The “Devil Wears Prada 2” wake-up call
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The “Devil Wears Prada 2” wake-up call
At the Met Gala and beyond, consumers must reconcile the same choices as the Miranda Priestlys of the world
Published May 6, 2026 12:00PM (EDT)
At Monday night’s Met Gala, where the dress code was the highly interpretable yet laughably vague “Fashion Is Art” — spun from the Met Costume Institute’s spring 2026 exhibition, “Costume Art” — stars strolled the green carpet gussied up in looks inspired by the works of great sculptors, painters and photographers. Hunter Schafer wore a lovely Prada gown inspired by Gustav Klimt’s “Mäda Primavesi.” Troye Sivan channeled photographer Robert Mapplethorpe in tousled hair and designer jeans. Nicole Kidman showed up in a red sequin dress because she “wanted to embrace the way in which red has been used in art through the years.” They can’t all be knockouts.
Rubbing elbows with the glitterati was former journalist, children’s book author, and occasional explorer of the cosmos, Lauren Sánchez Bezos, who, alongside her husband, Jeff Bezos, bought her way into the function for a cool (reported) $10 million. The hefty price tag made Sánchez and Bezos the lead sponsors of the exhibition and gala, and scored them the title of honorary chairs, shoehorning in their names alongside Kidman, Venus Williams, Anna Wintour and Beyoncé.
(Kevin Mazur/MG26/Getty Images for The Met Museum/Vogue) Jeff Bezos and Lauren Sánchez Bezos attend the 2026 Met Gala celebrating “Costume Art” at the Metropolitan Museum of Art
To ascend the Met steps, Sánchez Bezos wore a navy blue Schiaparelli gown with a pearl and crystal strap falling from one shoulder, evoking one of the most significant works in the museum’s collection, John Singer Sargent’s portrait of Parisian socialite Virginie Amélie Avegno Gautreau, “Madame X.” Originally painted with one strap languidly falling from the shoulder, Sargent’s portrait created a stir in late-1800s Paris. Critics fixated on Gautreau’s reputation for vanity and sexual impropriety decried the portrait as oversexualized and wilfully provocative. Sargent later repainted Gautreau with both straps fixed to her shoulders — a needless compromise between the artist and those who wielded the power to dictate beauty.
“Madame X” was seen as Sargent’s calculated attempt to drum up........
