The first Monday in May

From the ball for everyone to the Oscars in the world of fashion in 75 years

Reading time 10 minutes

Currently, all fashionable houses, fashion publishers, and media figures mark the first Monday in May on their calendars. This is one of the main days of the year for the fashion industry – the Met Gala. How has this significant event changed over its 75 years of existence?

Eleanor Lambert

Элеанор Ламберт, основательница бала Met Gala
Eleanor Lambert, người sáng lập Met Gala

The story of Met Gala began with Eleanor Lambert. She worked in advertising in the art and fashion industry, managing campaigns for Jackson Pollock1 and many other artists. She also headed the PR department of the Whitney Museum of American Art and in 1948, organized the first fashion week in New York City. It was also around this time that the Costume Institute opened at the Metropolitan Museum of Art in the US. It needed funding, and Eleanor, who supervised the project, decided to hold a social ball. This helped to both raise awareness and funds.

Admission to the event was open to anyone, with tickets available for $50, which included the rental of a garment from the Costume Institute archive. It is worth noting that the Met Gala is not just a party within museum walls. Guests were effectively financing art by purchasing tickets. Although the museum’s exhibition did not dictate the dress code back then, as the event itself was not held at the Metropolitan, but at the Waldorf Astoria hotel or Rainbow Room restaurant. The theme of the ball was also not specified, so guests wore cocktail dresses and black tie. Even the first Monday in May was not yet a significant date – Met Gala was first held in December, and the date of the event was not fixed.

Diana Vreeland

Диана Вриланд, изменившая репутацию Met Gala в мире моды
Diana Vreeland, who changed the Met Gala’s reputation in the fashion world

If Eleanor was the founder of the classical Met Gala, then Diana Vreeland brought the ball closer to what we know today. Diana worked at Harper’s Bazaar for 25 years before becoming the chief editor of Vogue US, from which she was fired in 1972. In the same year, at the age of 69, she became a consultant to the Costume Institute. This department of the Metropolitan Museum was one of the most unpopular. The annual ball was not enough to attract public attention and increase the number of visitors. Diana’s invitation to this position was supposed to improve the situation: she was considered not only one of the most stylish women in America but also a bold innovator in the fashion industry.

Expectations were met. Already in 1974, Diana organized the exhibition “The World of Balenciaga” and made it the theme of the Met Gala. If previously the dress code of the event was just ceremonial, now guests had to prepare and choose an outfit that corresponded to the spirit and style of the Balenciaga fashion house. This ball is considered a turning point in the modern history of the Met Gala.

Певица Шер на своем дебютном Met Gala в 1974 году
Singer Cher at her Met Gala debut in 1974

Diana handpicked her guests for the Met Gala. Actresses Berintia and Marisa Berenson, singer Cher, and Countess Jacqueline de Ribes were not random visitors, as the event required distinguished names to elevate the status of the now main fashion event in the fashion industry. Loyalty to ordinary visitors had to be sacrificed, as the lavish dinner was eliminated and the creativity of Cristobal Balenciaga was not easily understood by all. Therefore, the number of visitors decreased, but not for long.

The Met Gala began to set the tone and define fashion trends. In 1976, the theme was “Diaghilev: Costumes and Set Designs of the Ballets,” where Yves Saint Laurent presented his new “Russian Collection,” and guests, including Jacqueline Kennedy Onassis, appeared in sumptuous fur coats, marking the return of the a-la russe style. By the way, it is believed that Jacqueline was the one who nominated Diana Vreeland as a consultant to the Costume Institute.

Pat Buckley

Pat Buckley, wife of American writer Christopher Buckley, had been assisting Diana in organizing the ball since 1979. Her phone book included Nancy Reagan, actress and first lady of the United States, and Betsy Bloomingdale, a socialite, who were, of course, invited to the Met Gala. This made the event more prestigious and increased museum revenues.

When Diana stepped away from the Costume Institute in 1985, philanthropist and socialite Nan Kempner joined the organizing committee (although she asked to be called simply a homemaker). Diana Vreeland said of her, “In America, there are no chic women. The only exception is Nan Kempner.”

By this time, tickets were already selling for $1000, and among the guests were not only socialites, but also representatives of fashion houses such as Burberry, Chanel, and Versace. The Costume Institute ball thrived and became increasingly lavish, but it was still difficult to compare it to the Met Gala that Anna Wintour would recreate.

Anna Wintour

Анна Винтур на своем первом Met Gala в 1995 году
Anna Wintour at her first Met Gala in 1995

By 1995, when Anna began organizing the Met Gala, she had been the editor-in-chief of Vogue for eight years. Her arrival marked a new era for the Costume Institute ball, and her influence was literally reflected in the Institute, which since 2014 carries her name.

If Diana Vreeland simply invited famous people to the event, Anna herself made up the guest list and seated them at the tables. The ticket price rose to $30,000 and continues to grow.

Дизайнер Александр Макуин с актрисой Сарой Джессикой Паркер на Met Gala 2006 года
Designer Alexander Makvin with actress Sarah Jessica Parker at the 2006 Met Gala

New traditions emerged, such as a designer walking the red carpet with the model he dressed. In 2006, it was Alexander McQueen and Sarah Jessica Parker, and in 2009, Marc Jacobs and Kate Moss. The event now includes many more Hollywood stars, supermodels, and singers.

Дженни Ким на Met Gala в 2023 году
Jennie Kim at the Met Gala in 2023

Everyone who is interested in fashion keeps an eye on the Met Gala. This is where the trajectories of trends are determined, and where it is decided which fashion house and celebrity will become trendsetters. By 2023, this was well noticed. K-pop performers, for example, are becoming increasingly popular not only in Asia, but also in America and Europe, so inviting some of them to the ball became very symbolic. This undoubtedly raised their popularity even higher, and we can expect them to become ambassadors for even more fashion houses. This year, Blackpink’s Jennie Kim, who collaborates with Chanel, attended the ball. There are also brands that did not dress anyone at the ball this year. Saint Laurent and Alaïa, for example, skipped the Met Gala because their founders were at odds with Karl Lagerfeld, in whose honor the ball was held.

Preparation for the Met Gala takes eight months, so we will know the theme of the next ball well before the first Monday in May 2024.

Symbiosis or parasitism

Collaborations of fashion houses with artists - art or marketing?

Reading time 6 minutes

In the winter of 2023, Louis Vuitton presented one of the largest collaborations with Japanese artist Yayoi Kusama. The fashion house presented not only clothes and accessories, but also art spaces in its boutiques, performances and installations based on the artist’s works, both in the real world and in the digital environment. This connection evoked both admiration for the thoughtfulness of the collection and its presentation, and condemnation.

Yayoi Kusama for Louis Vuitton collaboration
Yayoi Kusama for Louis Vuitton collaboration

Now Yayoi Kusama is 93 years old. She lives in a psychiatric hospital due to mental disorders. As a result, the collaboration, which includes a large body of work, has raised concerns about the artist’s health. Critics have accused Louis Vuitton of exploiting Yayoi’s work and misrepresenting her image. “The brand team has dedicated a separate paragraph on the website to the artist’s creative journey, but there is not a single mention of the specifics of Kusama’s mental health,” says Polina Vasilyeva, who was responsible for collaborating with artists at SimpleWine, Bosco di Ciliegi, House of Cultures. The artistic value of the objects that resulted from the collaboration is also questionable. There is a certain philosophy behind Yayoi Kusama’s patterns and installations. All of her works are autobiographical. The most famous pea pattern, its endless repetition in objects, helped Kusama cope with hallucinations and anxiety. However, Louis Vuitton focused less on depicting the artist’s creative journey and her struggle with mental disorders, and more on recognizable visual images.

Installation at the Louis Vuitton boutique in the Champs Elysees, France
Installation at the Louis Vuitton boutique in the Champs Elysees, France

There are some who support this collaboration and Louis Vuitton’s approach. The fashion house has gone to great lengths to promote the collection. The facades of boutiques around the world were covered with Yayoi’s signature patterns. Their stores became veritable installations. And they even put the figure of the artist herself in the foreground. With Louis Vuitton-level marketing, you can reach a large audience and increase people’s interest in Yayoi’s work and art. “With my last project [with Louis Vuitton], I received a lot of response from people all over the world. With this project, I also want to share my artistic philosophy and thoughts with everyone,” says Yayoi Kusama herself in an interview for Tatler Asia. This confirms the effectiveness and success of the collaboration.

This kind of collaboration with brands is very popular among artists. Not only do they spread a personal philosophy through their work, but the artists also increase their visibility. Fashion houses try to create a buzz in the media, attract influencers and present new collections as artworks. PR is very important for artists. It helps find new clients, connect with galleries and find new fans for their work. It also allows creatives to realize ideas that would not be possible without financial support and a platform for the brand. “For me, it’s an opportunity to bring complex ideas to life in ephemeral materials that are part of my practice. For example, sculptural elements of soap and gold leaf, wax and acrylic stone, brass and grease. Such projects allow me to reach a larger scale and develop a new performance technique. I see them as a resource for experimentation and creative growth,” says artist Anya Mokhova, who has already collaborated with Shiseido and Studio Playtronica.

Collaboration bag Dior and Recycle Group
Collaboration bag Dior and Recycle Group

The question of whether or not such collaborations between brands and artists can be called art is not easily resolved. If the creator remains true to his principles and considers his work as art, it is difficult to deny the existence of an artistic value in his work. “Artists have always collaborated with brands, from Salvador Dali, who invented the lollipop shape, to other well-known artists, who are no worse and no better. It’s everyone’s personal choice. There are no contradictions in our concept, in our vision of our creativity and the objects we make,” explains the creative association Recycle Group.