Most people have their annual event. Whether it’s the Superbowl, Coachella, or the World Cup, everyone has something that they look forward to all year. I, along with most other fashion enthusiasts, have the Met Gala.
Hosted annually by the Metropolitan Museum of Art, the Met Gala brings together society’s most famous people for a night filled with fashion, controversial statements, and general chaos. This year’s theme, In America: An Anthology of Fashion, was a continuation of September’s Met Gala, In America: A Lexicon of Fashion.
Last year was greatly disappointing in the turnout. The prompt was too broad and brought styles that either barely fit the theme or tried in all the wrong ways. This year, I was excited for possible redemption. In America: An Anthology of Fashion celebrates the Gilded Age, with dates ranging from 1870 to the 1910s. This was when American fashion started to differentiate itself from European styles. Filled with glitz and glamor, this era in history sees Americana at its most opulent. Although it wasn’t perfect, I was much more satisfied with this year’s gala direction.
Before the red carpet, I created a mental list of all the elements I was prepared to see. I expected some obvious sparkles, gold, and silver, but I was also looking forward to seeing some of the common silhouettes. In the 1890s, the “S Curve” silhouette was common with a lifted bust, cinched waist, and bustle in the back, which terrifies me, but I acknowledge it as a part of historical fashion.
My favorite look of the night was Blake Lively in Versace. Her stunning gown was an homage to New York City and featured a transformation on the steps. She explained her vision for her dress and all of the details that made it so perfect. The embellishments and linework were inspired by New York architecture and featured constellations from Grand Central Station, the Empire State Building, and other iconic New York buildings. She also embodied the Statue of Liberty with her seven-pointed tiara and dress transformation that resembled copper oxidizing into the green color that we see today.
Another Met Gala staple that appeared was Sarah Jessica Parker, who never fails to dress on the theme. In an ensemble by SCAD Alum Christopher John Rogers, she honored Elizabeth Hobbs Keckley, the first black female fashion designer in the White House. Keckley designed for Mary Lincoln and was an incredibly important but not well-known part of American historical fashion. Parker’s look was tastefully inspired by some of her past work and designs.
This may be my hot take, but I was not a fan of Billie Eilish’s outfit. This is largely because the S curve scares me greatly. She was incredibly accurate to the theme with her silhouette, I have to give her credit for that, but the way her body was contorted in the corset was uncomfortable to watch. Its color also seemed to wash her out and make her look sickly, which I guess was also true to the time period. While I appreciate that the ensemble was made from found materials and no excess waste was created, I still think hers is the only look I preferred last year.
One look that I feel on the fence about is Olivia Rodrigo’s. While she looked absolutely incredible and very on-brand for her own aesthetic, she didn’t give gilded glamor. There weren’t any clear historical references or meaningful homages, but I won’t complain too much.
Lizzo hit the nail with this year’s theme in a Thom Browne embroidered coat that took 22 thousand hours to construct. It was exquisitely detailed in gold and black, and her entire ensemble was elevated to the next level with her golden flute that she brought along. I absolutely love Lizzo’s flute-playing abilities and jumped out of my seat when I saw that she had it.
Overall, I am much happier with this year’s Met Gala, and finally, feel like there was some cohesion in the theme and attendees. While I’m disappointed neither Taylor Swift, Rihanna, nor Zendaya made appearances, it redeemed itself and gave me hope for the future of the Met Gala.
Words by Caroline Tetlow.
Graphic by Fai McCurdy.