The dress shares similarities with looks from the collection Spring-Summer 2024 from Quinn. “Coincidentally, her most recent collection had pieces that, in many ways, communicated or inferred the theme of MET Gala just as we understood it,” says Parker. “I went to the Sargent and Fashion exhibition at Tate Britain and had been inspired by some of the artwork I saw there, but it was his collection that really seemed to instinctively interpret the theme of this gala.”
The base frame is made of wire and makes the concept of ephemeral clear: “The hand-cut lace was applied to the frame, and it seemed to grow around it, adding a subtle floral element to the design,” explains Quinn. to Vogue about him surreal dress
“The crystals incorporate a level of hardness and permanence, shining against the fragile lace beneath.” Quinn, for his part, was especially inspired by the idea of preservation: “I’ve always been fascinated by the enduring beauty of archival clothing from bygone eras,” he says. “With this dress, we wanted to play with the idea of preservation; those dresses that seem so fragile as to be almost ephemeral, but with the necessary care and consideration, they have been built to last.”
Tonight is the twelfth time Sarah Jessica Parker She has attended the MET since its first edition in 1995, when she wore a vintage black velvet dress. Over the years, she has developed a reputation for being one of the most striking figures on the carpet, from her matching tartan dress with Lee McQueen, to her gold headpiece at the 2018 Heavenly Bodies show.
But when we look back at the MET archives, perhaps her most memorable look is from 2013: “[Tuve que] sitting on the floor of a car all the way into town, literally on the floor, with Hamish Bowles next to me sitting properly in a seat. It’s a great memory. Firstly, because he was with Hamish, which made him so special. But also because it was the perfect example and illustration of how far you go when the MET matters to you, and what you do to try to do it well and not damage any of the details that have been [planeado durante] months: protect every step, every detail, every ruffle, the entire architecture of a headdress.”
