vogueNews

Volume 5, Issue 7 Met Gala Edition May 2022

ABOVE: Blake Lively and Ryan Reynolds on the red carpet at the Met Gala 2022

BLAKE LIVELY OWNS RED TO THE LEFT:

Lively’s dress
before carpet
CARPET at 2022 MET GALA transition
Blake Lively Has a Fairytale Princess Hair Moment on the Met Gala
2022 Red Carpet
By Lauren Valenti But it wasn’t just the sweeping
It’s never not a good hair day bustled train of her layered confection
for Blake Lively. But the Met Gala bringing the drama in the back. To
2022, for which the 34-year-old accompany her latest show-stopping
TO THE RIGHT:
actor is a co-host alongside her fashion moment, Lively wore a be-
Lively’s dress
husband Ryan Reynolds, naturally jeweled Lorraine Schwartz crown atop
after carpet tran-
called for a little something extra. her sought-after bright blonde mane.
sition
Lively hit the red carpet wearing Evoking a soft romance, her thick
a copper and turquoise Versace lengths were plaited in the front and
gown inspired by the Statue of Lib- worn loose in the back, falling down
ery, accessorizing it with a set of past the small of her back to elegant
matching ombré opera gloves. effect. “We wanted the whole look to
BLAKE, cont. on page 2 1
 continued from page 1

be fresh and glamorous at the same

time,” explains her hairstylist Jennifer
Yepez, who gave Lively a bombshell
blowout using the Dyson Supersonic
before using a 1-inch curling iron to
create soft ripple waves toward the
ends. “We thought that hair pulled
away from her face, with gorgeous
full hair down the back, would com-
plete the look perfectly.” A true
fairytale hair moment if there ever
was one, it all but sealed the deal on
Lively’s belle of the ball status.

to work with [Vera] on the wedding

dress, and now this.” For this year’s
ABOVE: Gwen Stefani in her neon Vera Wang Met Gala, however, Stefani opted for
Gwen stefani pops in a billowing skirt lavishly decorated
with floral appliqués and a matching
bralette, both in an arresting shade of
neon highlighter yellow. “When I saw the
dress in real life, the sketch came to
Gwen Stefani on Wearing Vera Wang and Doing Her Own Makeup for
the Met Gala life,” she says. “It was exactly what
the sketch looked like.”
By Liam Hess
Meanwhile, when it came to her
As a fully paid-up fashion icon, and I think ever since I met my hus- standout beauty look—which includ-
when it comes to choosing an outfit band, that part of me has really come ed a dramatic slick of contrasting
for the Met Gala, Gwen Stefani out in my fashion more than ever—the blue across her eyelids—it turns out
always understands the assignment. femininity that I didn’t really embrace that Stefani herself was responsi-
“It’s all about being for a lot of years, just ble for bringing it to life after her
outrageous and cre- because of being in a makeup artist was forced to cancel.
ative and artistic,” “Fashion and make- band with all guys and (Luckily, she had the full spectrum
of her recently launched GXVE
she tells Vogue. So
naturally, to make her
up are such an ex- beingWhile on stage.”
Stefani has by Gwen Stefani beauty line at her
appearance on this tension of our per- long been a fan of disposal.) “I was a makeup artist
year’s red carpet, she sonalities and who Wang’s romantic de- myself back in the day,” she says.
opted for a choice that signs, her look this year “That said to me, Get in the seat and
was firmly on theme. we are at the time held a particular senti- do your makeup, Gwen Stefani. You
Who better to design and who we want to mental value, given she have this new makeup line, you’re
a look for a night also wore an extravagant at The Met, and you’re in New York
celebrating American be.” tulle confection by Wang for the first time in forever. Luckily,
fashion than one of - Gwen Stefani for her wedding to Blake I brought my kit!”
the greatest doyennes Shelton last summer in Of course, her getting-ready
of American fashion Oklahoma. “Fashion process wouldn’t be complete with-
herself, Vera Wang? and makeup are such out FaceTiming the designer of the
“I got a call that Vera wanted an extension of our personalities and gown herself. “Oh, my God!” Wang
me to be her date, and I was just so who we are at the time and who we yelps through the phone as Stefani
honored that she chose me,” Stefani want to be,” Stefani notes. “So this is does a twirl. “I love it so much!”
says. “She has such a distinct thing in line with this amazing chapter of Vera, we quite agree.
that she does that is so feminine, my life: getting married, being able
2

ABOVE: Kim K in Marilyn Monroe’s dress
Kim K wears
Marilyn Monroe
Kim Kardashian Takes Marilyn Monroe’s “Happy
Birthday, Mr. President” Dress Out for a Spin
By Chioma Nnadi
No one loves a Met Gala red carpet surprise more
than Kim Kardashian—so it’s no wonder rumors of
her dramatic transformation into Marilyn Monroe
were swirling 48 hours before the ball. Naturally, the
big reveal tonight was nothing short of jaw-dropping.
“The idea really came to me after the gala in Septem-
ber last year. I thought to myself, what would I have
done for the American theme if it had not been the
Balenciaga look? What’s the most American thing
you can think of? And that’s Marilyn Monroe,” says
Kardashian. The instant she stepped foot on the red
carpet wearing the infamous glittering dress, her hair
platinum blonde and perfectly coiffed, the reference
was unmistakable. “For me the most Marilyn Monroe
moment is when she sang “Happy Birthday,” to JFK,
it was that look.”
When I speak to the reality TV star and entrepre-
neur over the phone this past Sunday afternoon, she
is in the midst of getting her hair bleached blonde.
“I’m spending the whole day just dyeing my hair, 14 hours
straight,” she says laughing. Kardashian clearly relishes the
challenge of a tricky-to-pull-off fashion moment. Between the
impossibly waist-whittled “wet look” Mugler dress she wore
in 2019 and the mysterious Balenciaga Zentai-style outfit she
donned last year, she’s especially game to go the extra mile for
the Met Gala. Still, orchestrating a style maneuver of this mag-
nitude would require new levels of commitment and planning.
Based on a sketch by Bob Mackie for the French-born
Hollywood costume designer Jean-Louis, the dress caused
a stir when the actress wore it to serenade President John F.
Kennedy on his 45th birthday in 1962. In the brief film foot-
age of her performance, you can hear the audience gasp as she
peels off her white fur coat to reveal the sparkling translucent
look embellished with over six thousand crystals. “Nowadays
everyone wears sheer dresses, but back then that was not the
case,” says Kardashian. “In a sense, it’s the original naked
dress. That’s why it was so shocking.”
Fresh out of college and just 21 at the time, Mackie re-
members the moment vividly. “After the day the sketch was
drawn, I had no idea what it was for until photos of the event
appeared in the newspaper,” he says. “Marilyn looked amazing
and accomplished exactly what she intended to. Fox Studios
would not let her wear anything too revealing in films, because
of the previous nude calendar scandal. And she didn’t really
care, because she had already been fired. Her figure was at its
peak, the dress was a classic shape of fashion at the time.”
Monroe is said to have paid Jean-Louis $1,440 for the
custom piece, which was first sold at auction in 1999 for over
a million dollars as part of a sale of her estate with Christie’s.
It then sold for a whooping $4.8 million at Julien’s Auctions
in 2016, and was later acquired by Ripley’s Believe It Or Not
Museum. To this day, it holds the record for being the most
expensive dress sold at auction. “I’m a big fan of auctions
and I own several JFK pieces so I know the owner of Julien’s.
He was able to connect me [with Ripley’s] and that’s how the
conversation started,” says Kardashian.
Stored in a darkened vault that’s controlled at the optimum
68 degrees and 40-50% humidity, the multi-million dollar
dress has rarely been separated from its muslin-covered dress
form, let alone worn by anyone other than Monroe. Before
Ripley’s would agree to loan Kardashian the piece, she was
invited to try on a replica for size. It fit perfectly. Soon after,
the original dress was winging its way via private plane from
Orlando, Florida to Kardashian’s home in Calabasas. And yet
somehow the second fitting didn’t quite go as planned. “The
dress was transported by guards and I had to wear gloves to
try it on,” she explains. “I always thought she was extremely
curvy. I imagined I might be smaller in some places where she
was bigger and bigger in places where she was smaller. So
when it didn’t fit me I wanted to cry because it can’t be altered
at all.” KIM, cont. on page 4
3
continued from page 3
The truth is Kardashian only actually wore the original dress for
a matter of minutes. Given the fragile nature and historical value of
the dress, she wasn’t about to take any chances. In fact, her whole
process of getting dressed reads like a highly sophisticated military
operation. First, she left her hotel in a dressing gown with barri-
cades set up outside to obscure the view of any waiting paparazzi.
She then arrived at a small fitting room by the Met Gala steps that
was especially organized for the occasion. There a conservation-
ist from Ripley’s was on hand to assist her in white gloves. “I’m
extremely respectful to the dress and what it means to American
history. I would never want to sit in it or eat in it or have any risk of
any damage to it and I won’t be wearing the kind of body makeup
I usually do,” says Kardashian, who changed into a replica of the
dress also owned by Ripley’s once she successfully climbed the
stairs. “Everything had to be specifically timed and I had to practice
walking up the stairs.”
As it turns out, the “Happy Birthday, Mr. President” dress isn’t
the only Monroe replica Kardashian has available for the evening.
It’s one of three. Though it’s unclear which, if any, of the other two
will be seen by the world at large. “I have a replica of the dress she
wore to the Oscars in 1962,” says Kardashian proudly of Monroe’s
stunning green sequin number by Norman Norell. “I think I might
just wear that one to eat pizza in my hotel room.” ABOVE: Monroe in her “Happy Birthday, Mr. President” Dress

he asked three utterly impressive and individual

chefs to dream up the United States’s wide-ranging
ideals: Lauren Von der Pool, Melissa King, and
Amirah Kassem.
“They represent very different places in Amer-
ican food today,” Samuelsson says of his selection.
“Amirah has the most amazing cakes. Lauren has
been committed to the vegan and vegetarian food
space for decades. Melissa is just an incredible
chef—I’ve had the opportunity to eat her food on
many different occasions, and I’m always so im-
pressed with her talent.”
As different as these chefs are, Samuelsson
noted one characteristic that he believes unites
ABOVE: Table setting for Met Gala dinner them: being of the moment. Von der Poole, King,
and Kassem don’t cook with a nostalgic lens, but
Met gala dinner are instead focused on developing a distinct style
What’s for Dinner at the 2022 Met Gala? A Look that’s utterly unique. “This menu is a celebration
at the Menu and Table Settings of three amazing American chefs at this moment:
By Elise Taylor it’s the present/future for me,” says Samuelsson.
What meals make up America? So what did they serve up at the Met Gala?
That’s the very question that chef Marcus Samuelsson need- Let’s start with Von der Pool, who was tasked with
ed to ask—and answer—when conceptualizing the menu for this the cocktail hour hors d’oeuvres. A plant-based
year’s Met Gala, “In America: An Anthology of Fashion.” His con- chef, she put her own spin on the classic deviled
clusion, of course, was that this country’s cuisine is as diverse as its eggs, using Yukon potatoes instead of any animal
330 million inhabitants. There’s the immigrant-influenced cuisine products. Other passed appetizers included rice
of the coastal cities, the soul food of the South, the plant-based cakes topped with collard greens and cucumber
movement increasingly embraced by the younger generations. So MET, cont. on page 7 4

Lacroix vintage dress
Vintage
Fashion
Where Has All The Good Vintage – such as the glittering dress Kim Kar-
Gone?
By Alice Newbold
After the Met Gala 2022,
Shrimpton Couture’s Cherie Balch,
the woman behind Adut Akech’s
Christian Lacroix gown, took to
Instagram to tell her followers what
a marathon it had been getting just
one vintage dress on the red carpet.
It is, says archive fashion’s fairy
godmother, the same for every
Hollywood event. Celebrities can
change their mind at the drop of a
hat, meaning that hours and hours of
work sourcing and restoring archive
looks can all be for nothing.
“Entire days can get eaten up
with a pull for a stylist,” explains
Balch. “It is a bit of a guess and a
prayer and if you get it
wrong then nothing you “Good
send will land on the every time.” Cherie. Next: the con-
carpet, so it’s intense.”
- Cherie Balch
The Canada-based spe-
cialist, whose Instagram account has
become something of a podium for
Cherie to speak out about the inner
workings of the fashion industry,
says the process is “exhausting, exhil- “Sometimes current designers prefer
arating and maddening, but complete- their work to shine rather than a pre-
ly worth it when a dress works out”. vious designer’s [at a house].” Then,
Akech’s sumptuous green-and- you’ve got the question of the celebri-
blue Lacroix was one such dress. Re- ty’s own preference.
quested by the Vogue contributing ed- “You can see how it gets trickier
itor Gabriella Karefa-Johnson – who and trickier, and the opportunity for
also had Europe-based second-hand vintage narrows,” continues Balch.
sleuths Marie Laboucarié and Tabitha “And even though it may seem like
Hodgson searching for there is endless vintage
the best options for the “Mass production out there, the really
supermodel – the vibrant in the ’60s was a amazing pieces are
gown is an adaptation special and rare. Finding
of a haute couture 2003 couple of hundred countless haute couture
number that was made dresses, not mil- gowns is not as easy as it
simpler and sexier for a might seem.”
client once upon a time. lions like it is now.” So, where did all the
Karefa-Johnson flipped - Cherie Balch luxury vintage go? Many
the one-of-a-kind dress pieces have been lost or
around and tacked the sleeves down to ruined over the years, because of poor
give a modern take on the look, which
Christian Lacroix himself approved
storage or inadequate care. Added to
the fact there weren’t tonnes of a par-
of. ticular garment made in the first place,
But some fragile archival pieces
and anyone who has trawled eBay for
hours will tell you it can feel like a
dashian borrowed from Marilyn Mon- losing game. “Mass production in the
roe’s wardrobe – cannot be altered. ’60s was a couple of hundred dresses,
“Changes to a dress are a balance not millions like it is now,” explains
between it working perfectly for the Cherie, who notes that it was only
woman who is going to wear it and recently that people began to value
respecting the design as it is intend- vintage.
ed,” says Balch of prioritising fashion Balch’s secret? Start searching
history over celebrity endorsement. early. “Sourcing a major piece that
“It’s been devastating [to say no], but is Oscars or Met Gala worthy isn’t
it is the right decision for the dress.” really something you want to be doing
Karefa-Johnson herself com- two weeks out from the event,” she
mented that it seemed impossible explains. “Sometimes pieces can sit
that Akech’s was the only Lacroix in in my archives for many years before
attendance on a night celebrating gild- they are even shown to anyone.” John
ed glamour, but myriad factors could Galliano-era Christian Dior is endless-
have prohibited others from wearing ly popular at the moment, but usually
a killer archival look by the opulent Balch encounters people who are sim-
French designer. Number one? Mon- ply seeking beautiful things. “In many
ey. “People act as ambassadors to a ways, vintage is just like shopping for
label and are paid to modern clothing. Good design wins
design wins wear that label,” asserts every time,” she shares.
Balch might believe that vin-
sumer mindset towards tage will never be more than a micro
newness. “Fresh off the red-carpet trend, but that means the
runway will always be rare pieces she finds will shine all the
alluring for some, and it’s fun to see brighter when they do get their mo-
things interpreted first,” notes Balch, ment.
adding that ego comes into play:
5
The Moments You Missed
From The Met Gala 2022
Missed Vogue’s Met Gala live stream? Here’s everything that went
down on the night.
By Hayley Maitland and Kerry McDermott
From the gender-bending fashion to Blake Lively’s Zendaya moment, and
the curious case of the Jared Leto lookalike.
Headwear ranged from diamond tiaras to baseball caps
The Gilded Age theme prompted some regal touches on the red carpet: US
Vogue’s editor-in-chief Anna Wintour accessorised with a tiara, as did co-host
Blake Lively, who added a bejewelled headpiece to her Versace gown. Fresh-
ly-minted Cartier ambassador Emma Chamberlain was dripping in diamonds
on the night, but the pièce de résistance was undoubtedly her vintage platinum
and diamond Cartier tiara – a fitting choice for YouTube royalty. At the other ABOVE: Emma Chamberlin
end of the style spectrum, sportswear made its presence felt at the event, too. BELOW: Emma Corrin
Nicki Minaj topped off her Burberry look with a leather baseball cap, while
Kylie Jenner’s bridal Off-White ensemble incorporated a backwards cap with
a mini-veil.
Gender-bending fashion ruled
Emma Corrin interpreted the “gilded glamour” dress code with a top hat
rather than a ballgown. The eccentric 19th century New York socialite Evander
Berry Wall – instantly recognisable by his pointed collars, stockings and silk
hats – served as the inspiration for the fashion forward star’s custom Miu Miu
look. She was far from the only guest playing with gender norms on the red
carpet: Oscar Isaac (who famously wears a skirt well), attended in a trompe
l’oeil white tie and tailcoat dress by Thom Browne, while his wife Elvira Lind
wore tails by the same designer. Browne also dressed Kourtney Kardashian
and her fiancé Travis Barker, who chose a skirt to complement the one worn
by his wife-to-be. Elsewhere, Lenny Kravitz attended in a leather and lace take
on the corsets that were trending on the night.

vanessa hudgens Cardi b

Cardi B’s Met Gala 2022 look had a full mile of
Vanessa Hudgens did not forget to incorporate
something Filipino to her gorgeous Met Gala 2022 chain and a matching car.
fit. By Elana Fishman A “high-voltage take on Gild-
By Franchesca Viernes ed Age high-glamour,” per the
Sharing more photos from the glamorous event on brand, the creation required that
Instagram Wednesday, the Filipina-American actress 20 members of its atelier hand-
detailed some stories behind her black dress. stitch the lengths of links onto a
Apart from being designed by her friend Jeremy tulle gown, a process that took
Scott, Vanessa said the outfit made her “so obsessed” 1,300 hours to complete.
because of the inspirations behind the gown. And while nearly every inch
“The silhouette is actually historically correct for the of Cardi’s body was covered
glided age theme, I got to be the glamorous witch that I in chains and Versace Medusa
am and the puff sleeve pays homage to my Filipino heri- medallions — in addition to
tage,” she wrote. “Truly a magical one.” the dress itself, she also wore a
Vanessa had always been proud to be a Filipina. Pre- multi-layered choker and el-
viously, she captioned one of her Instagram posts. Photographed by Flo bow-length gloves constructed. 6
Lizzo red carpet
performance
The sight of the star in a daring Thom Browne
outfit would have been exciting enough, but she
took things to the next level by breaking into
song.
By Janelle Okwodu

continued from page 4 Photographed by Flo Ngala

salsa, truffled potato bites, and coconut ceviche. “What
would America be without crops like corn, squash, dandeli-
on, collards, beans, and burdock root? I wanted to focus on
the vegetables that give America its flavor,” Von der Pool
tells Vogue. “Each hors d’oeuvre tells a story, essentially
about the depth of America, not just the opulence thereof.
A lot of your favorite recipes were actually created from
scraps, or whatever was seasonal.”

Photo: Mike Coppola, Getty Images Bella Hadid

No one shuts down the red carpet quite like Lizzo.
The multi-talented musician’s sense of style never fails
to excite, especially when she heads to the Met Gala.
Clarifies met
After channeling Shirley MacLaine’s outré heroine from
the comedy classic What A Way to Go for 2019’s camp-
themed ceremony via shimmering hot pink feathers and
gala comment
After Bella Hadid told Interview magazine she
matching hair, Lizzo changed tack for tonight’s gilded “blacked out” at the 2022 Met Gala, the supermodel
glamour themed bash. She opted for a custom look from explained that it was her anxiety, not her Burberry
Thom Browne and her favorite accessory: a golden flute. corset, that caused her to feel pressure.
For Lizzo, Browne dreamed up an ornate black cape By Ashley Joy Parker
detailed with golden vine embroidery. Worn over a black Following her head-turning
corseted dress with a skirt held together by garters, the appearance at the 2022 Met
look was daring, sexy, and a fresh take on the theme. Gala, the supermodel raised
Adhering to the whimsical look Browne has been explor- eyebrows when she seemingly
ing of late while reflecting Lizzo’s penchant for pushing made a comment about the
fashion boundaries, it was among the night’s best. corseted Burberry ensemble
Though the sight of Lizzo in one of Browne’s de- she rocked on the red carpet.
signs would have been eventful on its own, what pushed “I literally like, blacked
the outfit to the next level was the coordinating instru- out,” Bella told Interview
ment. A flutist since childhood, the instrument has long magazine on May 4, adding,
been a part of Lizzo’s performances, and she brought a “I don’t know if that was my
bit of that flavor to the gala’s red carpet by giving the anxiety, or maybe the waist
crowd an impromptu concert as she climbed the muse- was giving cinch and I couldn’t
um’s stairs. breathe.”
Photographed by Flo Ngala

Published at 1 World Trade Center, New York NY 10007. Subscription Inquiries: subscriptions@vogue.com or condenast.com or call (800) 234-2347. For Per-
missions and Reprint requests: (212) 630-5656; fax: (212) 630-5883. Address all editorial, business, and production correspondence to Vogue Magazine, 1 World
Trade Center, New York NY 10007.
7