THE MET GALA: THE UNDERBELLY

IT'S THE MET GALA, BUT NOT AS YOU KNOW IT. FASHION'S BIGGEST "NIGHT OUT" IS ABOUT MORE THAN ALL THE GLAMOUR, MUCH MORE...

IMAGE SOURCED FROM: MIKE COPPOLA

LETS GET STARTED...

It’s fashion's favourite night out, the most iconic set of stairs and all the glitz and glamour that comes with it: the Met Gala. The 2021 theme was ‘America: A Lexicon of Fashion’, and whilst it wasn’t surprising that most designers did not follow the theme, it was astounding how many European fashion houses dominated centre stage. With the amount of attention the ‘Met’ receives, the value of this global exposure cannot be ignored. However, with designers paying over a quarter of a million dollars per table, it is not easily accessible. It is ironic then, that Costume Institute curator, Andrew Bolton, was caught saying they were looking forward to "a real showcase of young talent". Please show me an upcoming designer that has hundreds of thousands of dollars to spare for a table, and not to mention the cost of a Met worthy garment. So I guess it is understandable why huge houses such as Versace are continuing to dominate the carpet each year.

There were, however, new faces that gave the gala a refreshing taste of individuality. Harris Reed, backed by Dolce and Gabbana, dressed the one and only Iman in a theatrical golden ensemble, Collina Strada brought colour and charisma (and a horse head) to the carpet, and Conner Ives interpreted shape and sequins in his own way, dressing newcomer Natalia Bryant. These creatives are the future of the industry and seeing their designs represented on the carpet is monumental, but is it enough? Is Vogue and the Costume Institute ignoring a whole generation of young talent? Bolton said the Met should look like

"a montage of New York Fashion Week, rather than a traditional carpet"

but ultimately the 2021 gala was kind of like NYFW set in…well, Milan. It seems everyone is supportive of young designers until it’s time to talk about money. Although this year, the imbalance of representation was finally called out. Seven-time Formula One champion, activist and fashion icon, Lewis Hamilton, paid for several emerging designers to attend the gala in an effort to "open doors for young Black creatives". With the intention of sparking this very conversation, Hamilton wanted to create something meaningful in his attendance. Hamilton’s Army - including Kenneth Nicholson, Jamaican-American designer Theophilio and Jason Rembert of Aliette - was a show-stopping demonstration of emerging talent and creativity, showing the European houses how it’s done.

Reflecting upon the message Hamilton brought to the Met, the question remains: Why aren’t other designers and celebrities using their power to do the same? Using influence to start important conversations is an incredibly powerful tool. Instead, designers are throwing TikTokers and YouTubers into archived garments that have no relation to the theme.

What value is there in dressing Addison Rae in vintage Tom Ford for Gucci?

There is no celebration of new designers and it ignores the importance of introducing new fashion identities, furthering a lack of diversity and individuality. Ultimately, Rae’s 40 million Instagram followers are more important than any sort of moral or meaning. There is no depth or feeling that compares to Reed’s body of work or Hamilton’s Army of newcomers. The feeling constructed by these individuals will be remembered for a very long time. One must hope it incites a new meaning to the Met and creates change in an industry that is still oh so traditional, furthering the intentions of Hamilton and opening doors for new talent.

ASSISTANT EDITOR, SIBEL STENING