Dress to the Theme
While the MET Gala changes in physical theme each passing year, there is at least one theme that remains year after year: high expectations. Ah yes, we have high expectations to say the least when we think of the MET Gala. This is the season when suddenly we, regardless of any background we may have, become critics of high fashion. It’s like no other feeling: the anticipation of our favorite personalities attaining the chance to grace the red carpet (or whichever color carpet they choose this time around), hoping that their outfit meets your expectations— even if you have no idea what those expectations may be.
Despite this theme of apparent high hopes, there is a more obvious theme that we all think of when it comes to the MET Gala. One that is assigned and decided upon and one which the guests will dress in accordance with at the event. Andrew Bolton, head curator of the MET’s annual costume exhibit, is the one responsible for selecting this year’s theme, “In America: A Lexicon of Fashion” as well as many other MET Gala themes of the past. American indeed, Billie Eilish’s holiday Barbie-inspired gown and Kendall Jenner paying homage to Audrey Hepburn were creative and effective ways of connecting back to the theme. Still, how do we truly define “American Fashion?”
If you have surveyed through the looks from this year’s gala, you might have noticed an overall lack of connection to the theme. Yes, many of the ensembles presented surely did not scream, “America!”, but in addition to this, there is a noticeable lack of American fashion designers represented on the gala carpet. This seems almost comical for an event themed and titled under the same name. This concept of lacking the very thing the gala was intended to represent has sparked discussion not solely in the fashion community, but widely across social media as well.
This begs the question: why weren’t they there? For such a title, the presence of the next up-and-coming designers of America seems entirely expected. However, attaining the chance to display your work on the MET carpet is not anywhere close to simple— in more ways than one. We all know that the cost of attending the gala alone is one that would make anyone’s jaw drop. Even if you just make the guest list, tickets are upwards of $30,000. On the other hand, this is much different if a guest is covered by a sponsor. Sponsors at the gala cover a range of businesses, including many big name designers, that are able to purchase a table and choose guests from the list who will represent them and wear their attire. Now, how much to buy a table, you ask? To simply purchase a table at the MET Gala is $275,000 and up. It’s easy to imagine how much money this is for the model fashion house, be it Prada, Givenchy, or Louis Vuitton, not just to ensure their guest’s entrance fees, but to dress them as well. Because of the MET Gala’s monetary gatekeeping, this is not a realistic possibility for smaller houses that don’t have those funds just yet. The next generation of American fashion was left overlooked just after it had been so brilliantly displayed the week prior at New York Fashion Week.
In a shocking summation, even the big American fashion names were missed at the gala. Designers such as Marc Jacobs, Calvin Klein, and Perry Ellis were nowhere to be found— all of which have been critical in creating key cultural aesthetics. Not only did they fail to showcase the future of American design, they failed to show the past and current too. This year is the gala’s first time hosting a two-part event, with the second part under the same theme reported to happen in May of 2022. The second event scheduled for May will be titled, “In America: An Anthology of Fashion”, similar to its September counterpart. Will the gala change their ways for the spring, perhaps adding a touch of accessibility for our favorite designers? Time will tell. We hope to see a deeper reflection of American fashion and design this coming May. That is, if Anna Wintour allows it.
Written by: Aubrey Matson, Design by: Josh Carley, Photography: Cullen Pow, Social Media: Ferrell Tugman