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About MET Gala 2022

About MET Gala 2022

 

 Article written by Misha Capnist

 

 

Cover image: Getty Images

 

 

It's an annual event, even from my little Nowhere in Sicily, there is nothing in the world that would make me miss it.

 

The MET Gala had a theme this year that although not very original, was promising. The theme was Gilded Glamour, or rather the “golden age” of American history. This “golden age” was between 1870 and the beginning of the 1900s. Anna Wintour leaves the creativity in the hands of the designers and guests, in these occasions.

 

I dreamed, while watching virtually, of a swarm of Scarlett O'Hara’s in fluttering muslins supported by crisp taffeta petticoats, crossing the red carpet. I hoped to trip over the ribbons of the snack hats or the ostriches of the ladies' fans.

 

I imagined twenties-inspired pleated silks, crepes de chine, and linen velvets. I imagined dresses inspired by Fortuny and Marchesa Casati, who inspired American fashion, always thirsty for novelty, but with the vice of wanting to turn the classics modern. 

 

In short, in the most modest of my desires there appeared at least corsets and flounces, puffed sleeves and drapes.

 

For men I saw watch chains, patent leather shoes, ties rolled up into starched collars that reached up to the chin, shills, hats, colors, vests, and tartans.

 

I dreamed of hairstyles and jewels, favorites and moustaches, carriages and knights, hands gloved in white lamb, scents of amber, tobacco and jasmine, when not of vervain.

 

I am a 40-year-old single man, living in a remote village in the Sicilian mountains. I often find myself talking about milking sheeps, harvesting hay and picking olives.

Practically, I am a spinster. As practically a spinster, I claim my right to throw adult tantrums. I think that if there is a theme to respect the theme of the MET Gala and you don't respect it, then you must forgive me if I leap from my armchair to shake my fist at the computer screen.

 

My dream resulted in a disappointing performance of half-known faces, (as an Italian, I congratulate the Ferragnez for their first appearance), whose bodies (Mesdames: can we stop making you leave the house naked, please?) were covered - and I mean covered - by the étoiles of European, American and Oriental fashion.

 

There were a number of emerging designers such as Aurora James, Kenneth Nicholson, the Vietnamese Thai Nguyene and Edvin Thompson (Theophilio) of Jamaican origins but with the brand based in Brooklyn.

Aurora James is already famous for last year’s creation, which was the "political" dress of Congresswoman Alexandria Ocasio-Cortez, with "Tax the rich" written on it. Kenneth Nicholson is a designer from Alabama and very attached to his Southern origins, and we notice it.

The first Met Gala was in 1948 and consisted of a midnight dinner, with the price of admission at $50.

Based on the legacy left by former Vogue editor-in-chief Diana Vreeland, since 1973, the Met Gala has become popular as a luxurious and successful event and is considered "the jewel in New York's social crown."

 

Amongst them all, Sarah Jessica Parker stood out for her adherence to the theme. Aware and attentive to what she wears, the actress, producer, creator of award-winning wines, muse, model, docile and wise in her love and her culture in terms of fashion, appeared in a sumptuous and inspired dress by Christopher John Rogers. Rogers is known for his use of plaid and taffeta. His dress for Parker was in keeping with the theme of the evening due to its clear references to the female costume of the Southern states in the years preceding the War of Secession.

 

Parker also wore a headpiece made by Philip Treacy with a custom veil embellished with black stones that was inspired by the opulence and decadence of the Gilded Age.  

 

Credits: John Shearer 

 

And so far I was happy.

But as you know, when it rains it pours.

 

A ridiculous Kim Kardashian appears near the end, swaddled in the historic gown (vintage Jean Louis) that Marylin Monroe wore in 1962 at Madison Square Garden in New York, when she sang the famous birthday greetings to President John F. Kennedy on his 45th birthday.

 

Credits: Gotham

 

Who understood the theme, and who didn’t?

I shout a loud NO to Christian Dior Haute Couture, if Galliano had been the designer, he would have brought home a triumph of style and glamour.

 

No comments for Cara Delevigne... 
Photo by Taylor Hill/Getty Images

 

Versace has an important role to play, it dressed many of the stars present at the evening but did not stand out for adherence to the theme and creative flair. However, perhaps the scales are leaning towards yes.

Alexander McQueen stands out for the sumptuousness of the fabrics but also for the modesty of the clothes, in this context.

Amber Valletta wore a vintage Azzaro gown which was completely golden, pleated, with geometries and rigidity of a stage of great theater, sober style of the early twentieth century. She was very promising, and the choice of dress was reminiscent of Elizabeth Taylor in Cleopatra.

 

Credits: Jeff Kravitz

Louis Vuitton disappoints, disappoints, and disappoints. He disappoints both for the choice of clothes and for the choice of the designer, who invents an haute couture look which was certainly sophisticated. We are talking about one of the biggest names of France, but here his streetwear look and style is shabby, poor and modest.

The only inspired look was Gemma Chan’s dress.

 

Credits: Dimitrios Kambouris 

 

Prada: Chapeau (which in American means wow) for the dress with which it parried Kendall Jenner and I have nothing to add.

 

Credits: Theo Wargo

 

Gucci’s dress for Billie Eilish softens the red carpet: beautiful bodice, right chockers and hair, perfect the gloves, the style, the idea, the faux-cul and the fabrics: Thank you Gucci!

 

Credits: John Shearer 

 

With Jessica Chastain, the dress goes a little off the theme, but warms the heart with a dress inspired by similar dresses worn by Marylin Monroe and Jane Russell in "gentlemen prefer blondes," in the first scenes of the film.

 

Credits: Angela Weiss

 

Burberry is a disaster: off-topic, the brand embellishes the tulles of its clothes with the logo embroidered in rhinestones, it deforms the bodies of men and women, it covers them badly, not very original.

 

An Irina Shayk gown which was completely out of line. 

Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)

 

Schiaparelli, who also present in the exhibition at the MET these days, renews and recalls the inspiration of the great Elsa, Italian but naturalized French, but that is the wrong theme and shoes.

Valentino blinds with pink, but only Glenn Close is saved. She looks extraordinary in an overcoat with straight severe lines despite the pink and sumptuous fabrics.

 

Credits: Angela Weiss

 

While Sebastian Stan looks like a suburban ice creamer-rapper and writer and it’s a sorrow.

Michael Kors and Chanel abuse marabou and are off topic.

Marni is very original when dressing Erykah Badu as a New Orleans early 20th century witch. Good job.

 

Credits: Jamie Maccarthy 

 

Moschino is always whimsical, but subdued.

Vivienne Westwood as witty as ever, shines through in the Sza dress.

 

Credits: Kevin Mazur/MG22 

 

Prabal Gurung amuses and comforts in a jumble of ungainly shoes, sequins and sequins, wrong volumes, jewels that are too important on the wrong clothes, hair that hasn't been styled and walking sticks as the only link to the vast possibilities offered by the theme. 

I am left to wonder why the gentlemen of fashion haven't dusted off lace, ruffles, silk flower appliqués, hats, and lace gloves.

On a scale of 1 to 10, the most I can give this year, as encouragement, would be a 4. 

 

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