Global fashion icon Anna Wintour, who is the editor-in-chief of Vogue, has chaired or co-chaired the Met Gala since 1995, except for the 1996 Met Gala, which was chaired by Wintour’s successor at British Vogue, Liz Tilberis. Guests are expected to curate their fashion to match the theme of the annual exhibit, generally in haute couture. Each year's event celebrates the specific theme of that year's Costume Institute exhibition, which sets the tone for the formal attire of the night. Many of the attendees are depicted on the covers and pages of Vogue. The Gala is an event held annually on the first Monday of May, which marks the opening of the Costume Institute's annual fashion exhibit hosted on the Upper East Side of Manhattan. Personalities who are perceived to be culturally relevant to contemporary society amongst various professional spheres, including fashion, film, television, music, theater, business, sports, social media, and politics, are invited to attend the Met Gala, organized by the fashion magazine Vogue. The Met Gala is popularly regarded as the world's most prestigious and glamorous fashion event and social gathering and is known as "fashion's biggest night" an invitation is highly sought after. The Met Gala or Met Ball, formally called the Costume Institute Gala or the Costume Institute Benefit, is an annual fundraising gala held for the benefit of the Metropolitan Museum of Art's Costume Institute in New York City. The Gala was founded in 1946, and the first major event was held in 1948. Metropolitan Museum of Art, Costume Institute She explains, “When Otto returns, there’s the dynamic of what it was like before the way and so a lot of the earlier original themes return.The Metropolitan Museum of Art on the Upper East Sideįundraising gala, contribution of $50,000 per seat to enter the 2023 Met GalaĪnnual, held on the first Monday of May Marx returned to the musical aesthetic of episodes one and two. However, by the series finale, a semblance of hope and Miep’s resilience returns. “That was wall-to-wall music,” says Marx. Marx’s most challenging episode when the Van Pels family, the Franks, as well as Fritz Pfeffer, are taken into custody by the Nazis. She explains, “It was done very intentionally to make those sequences feel like that was happening right outside your door in 2023.” Marx incorporates darker electronics and the tension aesthetic starts to sound contemporary. The music evolves and becomes more electronic and classical and less jazz and folk. As the series progresses and Miep makes bigger and more consequential decisions, the music becomes sophisticated.” In establishing Miep’s sonic feel, the composer set about establishing life before the war. Her sound palette draws from 1930s jazz, Belgian jazz guitarist Django Reinhardt as well as Tom Waits and Andrew Bird.” Says Marx, “She is a hero and was so humble, but I didn’t want to paint her in an overly heroic way. She wasn’t married, she didn’t have a solid job and she was still living with her family. Miep’s character, Marx says, was a modern woman for her time. She says, “It’s still very respectful to World War II and the late ‘30s and ‘40s, but I wanted to make it as relatable as possible.” I’d recut it and reshape it that gave me the movement that I liked.”Ĭomposer Ariel Marx wanted a contemporary sound, but not overly so, that it took audiences out of the period. He perused junk shops and private vendors and bought larger sizes from Etsy, “so I’d have fabric. It drapes and swings beautifully, but you can’t find it,” he says. “Everything was rayon crepe, and there’s nothing else like it. Simonelli’s biggest challenge was finding fabrics that looked and draped like they were period-accurate to the 1940s. He also turned to Gies’ book “Anne Frank Remembered,” in which Gies wrote about her love for fashion and color. Says Simonelli, “We agreed that greens were the color of safety and red was for tension.” Once that was established, Simonelli infused a lot of neutrals into the background, but “I wanted to make sure Miep was punching forward in colors.” Simonelli worked closely with production designer Marc Homes. With Bel’s Miep at the centerpiece, it was important to begin there and get her color palette right. He adds, “I looked at what kids in Williamsburg or London were wearing, just to find places where they overlapped, and that’s the world I tried to live in with Bel.” The Amsterdam Museum‘s exhibit on wartime fashion was his biggest guide where he was able to access clothing from the era.
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