Don’t call this the Gilded Age. Human progress finally struck gold a few millennia after the Bronze Age. Gilded Age robber barons got nothing on the Gold Age.

The look unintentionally matches Trump’s America. Gold prices spiked the most in years since he took office, largely from his inflationary policies and threats of political instability. The removable cape unintentionally elicits Trump’s AI superman pic.

Typical couture and Gala tickets are already expensive; the looks are marketing for designers. Still, it’s surprising this Bezos Gala is where solid gold as clothing makes a debut. Will this be a trend, another inequality indicator? Jewelry as clothing. It's like we reached an era when a necklace just isn’t flashy enough. Big gold sheets like this, embedded with gems bigger than thumbnails. I wonder if she’ll wear it again or display it somewhere, or what YSL will do with it. 

To be fair, a number of rappers have worn jewelry they bought and let it be known that it's over $1m. And an Indian woman married to a billionaire wore her own $15m necklace to the Gala.

Gala as marketing?

The look is an elegant contrast to the increasingly complicated costumes. I think the impractical, uncomfortable costumes emphasized at the Gala distorts the perception of ‘fashion’ as stylistic extravagance, when durability and wearability once mattered to couturiers. The great book Deluxe talks about this, but also the influence of movie costumes on fashion. But who wants to display or see a monstrosity like the intestine tumor designed by Marc Jacobs? Or admire this unironic gold clothing? Making for sale as a halo product for VIPs could generate excitement.

Couture isn’t promoted that much, but it does actually function as marketing for the rest of the brand in big luxury. YSL’s parent company Kering has been struggling and could benefit from some positive coverage, though this look has the potential to be as controversial as their Balenciaga clickbait products. Most people overlooked the top being pure solid gold. There’s potential to generate multiples more interest, but also invite a flood of criticism. Combined with the stigma of Bezos, escalating anger over inequality, and last year’s ‘Rosa Parks underwear’ controversy, it seems like there’s diminishing returns on the value of the Gala as fashion/celebrity marketing. 

Strictly as fashion

The flowing blue cape/train evokes those flying dress photoshoots in Santorini, Greece done with single color dresses (slide 4.)

The whole look evokes classical Greek sculptures and armor. This Athena statue for example (modern reproduction, slide 5.) This year, Hailey's look is a lot more effort than the one last year, which some took as disrespecting the black dandy theme (slide 6.) 

I think visually this year’s gold would’ve went well with that black, in dress form. This brings to mind a Schiaparelli season where gold elements on black outfits were big. It was just after COVID, and the designer wrote about the restrained celebration he was going for. Black seeming to represent restraint. I don’t remember which season that was, but Hailey’s bodice is reminiscent of this SS21 Schiaparelli design (Vogue, top.) Their IG describes it as "gilded metalized resin." They did classify it as “jewelry,” and it was part of their couture collection.

5 years later, fake gold feels risky. You could be confused with poor people.

OpenAI bought a table but Altman was not seen. The Zuckerbergs also avoided the carpet; it was their first Gala. The backlash against this Bezos at the Met isn’t organized resistance at all; memes aren't really a movement. But as imperfect it was, 'performative' as some said, it worked. Jeff Bezos and Mark Zuckerberg started to get the message. For all their wealth and try hard desire to be accepted by Trump, to be accepted here as celebrities—no. The place they wanted to be seen is still out of their league. 

Keep in mind that a major reason Bezos dialed back ambitions at Amazon was political pressure, the years of calls to break up monopolies and tax the rich. It had big plans to disrupt clothing, furniture, supermarkets, convenience stores, and grow its own brands. No big government action was taken against Amazon, it was just fear of Lina Khan coming to the FTC. Bezos looked distressed at his congressional antitrust hearing, even in his office via teleconference (2nd slide). Less than a year later, he announced he would step down as CEO, shortly after Biden’s inauguration. Pressure can be enough.

They want to be liked. Bezos: the flashiest wedding with hired friends, throwing a party for Kris Jenner. Zuckerberg spent years as a UFC VIP. Then he got booed when he attended not long ago; it went viral yet major MMA sites didn't cover it. Likewise, that's the kind of pain Bezos and Zuckerberg want to avoid at the Gala. Even when they paid to be there, it was the red carpet from hell for two of the richest people. Like everyone else, they fear criticism and rejection still hurts. It’s something we can use. It’s still too cool for them, even as folks finally realize the Met Gala is not actually cool.

Google: the most profitable company

Sergey Brin isn’t a household name. The cofounder of Google (now Alphabet) went with "MAGA Girlfriend," to quote NY Times. Alphabet recently passed Apple to be the most profitable company: $160b in net income past 12 months, or more than Disney and Nike’s total sales. This is why he’s now richer than Bezos. Brin once joined protests against Trump’s 'Muslim ban' shortly after Trump’s first inauguration, saying “I’m here because I’m a refugee.”

Since then, Alphabet donated to Trump’s 2nd inauguration, which CEO Sundar Pichai attended. Also, the company is about 10x more profitable than it was 10 years ago ($16b net income FY 2015). 

Trump’s corporate tax cuts helped—with profits, then making the switch to Trump. Let him hear the message Bezos heard.

Pressure works, but it needs to be directed

Companies and CEOs are now so powerful they no longer have to pretend to be nice. Musk, Apple's trophy to Trump, or Amazon's Melania documentary—they haven't felt the need to respond to criticism. This backlash is rare evidence that pressure affects them. Pushing them off the red carpet isn’t a coup but it’s a start. I was skeptical at first; it seemed like poorly informed venting. But it showed that more pressure with more focus can work. 

Notice Musk hasn't bent to criticism. Meanwhile, Bezos and Zuckerberg's desire for acceptance is their weakness—keep pushing them. Brin might be after the same recognition. Another weak point is celebrities—the people they want to be seen as—are more susceptible to criticism. It is kind of silly to cancel attendees like the Met Gala has any validity as a moral indicator. But a useful lesson is you could strategically pressure celebrities over these platform founders. You have to think like this unless you just want to stop at the Met Gala and move on to the next trending topic.

. it didn't. The "denim" was not denim at all, but silk muslin, printed and constructed to mimic it - a detail later noted by fashion websites. The simplicity, in other words, was carefully engineered.

https://www.bbc.co.uk/news/articles/cre13zeql51o

Credit - mindsetbymarisa

For years, one of the most frustrating aspects of the Met Gala has been watching the men approach fashion with the creative ambition of a corporate awards banquet. While the women were expected to embody fantasy, narrative, and spectacle, many male attendees seemed content to rotate between slightly different variations of the same black tuxedo and call it “classic.” Somewhere along the way, menswear on the Met carpet became painfully allergic to imagination.

That is why this year felt refreshing.

For the first time in a long while, there was a noticeable shift in how men approached the theme. We saw dramatic tailoring, embellishment, historical references, sculptural silhouettes, rich textiles, jewelry, capes, and genuine theatricality. More importantly, we saw men willing to participate in fashion instead of merely wearing clothes. And there is a difference.

The strongest looks of the night understood that tailoring itself is not the problem. A suit can absolutely be artistic. The issue has always been the lack of vision surrounding it. Too many male celebrities have historically treated fashion as something to survive rather than something to engage with creatively. But the Met Gala is not meant to be safe. It is one of the only red carpets where excess, absurdity, and performance are not only welcomed but expected.

What made this year exciting was seeing men finally loosen their grip on the idea that masculinity must remain visually restrained in order to appear sophisticated. Some of the best dressed attendees embraced softness, ornamentation, exaggeration, and even vanity — all things menswear desperately needs more of. Fashion becomes infinitely more compelling when men stop dressing out of fear.

That being said, this is still very much a work in progress. While it was absolutely a step in the right direction, there is still plenty of room for evolution. I want to see even more risk next year. More storytelling. More references pulled from art, history, cinema, and fantasy. I want men to arrive looking slightly unhinged in the pursuit of beauty rather than merely “well-tailored.”

But for the first time in years, I walked away from the Met carpet genuinely optimistic about the future of menswear. And honestly? That alone felt like a fashion miracle.

This is still one of my favorite met gala looks ever.

Kendall Jenner — Winged Victory of Samothrace
Kendall Jenner’s draped ivory gown referenced the ancient Greek sculpture Winged Victory of Samothrace. The fluid folds, asymmetrical draping, and windswept silhouette recreated the movement and monumentality of the marble statue, turning classical antiquity into modern couture.

Cardi B — The Doll by Hans Bellmer
Cardi B’s distorted silhouette referenced Hans Bellmer’s surrealist dolls — unsettling sculptures known for their exaggerated limbs, fragmented anatomy, and eerie sensuality. The inflated forms wrapped around the gown transformed her body into living surrealism, blurring the line between couture and sculpture.

Kylie Jenner — Venus de Milo
Kylie Jenner approached classical sculpture through restraint. The sculpted nude corsetry and draped ivory skirt directly evoked the Venus de Milo, with the asymmetrical styling and soft marble tones recreating the elegance of ancient Greek statuary.

ROSÉ — Henri Matisse’s Doves
ROSÉ’s minimalist black gown became a canvas for Matisse-inspired abstraction. The crystal dove detail referenced the artist’s iconic cut-out motifs, translating his playful, graphic language into sleek modern couture.

Gracie Abrams — Gustav Klimt’s The Lady in Gold
Gracie Abrams wore a shimmering embroidered gown that mirrored Klimt’s signature gold-leaf portraits. The intricate beading, metallic surface, and mosaic-like embellishment recreated the opulent texture and ornamentation that defined Viennese Secession art.

Beyoncé — Renaissance Anatomical Studies
Beyoncé’s crystal skeleton gown referenced Renaissance anatomical drawings, where the human body was studied as both science and art. The exposed skeletal structure transformed anatomy into couture, merging mortality, glamour, and spectacle.

Heidi Klum — Raffaelle Monti’s Veiled Vestal
Heidi Klum recreated the illusionistic marble veils of 19th-century sculptor Raffaelle Monti. The look mimicked carved translucent stone, making her appear less dressed than sculpted — a literal living statue on the carpet.

Anok Yai — The Weeping Madonna
Anok Yai drew from religious iconography and sorrowful Madonna paintings. The metallic tears, shadowed hood, and solemn expression transformed her into a haunting devotional portrait reminiscent of baroque religious art.

Rachel Zegler — The Execution of Lady Jane Grey by Paul Delaroche
Rachel Zegler referenced Delaroche’s tragic neoclassical painting through her blindfold styling and soft white drapery. The look captured the vulnerability, innocence, and theatrical tension of the doomed queen moments before execution.

Madonna — Leonora Carrington’s The Temptation of St. Anthony
Madonna’s dramatic performance piece echoed Leonora Carrington’s surrealist painting, particularly through the ghostly veils and ritualistic staging. The look felt less like fashion and more like a moving dreamscape pulled from a surrealist canvas.

LISA — Traditional Thai Dance
LISA paid homage to traditional Thai dance and ceremonial costume. The elongated silhouette, jeweled detailing, and sculptural headpiece referenced the elegance and precision of classical Thai performance traditions while modernizing them through couture.

At the 2026 Met Gala, the red carpet ceased to function merely as a parade of celebrity dressing and instead became something far more compelling: a living study of art history interpreted through couture. Across the evening, guests arrived not simply wearing fashion, but embodying references drawn from painting, sculpture, surrealism, and portraiture.

Gracie Abrams channeled the gilded romanticism of Gustav Klimt in Chanel, while Rachel Zegler evoked the haunting tragedy of The Execution of Lady Jane Grey in Prabal Gurung. Claire Foy recalled the poised sensuality of John Singer Sargent’s Madame X in Erdem, and Kendall Jenner’s sculptural Zac Posen gown echoed the windswept drapery of the Winged Victory of Samothrace.

Elsewhere, Madonna referenced the dreamlike surrealism of Leonora Carrington in Saint Laurent, Hunter Schafer stepped into Klimt’s Mäda Primavesi through Prada, and Rosé’s Saint Laurent look nodded to Georges Braque’s The Birds.

The result was a carpet that felt less like an awards show arrival line and more like a curated exhibition — one where couture became interpretation, and fashion reasserted itself as an art form in its own right. Swipe to see the artworks behind the looks.

#MetGala #FashionIsArt #TheEditByZahra

On the latest Raised by Her, Donnica and Ro Nita get into the gritty reality of the Met Gala. Ro Nita points out that while the theme was "Fashion is Art," the real story was who wasn't there. Taraji P. Henson and Jenifer Lewis reportedly passed on the event because they couldn't get behind the corporate environment Amazon has created. 📉🚫

Donnica reveals that Zendaya’s absence was the loudest "no-show" of the night. Interestingly, her stylist Law Roach did show up to dress Lauren Sanchez. She says that some fans saw the outfit as a "statement" in itself. She argues that we’ve reached a point in 2026 where a celebrity’s absence is more influential than their presence on a "best dressed" list. 🏛️⚖️

TIL: The Met Gala has a "corporate ethics" problem that gowns can't hide. Is the era of the "unfiltered" red carpet over?

Kendall Jenner approached the 2026 Met Gala with a kind of sculptural restraint that immediately distinguished her from the louder interpretations of the theme.
Arriving in custom GapStudio by Zac Posen, she wore a draped cream-colored gown inspired by the ancient Greek sculpture Winged Victory of Samothrace - a reference visible in the fluid folds, sweeping movement, and almost marble-like elegance of the silhouette itself. What made the look so successful was its discipline.

Rather than relying on theatrical excess, Kendall and Posen allowed proportion, draping, and historical reference to do the work. In a year where many attendees confused spectacle with artistry, this felt intelligent, refined, and deeply rooted in fashion history - proof that simplicity, when executed at couture level, can still feel monumental.