Met Gala: Rihanna, Jared Leto as Choupette, Kim K. In Pearls

Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)
Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)
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Met Gala: Rihanna, Jared Leto as Choupette, Kim K. In Pearls

Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)
Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)

Rihanna shut down the Met Gala carpet Monday encased in white camellias on a jacket with a long train gown. Janelle Monáe dropped a bulky coat to reveal a see-through cage and Jeremy Pope walked in a 32-foot cape emblazoned with the visage of Karl Lagerfeld.

In the spirit of Lagerfeld himself (he was not often on time), Rihanna and her Valentino couture had the carpet to themselves save her partner, A$AP Rocky, who wore a red tartan skirt over crystal-studded jeans with a train of his own. They showed up well past everyone else.

Around her neck was a short Bulgari necklace in Akoya cultured pearls and pearl-shaped diamonds.

Lagerfeld was the honoree at the A-list gala with many in the crowd of about 400 dressed in vintage looks from the fashion houses where he worked during a career of more than 60 years.

But elegant wasn't entirely the hallmark of the evening. Jared Leto dressed as Choupette, Lagerfeld's beloved fluffy cat. Lil Nas X went full cat covered in crystals by Pat McGrath and Dior Men.

Bad Bunny showed up late in bright white from head to toe with a long cape also adorned with camellias, a Coco Chanel motif embraced by Lagerfeld. Monáe’s look, with a black sparkly leotard underneath, was made by Thom Browne.

Cardi B first donned pink then switched to a full black ballgown with, you guessed it, camellias. Up top, she said, “is giving Karl, the house of Chanel and Karl at the same time.” It was a men's white collar shirt accent with a black men's tie. The outfit in honor of Lagerfeld was done by an up-and-coming British design house, Chenpeng Studio.

“The Met Gala dress code was ‘in honor of Karl’ and guests definitely understood the assignment,” said Alison Cohn, deputy fashion news editor for Harper's Bazaar. “They referenced the many signatures Karl Lagerfeld developed over his six-decade plus career.”

Many used boucle fabric (Teyana Taylor's Thom Browne suit and Anne Hathaway's Versace safety pin number). Also adorned in camellias were Emily Blunt in a Michael Kors blouse and Adut Akech in a Carolina Herrera gown.

Dua Lipa walked in a white Chanel ballgown from the fashion house’s archive and Nicole Kidman chose a look Lagerfeld himself made for her 20 years ago.

And there were some bombshells: Serena Williams wore a flapper Gucci look when she announced she's pregnant with her second child.

Lipa, a gala co-chair, wore a Tiffany & Co. diamond around her neck. She called her cream-colored dress, by Chanel from 1992, “very, very special” as it has been on her mood boards.

Claudia Schiffer wore the gown on the runway for its debut, although hers had a matching hat. Lipa's necklace in platinum included a center diamond of more than 200 carats.

Nicole Kidman said it was Lagerfeld who ignited her fashion spark. She wore a pale pink gown created by Lagerfeld for a Chanel No. 5 commercial she starred in. It's adorned with 3,000 silver crystals for the ad directed by Baz Luhrmann.

“I’m very grateful to wear it,” she told The Associated Press. “He was so much a part of my life, as were his whole team. He was the one really sort of shepherded me … in terms of my love of fashion.”

Kidman topped off her look with Harry Winston diamonds.

“My favorite look was Nicole Kidman's ethereal feathered sequin Chanel gown. Typically stars wear new couture straight off the runway or have a custom look commissioned. It was a lovely statement about sustainability, proving that beautifully hand-crafted pieces never go out of style,” Cohn said.

Kim Kardashian, meanwhile, went with loops and loops of pearls all over her Schiaparelli look. And Cardi B went big in pink, complete with a feathery head piece.

Many in the crowd counted Lagerfeld as a friend or worked with him at Chanel, Fendi, Chloe or one of the other fashion houses where he created.

And many guests wore black to walk the unusual carpet in a line design. It was a color Lagerfeld wore almost exclusively. Black-and-white combos were also plentiful.

Kristen Stewart wore the color duo in a suit with a cropped white jacket. And Cara Delevingne honored her old friend Lagerfeld with a ruffled white shirt look short in front with a train at the back. Ruffled shirts were among Lagerfeld's favorites.

The classic colors weren't for Viola Davis. She walked in a stunning neon pink strapless gown with long feathers at the bodice.

Frenchye M. Harris, CEO and founder of the online fashion site The Black Fashion Movement had one word for Davis: “Gorgeous!”

She called Anne Hathaway's Chanel-inspired but Versace-created look with the pins and camellias at the breast “super cool and a great marriage between the brands.”

Gigi Hadid wore Givenchy in black with feathers, a drop waist and sheer train in tulle. It took more than 300 hours to make. Kendall Jenner was also in black, sans pants. She wore a sparkly leotard with long sleeves that has pieces doubling as a train. On her feet were kinky, towering black boots, all courtesy of Marc Jacobs.

Jenner's high white collar was a nod to those worn by Lagerfeld. Her hair was in a high ponytail.

Rita Ora was also in black, a stunner of a peekaboo sheer look from Prabal Gurung. It was silk tulle with corset detailing and sexy draping in chiffon. One shoulder was dropped.

Margot Robbie, who stars in this summer's “Barbie” live-action film, wore a 1993 Chanel gown in black that Cindy Crawford first wore on a runway. Robbie said she was the last Chanel ambassador to be handpicked by Lagerfeld.

“I feel really great in it. It's an honor," she said.

The invitation-only gala earned $17.4 million last year for the museum's Costume Institute, a self-funding department with a budget dependent on the gala's success. The price of attending went up this year to $300,000 for a table and $50,000 for a single ticket.

The guests from fashion, film, music, theater, sports, tech and social media were asked to dress “in honor of Karl” by gala mastermind Anna Wintour, a close Lagerfeld friend who first signed on to the event in 1995 and took over the helm in 1999.

The party coincides with the Costume Institute's blockbuster spring exhibition: "Karl Lagerfeld: A Line of Beauty.”

American fashion was last year's vibe. It followed gilded glamour and white tie. Camp was the theme in 2019, producing what is considered one of the wackiest displays of dress by the celebrity crowd.

Lagerfeld worked for Chanel, Fendi, Chloé, Jean Patou, Balmain, his own brand and more.

This year’s five hosts include Wintour, as usual, and also Michaela Coel, longtime Chanel ambassador Penélope Cruz, and recently retired tennis superstar Roger Federer.

Cruz looked like a bride with a sheer hood on her white Chanel belted gown with silver details from spring/summer couture collection in 1988.

Asked how he got to be a Met Gala co-chair, Federer said it helps to know Wintour. He said it makes sense for athletes to be at the gala because they’ve become a bigger part of the fashion world in recent years.

“I think the sports people have gotten more and more fashionable,” Federer told the AP. “We’re fortunate to get onto covers much more frequently nowadays. Before it was always the models, the good-looking people, not the athletes.”

Fendi, where Lagerfeld worked for more than 20 years, was also represented. Suki Waterhouse wore a 2019 Fendi design by Lagerfeld in silk tulle and delicate flowers and birds on sheer panels.

Lagerfeld's cat, Choupette, had been rumored to attend but her humans posted on Instagram earlier in the day the 11-year-old feline was staying put in Paris. Doja Cat's cat-eared hood on a sparkling white and silver-beaded dress was an ode by Oscar de la Renta. She wore prosthetics that gave her a feline face and claws.

Chloe Fineman carried a cat-shaped bag and Emma Chamberlain wore “Choupette blue,” a light blue hue created by Lagerfeld. James Corden also showed up in the shade.

As for Leto, he swapped out his cat costume for a black caped look.



Notre Dame Cathedral’s Reopening Spectacle Capped a Stellar Year for Luxury House LVMH

CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)
CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)
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Notre Dame Cathedral’s Reopening Spectacle Capped a Stellar Year for Luxury House LVMH

CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)
CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)

The reopening of Notre Dame was a solemn celebration of cultural and spiritual renewal. Yet for some, the historic cathedral's revival also felt like a meticulously choreographed branding event from LVMH and other luxury conglomerates.

Bernard Arnault, the lowkey billionaire behind luxury powerhouse LVMH and a key Notre Dame donor who regularly tops the list of the world’s richest men, was at the center of the celebration. He was surrounded by his family, the French president, the archbishop and clergy, and the unmistakable symbols of his luxury empire’s influence, including its brands Louis Vuitton and Dior.

First lady Brigitte Macron held a conspicuous Lady Dior handbag. Louis Vuitton artistic director Pharrell Williams performed kitted out in Louis Vuitton. South African soprano Pretty Yende also contributed with a rendition of “Amazing Grace” while wearing a Dior gown adorned with 110 carats of diamonds.

Welcome to the “inauguration of the LVMH arena,” commented television journalist Yann Barthès about the cathedral ceremony this week.

LVMH has enjoyed unprecedented visibility in France in 2024, especially as a high-profile sponsor of the Paris 2024 Olympics.

Some questioned the taste of such brand prominence occurring in a sacred space like the beloved Gothic monument, while noting LVMH's crucial contribution to the reconstruction.

“You can’t blame monsieur Arnault, a businessman, to do business. But people are now asking if it was an appropriate venue for a display like that,” said fashion PR consultant Theo Fontaine.

“It’s been a great PR year for LVMH—that’s for sure,” Fontaine added. “The Olympics and now Notre Dame. The whole world has been watching.”

Not far behind Arnault sat representatives of Kering, adding another layer to the ongoing rivalry between France’s two largest luxury conglomerates.

Kering CEO François-Henri Pinault attended alongside his wife, actress Salma Hayek, who wore a tailored Gucci coat. Gucci is Kering-owned.

The event, marking the culmination of an 840-million-euro restoration effort following a devastating 2019 fire, brought together global dignitaries and cultural icons.

The Notre Dame restoration united France’s corporate giants. Arnault’s 200-million-euro donation was the largest, followed by 100-million-euro contributions from Pinault and the Bettencourt-Meyers family of L’Oréal. Over 250 companies and 2,000 craftspeople contributed to the five-year restoration effort, which reconstructed the spire, repaired vaulted ceilings and restored stained-glass windows.

As the bells of Notre Dame rang out across Paris, the cathedral’s rebirth stood as a testament to collective effort — but also for some as a symbol of how France’s seats of power and its prized luxury industry are inextricably intertwined.

French President Emmanuel Macron and Brigitte Macron welcomed heads of state, including President-elect Donald Trump, Britain’s Prince William and Elon Musk, to a ceremony steeped in tradition — and high fashion.

Arnault attended with his family, including Dior chair and CEO Delphine Arnault, LVMH image and environment director Antoine Arnault, Moët Hennessy deputy CEO Alexandre Arnault, LVMH Watches CEO Frédéric Arnault, and Louis Vuitton product and development director for watches Jean Arnault. Antoine Arnault’s wife, model Natalia Vodianova, was also in attendance.

“I am proud of the outpouring of generosity from all over the world, to which the LVMH Group and my family wanted to contribute from the very beginning, which has enabled the restoration of this jewel of our heritage,” Antoine Arnault said in a statement posted to LinkedIn.

“This extraordinary project highlighted the excellence of French know-how and the talent of nearly 2,000 architects, workers and craftsmen of all trades,” he added.

Yet, public reaction was mixed

Papuna Biliseishvili, 24, who watched the ceremony in Paris, quipped, “If the devil wears Prada, the cathedral wears Louis Vuitton and Dior.”

Cari Lefebvre, 27, said “this is the most PR the Catholic Church has seen in centuries.”

Marie-Claire Dubois, a 45-year-old Catholic worshiper from Paris, expressed her disapproval. “This is a sacred place. It is beautiful that these companies contributed, but the branding should have remained outside.”

While the grandeur of the reopening sparked debate, Arnault’s donation and LVMH’s contributions to the cathedral restoration—including 36 300-year-old oak trees for the spire—have been widely praised.

LVMH’s influence at the Paris 2024 Olympics further cemented its stellar year. The company crafted custom display cases for 5,000 medals and the Olympic torch, showcasing its artistry and precision. Berluti, another LVMH brand, designed costumes for the opening ceremony, while an Olympic-themed Vogue World fashion show, supported by the group, drew international attention during Paris Couture Week.

Tensions between Arnault and Pinault, the driving forces behind LVMH and Kering respectively, were on full display with their brands’ prominent appearances at the cathedral. This rivalry dates back decades to a bitter bidding war over Gucci in the late 1990s, which Pinault’s Kering ultimately won. Since then, their competition has extended beyond fashion into the realms of art, philanthropy and global influence.

In Notre Dame, French luxury was also championed by the French Catholic church — and was on display even in the stitch of the liturgical vestments. French fashion designer Jean-Charles de Castelbajac was called on by the church to design the cathedral’s 2,000 garments. The unorthodox designs were fun, modern — and perhaps shockingly minimalist. They ensured that even the clergy’s robes reflected high-fashion artistry, further underscoring the intersection of faith and fashion at the event.