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The Body Becomes the Masterpiece🪽

Welcome to fashion’s biggest night, the first Monday in May, The Met Gala.

At this event, fashion does not simply decorate the body. It studies it, frames it, worships it, and occasionally turns it into something strange enough to belong behind museum glass. This year’s theme explored the relationship between fashion and the body through art history, pairing clothing with works from the Met’s collection that span from prehistory to the present. Think gowns inspired by famous paintings, bodies treated as sculpture, and, yes, the naked statues of Rome finally getting their red-carpet moment.

This year’s gala was co-chaired by Beyoncé, Nicole Kidman, Venus Williams, and Anna Wintour. It also marked Beyoncé’s first Met appearance in a decade, her last being the 2016 “Manus x Machina” gala, where she arrived in Givenchy Haute Couture.

Speaking of which, let’s dive into our favorite looks from one of high fashion’s most theatrical nights.

Heidi Klum

Heidi Klum understood the assignment perhaps a little too literally, which is exactly why it worked. She arrived as a living statue in custom Mike Marino, a sculptural nod to Raffaelle Monti’s 1847 work Veiled Vestal. In a sea of art references, Klum committed to the fantasy completely. She did not simply wear sculpture. She became it.

Emma Chamberlain

For the 2026 Met Gala, Emma Chamberlain wore custom Mugler by Miguel Castro Freitas, hand-painted by artist Anna Deller-Yee. The effect turned Chamberlain’s body into a canvas, with a look inspired by the archival 1997 Mugler butterfly dress, her family, and her lifelong relationship with art. Chamberlain has said her father is an oil and watercolor painter, and that she grew up in a house filled with creativity. Here, that intimacy showed. The dress felt personal, not just pretty.

Anok Yai

Anok Yai looked unreal in custom Balenciaga by Pierpaolo Piccioli, paired with prosthetic hair and metallic makeup. This year, Yai and the house of Balenciaga sent a message through the image of the “Black Madonna.” The supermodel described the look as one of hope, saying that in the current climate, embodying the Black Madonna carried a necessary kind of power. It was one of the night’s rare looks that felt both visually arresting and politically charged.

Naomi Osaka

Naomi Osaka wore two custom Robert Wun pieces based on his Spring/Summer 2023 collection. She first arrived in a dramatic coat, then unveiled an anatomy gown embroidered with Swarovski crystals in four shades of red. The construction alone was astonishing, with 659,000 stitches and 3,280 hours of work behind it. The cut-wound effect on the coat was beautiful and eerie at once, turning the body into something exposed, vulnerable, and impossibly glamorous. When asked about the look, Osaka said, “the Met Gala is the Grand Slam of fashion.” Naturally, she played to win.

Rihanna

Rihanna arrived in custom sculptural Maison Margiela by Glenn Martens, crowned with an Art Deco-inspired headpiece. Her look drew from Barbados, with pearls, stones, and oxidized textures that felt like treasure pulled from an old shell. It was coastal without being obvious, regal without being stiff, and unmistakably Rihanna in the way it made grandeur feel almost casual.

Madonna

Madonna, ever the pop legend and high priestess of theatrical commitment, wore a Saint Laurent slip dress crafted from satin and lace, topped with a translucent violet organza cape carried by its very own coven. She finished the look with leather platform boots, a long black wig, and a top hat crowned with a ghost ship. It was gothic, surreal, and completely excessive, which is to say, perfectly Madonna.

Beyoncé

Last but certainly never least, the queen herself. Accompanied by her “manager,” Blue Ivy, who wore Balenciaga, Beyoncé arrived in a floor-length skeletal mesh gown by Olivier Rousteing. The choice felt intimate as much as iconic. Beyoncé described Rousteing as someone who has been loyal to her, and with whom she has created many of her most memorable looks. The gown was stunning from head to toe, but the crown sealed it. If the body was this year’s masterpiece, Beyoncé made sure we remembered who owned the throne.

The Devil Wears Prada’s Great Cerulean Monologue

The Devil Wears Prada 2 is set to premiere globally May 1st, but the first movie will always live rent-free in my mind as one of my favorite movies of all-time. For those who haven’t seen this masterpiece, The Devil Wears Prada (2006) follows an aspiring journalist Andy, played by the brilliant Anne Hathaway, as she takes a job as a fashion assistant at fictional magazine Runway, where Miranda Priestly (Meryl Streep) reigns as the editor-in-chief (loosely inspired by Vogue’s iconic former editor-in-chief, Anna Wintour).

This movie holds a special place in my heart. Before I was ever able to move to New York City and become immersed in the fashion scene through my work as a model, I was always a certified fashion freak. I spent a lot of my childhood sprawled out on the floor of my bedroom. flipping through glossy pages of Seventeen and Teen Vogue, later upgrading to Vogue and Harper’s Bazaar. I volunteered at the local public library, which was a huge win because I was always the first to check out the new copies of all the magazines. But despite all my immersion as a reader, the worlds portrayed in the high fashion magazines felt so far away for a middle-class girl in suburban Atlanta whose “style” consisted of Old Navy skinny jeans and maybe a fun combat boot from Famous Footwear. It felt like a secret world I could only dream about.

The first time I saw The Devil Wears Prada was when I was in college. Many things stuck out to me about the movie, but the most impactful moment for me (and many others) is Miranda’s infamous “cerulean” monologue. This scene in the movie is where it all made sense to me and validated my obsession with high fashion. In the scene, Andy is shadowing Miranda as they are planning looks for an editorial shoot. Andy is not immersed in the fashion scene, and simply took the job at Runway to gain experience. As Miranda and stylists debate over what color belt would best complement a stunning tiered pink tulle gown, Andy lets out a small snort of laughter over the debate regarding two belts that look exactly the same shade to her. To her, fashion is unimportant and trivial, and her small laugh is read as ridicule to the room of very serious professionals.

Cue the famous monologue. I’ll leave the link here so you can fully immerse yourself in it, but something in this scene genuinely changed my brain chemistry. Miranda begins chastising Andy in a scathing yet educational way about how fashion exists beyond just a superficial or vain interest; it is a complex, artistic industry that has driven the economy and created cultural influence for many years. It reinforces the belief that no matter how far removed you feel from fashion, you are participating in it daily, simply because of its sheer impact. The standout quote from Miranda is:

“And it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact…you’re wearing a sweater that was selected for you by the people in this room…from a pile of ‘stuff’.”

What I love about this line is how it highlights that no matter how much or how little you choose to care about the medium, you are still being subjected to the influence of fashion, particularly high fashion and how it trickles down to the masses. It also alludes to the illusion of choice that we have as members of the masses; the things we eat, wear, and do are all set by a very small group of elites. We are not immune to this influence, so long as we are participating in everyday life, which is a very poignant reminder to this day.

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Miranda Priestly Never Really Left👠

Nearly two decades later, The Devil Wears Prada still has fashion in a chokehold.

With the sequel officially here, the return feels less like nostalgia and more like the reopening of a very glamorous wound. Miranda Priestly is back in the cultural conversation, and with her comes the fantasy that one perfect coat, one icy glance, and one impossible boss can turn a girl into a woman with taste.

Of course, fashion is not the same industry Andy Sachs stumbled into in 2006. The magazine office is no longer the only kingdom. Power now moves through TikTok, Substack, resale platforms, red carpets, and Instagram posts made to look accidental. Everyone is an editor now, or at least everyone thinks they are.

That is exactly why The Devil Wears Prada is still widely significant. It was never just about clothes. It was about ambition, access, humiliation, and transformation. The thrill of learning the rules. The terror of learning them too well.

Miranda did not simply represent a boss. She represented a world where beauty had standards, taste had consequences, and authority did not need to explain itself.

So yes, the fashion world has changed. It is louder, faster, and more online. But the fantasy remains intact.

A perfect outfit. A terrifying woman. A city that expects you to keep up. And somewhere in the middle of it all, the delicious question of who you become when the door finally opens.

THEY LITERALLY GIVE ME COMPLIMENTS! 🧜✨

As April fades into May, the rain starts giving way to beachside shoes, sun-warmed skin, and the particular feeling of washing sand off your feet at the end of the day. Enter Aquamarine Summer, an aesthetic made for thrifty girls, carefree girls, and anyone who watched “How to Become a Mermaid” videos on YouTube in 2014 and never fully recovered.

The look is less pristine siren, more girl-who-found-her-jewelry-in-a-tide-pool. Think sea-glass colors, tiny silhouettes, saltwater hair, and pieces that look like they were collected rather than styled.

Start with these capri pants from RAT BOI. Yes, capris remain morally complicated, but in the context of trading your tail for legs, they suddenly make perfect sense. Awkward length becomes mythical transformation. Fashion is all about framing.

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See you next week!