Met Gala 2024: Theme brought a breath of fresh air (literally) from last year’s black and white spectacle
Under the wash of fluorescent lighting, and between winding vines, a green and white carpet formed a pathway for stars at the 2024 Met Gala, “Sleeping Beauties: Reawakening Fashion”. And while the direction inside the Metropolitan Museum of Art was straightforward (literally), the concept prompted a myriad of responses from attendees.
This year, the Costume Institute sought to evoke a sensory experience like no other by reviving 250 garments from their permanent collection, categorising them under three main sections – earth, air, and water – and using cutting-edge technology to allow the fibres of the garments to consume the space in more ways than one. Conversations of environmental conservation were fused with fashion preservation, concluding that the rebirth of designs, even those that can never be worn on the body again, is the pinnacle of sustainability.
The dress code, “The Garden of Time”, built upon the theme, driving attention to the juxtaposition of natural beauty with innovation. Based on the 1962 JG Ballard story about a crystalline garden with time-reversing powers, the theme invited attendees to take an organic approach or find inspiration in archival forms. And from the vibrant, nuanced parade of actors, entertainers, artists, and influencers that walked the steps tonight, it seemed most understood the assignment – except the few who were impossibly boring.
Let’s start with the mundane. You’d think there’d be a requirement for a co-chair to be on the theme. If there is, Chris Hemsworth’s look wasn’t properly checked. The actor showed up in an unbuttoned ivory suit (no other description or detail to be told). His unbuttoned button-down and matching vest might’ve suited him well but didn’t draw any connection to the concept. If nothing else, Hemsworth could’ve added a stitched rosette or scalloped texture, playing with biotic textiles as Alexander McQueen’s former creative director, Sarah Burton, would. All I can say is, thank God for his counterparts.
Bad Bunny tapped John Galliano from Maison Margiela to craft an ensemble that perfectly meshed the brand’s emblem inside-out and Tabi hoof code with the silhouette and accessories akin to Count Axel in the Ballard tale. Meanwhile, Zendaya seemed to have the same idea, collaborating with Galliano to create a custom piece and enliven his design for Givenchy from the year she was born: 1997. The “Euphoria” star killed two birds (concepts) with one stone (one designer), coming out in an underwater nursery-like spiralled gown with marine grape vines and being reborn into what might’ve been her past life with a black corset, ballooned sleeves, voluminous train, and a bouquet headpiece.
Florals, as expected, flooded the carpet. Multiples of long-stemmed greenery and rose capitulum were beaded, embroidered, and fastened into garments. In Kim Kardashian’s case, a kind of metal lace was linked by Galliano, forming a map of silver flowers. Reece Feldman, Ashley Graham, Morgan Spector, and Usher, all might’ve subtly, and lightly, incorporated the land-ridden element compared to Kelsea Ballerini, Ayo Edebiri, and Jordan Roth, but at least they made the effort.
The sea and sky were touched by many donning ocean blue hues, overlapping sequin, scalloped fringe, and mermaid gold. Then, Wisdom Kaye burned bright on the steps in a burnt-red coat with an elongated tail, resembling an everlasting ember that wouldn’t fade.
With a kaleidoscope of colours, textures, and shapes, from an outside perspective, the concept could be interpreted as convoluted – even Sarah Jessica Parker in a sculpture-esque Richard Quinn ensemble said it was, while figures like Kylie Jenner, Matt Damon, Donald Glover, Jamie Dornan, and Da’Vine Joy Randolph all showed up in simple looks that inadvertently contributed to the confusion. However, though multi-faceted, guests found direction in this year’s Met Gala theme, catalysing a much more dynamic procession than what was seen from the 2023 affair celebrating long-time Chanel designer, Karl Lagerfeld.
What was previously a two-tone, clear-cut catalog of odes to the achromatic, tweed-loving designer, was replaced this year with a splatter of colour similar to that of a Jackson Pollock but with the novelty of Alexander McQueen, the glamour of Dior, the singularity of Galliano, the adaptive paradigm of Thom Browne, and so much more.
