I’m not an expert on the Met Gala and its background, but I simply know every year that there will be some interesting outfits from the ladies in attendance to look at in the media, and I’m a girl who always stops to examine a dress. I love dresses, dresses will stop me in a shop, and even if I don’t need one, just looking at one that caught my eye, fingering the material, admiring the print or internally questioning the design is fun.
With the Met Gala the annual themes make looking at and interpreting the choice of outfit all the more intriguing. I’ve had more than one moment when I was impressed not only by the creation worn, but with the way the woman in it was carrying herself and making it work. Because let’s face it, some of those dresses must be heavy, require quite a bit of preparation to get in to or need some maneuvering due to intricacies in their design.
But this year a picture of one gown made me stop in my tracks and instantly want it, and that gown was worn by Claire Danes. All of the coverage I’ve seen so far is unanimous in its breathless approval, and this report by Entertainment Tonight sums it all up.
Danes twirling slowly in the illuminated gown by Zac Posen is one of the most magical images I have ever seen connected to fashion. Nothing droops, nothing squeezes too tight, the decolette is at just the right height, the train in the back is perfectly proportioned and the skirt’s folds sit beautifully without looking stiff. The combination of the elegant, structured, feminine cut with the idea of integrated battery packs is genius. Not to mention on point with this year’s theme. I can’t get enough of the images, it’s just one of those cases where everything comes together perfectly, and the sheer excited happiness on both the designer and the actress’ face is refreshing.
Plenty of other dresses had me wondering where the technology aspect came in, although it might obviously apply to every outfit presented in the sense that all of them probably require some form of technology to produce them. Grace Helbig’s review of the get-ups on display, while heavily sarcastic and occasionally profane, is also quite often spot-on.