMA, Tiffany & Co. hosted a private screening for Maggie Betts' new indie short, Engram. "It's such a small project but is so heartfelt," Betts said, "and it means so much to have everyone show up." An engram is a phantom trace of memory, and the brief film is about how even the happiest ones fade away. Afterward, Betts and a bunch of friends headed downtown for dinner at The Marlton. The group included Barbara Pierce Bush, Indre Rockefeller, and Olivier Theyskens, and the occasion was Prabal Gurung's birthday. There were new memories to be made.

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With all eyes on the L.A. art scene, MOCA had its moment in the spotlight on Saturday night, celebrating its 35th anniversary. Sponsored by Louis Vuitton, the gala evening at the Geffen Contemporary debuted the new multimedia exhibit of the late Mike Kelley, and functioned as the official welcoming party for the museum's new director, Philippe Vergne. (Jeffrey Deitch left last year.)

"That's what I call the art world," Vergne said from the stage. "I wish Mike Kelley could see this room." Kelley was the subject of the very first exhibit at the museum three and a half decades ago. Since then, MOCA has become known as the artists' museum, and Catherine Opie, Ed Ruscha, Shepard Fairey, and Doug Aitken were among the artists who turned out to support an institution just back from the brink. (Last year, financial instabilities almost forced it to merge with another museum.) Pharrell Williams and Jane Fonda were tablemates, and Katy Perry was also in the crowd. Chloë Sevigny, Dianna Agron, and Haley Bennett all wore dresses from Nicolas Ghesquière's first collection for Louis Vuitton.

"Every other person here is an artist," China Chow enthused, seeing the city's resident talent in attendance. André Saraiva echoed the sentiment. "As an artist, a lot of my friends are moving here compared with New York," he said. "There is something that New York is missing lately for young artists." The night capped off with a surprise performance by Diana Ross, who rather fittingly sang "I'm Coming Out," bringing partygoers to their feet.

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In the supremely enchanting setting of the Hotel Bel-Air, friends and fans toasted Nicholas Kirkwood last night in his first stateside event since becoming part of the LVMH family. "I think here in L.A. there's a good reason to wear high heels because no one has to walk anywhere," the designer said, as the likes of Liz Goldwyn, Katherine Ross, and China Chow took in his new collection. "I think here it's sneakers or it's your going-out shoes. It's good for me because I like to design those going-out shoes," Kirkwood added.

Hosts Emma Roberts and Scissor Sisters' Jake Shears welcomed the Brit to town, alongside photographer and filmmaker Todd Cole, stylist B. Akerlund, and Rachel Zoe. It being L.A., talk inevitably turned to red-carpet dressing and the necessity of celebrity to designers today. "I think it's becoming more and more important for me," Kirkwood said of the evening part of his collection, which caters to this clientele. For the red carpet, heels must be lighter and simpler. "But there's no dumbing down the collection to do it," he said of the process. "That's a very interesting exercise to me." And Kirkwood remains committed to it: He hinted that a Los Angeles flagship (the designer already has stores in Las Vegas and New York) is in the cards.

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Barneys New York CEO Mark Lee hosts work events at his sprawling Chelsea penthouse when the occasion is "special," he explained last night, and Dries Van Noten coming to town certainly qualified as that. Hence the presence of Maggie Gyllenhaal, an avowed fan of Van Noten's, and many of the big wheels responsible for keeping the New York fashion world rolling.

The reason for the gathering was Dries Van Noten: Inspirations, the remarkable show now running in Paris at the Musée des Arts Décoratifs. Barneys has just unveiled an Inspirations-inspired window display of its own, complete with original films by Andrew Zuckerman. It's also the exclusive vendor of the luxury edition of the exhibition catalog, which comes with an extra volume of archive dresses and a saucy belt holding the whole thing together.

Pamela Golbin, the show's curator, praised Van Noten for "letting everyone into his private world." Indeed, rarely has a designer pulled the curtain back quite this far while still in the game. "There's a lot of superstition in fashion," Golbin added, noting that Christian Dior rarely made a move without consulting a clairvoyant. "If you show how it works, will it still work afterward?"

Van Noten, for his part, acknowledged the show was "kind of a big step," and the fact that some of the colleagues who helped him on it were born after his first collection made it seem even bigger. His latest initiative, for the show's subsequent stint in Antwerp, is tracking down clothes from his earliest collections. "As a young designer, of course, every garment means money. You sell as much as you can," Van Noten said. Later on, if you're lucky, you buy them back.

Inès de la Fressange, meanwhile, hosted a dinner over at Mari Vanna, where the likes of Anh Duong, Alexis Bittar, and Ambra Medda clinked glasses over the Spring 2014 Vivier's Codes collection for Roger Vivier.

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The Cinema Society screened Divergent last night, a dystopic teen action flick starring Shailene Woodley and Theo James, based on the massively successful books by Veronica Roth. One hundred years after what is referred to as "The War," society is divided into factions—warriors, intelligentsia, farmers, and so forth—and the plot kicks off when Woodley's character, Beatrice, discovers that she is "divergent." Unable to be categorized, Beatrice becomes an enemy of the state. In one pivotal scene, she eschews the dowdy, drab clothes of her peasant upbringing by tossing them into an incinerator. As she grows into her role as heroine, she adopts sleek, sporty ribbed knits and pants with articulated seams—the better to fight in.

Woodley wore an Elie Saab jumpsuit with metallic Brian Atwood pumps to the screening, and in a tender moment, pulled off her heels on the red carpet after finishing her video interviews: "Well, I already passed all the cameras!" For the after-party at The Wayfarer, she made a costume change into a slouchy camo tee, leggings, and Converse. She told Style.com, "I ate a lot of dinner tonight and just needed to relax. You always have to bring a change of clothes to the party!" James, Woodley's costar, seemed genuinely smitten: "Sometimes in movies, if women are trying to become strong or tough, they have to almost become a male archetype—Shailene is strong, without sacrificing her femininity."

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"Naked. In a bathtub. With pride," said Ladyfag. "At school. Or going out," said Harry Brant. "With leggings. And a big sweater," said Jamie Bochert. Nike celebrated its capsule collection by Riccardo Tisci last night with a party at 151 Wooster, the pop-up space where the shoes will go on sale this weekend. Q-Tip was on the decks and Team Tisci was busy comparing how they plan to wear their Nike R.T.s. "It means everything to see people actually wearing the shoes on the street because I came from the street," Tisci told Style.com. "Since my childhood, I know what it's like when you love something and you can't reach it financially. That's why this is such a beautiful project."

The designer recalled his first Nike's, a pair of blue-and-white Air Force 1's. That memory informed the collaboration: "I chose to do an R.T. Air Force 1 because it's a classic shape with so much history. I did an all-white or all-black base, with a mask of graphic, pop colors over it. People know me for my dark side, but I do also have a happy side, celebration side, pop side."

Dark or happy, Tisci isn't shy about his influence. When asked why he thought sneakers were such a big part of the fashion conversation right now, he said, "It's because of me. Last year [when] we announced Nike + R.T.s, the fashion world went voom. It's the first time in history that a couturier is doing a project talking to the world of the streets, the young generation. Now that I'm working with Nike, it opened so many minds in fashion. And some big designers—I don't want to mention names—admitted that I opened their eyes."

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