Gwendoline Christie attended her third Met Gala, however this marked her debut carrying Giles Deacon, one thing that feels lengthy overdue given their established inventive relationship.
If anybody was going to lean absolutely into the “Costume Artwork” theme, it was at all times going to be Christie and Deacon.
The crimson robe operates as efficiency as a lot as style. Constructed with a sculpted bodice and a flared, feather-trimmed tulle hem, the silhouette references theatrical costume traditions fairly than typical crimson carpet dressing. The richness of the color, mixed with the exaggerated proportions, locations the look firmly inside the language of stage and character.
That concept is pushed additional by the equipment. Essentially the most hanging element is the hand-held masks of Christie’s personal face, created by artist Gillian Sporting. It introduces a layer of self-portraiture, turning the look right into a research of identification and duplication, the place the wearer turns into each topic and object.
Above all of it sits a flamboyant feathered headpiece, created by Deacon in collaboration with milliner Stephen Jones, which amplifies the sense of efficiency. It reads much less as an adjunct and extra as an extension of the character, heightening the general theatricality.
Collectively, the weather align immediately with the exhibition’s deal with costume as a type of artwork.
FTC Disclaimer: Remember the fact that I could obtain commissions once you click on hyperlinks and make purchases. Nonetheless, this doesn’t impression my opinions.
