MET GALA Documentary Review: “First Monday in May”

By Carolina Benjumea Rúa- (Photo taken from The New York Times)   ...Is it just a spectacle or is it art? That’s the big questions that the creators of the documentary “First Monday in May” present to their public, can fashion be considered art?   With the opinions of no other than Anna Wintour and Andrew Bolton, they show you the behind the scenes of one of the biggest expositions the Met Gala has ever had: China: Through the Looking Glass, a historical review to all of the gowns that were inspired by China culture, one of the most visited exhibitions the museum has had.   As the documentary says the Met Gala has become “the Superbowl of fashion”,  gathering not only people from the industry, but also, politicians, actors, singers  and different personalities that walk the iconic stairs to show us their more stylish garments. The event is done to raise founds for the Metropolitan Museum of Art, that every year has a different exposition that meets art with fashion.   As a never ending question, they offer different views of what Fashion and Art are meant to be and whether if they can be related even if there still many detractors that think of fashion as a shallow job.     The documentary doesn’t only show the event as a way to pay tribute to those who have given tremendous influence to fashion, but also as a way to show the power that this industry has for moving people from all over the world and from different industries.   This year’s event took place on May 1st, and pays a tribute to the Japanese designer Rei Kawakubo, founder of Comme des Garçons.   It shows the path the designer has had in her career, “she’s one of the most influential designers of the last 40 years” they commented when her name was announced to be the next exhibition. The event will be host by Anna Wintour, like every year, but this year she will be accompanied by Pharrell Williams and Katy Perry.  

Rihanna wore a piece most majestic....stay tuned for the other fashions!

(Photo taken from the New Yorker)  

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