Theme? What Theme?
There is a bright line at the Met Gala: Embrace the theme. Or ignore it.
I can tell within a few seconds whether someone actually entered the Met Gala theme or simply arrived at the Met Gala wearing a formal outfit. I want to see those thoughtful interpretations of the theme, so I can decide for myself whether some version of it is wearable to the galas I attend. But even if that’s not possible, I also enjoy seeing passionate efforts that are thought-provoking or engaging, and unique.
This year made that difference impossible for me to ignore because the theme was Costume Art and the dress code was Fashion as Art. That gave everyone permission to think beyond ordinary eveningwear. I sat there watching the arrivals and waiting to see who actually used that permission.
I knew immediately when someone had.
Madonna was one of the clearest examples for me. I saw the Philip Treacy shipwreck headpiece before I fully processed the gown itself. The entire look referenced Leonora Carrington’s painting The Temptation of St. Anthony. I could follow the thought immediately because the clothing behaved like part of a larger artistic image instead of a celebrity dress. Even the scale of the cape made sense once I understood the reference. St. Anthony’s soul is represented by the ship, and the seven ephemerally dressed women carrying the diaphanous cape were one of the temptations. It was a faithful representation. And definitely not something wearable to a charity gala.
I had the same reaction to Chase Infiniti in Thom Browne. The gown referenced the Venus de Milo and the dress itself looked almost painted instead of sewn, or even glued on. I remember stopping on the photograph because the sequins created the illusion of brushstrokes from a distance. I could see the artwork before I registered the construction of the dress. In fact, the dress was embroidered with over 1.5 million stacked sequins paired with tiered silk fringes in over 600 different colors which gave the effect of brushstrokes to the eye.
Rachel Zegler also stayed with me because her look referenced The Execution of Lady Jane Grey. I did not need the explanation first. I recognized the feeling of the painting in the silhouette and styling before I saw anyone identify the source material online. That is usually how I know a look succeeded for me. I can follow the reference without needing the caption immediately. But the thought of Lady Jane Grey, Queen for only nine days, being led to her execution chilled me to the bone when I saw Rachel Zegler in pure white, corseted and masked.
Then there were looks where I could see the opposite happening.
I remember looking at several gowns and realizing they could have walked into almost any awards ceremony in the last five years without changing a single detail. Beautiful gowns. Expensive gowns. Photogenic gowns. But nothing connected them to Costume Art specifically.
Ashley Graham’s nude Di Petsa gown felt like that to me. I remember staring at the photograph trying to understand what conversation the dress was entering beyond looking glamorous on a red carpet. I understand she was hand-sewn into the gown, and that’s unique but it didn’t draw out the theme.
Ben Stiller’s suit gave me the same reaction for a completely different reason. I understand that not every interpretation has to be theatrical, but I looked at the suit and immediately thought about a sports event instead of Costume Art. The connection stopped there for me. Then of course he announced that he “had to” skip the Knicks game for the Met Gala, which made me think he was probably overdressed for the Knicks game as much as he was underdressed for the gala
I notice this same disparity at charity galas constantly.
I have attended evenings where the theme appeared everywhere before dinner even started. I saw it in the invitation, the flowers, the printed menus, the stage design, and the remarks from the podium. Then someone would walk in wearing something completely disconnected from the evening itself.
I still remember standing beside one woman during cocktails years ago while she explained her dress to me. She talked about the designer, the tailoring, and the fabric. Then someone nearby mentioned the gala theme and the conversation stopped cold for a few seconds because neither of us could connect the dress to the event we were actually attending.
I have done that myself, when I didn’t read the invitation carefully (or was going as someone’s guest) and didn’t understand the theme, or that there was a theme.
That is probably why I notice it so quickly now.
When I watch the Met Gala, I am not really looking for perfection. I am looking for signs that someone understood where they were going before they got dressed. It isn’t just that being aligned with the theme is the polite thing to do. It can bring joy to the whole evening, and I saw that in many of the interviews.
I would love to hear (or see) looks that you created for a themed gala you attended recently. Please put a photo in the comments, and please share this post with any spirited gala attendee you know.
For more on how I get the joy from galas I attend, take a look at these stories:
