Met Gala Fashion Police w/ Elena Velez

Summary

Red Scare Podcast: "Met Gala Fashion Police w/ Elena Velez"

Date: May 6, 2026
Hosts: Anna Khachiyan & Dasha Nekrasova
Guest: Elena Velez
Summary by: [Red Scare Podcast Summarizer]

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Episode Overview

This episode of Red Scare delves into the 2026 Met Gala, offering a ferocious, witty, and deeply-insider fashion critique. Cultural commentators Anna and Dasha, joined by designer and friend of the pod Elena Velez, break down the night's most notable looks, dissect the event's shifting cultural relevance, and riff on the contradictions and dramas of the contemporary fashion world. The tone is sharp, irreverent, and highly self-aware, blending personal anecdotes with industry critique, and peppered with great one-liners and memorable moments.

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Key Discussion Points & Insights

1. Pre-Gala Banter & Setting the Scene (00:23-05:20)

• Casual talk about what everyone's wearing—heavy emphasis on "realness" over glamour (Walmart, Aritzia x TJ Maxx, Brandy Melville).
• The hosts mention a visual PDF slideshow made to accompany the episode for Patreon subscribers.
• The exhaustion of “working hard for one day” sets the mood of burnt-out energy and anti-hype.
• Digression into productivity tools and the irony of needing gadgets to avoid tech addiction.
• Quote:
  “It's crazy. There's like, a whole, like, micro economy of, like, tools to prevent you from going on your phone.” —Elena (05:10)

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2. The Met Gala Theme & Its Contradictions (07:27-13:17)

• The group grapples with the official and unofficial Met Gala themes: “fashion is art,” "the dressed body," and the exhibit’s title, “Costume Art.”
• Elena and Bianca note the confusion for both celebrities and designers when themes cross costume and art, making the premise too literal.
• Discussion on performative inclusion (e.g., disabled attendees), with tongue-in-cheek suggestions to “push it” further.
• Quote:
  “There was, like, a kind of unintentional theme that emerged, which was like, mother-daughter vibes, incest. Because, like, Kris Jenner showed up with all her girls and Nicole Kidman had her daughter.” —Elena (09:03)
• Breakdown of the difference between costume and couture; critique of literal artistic references on garments.
• Quote:
  "If you’re trying to convince people that fashion is art, everyone is already convinced of this. ...it is counterproductive to your argument to need to refer to other genres of art to justify this." —Cited from Dennis (13:06)

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3. Celebrity Looks: Praise, Critique & Fashion Philosophy

Emma Chamberlain (15:00-17:26)

• Consensus: Look read as “ice skatery,” “cupcake decorating.”
• Noted for real paint as surface decoration, “well-constructed” but not inspiring.
• Praise for non-toxic vibe.

Rihanna (18:48-22:29)

• Acknowledgement of her aura and flawless color choices, but feeling the styling let her down (“Grendel’s mother”), too shielded or “guarded.”
• Missed sexiness—Rihanna as “closed off” at recent Galas.
• Critique of ASAP Rocky’s mismatched look.
• Quote:
  “It could have been a good Fenty moment if they were wearing the nipple bra.” —Anna (20:07)

Lena Dunham (23:00-24:28)

• Celebrated for making a “protected” return, channeling old Hollywood glamour with a contemporary edge.
• Discussion of collaborating with Michaela Stark—eroticizing the “bound body” and non-ideological treatment of fuller forms.
• Praise for Lena's decision not to “humiliate herself or do body horror” but maintain dignity.

Hunter Schafer (27:44-33:45)

• Universally adored by the group: confounding, risky, yet “just works.”
• The “tears” on the dress as metaphor. Reclaims “expensive,” “uncanny” but “satisfyingly pretty.”
• Commentary on the risks of experimental design and “happy accidents.”

Doja Cat (34:21-36:00)

• Plusses: color, shimmer, "wet, Cronenbergian" silicone effect.
• Seen as “Miami stripper” in stills, but “incredible” in motion.
• Notes on transformation from last year’s prosthetic cat look.

Tate McRae, Sabrina Carpenter, Charlie XCX, Cardi B, Rachel Sennott (38:43-54:15)

• Generally mixed-to-positive for Tate McRae and Sabrina Carpenter—praised for body and elegant proportions despite conservative dress choices.
• Cardi B’s padded Marc Jacobs look: divisive. Bianca loves the exaggerated proportion and body modification narrative, Elena calls it “BBL exploded,” Anna notes the “diseased” intrigue.
• Rachel Sennott: compared to ‘90s cartoons, seeming discomfort in the dress.

Beyoncé (55:52-58:57)

• Hosts dislike the look for being “too busy,” “Illuminati, Mayan, Frida Kahlo de los Muertos” vibes.
• Debates her place as "the Erika Kirk of pop stars”—too unlikable to be exciting.
• Quote:
  “She knows that they're gonna say it's... she’s doing the satanic spectacle." —Anna (57:37)

Kardashians (63:06-72:12)

• Kendall Jenner: Hosts’ favorite of the night—praised for simplicity, color theory, and clever construction.
• Kim Kardashian: Backlash for “Bianca Censori cosplay,” with complaints about distracting hair and back view.
• Hailey Bieber: Criticized for awkward colorway and lack of cohesion, with references to the “nipple bra” trend.

Other Notables

• Zoe Kravitz: Called out for taste and modesty, especially compared to rows of flashier, less tailored looks.
• Kate & Lila Moss: Kate lauded for going “back to the old days” of subtle, party-girl glamour; Lila’s constant comparison flagged as a setup.
• Alysa Liu & Eileen Gu: Both seen as happy to be included, but their looks critiqued for being juvenile or novelty (bubble dress).

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4. Fashion Industry & Met Gala Meta-Commentary

On Brand/Designer Strategies & PR (38:02-52:32)

• Emphasizes how brands pair celebrities for ROI, and that stylists often provide limited choices to attendees.
• Quote:
  “It's literally a lottery ticket... a stylist, when you give a piece, has a hundred other things." —Bianca (43:52)
• Artistry vs. commerce: lamentation over incoherent narratives across designer houses at the Met.

On Culture, Wealth, and Social Critique (131:27-135:38)

• The group deconstructs criticism of patrons like Bezos and Sanchez, suggesting you “can’t have it both ways”—the arts have always needed “evil” money.
• Argues democratization has made the Gala “too ghetto, too commercial,” losing its elite mystique; recommends restoring the credibility and boundary-keeping of elites and tastemakers.
• Quote:
  “My most fascist take, honestly, is that we should restore the credibility of the elites and the tastemakers.” —Bianca (133:30)

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5. The Role of the Met Gala & State of Fashion (140:08–147:54)

• Reflection that, despite its flaws, the Met Gala is culturally important for the patronage of the arts and for “taking the temperature” of the zeitgeist.
• The “Depression/Flapper era” styling is seen as indicative of contemporary economic malaise.
• Fashion is increasingly risk-averse, with financial and spiritual austerity cited as root causes.
• Joan Rivers’ absence noted for contributing to banality and lack of sharp comment—nobody takes risks or says anything new.

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6. Fashion as Art (148:26–149:50)

• Group deems the theme “Fashion is art” uninteresting and too broad—creativity comes from constraints.
• Call for future themes to be more concrete and actionable: “impressionism,” “Gilded Age,” or “Tom of Finland.”
• Quote:
  “Fashion is art is not that interesting. And it's reflected kind of in the looks.” —Anna (149:41)

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7. Closing Reflections & Designer Life (143:44–151:08)

• Elena shares the struggle of surviving as an independent designer in an industry with sales in decline—building a “parallel economy” of sponsors and patrons.
• Rues that in prosperity, one could be “problematic and solvent,” but now even faint controversy is career-ending.
• Discussion of the concept behind Elena's controversial runway shows (e.g., casting Adam Freeland as a model).

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Standout Quotes & Moments

• Anna on themes:
  "Give someone like a hard boundary. And then, like, that's where creativity happens is when people have, like, restrictions." (149:25)

• Bianca on Haute Couture:
  “Costume is more of a visual art than, like, an architectural consideration.” (08:13)

• On inclusivity performance:
  “Show me the quadruple amputee... How do you dress an armless, legless body?” —Elena (10:15)

• Elena on fashion industry contradictions:
  “There’s a whole micro economy of tools to prevent you from going on your phone.” (05:10)

• Anna on Met Gala democratization:
  “The real problem with the Met Gala is that they democratized it too much… it should be an elite walled garden.” (133:19)

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Notable Timestamps

• Theme discussion & confusion: 07:27-09:48
• Mother-daughter/incest undercurrent: 09:03-09:28
• Literal art references take-over: 11:44-13:17
• Best-dressed: Hunter Schafer: 27:44-33:45
• Cardi B’s divisive look: 50:22-52:33
• Beyoncé critique: 55:52-58:57
• Kendall Jenner’s rave reviews: 69:07-72:17
• On democratic/elite tensions: 131:27-135:38
• Industry bleakness/designer struggles: 143:44-147:54
• Fashion-art debate wrap-up: 148:26-149:41

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Final Thoughts

This marathon episode stands as a sardonic, trenchant record of the state of celebrity fashion and the Met Gala’s shifting place in pop culture. Anna, Dasha, and Elena offer both granular and sweeping assessments: from the execution of a single bodice to the malaise of the entire industry, never hesitating to call out banality, performative activism, or design-by-committee. They mock the rising influence of AI and influencer culture, mourn the lack of genuine risk-taking, and long for the days of sharper, less-documented exclusivity. For all their withering takes, however, their affection for fashion’s potential and love of the annual spectacle ultimately shines through.

Transcript

[Anna]

If you gesture with your hands, then move the mic back right into that. Into that range.

[Bianca]

Yes. Can you hear me?

[Anna]

Yeah, I can hear me too. What are you wearing?

[Bianca]

What am I wearing?

[Anna]

Yeah.

[Bianca]

I'm wearing Head to Toe Walmart.

[Elena]

W. Babe, this is no boundaries.

[Anna]

You look cozy.

[Bianca]

Nolla's Met Gala Head to Toe custom.

[Elena]

You look good, girl.

[Anna]

So that's Head to Toe Walmart.

[Elena]

You look fine.

[Anna]

And the socks, the dry fit.

[Bianca]

Yeah, back when I was cool enough to get gifted socks.

[Elena]

Wait, are we recording?

[Anna]

Yeah, we're just going.

[Elena]

Elena has, like, the. The Nike. What?

[Bianca]

I got the. You know, the Nike socks.

[Elena]

No, no, the sneaker.

[Bianca]

The sneaker.

[Elena]

What's the sneaker?

[Anna]

I don't know.

[Elena]

What's that model called? The one you're wearing? It's like a hood girl sneaker.

[Bianca]

It's Almost the black AF1, but not quite as cursed. It's got these, like, little jelly turbo things on the bottom of them.

[Anna]

Oh, I've seen those.

[Elena]

Yeah, but it's like what. What sexy little hood rats wear when they get out of high school and go smoke weed in the park with they mans.

[Anna]

Anna, what are you wearing?

[Elena]

Aritzia, baby.

[Anna]

Head to Toe.

[Elena]

No, I'm wearing Aritzia X TJ Maxx.

[Anna]

Yeah. What's the top?

[Elena]

The top is like a really old Aritzia top back when it was, like, way more based and they had good designs and it's like a Serge Diaghilev, like, ballet R. So I thought it

[Bianca]

was the pumps merch that Mariah gives us all.

[Anna]

It's totally.

[Elena]

And then the. These are like yoga pants from TJ Maxx or Marshalls, I don't know. But they're a cute boot cut. And I haven't been able to find anything comparable since. But yeah, Aritzia used to be really good.

[Bianca]

Did it?

[Elena]

It opened. Yeah. And then they started doing these kind of cookie cutter, uninspired, like, Asian girl boss fashions. What are you wearing?

[Anna]

I'm wearing Brandy. This is from an ex boyfriend, but he probably got it on ebay.

[Elena]

What's it say it's for?

[Anna]

It's a neon. It's an anime T shirt.

[Bianca]

Oh, cool. I see it. Nice.

[Anna]

And it says, God is in his heaven. All is right with the world from Neon Genesis Evangelion.

[Bianca]

What a sentiment. Cool. We look great. We look great as a unit.

[Anna]

Yeah, we look so off. We're serving. Um, would be great to have a visual component.

[Bianca]

A hundred percent.

[Anna]

But I made a PDF slideshow. Yeah, it's so cute that people can look At. While they listen to the pod.

[Bianca]

I love that.

[Anna]

And then they can imagine their.

[Bianca]

We should sync it to the slideshow. Dumb.

[Elena]

Because I was like, why this bitch? Putting so much effort into this PDF, Right. For us, like, only we're gonna see it. And then I was like, oh, wait, it's going up on the Patreon.

[Anna]

We could. I could make an audio. Like, we could sink it potentially.

[Bianca]

You should do that for all of your guests. Like, do a running slideshow of just

[Elena]

images that correlate to the.

[Anna]

We work so hard. We work where we've been working so hard.

[Bianca]

We're visual artists.

[Anna]

I mean, sure. Oh, you need a lighter.

[Elena]

Yeah,

[Bianca]

Yeah.

[Elena]

I. As I told you, I literally have heartburn from working too hard for one day out of the year.

[Bianca]

What was your day like, Anna?

[Elena]

I mean, we.

[Anna]

We went.

[Elena]

We got shipped to Connecticut to do Megan Fun. Came back, did child care, and now I'm here in the studio chopping it up with you ladies. Nice.

[Bianca]

I should bring my kids next time.

[Elena]

Did something more than childcare, but okay.

[Anna]

I played.

[Bianca]

We're back.

[Anna]

I played some. I took a chess break for a few hours.

[Elena]

Nice.

[Bianca]

What's your score?

[Anna]

Like, bad right now, but it oscillates. But it's not.

[Elena]

It's a bad.

[Anna]

It's something really toxic in my life. I just got a brick. It's one of those, like, productivity. It's like a physical.

[Bianca]

Oh, for your phone that makes it, like, heavy so you can't pick it up and. Is that the one? No, no, that's phone cases that are, like, super.

[Anna]

So heavy you can't lift a lockbox.

[Bianca]

Yeah, yeah, yeah. The phone is. So I got me one. No, but it's not a lockbox. It's like a case for the phone that's just so heavy that you don't lay in bed and scroll.

[Elena]

Yeah. Oh, and there's another one that's just, like, a clear plastic case that you lock the phone into.

[Anna]

Like, when you go to. Is like you. Is a magnet or something. You touch your phone to it. It disables your, like, apps. Whoa. And to get it back on, you have to physically touch it. Okay. So it kind of forces you to commit more because you have to physically go to it and, like.

[Bianca]

Yeah.

[Anna]

Take action. To scroll again.

[Elena]

It's crazy.

[Anna]

But watch me not use it. That's the hack.

[Elena]

But it's crazy. There's like, a whole, like, micro economy of, like, tools to prevent you from

[Bianca]

going on your phone. No, it's crazy. That's. Yeah.

[Elena]

Who would have thunk.

[Anna]

But we were just talking. We were. We're going to discuss the Met Gala.

[Elena]

We have to. Did we intro? Oh, God, we're so stupid.

[Anna]

See, this is why she lives in Connecticut. We live in N word hell. Welcome back to Red Scare. I can't even do it the way she does. Welcome back to Red.

[Elena]

Like, I.

[Bianca]

Welcome back to Red Scare.

[Anna]

She's not that peppy. She is very, like, professional intelligent. Welcome back to Red Scare. We've got a very special guest. Hi, dear friend of the pod, Miss Elena. Hello.

[Bianca]

What a fun night. Crazy.

[Elena]

It really be like.

[Anna]

Yeah, but Pinterest.

[Bianca]

Yeah.

[Anna]

I'm happy being on Pinterest because I use it and it feels like. No.

[Bianca]

I'm obsessed with Pinterest.

[Elena]

Do you ever, like, see yourself on pin?

[Bianca]

That's cute. All the time.

[Elena]

Wow. Yeah.

[Anna]

You're on Pinterest, too.

[Elena]

Damn. I haven't been on Pinterest in years. But

[Anna]

it's a good alternative to. To the other, more toxic apps.

[Elena]

Yeah.

[Anna]

Though it has its. Whatever. We've got a lot of looks to get through.

[Elena]

I got a lot of looks to get through Pinterest.

[Anna]

Last time we did this with Kupo.

[Bianca]

I know.

[Anna]

No long.

[Bianca]

We need to bow our heads and do a Paul Koopa Land acknowledgment.

[Elena]

I think we should.

[Anna]

Betty's happy not to do it because we were all so exhausted by the end of it.

[Elena]

It really.

[Anna]

It's. You'll. It takes.

[Bianca]

I know.

[Anna]

I'm ready.

[Bianca]

Let's go. I mean, I'll critique at Parsons, and it's like two and a half hours that.

[Anna]

Let's crit mode. Logging in. Bianca. Did you see Bianca Sensory at the. She went to, like, an architecture school

[Bianca]

and did a crit. That's so cool.

[Anna]

She looks so bossy and, like, I

[Bianca]

love her so much. I think she's awesome.

[Anna]

I'm sure we'll circle back to her. Let's go first. First.

[Bianca]

Oh, we're just jumping in.

[Anna]

Let's do it.

[Elena]

I have to keep touching the computer so it doesn't go black.

[Anna]

Emma Chamberlain. Oh, wait.

[Elena]

Should we introduce the theme?

[Bianca]

Yeah, let's do better. Let's do better first. And then, like.

[Anna]

Well, I said we're going to talk about the Met Gala.

[Bianca]

Okay.

[Anna]

But it's also probably.

[Elena]

No, no, but, like, the theme of the Met palette.

[Bianca]

Of course. The. The dressed body.

[Anna]

The theme. The theme is technically costume art, which is shade.

[Bianca]

Because, like, costume and couture should have, like, no thematic alignment.

[Anna]

Say more costume. Is it costume art? First of all, that is the. I know. The dress code is fashion is art.

[Bianca]

Yeah.

[Anna]

And it's for the exhibit. Costume art.

[Elena]

This already sounds too complicated for celebs to follow. Yeah, they're like multiple.

[Bianca]

Right.

[Anna]

The dressed body. But say more about couture.

[Bianca]

I just feel like it has a level of historical intentionality to the way that it is considered that transcends the idea of costume, which is more of a visual art than, like, an architectural consideration. Could be wrong. I guess it really depends on the eye of the beholder, but.

[Anna]

No, I know what you mean. You know, costume does.

[Bianca]

I get shaded all the time for, like, having fashion that reads as costume, as couture. Yeah, it's couture.

[Anna]

But I mean. Yeah, I guess. I guess that's something interesting. Maybe that they're exploring at the exhibit in addition to different kinds of bodies.

[Bianca]

Yeah.

[Elena]

In addition to the unofficial theme, which is being disabled,

[Bianca]

in which case I should have gotten top placements.

[Elena]

But there was, like, a kind of unintentional theme that emerged, which was like, mother daughter vibes, incest. Because, like, Kris Jenner showed up with all her girls and Nicole Kidman had her daughter.

[Bianca]

Yeah. Blue Ivy was up in there.

[Elena]

Blue Ivy was up in there. I guess wanted Northy to show up, but she didn't.

[Anna]

I bet she didn't want her to show up.

[Bianca]

Interesting. I didn't catch that, but you're right.

[Elena]

Yeah, it was. It was older women mogging. Right.

[Bianca]

Right. No, it's so true. So true. That's so funny. It's like they keep trying to find these, like, platitudinal and foolproof concepts for the Met Gala to make sure that nobody gets canceled. Nobody has, like, and accidental.

[Anna]

Even with the deformed people, the disabled. Well, what I was gonna say is there should have been more. Like, I want to see a leper. You know, I want to see Push it.

[Bianca]

Like, push it.

[Anna]

Like, let's get. Really get.

[Elena]

Yeah.

[Anna]

Like, okay, we all know about the black tranny in the wheelchair with cerebral palsy. Seen it. A dwarf. Like, okay, but, like, where's a real show? There was someone with an amputee.

[Elena]

Show me the quadruple amputee.

[Bianca]

Yeah.

[Anna]

Who shot someone on.

[Elena]

Made it to the New York Post.

[Anna]

He should be there.

[Elena]

Yeah.

[Bianca]

Damn.

[Anna]

Like, show me. Yeah.

[Elena]

How do you dress an armless, legless body? Oh, you just drape.

[Anna]

Like, Same way you dress a cerebral palsy, wheelchair bound woman of color.

[Elena]

Yeah.

[Bianca]

But, like, I had to unblock my worst haters to get up to date feedback on the Met Gala.

[Elena]

I Know, well, not that I have her blocked or anything. I don't. But our girl Ella Debbie.

[Bianca]

Yeah,

[Elena]

she made a tweet that was like, showcasing some looks from Matt Gallows of yore where it looked like just like hot rich people going to kind of a dressy party to do coke and like, talk at each other.

[Bianca]

And.

[Elena]

And I almost feel like the. The stunt dresses take away from the appreciation of the fashion because you measure everything relative to them. You know what I'm saying? Like, it's like, yeah, okay, like people doing crazy like Nike of Samothrace or whatever.

[Anna]

Like, who was the first bitch to do a really long train at some. Someone had to do that first. And now. Yeah, anyone's doing it.

[Elena]

There are historical references are always funny because it's like Gustav Klimt and John Singer Sargent. Madam Every is referencing Madame X because she was like a high fashion bad girl. And at the time, that portrait was controversial. But like, I. I like all the looks that, like, get lost in the

[Anna]

fray because some of those are, like,

[Elena]

simple and classy and sedate.

[Bianca]

It's the hardest thing to do.

[Anna]

Yeah.

[Bianca]

To say the most with the least amount of, like, technical gestures

[Anna]

and. Yeah. People either interpret it as like a literal artwork that the garment mimicked or they like, used paint or.

[Bianca]

Right.

[Anna]

Modes of totally literal applications.

[Elena]

Yeah.

[Anna]

Well, there was that great post from who was it?

[Elena]

Dennis.

[Bianca]

Right.

[Anna]

Yes. That the conceit that fashion is art isn't something that I ever even really debated.

[Elena]

Yeah, yeah. Everybody, I can pull this up.

[Bianca]

So it doesn't need to be referential to, like, other art forms.

[Anna]

Yeah. It kind of takes away from that premise. Yeah. By being like, oh, fashion is art. Like, okay, I'll wear like a dress with paint on it.

[Bianca]

Right. Because paints art.

[Elena]

Yeah.

[Anna]

So what if fashion was paint?

[Bianca]

Yeah.

[Elena]

Yeah. What if we did, like, Starry Night on a dress?

[Bianca]

Right. Literally that.

[Elena]

What if we did Guernica on a dress?

[Bianca]

Yeah.

[Elena]

He said it seems like if you're trying to convince people that fashion is art, everyone is already convinced of this. It is counterproductive to your argument to need to refer to other genres of art to justify this. So true, King.

[Bianca]

Yeah.

[Elena]

And everybody just, like, interprets it either too open endedly or too literally. A lot of girls love referencing, like, classical sculpture with the 3D printed bodice of a, like, torso because it makes you look thinner yet more curvaceous.

[Bianca]

Yeah. None of them were willing to commit to the bit of, like, pure art at the expense of looking hot.

[Elena]

Except for Heidi Klunt.

[Bianca]

Yeah. There were a. Exactly.

[Anna]

And Lena Dunham.

[Elena]

And Lena Dunham. But it's like, you know, the Heidi Klum thing was a missed opportunity because it's like this is the Met gala. Like, not your fucking Halloween party. Like, she looked like a costume.

[Bianca]

Yeah. No, we were talking about that. Like, if she had reined it in another 40%, she would have nailed it. Like, you had a good point. Let her be hot.

[Elena]

Yeah. She needs to let her be hot.

[Bianca]

Yeah.

[Anna]

And it's just literally like, I know a Russian guy in Las Vegas who dresses up like a living statue and works at the Venetian. Like, like that's just someone's. That's their culture.

[Bianca]

Right, right.

[Anna]

She's appropriating living statue culture.

[Bianca]

Valor.

[Anna]

And he does that for. For dollars that people cross his way.

[Elena]

So true. Green.

[Bianca]

That's so funny.

[Anna]

So I included Emma Chamberlain, even though this look didn't particularly do it for me. But she did show up at like 4:30.

[Elena]

Yep.

[Anna]

I was like lying in bed being like, when can I watch, you know, the Mac Al? And then I'm scrolling and I'm like, oh, look pretty.

[Elena]

She's here early.

[Anna]

She showed up and she got a lot of press for it.

[Bianca]

Yeah.

[Elena]

She's like a TikToker or YouTuber or she's some kind of.

[Bianca]

I think.

[Elena]

Yeah. YouTube influencers be like, they love to show up.

[Bianca]

Multidisciplinary envelope.

[Elena]

Yeah.

[Bianca]

Yeah.

[Elena]

I wonder if there's a thing like. Okay, my question is like, is it at your discretion when to show up or is there like a staff?

[Bianca]

No, no, it's a schedule. You get a 15 minute window. And it's crazy because they're all lined up in the tent before they the carpet.

[Anna]

But I bet some people have more pull. Obviously it's.

[Bianca]

And they show up whenever they get like an hour window.

[Anna]

Right?

[Elena]

Yeah. So all the. All the big wigs like Beyonce and Rihanna obviously showed up super late. I love that dash is spelled Emma Chamberlain. The Armenian way. Emma Chamber Lean.

[Anna]

There's probably some typos in this.

[Bianca]

Keep them.

[Anna]

But I worked hard.

[Elena]

Yeah. I do love the color coding.

[Bianca]

I like the dress. It made me really want to re watch Blades of Glory. That was kind of like my. Yeah. Hell yeah. Everything just reads as like ice skatery. Which I think is kind of a choice.

[Anna]

Yeah. I mean this one, I guess, notably had real paint.

[Elena]

Yeah.

[Anna]

Which doesn't really do.

[Bianca]

In my day at art school, they called that cupcake decorating. Like when you took a basic dress, a basic ass silhouette and you just like innovated with surface treatment or, like, just decorated it. It's cupcake decorating, so.

[Anna]

But the dress does have an interest.

[Elena]

The train's beautiful.

[Bianca]

The dress is, like, super well constructed.

[Elena]

Yeah. I like that she went with, like, a kind of pixie mullet.

[Anna]

It is art.

[Bianca]

Yeah.

[Elena]

It's giving art. It's like the intersection of Kohl's and Michaels jewel tones.

[Bianca]

Okay.

[Elena]

But I get what she's going for because it's like a. An impressionist or post impressionist. Yeah.

[Anna]

You know, wilting flower.

[Bianca]

It's so funny to me that, like, memento mori. Yeah.

[Elena]

Yeah. You know, it is kind of also giving Georgia o'.

[Anna]

Kee. Totally. I bet that was on a mood board.

[Bianca]

It's so funny that PETA showed up and did, like, an anti feather performance slash display, like, literally days after the CFDA banned fur on the New York Fashion Week runways. So, like, they came off a big win, and then they found a whole ass other thing to be petty about.

[Anna]

Give them incredible, bro.

[Elena]

Honestly, I can't believe PETA's still at it.

[Bianca]

Yeah. They got way in New York City.

[Anna]

Listen, Morrissey's a big advocate for them. Is he put him in the m. I mean, right?

[Elena]

He would never. He's never been asked.

[Anna]

Megan kept complaining about how there weren't real celebs there.

[Bianca]

So true.

[Anna]

No, they're kind of were there. There were. I mean, she was talking about, like, Sandra Bullock.

[Bianca]

Like, who wasn't there.

[Anna]

Yeah. Meryl Streep wasn't there. It's like. But like, Kim Kardashian's a real celeb. Yeah. Beyonce's a real celeb.

[Elena]

Rihanna.

[Anna]

Yeah. There's celebs. Lily Rose, Depp. These are celebrities. Yeah.

[Elena]

Yeah.

[Bianca]

Some spicy girls up in here.

[Anna]

I know.

[Bianca]

I would have loved to have seen, like, a Whoa. Vicky moment. That would have been crazy. I miss Grimes at the Met gala.

[Elena]

I know.

[Anna]

So I know there's not a lot of quirked up hoes.

[Elena]

Yeah.

[Anna]

Really in the mix. Rachel.

[Bianca]

Yeah.

[Anna]

Though she's the quirkiest there.

[Elena]

So she's.

[Anna]

Oh, yes. Besides Lena. Lena's holding it down.

[Elena]

Yeah.

[Anna]

But okay, next back,

[Elena]

Rihanna and Marella. First of all, I love that Dasha went with, like, the celadon green background.

[Anna]

All of these are, you know, doing,

[Elena]

like, a literal bronze.

[Anna]

I picked colors. I'm doing color theory.

[Elena]

I want to love it from synesthesia. I want to love it too. There's so many good elements. Like you said, the fabric is very posh and expensive looking. The color looks beautiful on her.

[Bianca]

Stunning the styling is just weird. Like, the proportions just serve Mike Wazowski a little bit. Like, in the Runway shot, they had it styled over the head like a hood almost. It was, like, concealing half of the face, and it just really worked and made the model look so tall and.

[Anna]

Yeah.

[Elena]

But she clearly wanted to show off her, like, makeup and hair, which I get. She kind of looks like Grendel's mother because it's not, like, doing her body any favors. Yeah.

[Bianca]

That's the thing I hate is, like, when they. The celebrities can't pull off.

[Anna]

I want to see more of her, Ted.

[Bianca]

Yeah, exactly.

[Anna]

Like I want to see more. She should have worn fenty.

[Bianca]

Yeah. Right. Was too busy, like, taking over the spotlight.

[Anna]

That could have been a good fenty moment. Honestly, if they're wearing the nipple bra.

[Bianca]

Right.

[Elena]

And I get how this is, like, such a classic and cliche art historical reference. Like Botticelli woman emerging from oyster shell or whatever. It is very, like, fertile and maternal.

[Bianca]

Yeah.

[Anna]

It's like. Yeah. I can't. I can't really hate on it because she's got aura. Yeah.

[Elena]

And she looks, like, good and beautiful, unlike Beyonce. But I just. Yeah. There's something about it I don't love. I did love her. I did like her look more than ASAP Rockies. And I hated that they were, like, clashing. He had, like, a pink smoking robe. Like Hugh Hefner

[Anna]

camp.

[Bianca]

Yeah.

[Elena]

Why is somebody ringing my doorbell at 10:17?

[Anna]

Do you want me.

[Elena]

Should I see about that? No, it's fine.

[Anna]

I'll just ignore if they ring again.

[Elena]

Yeah.

[Bianca]

Yeah. I think she looks beautiful. I love it. The color and the drape is so nice. Metallic. It looks very, like, cosmic.

[Anna]

There's some.

[Elena]

It's.

[Anna]

There's something interesting to it.

[Elena]

Yeah. I. I like how, like, subtle the color is.

[Anna]

She always kind of hides herself at the Met Gal. I feel like she doesn't really want to be there.

[Bianca]

It's been a while, right. Since she did something super sexy.

[Anna]

She always, like.

[Elena]

And.

[Anna]

But she just released also, like, a fenty, like, cotton Basics campaign where she's showing, like, under boob. She looks extremely hot. And she is, like. She's less exhibitionistic.

[Elena]

Yeah.

[Anna]

Excuse me. I've had a long day. But she's always at the Metcal. I feel like she's very shielded.

[Elena]

Yeah.

[Bianca]

Yeah.

[Anna]

This is giving very, like, closed off.

[Elena]

Guarded.

[Bianca]

Yeah.

[Anna]

Which I respect, but makes me long, you know, I'm yearning.

[Elena]

My favorite Rihanna look is when she was super skinny and had the short hair.

[Bianca]

Yeah.

[Elena]

Because she looked so Good.

[Bianca]

The Crystal Swarovski gown.

[Elena]

Yeah, that was another good one.

[Anna]

Yeah.

[Bianca]

End of an era recession indicator. Rihanna in long sleeves.

[Elena]

But I like how she's like settled into her role as a responsible and doting mom. She's having a chaotic weed smoking.

[Bianca]

Yeah.

[Anna]

I love when she wrote the. Her bald bodyguard's head sitting on his shoulders. That was the best thing she ever did.

[Bianca]

Love to see it. Who's next?

[Elena]

Next. LD

[Anna]

Valentino.

[Elena]

I love it. I love it.

[Anna]

Me.

[Elena]

And she has the Valentin. The classic Valentino rock stud. P.S. which you would think would be like not her thing, but she's making it work.

[Bianca]

Y.

[Anna]

It's. It's dazzling.

[Bianca]

It's dazzling.

[Anna]

Did you see on the Vogue live stream, she said it was like it's the. Inspired by the painting of Judith cutting off.

[Bianca]

Oh yeah.

[Anna]

But she's the blood that's coming out.

[Elena]

Out. Yeah. Uhoh.

[Anna]

Okay, I'm going to pause whoever it

[Elena]

is to go away.

[Anna]

Okay, I'm pausing.

[Elena]

No, it's my landlord's like son or cousin checking in on a leak.

[Anna]

Well, not now. Nope.

[Bianca]

High budget production here.

[Elena]

It's always funny to go to like beautiful white people, Connecticut and then get deposited back in the ghetto. Have to deal with like leaks and roaches. Living the life.

[Bianca]

Lena. Lena.

[Anna]

And it's like. Yeah. Like Megan was trying to shit talk. It's like. I get it.

[Elena]

It's Eve.

[Anna]

You know, it's like. But that's her whole thing. She's made herself this like spectacle and like this bullseye.

[Elena]

Yeah, yeah.

[Anna]

You take the bait. Like that's on you.

[Bianca]

Yeah.

[Anna]

If you can't see that, she's like a female genius.

[Elena]

Right. But she's actually like not. She's not like leaning into Lena. Ing into.

[Anna]

No, it's very ugly or grotesque.

[Elena]

She's actually like channeling old Hollywood glam completely. Yeah.

[Anna]

And it's also very protected, which is like where she's at in her career after being so exposed.

[Bianca]

No, it says a lot. And I would have loved to have seen her. Like, I saw a couple of takes going around in a collaboration with Michaela Stark, who's another designer who I actually really unironically love. And she does a lot with like eroticizing the bound body. And she does all of this.

[Anna]

I saw that.

[Bianca]

Yeah.

[Anna]

Like the.

[Elena]

The belly out.

[Bianca]

Yeah. Like this aestheticized spillage and like building new silhouettes with body fat, which is actually quite interesting and non ideological way. Yeah, I know.

[Elena]

I love, I love that. It reminds me of this Polish female artist called Alina. Sapochnikov, who had, like, you know, a tragic and tormented life in Polish.

[Anna]

Polish the whole time.

[Elena]

And she made. She made amazing traditional marble busts of big breasted, big bellied, women, like, hearkening back to classical sculpture, but with, like a modern feminist spin. So I'm guessing that Micaela Stark is, like, directly referencing.

[Bianca]

Yeah, she must be. But, like, her work is really interesting and it's like one of the few instances where she addresses, like, fuller forms in, like, an apolitical way. Like, it really just is simply visually interesting, what she's doing. And we've done a couple of, like, museum exhibitions together and, like, her work is just always so eye catching and sensorial and atmospheric. It's great. It would have been really fun to have seen, like, a moment.

[Elena]

Consensual. Wait, this is the word.

[Bianca]

Yes, it's very much that.

[Elena]

Oh, yeah, it's like oversized, huge.

[Anna]

But I understand why she went this direction 100% because she's already been so.

[Elena]

Yeah.

[Anna]

Really cool.

[Bianca]

It's fun. And it's just like she did a collaboration with Victoria's Secret a couple of seasons ago, which was super, like, progressive in all the right ways.

[Anna]

I mean, it's very contemporary.

[Bianca]

Yeah.

[Anna]

Though Cardi B.

[Elena]

Could never.

[Bianca]

Like, the corsetry element of it all is just so.

[Elena]

Yeah.

[Bianca]

I think she's really exciting and I'm happy to see her here, but I

[Elena]

like that Lena went with, like a kind of beautiful and classic look and didn't try to, like, humiliate herself or do body horror. Yeah. Yeah. I like her makeup a lot. Like how stark it is. Bleached eyebrows are back.

[Bianca]

Yeah. Cool.

[Elena]

And, yeah, I love the. The burn marks and ingrown scars on her leg.

[Bianca]

Yeah. She's really, like.

[Anna]

She's showing us a little bit of her wounds, which obviously she could have covered up.

[Bianca]

Yeah, yeah.

[Anna]

But then. Yeah, she's armored.

[Elena]

Yeah. Yeah. And it reminds me a little of, like, honestly, like, Toulouse Lautrec's paintings and prints of, like, French prostitutes.

[Bianca]

So true. She's amazing. I'm so happy to see her thrive. Girls. Uplitzing girls.

[Elena]

Yeah. Next slide, our girl Hunter.

[Anna]

And the next slide also is the Train.

[Elena]

It's a gorgeous.

[Anna]

It's my. Her and Kendall are my favorite.

[Elena]

Yeah.

[Bianca]

She looks incredible.

[Anna]

And they both. Yeah. Have ripped white.

[Bianca]

Yeah. The dress is confounding in all the right ways. You're not meant to look directly at it. It's like one of those things where you just take in the full vision and you don't let your eye Rest anywhere in specific, and it just totally works.

[Elena]

You don't let your eye focus on the AGP stare.

[Bianca]

No, but, like, the tears and the dress are just so seemingly discordant and dissonant and bizarre.

[Anna]

They don't make sense the way, like, real makes sense. The way that, like, real terrors kind of don't make sense. Makes sense in a way.

[Bianca]

She looks amazing. The glam.

[Anna]

Oh, the glam.

[Elena]

The whole look is very dollar Shakur. Like,

[Anna]

it's unbelievable. I'm in love.

[Bianca]

She looks like Ms. Hooverville, like, she escaped some kind of shanty town from the 1930s.

[Elena]

But this is, like, a direct reference to, like, a little girl in a Gustav Klemp.

[Bianca]

Yeah, yeah.

[Elena]

Which is like. Like a. A horny Gooner pedophile fantasy thing.

[Anna]

But I don't. That makes it better.

[Elena]

Yeah.

[Anna]

Honestly, that makes it even better than degenerate art is. It's, like, kind of, like, true and attractive and, like, it's. It's so good.

[Bianca]

Yeah, yeah.

[Elena]

It's. It's uncanny and confounding and.

[Anna]

But also, like, satisfyingly pretty, too. It's really, really the fabric I love. And you can see, like, her. A ditzy floral. I haven't seen a ditzy floral I liked in so long, ever since the Evie Mag sundress came out. Well, remember the.

[Elena]

The look? Kim did, like, many met galas ago. That was, like, the carpet dress with the fully gloved hands, and it was like.

[Bianca]

Yeah. Where she looked like a couch. Yeah, yeah, yeah, yeah, yeah. That was great. Yeah.

[Elena]

It's, like, upholstery chic. Yeah.

[Bianca]

But I like this because it's kind of referential to when they took the sugar sack in the. In the 30s. Like, this just gives me great Depression. There's something about this that just so. Like, we did a show about the themes of the Great Depression last season, and it. There's something about it that just feels so now.

[Anna]

Totally.

[Bianca]

They would repurpose the sugar sacks because they came in these, like, beautiful floral textiles and turn them into, like, womenswear fashion because nobody could afford fine textiles.

[Anna]

That was a great show.

[Bianca]

Thank you.

[Elena]

Yeah.

[Bianca]

Thank you, girl. Thank you.

[Anna]

Honestly, it also reminds me of one

[Elena]

of my favorite JSS paintings, which is, like, the little girls fashioning paper lanterns in their yard. It is very, like, Lolita Kinderhor. Poor.

[Bianca]

She looks amazing. She looks so milky and cherubic, and

[Anna]

I love her coloring is for me, it's. When she did the windswept Prada thing, too. It's a Prada. Is Doing very, very, very, very favorite. And I didn't put her in this, but Carrie Mulligan also was wearing Prada in this. It was interesting. Like, Star. No one really looked at it because I went through the whole Vogue thing. I should have put it in because it was kind of a minor. I already pay for Vogue business expense.

[Bianca]

Nice. You know? Well, and I'm asking my friends to read my own reviews.

[Elena]

No, I'll give you the log.

[Bianca]

I don't want it.

[Anna]

Okay.

[Elena]

Well, the other thing that I would say for this look and for Hunter Schaefer in general, is that the Met gala in recent years has been besieged by D listers. Like, it is a very, like, poor and tacky and ghetto event now. And she actually always looks really expensive.

[Bianca]

Yes.

[Elena]

Which is not very tranny coded of her.

[Anna]

I think you.

[Bianca]

It's a risky dress, too. It's risky.

[Anna]

It's working.

[Bianca]

It's working.

[Anna]

But it reminds me of my wedding dress. Not the one you made, but the

[Elena]

other one with the pop sleeve. Wait, why do you say it's risky?

[Bianca]

Because it. I don't see it making sense on paper. Like, I. It's something that you would struggle to convince a client of if you had to show them a 2D design. It's something that feels like it was really constructed in the round. And there are a lot of, like, happy accidents that would be really hard to, you know, just imagine in the naked mind. Like, it's something that you would have to kind of come across in experimentation

[Elena]

on the form, on. On that six foot two.

[Bianca]

Yes.

[Anna]

Frame helps.

[Bianca]

That helps.

[Anna]

The. Honestly, the.

[Elena]

The.

[Anna]

But the. The model's pretty big.

[Bianca]

Yeah. Yeah. No, no, no. She's, like, exactly the same height as any sort of model. So, like a fit model. Yeah, yeah.

[Anna]

Or like, even the. I remember when you were making my dress, I was so small, you couldn't use. You couldn't drape the fabric on the board.

[Bianca]

We had to. Wait, what do we use? Oh, my God. We used a stuffed plastic bag. I forgot all about that. That's so funny.

[Anna]

But as you were saying, like, also with art and experimentation, in great works of art, there's an element of, like, grace. And that can kind of only happen with, like, I don't know, miscarriage, premeditation.

[Bianca]

Yeah, that ruins it, because when you're not experimenting in the form, you're only designing what you can conceivably imagine in your head.

[Anna]

What you're going to 3D print for some Chinese person to wear. I kind of didn't. Yeah, there's a couple. Because I did. There's a whole, like. What's his name? Jason.

[Bianca]

Oh, Robert. One Robert. He.

[Elena]

He sure won the night.

[Bianca]

He did. He did. He did.

[Elena]

Yeah.

[Anna]

There's a whole section on him later. But mostly I didn't include the Chinese people because they made me feel demoralized, you know?

[Bianca]

What do you mean?

[Anna]

Just like, they're not American celebs. They just are rich. It's China's world. We're just living in it.

[Elena]

Yeah. They're just 3D printing looks. Yeah.

[Anna]

You know, it's like, okay.

[Elena]

They love those, like, anthropomorphic hands.

[Bianca]

Yeah. Yeah. There's a lot of that, wasn't there?

[Elena]

Yeah.

[Anna]

Moving on.

[Elena]

Yeah.

[Anna]

I'm telling you, there's a lot.

[Elena]

Oh, Doja, Cat and Saint Laurent.

[Bianca]

Y' all know I live for, like, something sticky. Like, I love a condom. I love a used condo.

[Elena]

Yeah.

[Bianca]

The color is stunning. The textile is really. I love rubber.

[Anna]

Yeah.

[Bianca]

The fit.

[Anna]

Silicone is not good.

[Elena]

It's not.

[Bianca]

But I With the favors.

[Elena]

Yeah.

[Anna]

The draping is kind of of good in a abject way for the silicone because it doesn't. It's not silk.

[Bianca]

Right.

[Anna]

And so it does kind of like shoulder wiggle in this way.

[Bianca]

Yeah.

[Anna]

And when I saw her moving,

[Bianca]

all

[Anna]

the pictures kind of don't do it justice. Right. When I saw her moving and it was kind of like shimmering and look,

[Bianca]

it looked like wet.

[Anna]

Wet and kind of like Cronenbergian. Yeah.

[Bianca]

Yeah.

[Elena]

I think in like a still photograph, it just looks like Miami stripper.

[Bianca]

Yeah.

[Anna]

But like, long aviation for the AVN Awards.

[Elena]

Yeah.

[Bianca]

I love to see Doja at the Met gala.

[Elena]

Yeah.

[Bianca]

I mean, trauma. If she can do it, I can do it too.

[Elena]

And she's showing the racist beautiful woman. She's. I love Doja. Even my mom be like, dming me like, oh, who's that girl?

[Bianca]

So funny because the year that I went, she was wearing the cat prosthetics.

[Anna]

Oh, yeah.

[Bianca]

That was funny that year. Oh, Carl Loggerfeld.

[Anna]

Oh, that was a good theme.

[Bianca]

It was a good theme. Yeah, it was cute.

[Elena]

This also kind of reminds me of our ill fated numero shoot with. Hey. Because it was a bunch of latex. Latex. Yeah. And so it's like very like, it

[Anna]

was an ill fated. My parents have that picture of me pushing my tits together framed in their home. They're very proud of that photograph.

[Bianca]

That's really sweet.

[Elena]

Actually.

[Bianca]

I have so many pictures of, like, of that in my house. Like, my mom has so many pictures of Me, like, looking like a 15 year old in my prom dress. Like in her home. Yeah, well, sort of like wholesome artifact.

[Elena]

Well, after the. The Heidi and Lenny scandal of them, like, modeling for intimacy or whatever, where all the right wingers were melting down, why didn't she bring her daughter? I don.

[Bianca]

Yeah, I want.

[Elena]

I wanted to see some, like, I wanted to see them rubbing their huge tits together on the red carpet. I'm surprised that she didn't bring Lenny or her equally sexy, by the way, black daughter, who right wingers also love to donk on, even though she's just as hot.

[Bianca]

Yeah, they look great as a trio.

[Anna]

Yeah. Should have brought them both instead of making about her selfish clown show,

[Bianca]

her

[Elena]

Teutonic KitKat bar, German swinger party vibes thing.

[Anna]

Well, speaking of Heidi Klum, actually, what's nice about the Met gal, I'm realizing as we're doing this is that it is like, it has the satisfying pull of like a Project Runway.

[Bianca]

For sure. Yeah. And you get to be the judge in your, like, Walmart.

[Anna]

You sit around at home in your Walmart.

[Elena]

It the boy cattle event of the season.

[Anna]

This looks chopped. I don't know.

[Bianca]

So satisfying.

[Anna]

And it's not even their fault because they're usually, like, paid to even go. They have to agree to wear something and they just are like. And then.

[Bianca]

Well, that's the thing. Anna decides, like, which celebrity is paired with which brand. And yeah, fashion's really struggling right now, so, like, all the looks that you're seeing are all super, you know, highly funded. Highly funded by, like, brands with a very specific return on investment.

[Anna]

So when I went to the SAG

[Bianca]

Awards and that's why I didn't get picture dress. Not because I'm in jail. Okay. No, I. I had my fun at the MOG gala.

[Anna]

You'll be there if you vote.

[Bianca]

Yeah, no, it's fun. It's fun. I loaned a lot to the afterparty,

[Anna]

so there you go.

[Bianca]

Next season.

[Anna]

And a lot of people who said they weren't going ended up at the after party.

[Elena]

Of course they did. Yeah.

[Anna]

So, Tate, I like it.

[Bianca]

You like it?

[Anna]

I. I, like, never really liked her. And then I saw. I was like, hold on. She's sexy. As I was like, actually, Tate McGray, she's. I love her tan. And this dress is such a nice color and fits her body.

[Elena]

Yeah, she looks like a dental hygienist from New Jersey, like, the best possible.

[Bianca]

That's the appeal.

[Elena]

She's like Teresa Giudice or Melissa Gorgo. Real Housewives of New Jersey.

[Bianca]

She looks like she plays volleyball.

[Anna]

She looks so good.

[Bianca]

I like it from the waist down. Like the feather bodice, the bra top silhouette kind of takes away from the beauty of this.

[Anna]

It pushes her tits up in the.

[Elena]

I don't think she like really quite understood the assignment.

[Anna]

Know. Hell no.

[Elena]

But she's like playing to her strengths.

[Bianca]

Absolutely.

[Elena]

And like infecting her. She does look good.

[Bianca]

Yeah.

[Elena]

She also looks like a big ass, which I like to see. See. Yeah.

[Anna]

Anyway, that's all. And that's also a brand. Like I bought on Essence once or something.

[Elena]

I think so, yeah. Oh, I have an amazing Zara x Ludovic San Sernin. It's like mid March Duster.

[Bianca]

Okay.

[Elena]

It was crazy. I saw it. Yeah, it's here.

[Bianca]

You should put it on.

[Elena]

I might. I might model it.

[Anna]

I got rid of the blouse. I got. It just had like long strings and kind of was ill fitting. But she's. The fit is nice on that. Whatever. She looks great.

[Elena]

She's like if whatever podcast was a girl. That's so true.

[Anna]

And she's starving. I've like, I've never listened to a second of her music. Honestly.

[Bianca]

It's good.

[Elena]

I just listened to Net spend for the first time. Where was he, by the way? Right, right.

[Bianca]

No, Tate's music is. It's good. She's like an incredible movement artist.

[Anna]

Yeah. I've seen. I've seen her dancing and maybe I've hit play a couple times, but I think mostly the sound stays off.

[Elena]

Yeah.

[Anna]

For me.

[Elena]

Say moving on.

[Bianca]

Sabrina.

[Anna]

Sabrina Carpenter in the Dior film strip dress. I wish I'd put more pictures in because from the side it's got kind of a weird. It's a little more interesting.

[Elena]

I don't mind it.

[Bianca]

I don't mind it either. I understand where they're going with this because she's got this like you boys ass film. Yeah.

[Elena]

She gets a lot of flack because people are always like, well, you know, men love Sydney Sweeney and women love Sabrina Carpenter, but she's just like not sad, sexy or hot, but like her body looks banging for like a 411 shorty.

[Bianca]

Exactly. That's the thing, that dress really.

[Anna]

She does actually rose up. Could learn a thing from.

[Elena]

Does have very elegant proportions for like a Randy Newman short person. And she is a creepy.

[Anna]

She's probably a legal dwarf.

[Elena]

Yeah.

[Anna]

They didn't even need to get the other dwarf.

[Elena]

Sinead Burke. I like that. She's clearly wearing like gigantic like 9 platform pleaser.

[Anna]

Platform.

[Elena]

Yeah.

[Anna]

She has to.

[Elena]

She's the only thing that. That kind of throws the whole look is stupid flapper headpiece.

[Bianca]

The headpiece.

[Elena]

I don't know why she did that. She should have just did a. Like a film strip.

[Bianca]

Yeah.

[Elena]

Band or tiara.

[Bianca]

Yeah.

[Anna]

A little less.

[Elena]

Yeah. Though I, like, does have, like, a Jessica Rabbit kind of.

[Bianca]

Exactly, Exactly. It's like very old glamour, 30s film noir sort of.

[Anna]

And she could have done a flapper hairdo.

[Bianca]

Yeah.

[Anna]

Without the cap. Yeah.

[Bianca]

But the brand paid for the.

[Anna]

I know. I mean, I know we talk. We're talking about it, like, it's up to her and really just not. It's.

[Elena]

But isn't it? Don't you, as a celeb, have some discretion and decision making?

[Bianca]

You can veto stuff, but, like, they just add another zero to the check.

[Elena]

She can.

[Anna]

Like, when I went to the SAG Awards, I wore one Valentino dress that I had won. I was gonna wear a rock collection dress I bought off the real. Real. And my publicist said, valentina will give you this one dress.

[Elena]

So I was like.

[Anna]

And she's like, really wear it. And I just said. And I went to, like, a moma Chanel gala, and they gave me, like, two options.

[Bianca]

Really?

[Anna]

They just give you nothing. I saw Chloe Savigny talking about this in an interview recently.

[Bianca]

What did she say that's so interesting?

[Anna]

That in her early career, a lot of what people think is her style is actually just kind of like, she didn't have a stylist.

[Bianca]

The limitations of the brand, like.

[Elena]

Yeah.

[Anna]

And she had a publicist who would pull maybe one thing for her, and that's what she had to wear.

[Bianca]

Right, right.

[Anna]

And so, like, she's.

[Elena]

Yeah.

[Bianca]

Interesting. Crazy. Yeah. Because my understanding is that, like, they pay the stylist to put together a rack for them, and then they can pick and choose what they like off of the rack.

[Elena]

But if you don't have the rack, like, two options, sometimes the rack is

[Bianca]

like a hundred options.

[Anna]

I never had no stylist. That's the thing.

[Bianca]

That's what I hate about it, is that it's like, literally a lottery ticket.

[Anna]

It.

[Bianca]

So a stylist.

[Anna]

When you give a piece to a

[Bianca]

stylist, they have a hundred other things. And so it's like, literally.

[Anna]

That is so. That's. It's so exploitative.

[Bianca]

I know. And then they asked me to cover shipping round trip, and it's just like.

[Anna]

That is ridiculous. That is crazy. G. This, like, opportunity economy is so. It's so unsustainable.

[Bianca]

Yeah. So true. So I don't know if it's a good one, we'll loan. But.

[Elena]

But she looks good. She looks. She looks good. Now that I'm looking at it. Just the shoes and the headpiece.

[Bianca]

The shoes and the headpiece.

[Elena]

The shoes are working together, but the middle section looks good.

[Anna]

The dress is nice. And I saw it's real film strips from the film Sabrina.

[Bianca]

Oh, that's cool.

[Anna]

And she had. Her nail tips also were like. It was a French manicure, but the tips were like little film strips too.

[Elena]

Oh, that's cute. And I guess she's doing kind of a corked up version of the sculptural bodice.

[Bianca]

Yeah.

[Anna]

Huge night for tits, but, like, hard, inaccessible ones, right?

[Bianca]

Yeah.

[Elena]

Hard outer.

[Anna]

Speaking of.

[Bianca]

Speaking of Haley.

[Anna]

No, no. Who told you that? First of all, she's the go to in the soft autumn color season community. She is the go to. She's always. It's like, Haley Bieber's a soft autumn. Soft autumn. Soft autumn. She looks best in, like, muted, warm tones. Yeah. Guess she didn't get the memo because she doesn't have the same algorithm I do.

[Bianca]

I don't know. I don't have anything to say. The silhouettes. Nice.

[Elena]

I have nothing nice to say. No. I think if she had just gone with the gold torso and played off of that, that could have been something. But I don't know why. They did like the Wonder Woman clashing tone, IKEA look.

[Anna]

The colorway is not good. And even the bodice, she didn't know, I guess, that the Kardashian fans were gonna do their, like, their, like, skinset thing. And I happened to have seen her right after Kylie, and so that was like, in the, you know, and it felt.

[Bianca]

That's why I have to go early in the night.

[Anna]

And it felt like, shady. Like, I was like, ugh.

[Elena]

I was like, it just, like, looks cheap and jerry rigged. I. I guess that's like, she said it's fine blue for.

[Anna]

She said it's, like, sculpted to her real body.

[Elena]

But aren't they all?

[Anna]

No, some, like, even the. The skims ones are just like, that's what they sell at the skim store is like.

[Bianca]

It's like so many other designers who are doing this in a much more, you know, integrity driven way. Like, I would have recommended somebody like Misha Japan Walla who, you know, casts, like, actual women's bodies out of plaster and does really interesting.

[Anna]

I mean, she claims they did that, that they took the. The mold and made it look so flat.

[Elena]

I mean, the midsection looks good. And then the rest of it is kind of just like trash.

[Bianca]

It looks very like Middle Eastern mother of the bride wedding shift in the top. And she's too hot and too young

[Elena]

for that way too.

[Anna]

Yep. So true.

[Bianca]

I like how she has Andrew Bolton in the back holding her. Who that is the curator of the moon. That's probably not him, but it's a funny thought.

[Anna]

Next.

[Elena]

No Charlie Saint Laurent. I guess a lot of hoes were up in Saint Laurent.

[Anna]

Yeah. He was a prolific designer this year. Not Saint Laurent, but whatever his name is. You might know, Eve. No.

[Bianca]

What is this? What?

[Anna]

The guy who's running Saint Laurent.

[Elena]

Is it Anthony Vaccarella?

[Anna]

Yeah, that is.

[Bianca]

I hate fashion.

[Anna]

I don't follow fashion. No, I don't. Yeah, it's. Yeah, it's Fakarella. So all the Saint Laurent looks are his.

[Bianca]

She looks nice. I mean, she looks nice.

[Elena]

She looks nice. I hate it. Relative to.

[Bianca]

Which is the worst thing you can say.

[Elena]

Look, which was like, the ripped T

[Anna]

shirt full body dress, which Kendall kind of did this.

[Elena]

Yeah, yeah. Kendall did like a. A more glamorous.

[Anna]

Her body's too classy version, like, sexy for this dress.

[Bianca]

Maybe she's trying to do something like, more sedate and highbrow.

[Elena]

This is like the sort of dress that you can get at Windsor.

[Bianca]

Right, Right.

[Elena]

It is also very like New Jersey mob life. Her daughter, Meadow Soprano. I guess Charlie XCX is fundamentally, at the end of the day, a Meadow Soprano kind of girl.

[Anna]

It's got a flower applique.

[Bianca]

It's.

[Anna]

Go, girl.

[Elena]

Give us.

[Bianca]

No, nothing, nothing. She looks nice. Gorgeous skin, gorgeous hair.

[Anna]

I don't. I'm sick of this with Haley Bieber too. I'm sick of the snatch high pony. I know why they do it, but it's like, I don't know, something. Something else. Another thing I like about Hunter Schaefer is I like the loose.

[Elena]

Yeah.

[Anna]

They were more sculpted at the gala, but, you know, just like having just, like, kind of nice hair.

[Bianca]

Yeah.

[Elena]

I like the type.

[Anna]

Or a nice wig.

[Elena]

Or a nice widow. If you. If you are, like a spare and masculine looking woman.

[Bianca]

Yeah.

[Elena]

And she's, like, very voluptuous and feminine.

[Bianca]

Yeah. I wonder what, like. I wonder what her brand is going through after, like, the brat era after her, like, documentary. Exactly. I haven't seen it. I want to see it. I guess people.

[Elena]

People really hated it and thought it didn't hit, but, like, I bet it.

[Bianca]

This is like an obvious counterpoint to something.

[Elena]

I like the idea. Well, yeah, she wiped out horrible, worst Person. Ever version of herself.

[Anna]

People were like, she finally unfollowed Anna and Dasha. And it was like she unfollowed. Actually we did the zero follower account thing and I was like, okay, she's up to something.

[Elena]

That's funny.

[Anna]

The black washes her out. Out. Wouldn't have done that. Yeah, not that. Not like that. I don't know. Styling, Maybe a nap.

[Elena]

Fortune teller?

[Anna]

A little bit.

[Bianca]

Yeah.

[Anna]

A little bit.

[Elena]

Sylvia. Brown core.

[Bianca]

Get that check. Cordy.

[Elena]

Cordy. She looks amazing.

[Bianca]

We're gonna catch hands over this one. I. It. I think she looks incredible. I love it. I love it.

[Elena]

I think she looks like the BBL exploded.

[Anna]

Yeah.

[Elena]

I. Anal polyps. I think whatever I said to you ladies in the group chat. Millennials getting colorectal cancer.

[Anna]

Yeah. Colorectal cancer is major right now.

[Bianca]

I love it. I think, like, the scale and the proportion and like, what it says about the uniqueness of how she's concocted her own body and, like, engineered her own form.

[Elena]

It's.

[Bianca]

It's a fun conversation. And I think that. That. I think it's cool. I think it's really nice. I love the idea of the different color, like, padding and the reference towards, like, shapewear and all of these crazy body hacks girls are trying to do to mimic the bbl.

[Anna]

I mean. Yeah. It looks really diseased in a way that is intriguing to me. You know, like, the pink splotches and the flesh. Like, it could have if it had the same silhouette without, like, the color under the lace.

[Elena]

Yeah. I. I hate. Yeah. The Miami tier color palette.

[Anna]

I don't. I like that. I don't hate it, but I.

[Bianca]

But it's Cardi.

[Elena]

Yeah, I know. I know. She's also.

[Anna]

And it's kind of interesting for her. And it's Marc Jacobs.

[Bianca]

They had fun. It looks great.

[Elena]

Well, I love it. If I may autistically spur for a minute. It.

[Anna]

Please.

[Elena]

One of the things that, like, grinds my gears is that you have all these fashion houses putting many different looks on the red carpet, and they're all very inconsistent. And I think, like, they should try to stick to a coherent narrative across celebs. And, like, so, okay, like, Rachel Senate was also wearing Marc Jacobs. All like, Haley Bieber and doja Cat in St. Laurent. Like, totally disparate. Yep. Like, they're not really representing.

[Bianca]

They weren't coming from the same, like, aesthetic language. Yeah. Of the house.

[Elena]

Right.

[Bianca]

Sure.

[Elena]

Yeah. It feels like very random and willy nilly.

[Anna]

I'm willing, I guess.

[Elena]

I.

[Anna]

I don't Know, I'm real. I'm. I'm divided.

[Elena]

The republic. But I also miss the old cardi, like the love and hip hop. Of course she's got a sheer cardi.

[Bianca]

Yeah.

[Elena]

Though she's. She's always been very, like, I guess, candid and honest about how she, like, got herself some new teeth and some new titties and stuff as soon as she got her bag, which is nice.

[Anna]

Next.

[Elena]

Oh, speak of the devil. Another Mark and Marc Jacobs.

[Bianca]

God. Do you guys remember that show Doug from the 90s?

[Anna]

Of course I do.

[Bianca]

Where like all the characters. There's like Rita and Sker and Doug and Pat and they've got this like 90s cartoon esque color blocked flesh and like, really blocky.

[Elena]

Nickelodeon.

[Bianca]

Yeah, Nickelodeon.

[Anna]

American Apparel.

[Bianca]

Yeah.

[Elena]

Obvious shoplifting from Whole Foods.

[Anna]

Yeah.

[Bianca]

But there's something about that universe that, like, translates to me when I look at Rachel Sennett. And so like, it works for me on her.

[Elena]

But the dress, you're saying she's cartoonish.

[Bianca]

There's something like very retro 90s cartoon esque.

[Anna]

I hate it.

[Elena]

Me too.

[Anna]

I feel like she didn't have a choice. Yeah. I feel like Marc Jacobs said, this is it and she's working it. And I'm happy for her. I'm happy she's there, but I. She doesn't look like she's loving.

[Bianca]

Yeah, sure.

[Elena]

It's like bizarre and disjointed. I had a Doug Funny reference queued up because, you know, we were talking about how, like, Anna Wintour wore the same.

[Bianca]

Yeah.

[Elena]

Gown and cape combo.

[Anna]

Yeah.

[Elena]

Two times in a row. And she really is like Doug funny where he opens his closet just like the uniform.

[Bianca]

Yeah. But she did it in teal.

[Elena]

Yeah.

[Bianca]

No coincidence whatsoever.

[Elena]

The billionaire. But she's.

[Anna]

We're not there for her. You know, she's even on the. When I went through the Vogue rundown, she was down super far. She's not.

[Elena]

I know, but there's something also, like, really funny and ironic about the fact that, like, Anna Wintour is probably the single most influential fashion person of our lifetimes. Like, she's the. The taste maker, the king maker, whatever. And she just has such horrible sty. You have to respect her because.

[Bianca]

Commitment to the bit year after year.

[Elena]

Yeah. She thinks she knows what works for her and she just does it year in and year out.

[Anna]

I mean, I think it's like. Yeah. When you're really good at something, you aren't, you know, it's not necessarily the thing you're best at for yourself.

[Elena]

Yeah.

[Anna]

Anyway,

[Elena]

I Also, okay, I'm, like, zooming in on Rachel Sennett's foot, and the shoe is, like, a size too big for her because, you know, she probably wears, like, a 39 and they gave her a 40.

[Anna]

I'm saying she. They said, get out there.

[Elena]

Yeah.

[Anna]

Don't forget your hat. Oh, Beyonce.

[Elena]

Olivier Roostenig hosting.

[Anna]

Just tedious. Just. We got it.

[Elena]

So busy.

[Bianca]

So busy.

[Anna]

Your Illuminati

[Bianca]

Mayan. There's just so many different references. Like, is it dia de los. You know.

[Elena]

You know, I hate that.

[Anna]

You know, that's one of my least favorite aesthetics.

[Elena]

And wait, this is her first time at the Met gala after the famous elevator incident.

[Bianca]

Is it really?

[Elena]

Is that true? I don't know.

[Anna]

She's got to be there every year, right back I read that she was

[Elena]

back after a decade.

[Anna]

Oh, I hate this.

[Elena]

The Frida Colo de los Muertos skeleton. Hate the ombre bodice. Not a fan of ombre in general. I was, like, hushing over a product blazer on the real real because it looked really cute and snatched, but it was like, ombre. And then I was like, what. What are you doing?

[Anna]

Kettle life.

[Elena]

I've been randomly. Been listening to a lot of Beyonce. Interesting. Have you?

[Bianca]

What era?

[Elena]

Yeah, what, like the.

[Bianca]

The.

[Elena]

Well, somewhere between the Drunken Love and Formation era, I've been, like, butt chugging the lemonade.

[Anna]

Lemonade was major. Like, there.

[Elena]

She had that line where she was like, y' all, hater. Scorny with the Illuminati moves. But she, like, love loves sw. Like, she's a member of the.

[Anna]

Yeah, she's playing right into their hand. You know, she's. She knows what she's doing.

[Elena]

Yeah.

[Anna]

She knows that they're gonna say it's. Yeah, she's doing, like, satanic spectacle.

[Elena]

She's like the Erica Kirk of pop stars. I mean, because she's, like, so goddamn unlikable, but can't help her. Virgo. Right?

[Anna]

Virgo.

[Elena]

It is funny how, like, the two biggest black pop stars of our time, Beyonce and Rihanna, are much like Dasha and me. A Virgo and a Pisces.

[Anna]

Lot to think about there. We're very similar.

[Bianca]

I just don't get the motif. I don't understand, like, the bones or

[Anna]

the, like, what Game of Thrones.

[Bianca]

Like, there's just too much to dig into and confused and confounded.

[Elena]

That's a question. Looks like Madonna esque.

[Anna]

I mean, we. I can't, you know, take a woman to task for aging, God knows, but just a mess.

[Elena]

There was, like, a Photo of her and Blue Ivy together and they just like, look like black church ladies. Blue.

[Anna]

IY had the sunglasses and. Yeah. And like the baked white dress.

[Bianca]

I just don't understand, like, the showgirl's motif.

[Elena]

Blue Ivy is apparently it's not art.

[Bianca]

Yeah.

[Elena]

First of all, that's saying person to attend the Matt Gallow.

[Bianca]

She was. Is what?

[Elena]

She's the youngest person to attend the Met gal. Oh, really?

[Anna]

Yeah.

[Bianca]

How old is she?

[Elena]

Fourteen. Wow.

[Bianca]

How old is Blue Ivy?

[Elena]

Nobody saw that coming. Kind of cute.

[Bianca]

Yeah. She's 20.

[Anna]

I don't know exactly. She could be 19 to 25. I have no. No clue. Actually.

[Bianca]

I wonder if they have to get, like, special permits to get underage people into the ma.

[Anna]

They probably get it done rules.

[Elena]

Don't they let you do.

[Anna]

Nicole Kidman said her daughter had to go to school the day. I think she's maybe high school age, but a little bit older than Blue.

[Elena]

I beam Anoki in Balenciaga.

[Bianca]

Unbelievable.

[Anna]

Glam. I love. I.

[Elena]

This was really.

[Anna]

I felt slept on. Maybe because she's black. I don't know.

[Bianca]

She looks amazing.

[Anna]

Incredible. I mean, Black Madonna. The Black Madonna.

[Elena]

It's like very Adriano Celentano's daughter in Passion of the Crowd price.

[Anna]

Well, that's. Well, the next side, I think, is her too. I think this.

[Elena]

Yeah.

[Anna]

Or no. No, it's not.

[Bianca]

She's wearing a custom silicone wig.

[Anna]

Yep.

[Bianca]

Which is so effective.

[Anna]

It really, like, looks so good.

[Bianca]

She looks like she's cast out of marble.

[Anna]

And then the stunning. Her complexion with the gold dust. Glam is phenomenal.

[Elena]

Amazing. And I like how she. She was doing like two references, Greco Roman sculpture and then also like religious sculpture with, like the Madonna with the tears.

[Bianca]

Yeah.

[Elena]

But I'm going to be a hater and say that, like, the whole look doesn't really coalesce for me. Like, it is really beautiful. And she looks great because she's just like a naturally beautiful woman. But there. I wish that she had gone more with the Bronze Age. Pervert.

[Anna]

Well, she's literally. She's literally a model.

[Elena]

Yeah.

[Anna]

You know, so they are. They're dressing her that this is just a Balenciaga look that she's happens to be modeling.

[Elena]

Yeah.

[Bianca]

Yeah.

[Anna]

She's not like, expressing something.

[Elena]

Yeah. But it would have been so cool to just like cast her in bronze and do like a. Yeah.

[Bianca]

Like a full marble statue.

[Elena]

Like, the neck necklace is taking away from.

[Bianca]

Yeah, the neck is not. Yeah, yeah. That's too much. I think so.

[Elena]

I like the gloves.

[Anna]

They remind me of some gloves. I wore that. Someone's gone to the Wind salon.

[Elena]

Oh, yeah.

[Bianca]

We were wearing something,

[Anna]

and I like, for me, it's very. It feels very cohesive.

[Bianca]

This is kind of what I wish Rihanna were doing, though. Yeah.

[Elena]

Yeah. Just like, drape the hood.

[Bianca]

Yeah. Like, if you could have drape the

[Elena]

hood over your blouse, put the hood

[Anna]

on to accentuate your blackness also. And you'll notice I picked up the background on this slide is black.

[Bianca]

Nice.

[Anna]

Because she's black and the dress is black. Just felt right.

[Bianca]

Balenciaga.

[Elena]

That's nice.

[Bianca]

What does the necklace say? Is there a letter on that or is it, like, a tear?

[Elena]

No, I think it's just like, a pen.

[Bianca]

Oh, it's a tear shape. Nice.

[Elena]

Yeah.

[Anna]

I like the necklace because it makes the religious thing. Without the necklace, it feels almost Muslim or something. But then the necklace makes it more baroque and, like, Catholic look, which is what the, like, Madonna thing is.

[Elena]

Yeah, It's. It's a little bit confusing for me personally, but again, just because she's so gorgeous, she.

[Anna]

Can you see the potential?

[Bianca]

Is she wearing contacts?

[Anna]

Probably, yeah.

[Bianca]

Bronze gold contacts. So cool.

[Anna]

Look like a. Isamaya Lip Kylie. Kendall, or. Sorry, I put the. I put the. I put the wrong name. My bad.

[Elena]

Whatever. People will get it. Don't even fix it.

[Bianca]

Kendall Scaparelli. Like, not even.

[Anna]

That's her name.

[Elena]

So this is Kendall Scaparelli's real name. Kendall Scaparelli means they own new j. I don't know.

[Bianca]

I don't know. It's not hitting. It's not hitting.

[Elena]

You guys don't like this? Well, she's doing the skim nipple bra thing.

[Bianca]

I just know the dress isn't.

[Anna]

There's no dress.

[Bianca]

There's. It's not art. Fully draped where it comes away from. It just looks like it's peeled off and there's a. There's a missed opportunity.

[Anna]

There's a nipple bodysuit underneath.

[Bianca]

Yeah. You want to be shocked and titillated by the idea of her really not wearing the dress on top. And, like, the materiality of the bodice just doesn't communicate that. Like, if it were out of silicone or out of some sort of, like, a prosthetic.

[Anna]

Yeah.

[Bianca]

Then it would be really shocking and dazzling.

[Elena]

Yeah. If it were, like, mimicking her natural

[Bianca]

tone and texture or blend fit into the chest somehow.

[Anna]

Yeah. Why couldn't even they. Why couldn't they just make a custom skim bodysuit that was her skin color.

[Elena]

Even that would have been reprint that.

[Bianca]

But, like, look at the dress. It's just, like, peeling over. It's just not artfully deconstructed on the body. You want to feel like there's a

[Elena]

central moment where she's taking it off.

[Bianca]

Looks like what, like a COD piece?

[Elena]

Like a Clockwork Orange.

[Anna]

Like, it's interesting sort of to see the dress inside out.

[Bianca]

Yeah.

[Anna]

But, like, in such a casual way. It's like, what's the point?

[Elena]

I like the concept, but the execution is lacking.

[Bianca]

Yeah, agree.

[Elena]

Um, don't mind the makeup. This is like, a very, like, avant garde and high fashion look for her because she's usually more, like, conservative in her styling decisions.

[Anna]

That's still kind of conservative.

[Elena]

No, Timothy.

[Anna]

He was at the Knicks game. Yeah, I got it. Wigger's gotta do what he's gotta do. You know, he can't. He's not gonna miss that. Yeah. The bleached brow. I didn't really. It did. It was unsettling because you see her face. So I didn't clock it at first and kind of was like, she looked weird. Yeah.

[Elena]

The theme of the Matt gala is old.

[Bianca]

What is skims up to?

[Anna]

What are they doing?

[Elena]

Making nipple bras.

[Anna]

Yeah.

[Bianca]

What are they doing?

[Anna]

Making bodysuits and nipple bras and stuff? Because I thought the nipple bra was a flaw.

[Bianca]

Are they making, like, a big push? Is there a campaign?

[Anna]

I think they dropped it and it kind of flopped. And maybe they're trying to revive it, and maybe it'll work.

[Bianca]

It'll work 100%. Whatever the.

[Anna]

But, like, I don't want to wear a bra that has fake hard nipple around here.

[Bianca]

No.

[Elena]

Crazy.

[Anna]

I mean, it's just not my, you know, aesthetic. It's not. It's not giving AGP the way I like.

[Elena]

I guess I like the handsome men in the background.

[Bianca]

That's always fun. Kim.

[Anna]

Kim. I grouped the some.

[Bianca]

Y' all didn't like this? I like it.

[Anna]

I liked the, like, Kardashian.

[Elena]

Who are.

[Bianca]

The hair was a missed opportunity.

[Elena]

Willem Alan Jones and Malum Whitaker.

[Anna]

That's.

[Elena]

And Whitaker. Yeah.

[Anna]

And that's. And that's not his name.

[Bianca]

Because she did a shoot with Nadia Lee Cohen where she had these beautiful, like, bronze brown.

[Anna]

I liked the photos.

[Elena]

Me, too. And the makeup there. And I. I hated that they like. Well, I don't love this look, but.

[Anna]

No, they.

[Elena]

They should have done the copper hair

[Anna]

instead of the brassy blonde hair.

[Elena]

I don't know why they went with that. I hate the shoes with the look.

[Bianca]

I know. Yeah.

[Elena]

That's. That's just wrong.

[Anna]

The back.

[Elena]

I don't have nine west show shoes.

[Anna]

The back looked awful. What was the back? It was just like. There was these, like, leather straps. And then her body just looked kind of, like, ridiculous. And, I mean, I just think Bianca Sensory is, like, haunting her, which is ironic because Bianca Sensory is like, Kanye's like, you know, my. A reference, as he said. Like, he's referencing Kim through Bianca. But then it's like, work. It's, like, getting in her head, and she's, like, doing the fembot Bianca thing, but it's not who she is. No.

[Elena]

And I.

[Anna]

She's lost.

[Elena]

The hemline is wrong on the skirt. Yeah. It should be longer.

[Bianca]

Yeah.

[Elena]

Weird choice.

[Anna]

And in the. In something in the back, too. Like, behind the fabric. Just. I don't know.

[Bianca]

There's just something about it that feels very unencumbered, which feels aspirational to me. Like, she looks like she could get up and go somewhere and, like, go through her night. I don't know.

[Anna]

Orange.

[Bianca]

Mm. Safe. And she looks.

[Anna]

She looks like she can't take that off.

[Elena]

She looks like when you, like, dump your change in the change machine at Western Beef. What?

[Anna]

I don't like. Yeah. The tarnishing in a photo in, like, a stylized photograph. Like, the tarnished quality around the tits and stuff. I don't know.

[Elena]

It's not even tarnished.

[Bianca]

Is the bullet bra silhouette back?

[Anna]

I hope not.

[Bianca]

It's gotta have some correlation to, like, gdp.

[Elena]

What's that?

[Anna]

Yeah, totally.

[Bianca]

Economy.

[Anna]

Yeah. We want end war.

[Bianca]

Yeah.

[Anna]

We want, like, missiles.

[Elena]

Yeah. You want milkers. Yeah. Crazy people want to breastfeed because they're not getting enough sustenance and nutrition. Mommy milkers are back. What's that movie franchise? Kids love cars.

[Anna]

She looked like cars.

[Elena]

She looked like cars. Ah,

[Anna]

it's my favorite. My favorite Kim was the wet look.

[Bianca]

Oh, yeah.

[Anna]

With the droplets for me.

[Bianca]

Rib remove for that.

[Elena]

Allegedly.

[Bianca]

I don't know. Can you not have a rib removed when you do a course that small?

[Anna]

I mean, the optical. I don't know. That was great.

[Bianca]

Whatever it was.

[Elena]

This is worth it.

[Anna]

I mean, this is just. And I like her blonde, actually.

[Elena]

I can't breathe.

[Anna]

Next.

[Elena]

Armenians to be having those wide rib cages.

[Anna]

Kendall. For real this time.

[Bianca]

Wow.

[Anna]

My fave. The more I looked at it, the more absolutely 100% my fave.

[Elena]

Damn.

[Bianca]

Besides, it looks great.

[Anna]

Even with the skims. Nipple bra.

[Bianca]

That's a lot to make a concession for.

[Anna]

But then I was like, but what? I don't know. I'm not a fashion designer.

[Elena]

Like, what. What else would I Do just dump them out.

[Anna]

I kind of just would just dump it out.

[Bianca]

Yeah. And, like, bifurcate the breast with the seam of the neckline.

[Anna]

Like Shalom Harlow.

[Bianca]

Yeah.

[Elena]

I guess it's kind of cute and sisterly that Kendall and Kylie were matching on the red carpet.

[Anna]

Yeah, yeah.

[Elena]

I'm saying red carpet too much this episode.

[Anna]

I mean, it's like, off ramp.

[Bianca]

She also had a pair of wings that she was wearing for images.

[Elena]

Yeah. That was of Samothrace. Yeah, yeah,

[Anna]

yeah. Zach Posen alluded during the Vogue stream that there would be a surprise. Well, he said, and the statue has wings too, so there will be a surprise. So you kind of knew that.

[Elena]

Yeah. She was going to have a wing moment, of course.

[Anna]

But it worked. It looked fantastic.

[Bianca]

It's amazing. The materiality is incredible.

[Anna]

It's a T shirt.

[Bianca]

It's like a T shirt.

[Anna]

It is a T shirt shirt. That's what he said. She. When he. He had the vision and he started, he kept saying, twisting and torquing the

[Elena]

fabric, and it's so gap. So cool.

[Bianca]

It's so gap, right?

[Anna]

So gap. Gaps back. Yeah.

[Bianca]

I love it.

[Elena]

But it is. It is like a throwback to the Charlie XCX dress from last year, but better.

[Anna]

But better because it's more, like, simple and more. Yeah, yeah. And it's. Yeah. The color is so great too. It's not this, like, stark white.

[Bianca]

It's like a bone. Yeah.

[Anna]

It almost has like, a shit Elena

[Elena]

would have in her house.

[Anna]

Yeah.

[Elena]

Crown molding.

[Bianca]

But it looks.

[Anna]

He went to Mood, right? Yeah, he went to Mood, and he looked at all the fabrics, but the

[Bianca]

materiality just looks so, like, comfortable and juicy and lightweight. But the way that it's tailored and. And, like, the construction of the corsetry is so. It's an amazing trump ly in that sense.

[Elena]

It is.

[Anna]

Yeah. It's fantastic.

[Bianca]

Where she really is so constrained, but it's so effortless, effortlessly draped, that it just all comes together.

[Anna]

Look like a Jersey dress.

[Bianca]

Convincingly. Exactly.

[Anna]

Yeah.

[Bianca]

And it probably is probably stretch out

[Elena]

here, mixing high and low.

[Anna]

And she's queen.

[Bianca]

Know, she looks amazing.

[Anna]

Easy on the eye.

[Elena]

Love the makeup.

[Anna]

Yeah.

[Elena]

Love the dress, the color, the silhouette, whatever. It. I. I cannot say that it hits for me because of the. The skims tit.

[Bianca]

It's a lot.

[Elena]

Kind of ruins it.

[Anna]

What would you do?

[Elena]

I would have just dumped it out.

[Bianca]

Dump it out.

[Elena]

Like some kind of, like, sheer. Like a mash boning, something. Yeah. You don't need to do all that

[Bianca]

or just glue it. Just above the nipple, if you really want.

[Anna]

Just barely. Yeah. Like. Yeah.

[Bianca]

The bra just really takes away from it. Anyway, who's next?

[Anna]

Yeah.

[Bianca]

I think she looks incredible.

[Anna]

Yeah.

[Elena]

Really?

[Anna]

I'm glad you.

[Bianca]

She looks incredible.

[Anna]

Beautiful.

[Bianca]

And she inspired a Lizzo. She's way cooler than Liz.

[Elena]

Who is she?

[Bianca]

She's a Paris based singer and she's got this really cool, dark, goth grunge aesthetic. She inspired a lot of the looks in the collection. She had this absolutely iconic God. Who does the suiting? Was it Yves or Gautier or. She's got this incredible, like, tailored look that's in the actual match. But this looks amazing. It's. It fits her beautifully.

[Elena]

This is like what the Hailey Bieber look should have been.

[Bianca]

Mm. I love the styling.

[Elena]

It's very Venus of Willendorf. Mm.

[Anna]

But like, soft.

[Bianca]

Yeah. Even with, like, the hardness of the materiality, it feels still, like, very sensual and floral. Yeah.

[Elena]

You can imagine, like expressionists in Mon Marcha encountering this woman and being like, whoa, mind blown. Right. She's a goddess.

[Anna]

I mean, it. It's as. Also just like as an image. It's a whole new. It is art.

[Elena]

It's.

[Anna]

That's giving art. Because it is. You're looking at kind of like a whole new thing.

[Elena]

She has, like, French cups and then leather gloves underneath.

[Anna]

Yeah.

[Elena]

And like a keyhole belly button button.

[Anna]

That's really, really, really interesting.

[Bianca]

I wish the bodice matched, like the bronze of her skin a little bit more so it felt more seamless. Like, I don't know, maybe that's just my aesthetic thing. Like, I love when you can't tell where the body starts. Dress ends.

[Anna]

Dressing the body, dressing the boy.

[Elena]

What do you call the insectoid? Like, not antlers.

[Bianca]

No, I know. The brow.

[Elena]

What do you call those? Antenna.

[Anna]

Like a bug.

[Elena]

She has, like, bug. Like antenna, which is extremely cool. Yeah. It's like black futurism.

[Bianca]

Yeah.

[Anna]

Yeah.

[Bianca]

This would have been one of the few looks where the nipples would have added to the look.

[Anna]

Fake nipples.

[Bianca]

Yeah.

[Anna]

I don't know.

[Bianca]

Really, because the belly button is so.

[Anna]

Don't you think it would detract from the belly?

[Elena]

The belly button is, like, so good.

[Bianca]

Yeah. For me, the nipples under the belly too. Because I love the food fupa and like, the. The pooch.

[Elena]

I love that, you know that, like, meme that's always going around on the Internet of, like, the girl with the fupa.

[Bianca]

Yeah. Where people are like, oh, do you like this?

[Elena]

Yeah.

[Anna]

Or you're gay.

[Elena]

Or men have fought wars for this. Yeah. And I'm like, kind of like sissy. Hypnoed into finding erotic. Really with it.

[Bianca]

It's really hot.

[Anna]

It just depends. There's that picture of Emma Roberts, too, wearing, like, the Jersey black dress with the sun shining on her.

[Elena]

But that's like a postpartum thing, right?

[Bianca]

No.

[Anna]

I don't know.

[Elena]

No, she looks like she could just

[Anna]

be like, PMSing, but. Yeah, she doesn't have a flat stomach, but it's hot.

[Bianca]

Yeah.

[Elena]

Yeah.

[Bianca]

I love that pooch.

[Elena]

It's so erotic. Cool.

[Bianca]

She looks great.

[Anna]

Alex Kinsani did show nipple.

[Bianca]

Her coloring looks really cool with this dress.

[Anna]

I will say I found it lazy.

[Bianca]

You hate it. Well, I can't find a front face. That's true. Yeah. No way. And then also that, like, decoy dress that she's draping behind her feels so unnecessary.

[Anna]

Well, yeah. When I first saw her, when I came across her on the feed, it was like she was draped in the blanket. And I was like, huh? And then I guess joke's on me because she took it, like, obviously she

[Bianca]

still had it as part of the

[Anna]

look, which she peeled the sheet off. But it does just look like a sheet. It doesn't look like an intentional.

[Bianca]

It doesn't look intentional.

[Elena]

I guess it's like a taffeta cape, but it doesn't really work. And, like, there's too much color families going on. Like the nude, the black, the. The opal.

[Anna]

If it was like something like sheer and like a tool that was like sheer and iridescent, which I really love, it would be interesting, maybe, and more of like what she's kind of going for with the feathers and the.

[Bianca]

You know, I like monochrome color blocking. I like that the hair, the skin, the bodice all is one shade. And the dress is. Or the skirt bottom is a totally different one. I think that's.

[Elena]

She also has Agnes.

[Anna]

Sorry.

[Elena]

They look.

[Anna]

I mean, we're not evaluating their mental health. We're evaluating how they look. Okay. And she looks great.

[Bianca]

Is that feather or is that like.

[Elena]

Yeah, the second hottest on the red carpet that day. It's hard.

[Bianca]

That we know of.

[Anna]

Yeah. Takes all kinds. You know, they're doing diff. Different things.

[Elena]

I don't hate this, but I don't love it either. It's kind of just like meh. Mid.

[Anna]

It's fine. Moving on.

[Elena]

Sabine Getty in Ashi Studio.

[Anna]

Interesting. His giving art is like a pain. You know, they painted the. The damn dress.

[Elena]

It's like if Ms. Havisham was a.

[Anna]

I wouldn't have done the white.

[Elena]

Yeah.

[Anna]

Like, maybe more of a flesh.

[Bianca]

It didn't even need to be a skirt. It could have just been, like, a little bandeau bodysuit.

[Anna]

Yeah. That would have been very interesting.

[Bianca]

Yeah. And then blend again. Like, blend the bodice, neckline into the

[Anna]

body instead of making it such a space.

[Bianca]

Two totally different universes.

[Elena]

Who is this lady? She's a jewelry designer who's presumably a Getty Air.

[Anna]

I'm assuming she's a G into the. I think she's a gettier. That was my guess.

[Elena]

I. I do actually love her hair and makeup because it's so, like, haggard and ch.

[Anna]

Which is. Do you know what Ashy Studios is?

[Bianca]

I don't, but I don't follow fashion. I'm not excited about fashion at all.

[Elena]

Like, I like the double.

[Bianca]

I'm obsessed with the construction. The what?

[Elena]

The double hand. How it's, like, her real hand and then, like, a fake hand that's painted onto her.

[Bianca]

But the skin tone should have meant, like, the skin tone should have matched because you really want to believe it.

[Elena]

Yeah. This is very, like, memento mori. And it reminds of that famous painting. Who made this painting, the Ambassadors, where, like, if you walk. God, I know this. Hans Holbein the Elder. When you, like, walk to the side, you see, like, a skull.

[Bianca]

Yeah.

[Elena]

You know what I'm talking about?

[Bianca]

Yeah, yeah, yeah, of course. Yeah. Yeah.

[Anna]

It would have been cool.

[Bianca]

Maybe she was holding a skull or something and an apple. I don't know.

[Elena]

Yeah.

[Bianca]

But, yeah, like, all of these that do this trump loy that blend the physical body with the aestheticized body. Like, you just want to believe it.

[Anna]

So push it a little bit more,

[Bianca]

A little bit harder. Yeah. Like.

[Elena]

Or like, it has a shocky wedding quality. It's just, like, so. Or historical.

[Bianca]

Yeah.

[Elena]

I actually really love this look.

[Anna]

You do?

[Bianca]

Yeah. Yeah.

[Elena]

Because it's so, like, scary and decrepit, and it reminds me of, like, rot and aging.

[Anna]

Yeah.

[Elena]

It's cool that it's not, like, okay, like, spider cobwebs. The only thing that ruins it.

[Anna]

It's cool that the painting is grotesque.

[Elena]

Yeah. The shoe is too, like, modern architectural to work with this look. She should have gone with, like, maybe, like, an open toe, like, windy ankle strap sandal thingy.

[Anna]

Yeah. I do. Like. Yeah. That the painting itself isn't, like, it has a grit.

[Elena]

Yeah.

[Bianca]

Is it even a painting? Or is it, like, a beaded embellishment? I don't even know what the surface treatment is.

[Anna]

I don't know what. Or maybe it's printed on I guess now that I'm looking at it closer, it's kind of. Yeah. Intriguing.

[Elena]

And she is also so enviably anorexic.

[Bianca]

She's so.

[Elena]

She's, like, the thinnest woman there.

[Anna]

Like, the painting of the body is, like, fatter than she is. Right. Next.

[Elena]

Yeah, y'.

[Bianca]

All.

[Elena]

Sza and bode bod. It's. I don't know.

[Bianca]

Is. There's too much going on?

[Anna]

We'll click over to the next slide real quick.

[Elena]

Just saying.

[Bianca]

Absolutely not. Totally different level.

[Elena]

Is this real?

[Anna]

That's from years ago, but it's a Nikki look that I immediately. Of course. Go back. Go back.

[Bianca]

I thought that was Nikki this year. I was so.

[Elena]

No.

[Anna]

Nikki's not getting invited to the Met Gala anymore.

[Bianca]

Ha.

[Elena]

To see it.

[Bianca]

Sorry.

[Anna]

She's in jail.

[Elena]

I saw a bunch of, like, AIs.

[Anna]

I know.

[Elena]

That's a real thing.

[Bianca]

Well, that's the thing. All my favorite looks were fake.

[Anna]

Yeah.

[Elena]

It was like Lady Gaga in a gurna dress or like, Meghan Trainor with, like, a painter's palette. Right.

[Anna]

Next year, they should just do an AI thing.

[Bianca]

They really should.

[Anna]

Everyone can stay home.

[Bianca]

Like, what's even the point of the Met gal anymore? It used to just be images, but the reality is so much more under. Like, underwhelming than the possibility that's created through AI.

[Elena]

This is very, like, Harlem museum. Barkley, Hendrix.

[Bianca]

Like, they made it so heavy. It's like the arm wing thing and the peplum. And the. The thing that really just doesn't work for me is the fact that, like, the details are so cal. Concentrated into these, like, tiny clusters, but are so sparsely and arbitrarily placed on the dress.

[Anna]

Day three of an Indian wedding, you know?

[Elena]

Yeah.

[Anna]

And we're tired. We're done.

[Bianca]

Too much. The headpiece. Almost interesting. I think I want to fuck with the head.

[Elena]

A better dress. Yeah.

[Bianca]

Yeah.

[Anna]

Us.

[Elena]

Like, the seam, the bottom.

[Anna]

I saw something that they got the fabric on ebay was, like, sizzle. We're addressing this fabric from ebay. I was like, yeah, well, so did every.

[Bianca]

At the White House correspondent dinner.

[Anna]

Yeah. Why?

[Elena]

Where? But who cares? So this is, like, very, like, deliberately, I think, like, quoting Frida Kahlo and all of her paintings were. She has, like. It's like her. And then she has her heart on her heart.

[Anna]

I guess that's the art.

[Bianca]

There's many degrees of intellectual separation.

[Elena]

And I hate the color.

[Bianca]

I hate the color.

[Anna]

The marigold's no good, and I like that color.

[Bianca]

She's hot. This is hot.

[Anna]

Her tits look cool.

[Elena]

She's a cute woman. And the color on its own is like deuce. But like together it just.

[Bianca]

Now the color of the background of the PDF that you chose was a much better choice.

[Elena]

Chartreuse color theory theorist, Tasha.

[Anna]

It just comes naturally to me. What can I say?

[Bianca]

Yeah, that's crazy. I really thought that Nikki had. Because this just totally works. Like the silhouette. Yeah, like the concentration of the silhouette.

[Elena]

Yeah. Black girl magic.

[Anna]

She looks amazing.

[Bianca]

Looks like the same carpet too. That's crazy.

[Anna]

I forget what year that was, but yeah, they like to do like a kind of whimsical. She's not invited.

[Elena]

She's not invited. She's a Republican.

[Anna]

Yeah.

[Elena]

And Sydney Sweeney is obviously not invited because she's a Republican.

[Bianca]

Do you think that true?

[Anna]

I don't know. I don't know because I think Sidney wasn't invited, but Zendaya didn't go.

[Bianca]

Bezos like co hosted. Well, not even.

[Anna]

Well, he's the patron, but it's not

[Elena]

really up to him. It's the.

[Anna]

From the largess of his Amazon estate that we're able to take in these beautiful pictures.

[Bianca]

Chase infinity and Tom Brown.

[Anna]

Another like not a sculptural bodice, but the tits on the.

[Bianca]

I've just seen this motif done so many times.

[Anna]

I mean, even at this gallus. Yeah, why everyone's.

[Bianca]

No, but like depicting the Grecian female anatomy on like a. A maxi straight cut dress.

[Elena]

Like it's been modernist. Why is she.

[Anna]

It's a T shirt you buy for a bachelorette party. That's the. It's the same concept.

[Elena]

And like obviously dogs playing poker.

[Anna]

And she looked so pretty at maybe the Oscars. I forget what it was.

[Elena]

Wait, who is this girl?

[Anna]

She's the girl from One Battle after another.

[Bianca]

The artistry probably spectacular, but like the age of image artifice.

[Anna]

The primary colors for me are just not. Not it.

[Bianca]

Yeah.

[Anna]

Tom Brown always kind of doing a little too much.

[Bianca]

Well, the thing is, is that Tom Brown is married to Andrew Bolton, so he knows what the Met Gala concept is going to be before anyone else.

[Anna]

Interesting.

[Elena]

He shouldn't be allowed gay marriage too. I guess.

[Bianca]

There are no women in women's wear.

[Elena]

Listen, Christian Cowan.

[Bianca]

Yeah.

[Elena]

Every time I like see like Matt Galakovrej and like the stories follow, I'm like, oh, this is like such a. A transparent like PR grab.

[Bianca]

Yeah.

[Anna]

Some more successful than others. Right?

[Bianca]

It's nice. The construction and the artistry is incredible. Okay, Don,

[Anna]

I wanted you to do that.

[Bianca]

Looks just like my dad, y'. All. It's really scary. So scary.

[Elena]

Bab.

[Bianca]

I love it. I love it.

[Elena]

He should have just like Hasan Piker because they have kind of a similar vibe. I. I like it.

[Bianca]

I.

[Anna]

When I. I honestly, I didn't. I didn't clock him right away. That's the thing is when I saw him on the stream, I could tell he's not an actor, so I could tell that it was someone acting old. But I kind of was like, who the is that? Who's that weird? Like he had a cane and like he's like acting old.

[Bianca]

This is how Boriqua's age too. Like he hid it.

[Anna]

It's very well.

[Elena]

It's very, very like it's Goya. It's very like Francisco and he committed.

[Anna]

You know, when they asked him, they like, how long did it take to make this look? He said about a. Well, you could do. He said about 52 years.

[Elena]

About 52.

[Anna]

Yeah.

[Elena]

He was doing his thing.

[Anna]

And Zara's cool.

[Bianca]

Zara, that's cool.

[Anna]

I got a lot of clothes from Zara.

[Elena]

I. I do too.

[Bianca]

Isn't Gander doing something with H and M, is it?

[Anna]

I think it's.

[Bianca]

You premiered on.

[Anna]

Is it H and M or is it Zara?

[Elena]

Zara.

[Bianca]

Is it Zara?

[Anna]

I think it's Zara.

[Elena]

Phoenix was wearing Galiano X. Yeah.

[Bianca]

Somebody was doing something. I'm excited for the echo.

[Elena]

Let go.

[Anna]

That's gonna get snatched up quick.

[Elena]

But you can get it on sale, cuz.

[Anna]

Yeah, cuz it's unwearable.

[Elena]

He's cute. You look funny. He look. I like it.

[Bianca]

I like it.

[Elena]

I expect he looks hotter than ever. I like the look of this bad bomb. But like me gust the it's cool because he's not doing like the. The gay and annoying, like androgynous gender masculine guy. We gay for pay.

[Bianca]

Yes. Yeah. The trade. The body core trade.

[Anna]

No elegant move.

[Bianca]

Fun. Okay.

[Anna]

Madonna.

[Bianca]

So much to say.

[Anna]

We got the next ones of relieve Hickley.

[Elena]

A picture of the. The bigger look.

[Anna]

Should have found a better one. Couldn't. Couldn't do. Do it.

[Bianca]

The thing is with this look, you need to look like you smell bad to pull it off.

[Anna]

Let's go back to the first pic.

[Elena]

She's actually so skinny because when she like face tunes her pics and puts them on social media, you're like, oh, she's probably like fat or at least bloated, but she's actually tiny.

[Anna]

Osteoporosis. We'll do that.

[Bianca]

I like the intentionality though.

[Anna]

It's referencing A very specific painting about the temptation of St. Anthony. But she.

[Bianca]

She looks too clean. Like, you want to feel like it's greasy and decrepit and.

[Anna]

And the reference to. There's not enough separation. It's like she's literally holding the same.

[Elena]

It's the same.

[Anna]

You know, it's like, it is just

[Elena]

too literal of an interpretation. I don't like the stark contrast between the black and the gray.

[Bianca]

Yeah.

[Elena]

Like, it. That should have been more ombre.

[Anna]

But none of it is. It's literally just all this reference friends and then the. Yeah, it's. I. I hate it.

[Bianca]

Do you.

[Elena]

It's steampunk for you. Yeah.

[Anna]

You know, that's another one of my big triggers.

[Elena]

Seapunk. She should have done, like, Versace, Medusa. Because she is Medusa.

[Bianca]

Oh, that would have been cool. I get it.

[Anna]

Yeah.

[Elena]

She should. Like, if I were Madonna, I would have done snakes on my head and a bunch of, like, boy toys, like, Material Girl carrying my, like.

[Anna]

And she's got these, like,

[Elena]

so true. I want to see, like, Lauryn Hill. Erykah Badu

[Anna]

wasn't last year, like, gay black guy.

[Elena]

Just the same. Basically, like, menswear.

[Anna]

They might have been around.

[Bianca]

But she doesn't sell it. Like, it was the.

[Anna]

It was like Dan. It was like the black. Dandy. No, right, right. It literally was gay black guy.

[Bianca]

Yeah.

[Anna]

And maybe they were there. I don't remember.

[Bianca]

But I do love that she incorporated, like, the harem of, like, virginal young. Young.

[Anna]

Yeah.

[Elena]

Women.

[Bianca]

It's so, like, counter to, like, the Anne Hathaway dismissing the new bile young

[Elena]

women from the devil versus Prada set.

[Bianca]

Oh.

[Anna]

Oh, yeah.

[Elena]

People were mad at her because they were like, oh, she's like a hot but aging woman who's doing intro sexual female competition.

[Bianca]

Yeah.

[Elena]

She's trying to, like, cut out the competition.

[Bianca]

Yeah.

[Elena]

But I actually, like, don't even think it's that. And she's just, like, being, like, woke and progressive and, like, paying lip service to what she's being. See, she's such a, like, straight A student.

[Bianca]

Yeah.

[Elena]

She's like.

[Anna]

Do you know she's saying what she thinks you want her to say? She's mostly being applauded for it, like, she's doing. You know, it's like, that's what she. She's like, what if we had all kinds of bodies? And, like, she's not. There's not, like, a thought process there.

[Elena]

I don't think she's actually trying to, like, run younger, hotter women off the road.

[Bianca]

She seems happy But I like that, like Madonna's not afraid of that proximity. And she'll like co op the young.

[Anna]

She looks like, literally, she looks like they're. She's stealing their adrenochrome.

[Bianca]

Yes, yes. Right through the veil.

[Elena]

She's like leeching.

[Anna]

Yeah. Their youth. And she's like a very well preserved kind of.

[Elena]

I would have loved to see her trot out her children.

[Anna]

I know.

[Bianca]

Yeah, yeah, yeah.

[Elena]

She has so many of them and they're all so interesting.

[Anna]

Let's talk about this flop, man.

[Elena]

Odessa, Aon and Valentino

[Bianca]

want to love it. Boot doesn't work so bad.

[Elena]

Hate the boot with the train. Hate the.

[Bianca]

The pasties are so kapow.

[Anna]

So bad.

[Elena]

Hate the, like, overdone. Try hard corset. Hate her fake black hair.

[Anna]

Hair.

[Bianca]

Do you think it's fake?

[Anna]

It is.

[Elena]

Yeah.

[Anna]

It's a wig.

[Bianca]

Right.

[Elena]

She's definitely like a dirty blonde because she's blue eyed and pale.

[Anna]

Yeah, yeah, that's. People say this about her that she like is. Did like a dole is all kind of where she like made herself. She's a Jewish girl.

[Elena]

He's. Yeah, but she looks.

[Anna]

Yeah.

[Bianca]

I don't know. I don't know about it. Waist down, it really works. Again, the boots don't work. The pasting sounds.

[Anna]

Whatever way sounds.

[Elena]

Not that there's too much. Much like the.

[Bianca]

The color, the bead scarf, the boots,

[Elena]

the tights with the boots. Yeah.

[Anna]

Another kind of Rachel Senate moment where I think, you know, she's. Her star is rising. But I think Valentino is like, who knows? I don't think there was like a collab.

[Bianca]

Yeah.

[Elena]

This isn't even Valentino because Valentino is like traditionally pretty. Like it's a little kind of like bourgeois.

[Anna]

I think maybe even just the pasties are Valentino. Know, I'm not sure it feels very like, assembled.

[Bianca]

I would have like carried the beading that's on the hip all the way up the bodice and turned that into like a dissolving like nipple cover. Even though. So that it feels like it's like a little bit more effervescent coming up the body and not quite so like placed.

[Anna]

Yeah.

[Elena]

It just seems even.

[Anna]

That would have been so boring. It's really. It's one of the worst ones.

[Bianca]

The colors are really confusing too.

[Anna]

Yeah.

[Bianca]

I wonder what it's referencing. I don't know if anything, you know. And like the neck choker. So not.

[Elena]

It's referencing. October 7th,

[Anna]

the carnage.

[Bianca]

Damn. Yeah. I don't know.

[Elena]

Hostage.

[Bianca]

Christ, Heidi.

[Elena]

We've Sorted. I love it. I love it.

[Anna]

I don't.

[Bianca]

I mean, I like that she trots out the words worm in a different.

[Anna]

All the time. She loved doing the worm.

[Elena]

She loves doing a human sentence.

[Bianca]

Yeah, I. I mean, neck down. I'm obsessed.

[Elena]

Because she's like, I know I'm. I'm known for being a hot top model, so I'm gonna make myself as, like, yeah, scary and Germanic as possible. I'm gonna Grimm fairy tale it up.

[Anna]

Like I said, I've known too many living statues for this to even be novel to me. I know a guy who does this every day. A guy does this every day. He puts on a Venetian Mickey Mouse costume and goes and stands in a casino in Las Vegas eight hours a day. That's his job. I mean, the.

[Elena]

The draping.

[Anna]

No, it's all made out of rubber. It's all silicone, which is still, you know, whatever, draped in, like, a. The aesthetic way, but it's not.

[Elena]

I want to see that wide Central European waist in the wild. At least she's gone with, like, an Irina shake.

[Anna]

I know.

[Bianca]

Yeah.

[Anna]

At least she's really hot under there.

[Elena]

Yeah, super hot.

[Anna]

At least she's baking.

[Bianca]

We get it. You're hot. You're all that plastic

[Elena]

Zoe Kravitz and sandwich. This is what I mean. It's like they're so, like, all over the place. About looks like they can do, like, Haley Bieber and DOA Cat, and then they do whatever.

[Anna]

Fashion is art.

[Bianca]

She looks like a Moorish princess. She looks incredible.

[Anna]

Fashion's art, you know?

[Elena]

So whatever. Yeah, whatever gets you off. Megan Kelly didn't like this look. Really felt that it was too modest and boring.

[Bianca]

Oh, she just.

[Anna]

She's not. It's not her. It's.

[Bianca]

No, she looks so tasteful, like, very gorgeous. Yeah.

[Anna]

I love that She's. She recently got engaged to Harry Styles.

[Bianca]

Yeah.

[Anna]

Hiding.

[Bianca]

Hiding the left hand.

[Elena]

It's just kind of cute.

[Anna]

It's kind of a cute thing to do, you know?

[Elena]

And it, like, is.

[Anna]

Feels intentional. And I love the length. I love that you can't see her feet.

[Elena]

Yes.

[Bianca]

The gauge of the legs kind of

[Anna]

make out her body.

[Bianca]

Yeah.

[Anna]

Yeah. You can see enough of it, right?

[Elena]

I hate Zoe Kravitz. Harry Styles PR campaign where they're, like, pictured together wearing the row as a lovey dovey couple walking down the street. Street getting, like, Cafe Gratitude. Oh, my God. It's so fake and annoying. Yeah.

[Anna]

I mean, what else are they gonna do? What else, what else?

[Elena]

I know, I know, but that's such an annoying thing for me with celebs.

[Anna]

Like I was.

[Elena]

I rewatched Mahal Drive recently. I'm going on like a David lynch bender.

[Anna]

Yeah.

[Elena]

Just like rewatch the whole filmography. And everybody always says about him like, oh, he was like notoriously like private and introverted and didn't like giving a interviews. It's like, come on. He was a total media who took every opportunity to like post videos in the world. Cooking quinoa.

[Bianca]

Give me a break. Yeah. Fuck.

[Elena]

Like okay. He didn't go out of his way to give mainstream interviews because he was intelligent enough to realize that it was kind of like down market and low class. Too thirsty. But like, please.

[Bianca]

I wish you were wearing like a monthy. Yeah. Like a veil.

[Anna]

We had an. I felt like there was so many. So much veiling.

[Bianca]

You think so? That I like a little something in the hair. Ooh.

[Elena]

Matt. Gala theme. 2027 Islam. There we go.

[Bianca]

Let's go. Okay. Lauren Sanchez in Schiaparelli. She's going to too many like right wing political events in dc.

[Elena]

It's very tame.

[Bianca]

She doesn't get out money.

[Elena]

She's wearing Amazon. Yeah. It say it's but it's.

[Anna]

It's Navy's nice. Navy's pretty artistic. No, it's not. You know, it's not black.

[Bianca]

She's hot. She deserves to be there. And I wish she had done something a little bit more antagonistic.

[Anna]

She doesn't need to. She's a patron. She knows they're there. It's a power move.

[Elena]

This is another like Madam X reference. Cuz she has.

[Bianca]

Why is with that older.

[Anna]

I feel like it's not. It's like what she would have worn anyway. Theme be damned.

[Bianca]

Yeah.

[Anna]

And it's what she wants to wear and she gets to where she wants to wear. Cuz she paid for the whole.

[Elena]

I like how you can kind of see Nicole Kidman next to her.

[Anna]

Right.

[Bianca]

Standing over her like a.

[Anna]

It's fine. Her bods looks great.

[Bianca]

I love to see her elbowing her way into the high fashion world. Yeah.

[Elena]

I guess people were mad because they were like you have like billions of dollars.

[Anna]

You can't pay for a taste.

[Bianca]

We can't. We'll circle back.

[Anna]

Yeah, yeah.

[Elena]

You can see.

[Bianca]

Let's get through the looks.

[Elena]

Rachel Ziegler. What? What's she wearing? Honestly?

[Anna]

Vogue didn't say. So I didn't look it up a lot of so.

[Elena]

So I didn't like mask like veil.

[Anna]

The masquerade.

[Bianca]

Yeah.

[Elena]

And this was supposedly like a commentary on the excess and corruption.

[Anna]

But with Ziegler, she's doing. She's referencing a specific painting that I don't recall.

[Bianca]

The Blindfolded Maiden. Yeah, they're all kind of doing this, but like.

[Elena]

Oh, Rachel Ziegler, Damn.

[Anna]

It's like the art historic.

[Bianca]

Yeah.

[Anna]

The white's not good.

[Elena]

Then draping the bodices on a woman of her collection.

[Anna]

A stark white's just a tough. It's just really tough.

[Bianca]

But my favorite, like, Rachel Ziegler, like, styling item is the coke jaw.

[Anna]

Oh, yeah.

[Elena]

The way she was her.

[Anna]

Yeah, Rachel, we all saw it.

[Bianca]

Jawer.

[Elena]

I saw a tweet that was like, she does the coke jaw. Not because she's actually on coke, but because she's a narcissist and this is how she thinks that women should pose.

[Anna]

No, she's definitely on Adderall. She's probably not on coke because she's not like a party girl, but she's on. She's stemmed out.

[Bianca]

Yeah, it's just like.

[Anna]

That's why she's so calm.

[Bianca]

No, no, no, no, no, no. The white's all wrong.

[Elena]

The dress, the blindfolds.

[Bianca]

Why? Yeah, they're all referencing the exact same, like three pieces of art.

[Elena]

If a person with down syndrome tried to do Elena Velazquez.

[Anna]

No, there's just nothing. It's neither like, constructed or deconstructed enough. It's random. It's.

[Bianca]

He's like little princessy off the shoulder. Like cap lit sleeves or just.

[Anna]

And then the top of the.

[Bianca]

Yep.

[Anna]

Maybe if that was all gone and it was like almost a nipple and it was just the. You know me. Maybe. But she's just. She'll never do that.

[Elena]

Dresses that I buy for, like, black tie galas from a brand called Solace London, which does like very, like architecture. Bodice.

[Anna]

That's me. That's me buying rock collection. On the real row.

[Bianca]

Sarah Paulson. We live in a society ass look. Fecal matter is the I hate shredded tool.

[Anna]

Oh, me too. We got it. We got it.

[Bianca]

And I'm pressed because they stole Brian Johnson for me.

[Anna]

You don't need Brian Johnson. No, no, it wasn't. It wouldn't be funny and cool. Clavicular was funny and cool. Brian Johnson's not. He's not looks maxing. He's fighting against death. He's not in conversation with fashion Fair. Fair. He's not, you know, and neither is Sarah Paulson.

[Elena]

Okay, now what's up with the ill fitting white gloves that she and Katy Perry were rocking?

[Anna]

Well, Katy Perry was Doing a. Her glove. Glove deliberately had six fingers. I didn't even really include her because it's all. It made me feel so tired.

[Bianca]

But

[Anna]

her gloves just fit, like. And the dollar is stupid.

[Bianca]

It's so annoying.

[Elena]

It's all also gay and stupid and everything about this look is wrong.

[Bianca]

It's all wrong. No. Yeah.

[Elena]

Like, the gloves, the necklace, the dollar bill.

[Bianca]

Yeah. I think they were, like, trying to go for the. The labyrinth movie ball gown silhouette, but it's just. It's so annoying. And, like, honestly, the thing that frustrates me the most is, like, the fact that they're trying to sell us this, like, caviar communist narrative about, like, participating in the Met Gala but also getting to be working class heroes.

[Elena]

It's just so. It's like the. The 1%, like, condescending to the 1%.

[Bianca]

100%. Yeah.

[Elena]

Boohoo. You're slightly less rich. Yeah. You're worth 40 million. 400 million. Boohoo. Tell it to the judge. Kate Moss is.

[Bianca]

She looks incredible.

[Elena]

She looks great. Yeah.

[Anna]

Yeah.

[Elena]

Amazing face.

[Bianca]

No comments, no notes.

[Anna]

Looks like something I sold on my depop.

[Elena]

Wait, what's going on with, like, the maroon?

[Anna]

That's someone in behind her, I think. Oh, no, no, no. Yeah, it is. Okay.

[Elena]

Oh, it's.

[Anna]

That's not.

[Elena]

She's just wearing the. It's the girl.

[Bianca]

Oh, is that a Swiss dot? Oh, dochi.

[Anna]

I love a Swiss dot. And I love that she's serving body tea. And that's all I have to say.

[Elena]

I just. I just love that she's, like, going back to the old days of the Met Gala, where you look like a normal cocore.

[Anna]

You're there to have fun. Yeah.

[Bianca]

She looks incredible. Yeah.

[Anna]

Facelift, fantastic. Money well spent.

[Elena]

She looks skinny, too.

[Anna]

I know. Fantastic, right?

[Bianca]

That's why I want to know.

[Elena]

45. 50.

[Bianca]

No way.

[Anna]

Oh, yeah. Well, I mean, she's. Yeah. 50 at least.

[Elena]

She's at least 50.

[Bianca]

At least 50. Yeah.

[Anna]

Look it up.

[Elena]

She's like, back to her old sh. I do love the pictures of Kate Moss being, like, 52, remarkable looking, like, kind of, like worn out and bloated.

[Bianca]

Yeah.

[Elena]

My depop. Abby is like Kate Moss in a green sequin mermaid dress. Like, blast on the beach.

[Anna]

Next slide.

[Bianca]

Lila Moss.

[Anna]

I really like the dress.

[Bianca]

The dress is really pretty.

[Elena]

I do, too.

[Bianca]

I mean, she's a beautiful young lady with impossible shoes to fill.

[Elena]

No notes.

[Bianca]

And, like, the constant comparison is just

[Elena]

a setup, but she's asking for it. Is she? Because she's trying to be a model. Yeah.

[Anna]

And her whole career was. She wouldn't be a model if her mom wasn't Kate Moss. It's not unfair to invite the comparison.

[Elena]

And bringing it upon herself.

[Anna]

Yeah, sure, she's beautiful, obviously.

[Elena]

But she just doesn't suck it ahead of herself. She's pretty, she's beautiful.

[Anna]

She would be a beautiful. Saw her. You would be like that. She's beautiful, but she doesn't have the

[Bianca]

distance in a lifetime.

[Anna]

She's not. And that's not her fault. But it's like, you know, I would do the same. You know, I use the. I'd play it as it lays as well. But.

[Elena]

And I like her better than like Amelia Gray or whoever.

[Bianca]

Sure.

[Elena]

Because she seems like more guarded and discreet.

[Anna]

And the dress I really like the dress is gorgeous.

[Elena]

Yeah, it's nice. Yeah. It's really pretty. It's like simple.

[Bianca]

Love the beading. Love the colors.

[Elena]

It's not a stunt, which is nice.

[Bianca]

It's crazy inherent like Great Gats be again like 30s depression era art deco motif that keeps reappearing in all of these different references.

[Anna]

I think that's a response more to the zeitgeist than the theme.

[Bianca]

Yeah.

[Anna]

I think it's like roaring twenties, you know, Europe excess.

[Bianca]

Yeah. Between war.

[Anna]

But like we're in a. We're in a depression and it's like an aspirational roaring 20s.

[Elena]

Yes. You know, but like, you know, they always say that like IQ is not hereditary or like genius isn't.

[Anna]

Yeah. Right.

[Elena]

Like most geniuses, like, do not have children who are.

[Bianca]

Right.

[Anna]

Yeah.

[Elena]

So me for real. But like, obviously, like Lila Moss was not gonna like, of course match. How could she. Beauty and charisma of her mother Nem's the brave weeks.

[Bianca]

Alyssa.

[Anna]

Louis Vuitton ambassador.

[Elena]

Louis.

[Bianca]

Her. Good for her. I'm so jealous.

[Anna]

Really giving figure skater. Which wouldn't be my move.

[Bianca]

I like this dress. I told you. I told you guys. It's giving American American Girl dollar holiday look. It's Samantha's Christmas. It's just invoking all of these nostalgic dollish sort of like I don't hate it.

[Elena]

It's like Jessica McLin talk.

[Anna]

Yeah.

[Bianca]

Okay.

[Anna]

And she's happy to be there.

[Bianca]

It looks good in. In the three quarter view.

[Elena]

And you know what? I like it way more than the Eileen goo.

[Anna]

That's bubble girl coming up next.

[Bianca]

Who's the girl? Do you.

[Elena]

Who is the. The art. She was like a. An indie musical artist who opened for Morrissey back in the day and huge controversy. She got into beef with Lady Gaga because she was the first one to wear the meat dress.

[Bianca]

I don't remember this.

[Elena]

She was like kind of pressed and pissed that Lady Gaga like had such a iconic fashion moment with it. Her name was like Kristen something.

[Anna]

She was a pea head.

[Elena]

Yeah. And she also wore the. A bubble dress. And I think Bjork also wore a bubble bubble dress in addition to swan dress.

[Bianca]

Seems like we really want to talk

[Elena]

about the bubble dress.

[Anna]

I mean, I'll just say it's. I don't like it and it's giving consignera and I'm happy that she's happy to be there.

[Elena]

Yeah, no, it is. It just like looks like 14 year old Mexican girl.

[Anna]

Which considering like being under the boot of her. Which is what Chinese father. You know, it's like it'd be nice to set her free a little bit.

[Bianca]

Yeah.

[Anna]

And like I know she got an ass back there. Know I'm talking about the body undressed,

[Elena]

but I actually see, I see what everybody was getting at during like the height of the Alyssa Lou versus Eileen goo controversy because she's just like her look is whack, whatever. But she's just like so cute and natural.

[Anna]

Yeah.

[Elena]

Okay.

[Anna]

She's a happy American girl. And Elaine Gu is an evil Chinese woman whore who. This pissed me off so much. The way she was so proud of herself because I saw it on the stream and. And at first I was like, are those bubbles? You know, and then I was like, oh. And then I like the way she has to move in such a stiff way because of the apparatus in the dress that's making the bubbles.

[Bianca]

I want to know what it is.

[Elena]

What's up under like little bubble machines.

[Anna]

Who Some Chinese crazy crap. And she's so proud of herself. And it's like the theme's not bubbles, you dumb. And you're a tr. You're a traitorous Chinese.

[Bianca]

I like the bubbles.

[Elena]

I like Chinese horror who we're all jealous of. Cuz you're so pretty. You're so pretty.

[Bianca]

I like when the dress like transcends the physical experience of a dress. It turns into something more sensorial. And I like when you can smell it, when you can feel it, when you can pop it. I like that. But the silhouette is so twee.

[Elena]

Yeah. I hate the hemline.

[Anna]

Commit.

[Elena]

Commit to it.

[Anna]

Like, okay, don't show off your.

[Bianca]

Yeah.

[Anna]

She looks fatter than she is. She doesn't look fat, but she looks thicker than she is because the dress has whatever contraption inside of it. If it had been floor Length. And then the top could have been more like less bulky and then the bubbles could emit in some other way.

[Elena]

The shoes, they're so Dolce Vita or Jeffrey Campbell, like Bloomingdale's brand.

[Anna]

Yeah. She's going for like a nude look. She's just bubbles, but it doesn't look like. It's just. It doesn't look like she's soapy out the tub.

[Bianca]

Yeah, yeah.

[Anna]

It looks like she's wearing like a fucking evil Chinese contraption.

[Elena]

Crazy.

[Anna]

And I hate it, but I'm not no fan of hers, I guess.

[Bianca]

I. I got nothing.

[Elena]

I have nothing to say. Yeah, it just looks bad and whack and like too middle class. I guess it's just. As a fan of the middle class,

[Bianca]

I wish there were more like variety in like the size of the bubbles too. Because they're glass bubbles, right?

[Elena]

Yeah. I like that. You can see like Paloma El Cesar.

[Bianca]

She's coming out so hot.

[Anna]

She's coming.

[Bianca]

I can't wait to talk about her.

[Anna]

Okay.

[Bianca]

Looking like Hannibal did her dirty.

[Anna]

And like I said, she's locked into that Chanel ambassadorship, but you know, they gave her options. She's got to be one of the best they got.

[Elena]

Didn't she wear. What was the Dr. Was it Chanel with the.

[Anna]

The chain? It was.

[Elena]

It was very like Liz Hurley Versace.

[Anna]

Yeah, yeah, yeah. The Chanel belt.

[Bianca]

Yeah.

[Anna]

Chain belt.

[Bianca]

It was pink, wasn't it? It was like baby.

[Anna]

It was black.

[Elena]

Gold embellishments.

[Bianca]

Yeah.

[Elena]

Like gold hardware.

[Bianca]

Yes, yes, yes.

[Elena]

And it was so, like, sexy.

[Bianca]

Yep.

[Anna]

It was awesome.

[Bianca]

She's so sexy.

[Anna]

She's so sexy. But she is short and like, you can't put her in a drop waist and a kitten heel. Right. It's. She looks like she's four feet tall and it's not her color. It washes her out. It's like maybe a pretty. It may. It's like maybe a pretty dress. I can't tell.

[Bianca]

Yeah.

[Anna]

The.

[Elena]

Or you guys are going to hate me for saying this, but I actually don't mind. This look like it is very frumpy and dumpy, but to me it's a more authentic version of what Hunter Schaer was trying to get at.

[Bianca]

That's crazy.

[Elena]

She's like little. Little girl. Yeah. It's kind of giving belt this.

[Anna]

No.

[Elena]

Something weird and perverted about it.

[Anna]

Yeah.

[Bianca]

I mean, it's all her.

[Elena]

It's not even the dress. It's not the outfit. I hate the shoes. Like the. The double dipped. Whatever, blue and black.

[Bianca]

It's like, like a false modesty that betrays something much more sexual and sinister.

[Anna]

It looks good in, like, the candids of her.

[Elena]

It's just, like, hard to like. It looked better to her other looks. It's a huge flop. But overall, it was just definitely not

[Bianca]

my least favorite weighted.

[Anna]

Yeah, they're doing. They're. They're up to no good.

[Bianca]

Yeah. Chanel had some weird moments.

[Anna]

It's lately the lot, like, for the longest time, honestly, it's been a lot of, like, it's very, like, weighed down and, like, accessorized in this very Chinese way. Honestly, it is very Chinese. Yeah. It's giving, like, Chinese mother of the bride.

[Elena]

But like, her. She looks so good otherwise.

[Anna]

I mean, she's a beautiful girl. I want to see. Like, I want. Yeah.

[Elena]

To.

[Anna]

She's usually styled so, so well, and

[Elena]

she has that, like, come hither stare. Yeah.

[Anna]

Yeah. Okay.

[Elena]

Gigi Hadid and Mew Mew.

[Anna]

Hated it.

[Elena]

Hate it.

[Bianca]

No, I don't get it. I don't get it. The styling of the underwear. Like, the weird place.

[Anna]

She claimed the underwear was intentional.

[Bianca]

I hate they always. They be. Claim mean the underwear is intentional. But they like.

[Elena]

I hate how kind of like girls wearing, like, see through dress. Like, Kendall Jenner did that for some Met gala afterparty where she was wearing, like, Mugler and it was like a. A silvery, like, gunmetal dress with, like, a black bra and black panties. And it just looks bad. I think you should just bear it all and like. Yeah.

[Anna]

Or like Zoe Kravitz did the. The crystal thong.

[Bianca]

Or what Bianca does where she just wears tights.

[Anna]

Yeah.

[Bianca]

And the seam closes it up.

[Elena]

Why are you wearing, like, boy briefs?

[Anna]

Yeah, they're Mew mews.

[Bianca]

Weird choice. Weird color, weird cut.

[Anna]

Not her best look.

[Bianca]

Detract from these strange, like, beaded motifs around the bus that don't come in anywhere else. Like, okay, maybe a little bit in the train, but no angle on the bar.

[Anna]

I saw some side shots where it was like there was. The embroidery was more interesting, but it wasn't. It's like none of it. It's doesn't. It doesn't work for anyone.

[Bianca]

The glam and the hair is so austere and mundane.

[Anna]

She didn't wear mascara.

[Bianca]

Yeah.

[Elena]

People were saying, oh, she looks 19. And I actually think she looks 40 here.

[Bianca]

I don't get the hair. Kate loved the hair.

[Anna]

She's a new. She's a recent. She's a new mother.

[Elena]

Well, I love.

[Anna]

And she looks a little tired.

[Elena]

She looks tired and like, Postpartum in the best way possible. Like, it is kind of like sexy, erotic.

[Bianca]

Yeah.

[Elena]

Because she looks a little used.

[Anna]

I would have, like, leaned into that with the whole body. Mot.

[Bianca]

How old is her baby?

[Anna]

I'm not sure. I think young.

[Bianca]

My baby is 2 and 3. I mean, that's not postpartum.

[Anna]

She's not freshly postpartum, but she's. She did. Yeah, she was.

[Elena]

You know, another great theme idea. Postpartum depression.

[Anna]

Interesting. That is. Yeah, that is.

[Bianca]

I'm taking notes.

[Anna]

Estrogen.

[Elena]

I want to see that. Estrogen dominant. I want to see black, gay, black guys inter. For that.

[Bianca]

We're all getting the Megan Kelly testosterone pellet in our ass.

[Elena]

I've done that.

[Bianca]

Did you? You got the pellet? Really?

[Elena]

Wait, I've talked about this.

[Bianca]

I didn't know you got the pellet in your ass. Yeah.

[Elena]

Jordan Wolfson inspired me to get a rice kernel size.

[Bianca]

Is that the size? Yeah.

[Elena]

It was literally the most pain I felt in my life.

[Bianca]

Really?

[Elena]

Really? Wow. Uncomfortable. Yeah. Well, because after I had the baby, my testosterone was so, like, low and I'm usually high tea and I depressed and depleted.

[Anna]

But why was it so painful?

[Elena]

Because they shoot the thing and because I guess the ass is like a huge muscle. So even when you have like a little bee sting kernel aperture thing, it hurts a lot. It's like sore and pink to absorption, I guess.

[Bianca]

Damn.

[Elena]

Yeah.

[Anna]

What did it do?

[Bianca]

Did it like help your skin or your pms?

[Elena]

No.

[Anna]

Did it make you more angry?

[Elena]

Well, it made me more lucid, but it also made me more aggro.

[Anna]

Yeah. Yeah, that sounds about right.

[Elena]

So I've horny and mean. Yeah, I. I have done that

[Bianca]

polo ma. She looks incredible.

[Anna]

Beautiful. Heard it was made out of like a hundred something. Some crazy number of dress. They sourced all these old dresses and sewed them all together.

[Bianca]

I think this is one of the few instances where the painting actually works and it doesn't feel topical or. I don't think it is painting. Really. I can't read it.

[Anna]

There's some. This is tin. She said it was like tin applique. Yeah. Very interesting. Like, look like tin foil close up. But then all this stuff, like, is made. It's made like, made out of other dresses.

[Bianca]

Good. I love the ear. Michaela Bosch did her glam. She's done a couple of our shows before. Like, she does really cool. It doesn't feel too much. It feels really additive and really referential

[Anna]

and really, really, really, really pretty.

[Elena]

The colors are very beautiful. She has the real face card. That doesn't decline.

[Anna]

She looks fantastic.

[Elena]

And every time I see her, I'm reminded of, like, Angie Martinez. I don't know if that rings a bell. I guess she's Puerto Rican. Is she Paloma? I think so, yeah.

[Bianca]

I wonder.

[Elena]

She's like Puerto Rican and Swiss or something.

[Bianca]

She from Gastat? Well, I've never heard of this designer before.

[Elena]

There was a name, fake and gay made up designer.

[Anna]

I think it's like someone designed the dress and called it Bureau of Imagination.

[Elena]

It was Paul Kupo. Yeah, right. Slay.

[Bianca]

Great. The styling is, like, really fresh. The colors are great proportions. Amazing. Really love the train.

[Anna]

One of the prettiest dresses. Yes.

[Bianca]

She did it.

[Elena]

And it's very, like, cool and unusual because she's very warm toned.

[Bianca]

Yeah.

[Elena]

And the dress is cool toned. And you would think that it wouldn't work because she has little coral peach,

[Anna]

and the green has warmth, even though

[Bianca]

it's like, you know, the coloring of the dress does for me what Hunter Shaver's blush does.

[Elena]

It's very Botticelli. The necklace works in this case.

[Bianca]

Yep.

[Elena]

The earpiece thing, Very good.

[Anna]

L. This is my robber Woo section, Lisa. Lolisa's like a K pop girl. She's a huge star. She was on White Lotus as well. She's like, the one that really, like, jumped out. She really became, like, the K pop girly. And she's stunning. But this dress is whatever.

[Bianca]

Yeah. The dress is not because it has,

[Elena]

like, an arm holding up.

[Anna]

The thing is two arms that are 3D printed versions of her own arm.

[Bianca]

The proportion of the arms is all wrong, which could have been counterbalanced by the way that she posed her herself. But, like, the opacity of the dress doesn't match the opacity of the arms, so it totally feels like an additional fixture on top of it. Like, if she had posed differently throughout the night and the dress were stark white, it would have been really spectacular.

[Anna]

Yeah.

[Elena]

And the. Yeah,

[Bianca]

exactly.

[Elena]

It's, like, clashing. Like, the coolness.

[Bianca]

She's working against the dress. She's doing her own posing where she should have, like, really workshopped how she. She wanted to.

[Elena]

She looks.

[Bianca]

Enhance the silhouette.

[Elena]

She's really putting the black.

[Bianca]

The edges are crazy. Like the edges in her hair. Yeah.

[Anna]

It's not.

[Bianca]

I mean, there is a world in which this totally worked and it was one of the most spectacular looks on the carpet. But it just. A couple tiny styling details just really didn't. Didn't.

[Elena]

I wonder what her real name is, because, like, Lolisa is One of the more inspired K pop names because all the K pop girls have very like. They're. They're always like Jenny or Susie.

[Bianca]

Yeah.

[Anna]

They rename them. But a lot of like, she might be Thai, actually. And a lot of Thai people do

[Elena]

have kind of jungle Asian.

[Anna]

Not even. They have. Like, when I was in Thailand, I met like a girl named like, they. Their names were like Kitty or like Gun. Like, their names. I met a guy named Gun.

[Elena]

Like, they.

[Anna]

They did just kind of like, maybe they're self selected or like they do just kind of like use kind of like good sounding American ish phrases.

[Bianca]

Yeah.

[Elena]

Like esl Duolingo. What would have been really cool is if somebody did Gauguin.

[Anna]

Ah. With the tits exposed.

[Elena]

Purple nipples. Yeah.

[Anna]

And so that's another Robert, uh, look.

[Bianca]

And then that's Naomi Osaka.

[Anna]

Yeah.

[Bianca]

Three spiritually Chinese. Look.

[Anna]

And we'll go back down. Well, Robert Roux is Chinese.

[Elena]

Yes.

[Anna]

So then these are the other. That one.

[Bianca]

Jordan Ross.

[Elena]

Jordan Ross.

[Anna]

Jordan Ross.

[Elena]

Jordan Ross.

[Bianca]

He's a playwright on Broadway.

[Elena]

Oh.

[Bianca]

I think.

[Anna]

And then the next slide also is

[Bianca]

Robert One had a huge night.

[Anna]

Nietzsche, pot, shoe pop. We all know her.

[Bianca]

We love her. Snapchat.

[Anna]

Also, this is all. All these. These three slides are all Robert One he killed was big and he did a lot of 3D printing.

[Bianca]

Yeah. You know what? The Jordan Roth look is fun. No, it's horrible. Okay, well, what we did.

[Anna]

Horrible.

[Bianca]

What we did for a show. I can't remember if we ended up doing this on the Runway or not. We might have scrapped it last minute, but for the mud show, we had people. People originally conceptualized to be crawling underneath the dress.

[Anna]

But like, real people.

[Bianca]

Yeah, real people. And like this look, I think would have benefited from a third more animated anthropomorphic humanoid.

[Anna]

He should have a real guy on his.

[Bianca]

Under the dress.

[Anna]

A real person.

[Elena]

Yeah, a slave.

[Anna]

He should have a slave.

[Elena]

And Hellraiser pinhead.

[Bianca]

I would have styled this with another. Another person. Kind of like what Madonna did, but have that exact same, like, green screen covering.

[Elena]

It is very gay. Sucks.

[Anna]

It's completely. It's horrible. It's. It's disgusting.

[Bianca]

I see. Okay. Yeah.

[Anna]

From the back.

[Elena]

Bug chase from the back.

[Bianca]

It's not meant to be seen from the back.

[Anna]

Well, like. Okay.

[Bianca]

But it is being seen.

[Anna]

But on a Runway. Like.

[Elena]

Okay.

[Anna]

On a Runway. Okay.

[Bianca]

Yeah.

[Anna]

And then you see it from the back. And it's also kind of like moody, but like, just walking around like that. That's disgusting.

[Elena]

Like a rape paralysis demon. Yeah, it's Like Ghostbusters, but, like ass busters. Like, he's getting, like, ass busters. It is like. It's so.

[Anna]

It's misguided.

[Bianca]

I like it every way.

[Elena]

It's like, what Lives of your mod

[Anna]

del Toro

[Elena]

of the progressive left.

[Bianca]

I love the fabric. Fabric.

[Anna]

Yeah. I'm not. I can't. Who cares?

[Bianca]

A third thing. A third. It needs a secret third thing.

[Anna]

Yeah, probably.

[Elena]

Maybe it needs another guy. They need a third.

[Bianca]

Yeah. It should be a threesome.

[Elena]

Yeah. This.

[Anna]

Whatever I just lumped it in with. Doesn't matter. Sucks, obviously.

[Elena]

Okay. Alexander Wang and Irina Shake.

[Bianca]

Vice.

[Anna]

Well, Alexander Wang also made the right robot. And then he.

[Bianca]

He made the robot.

[Anna]

The robot was Alex. I don't know. He didn't.

[Bianca]

Yeah. What?

[Anna]

The robot that, like, I didn't really see on the carpet, but.

[Bianca]

Or was he the one who, like, benefited from the sponsorship of the company

[Elena]

that put the robot on the road?

[Anna]

Exactly. The robot was also Alexander Wang. And then the energy drink is called, like, reality or something. It's also kind of like a co branded thing with the robot. And then Arena Shake is wearing his design.

[Bianca]

Hodakova did this whole moment ten times better. This whole, like, deconstructed wash and object and item. She's like a Swedish designer. We did the lvmh.

[Elena]

She does the buckle bag that they saw.

[Bianca]

Yeah. She, like, works, like, $3,000 items and objects and collaging them under the form. And this just feels lazy and last minute and like.

[Anna]

And just to. With the soda and the robot, it's like, why are you.

[Elena]

What are you really doing here? Yeah.

[Anna]

I mean, he needs the money, and

[Bianca]

he's using the money to get onto the Met Gala in the first place. He's probably paying full price for those tickets.

[Anna]

They said, we'll let you come to the Met Gal if you pay. If you drink an energy drink and get the robot out.

[Bianca]

Right.

[Elena]

I'm happy to see Alexander.

[Bianca]

Me, too. Me, too. Me, too. Nature is healing. It's crazy.

[Anna]

I know.

[Elena]

And this is. This whole look.

[Anna]

He could have come out with a strong look.

[Elena]

This look, not her look, is very anacore.

[Anna]

Yeah, that's true.

[Elena]

No makeup. Makeup. All black. Like, stringy, oily hair. He looks sexy. Yeah, he looks great. He's fighting.

[Bianca]

And the allegations are resolved. Love, aren't they?

[Anna]

I know, but people don't care.

[Elena]

That's true.

[Anna]

It's like, it doesn't even matter.

[Elena]

More fun to pretend they aren't Irina Shake, too. I love her because, like, sometimes I do a little bit of second order Thinking and think, am I going to bear my Midra 100%. Which looks blown out from giving birth to a child. And she's really doing it.

[Bianca]

How many kids does she have?

[Elena]

One with Bradley Cooper. Oh my God, that's bright.

[Anna]

A damn beard.

[Elena]

It inspires me.

[Bianca]

You could do it any day.

[Elena]

That woman be doing the sad belly button.

[Anna]

Do it. Why not? She looks great.

[Elena]

But the clothes or whatever, the low waist.

[Anna]

He was focusing too much on the. On the robot.

[Bianca]

This reminds me he made it Anna

[Elena]

Revolver Forward, where it's like we're doing a guio whatever low rise shirt that

[Anna]

I'm buying off of Instagram ad than regretting then put it on my depop store.

[Bianca]

Sarah Pigeon, she an actress?

[Anna]

She's from Love Story. She plays Carolyn Bassette Kennedy.

[Bianca]

Oh, right.

[Anna]

That's that.

[Bianca]

I like this color.

[Anna]

I like the color.

[Bianca]

I like the drape. I like it.

[Anna]

I like Loewe. I don't really think it's doing her any favors.

[Elena]

I think she shouldn't have done like a midriff look. She of all people has like a nice tight little midriff going.

[Anna]

It's maybe lower, maybe more midriff. I don't like just the upper midriff.

[Bianca]

It's neither here nor there.

[Anna]

Like, who cares?

[Elena]

It's like, oh, I'm doing like a modern contemporary spin on Audrey Hepburn burn.

[Anna]

Sort of. It's just. She's another actress who I think is just happy to be there and was wearing what they told her to wear. And it's not. She's not expressing anything.

[Elena]

A French influence. Joel, he's sounds Turkish.

[Bianca]

This dress makes me feel like a prude. Like, is it too revealing? Is a little in a feeling appropriate?

[Anna]

Well, it reminds me we. When I.

[Bianca]

When.

[Anna]

When did Janet Jackson do the Rolling Stone cover with like the early 90s? Yeah. Like, I have a really traumatic memory of seeing that as a small child.

[Elena]

Like I was really like four, five, you know, six.

[Anna]

And I saw it and I was like. The thought of someone fondling your body like that like, scared me. And so it's you reminding me of

[Bianca]

that makes me feel uncomfortable.

[Anna]

The Getty look was interesting because the hands that were groping the body. Body were like fem. They were like not so feminine, but they were like ambiguous. But this is very much like man. Yeah. It reminds me of when Julia Fox wore that dress that had like the.

[Bianca]

The choker.

[Anna]

Yeah, the demonic choker. Like there's something about seeing the female form being grossed by like a creepy male hand.

[Elena]

That is interesting. Just like, bad and trash Sashy.

[Anna]

The.

[Bianca]

Yeah. Like, the materiality is disparate. The hands, like, those don't match, and

[Elena]

you don't really need, like, the thong waist.

[Bianca]

Yeah.

[Elena]

You're gonna do the boob hand.

[Anna]

It's a lot. But the hands remind me of, like, those creepy, like. Like, bronze statues you see that look like real people, and you're kind of like, is that a guy sitting on the bench?

[Elena]

Why is he so still?

[Anna]

And then you get closer, and you're like, oh, it's like a weird up statue.

[Elena]

Okay, like, more importantly, who the is this woman?

[Anna]

She's a French influencer.

[Bianca]

Maybe it would have been cool if she had gloves that match the sensation of the bra.

[Elena]

That's also very horrible. Because French people shouldn't be influencers because their whole forte is being, like, distant and aloof and above it all.

[Anna]

Yeah, but she's doing her job, you know, she's working. People are talking about. People are talking about it. So she's doing her job, dog.

[Bianca]

Right. So it looks like the powdery eyeshadow doesn't work for me either.

[Anna]

Yeah, Ostensibly, like, matching the skirt. That's kind of. Whatever. It's very.

[Elena]

Not French. It's very American.

[Bianca]

Absolutely. Yeah. Depressing. A glove, like, metallic glove.

[Anna]

It's giving, like, eps. Not read the room. We're still reeling from the Epstein files. Oh, that's.

[Bianca]

Yeah. I don't know.

[Anna]

That's the Katy Perry book I put in.

[Bianca]

That was bizarre, too. Like, what was she trying to.

[Anna]

I, like, didn't even want to talk about it. Honestly, it all felt so, like, confused and fake.

[Elena]

I wanted to see Justin Trudeau.

[Anna]

Yeah.

[Bianca]

Oh, yeah.

[Anna]

I know, right?

[Elena]

South Asian or blackface race play. That would have been so tight if he wore his, like, high school photo yearbook look with, like, the turban and the Shivarchemies. There was South Asian.

[Anna]

Yeah.

[Elena]

Inspired fashions, because I bet they all thought that Zoran and Rama would be up in there.

[Anna]

They announced early on.

[Elena]

No, I know, but they were, like, kind of playing off of, like.

[Anna]

But it's a vibe, for sure.

[Elena]

Yeah.

[Bianca]

What did you guys think about the, like, overwhelming Chris is against Bezos, Bezos, and Sanchez?

[Anna]

I mean, just nonsensical.

[Bianca]

Yeah.

[Anna]

Like, what do they think? Where do you think money comes from? What do you think pays for, like, I mean, the Sackler?

[Elena]

Like, what do you want?

[Anna]

I mean, who do you want to be financing the arts if not people that are, like, pure evil? Like, you just can't have it both ways.

[Elena]

And these people aren't Even in pure evil. Yeah, but.

[Anna]

You know what I mean? But like, matier. Whatever in terms of like, the level of like suffering next world, try hard.

[Elena]

Because they, like, want to be accepted by the general public.

[Anna]

But the. Right, but the backlash is that it's like, you know.

[Elena]

Yeah, yeah, but.

[Anna]

Yeah, but like, let's not invite Beyonce. She uses set shops. Like, like, do we really want to, like, pull up this like, thread of like, who's evil, who's harming people, who's exploiting, whose money's clean. Like, there's no mechanical.

[Elena]

That's the thing.

[Bianca]

Harm.

[Elena]

Which is like, so actually harmful and destructive. Because when you, like, try to minimize harm, you actually end up maximizing. Absolutely. And it's. I remember being a kid and reading New York magazine because my mom had a subscription and it was like, literally, Anna Win mentor, the socialite called Ann Duong, who's like a Vietnamese French chick and Jelen Maxwell and they were like, in the fashion pages, they used to have like, run like a like full page spread of like, socialites.

[Anna]

Well, that's why it feels so false. Is like this like, elite spectacle that there is like this mass kind of like populist sentiment against to just be like, fashion is art, like, brought to you by Amazon on, right.

[Elena]

And like, I. The real problem with the Met Gal is that they democratized it too much because it should be like, yeah, an elite walled garden.

[Bianca]

Yes.

[Anna]

For like, let them have their hunger.

[Bianca]

That's my most fascist take, honestly, is that we should restore the credibility of

[Elena]

the elites and like, the tastemakers. We shouldn't let, like. Well, it's. We're past that point now because, like, streaming is like the new celebrity. But you. We shouldn't be letting like, YouTube and Tik Tok influencers, like, into the Met Gal period. We, Me, personally, me, Anna. Anna, who's the final decision maker of everything. Right.

[Bianca]

But it's. It's just crazy to me. Like, I just feel like it's further proof of this, like, identity crisis that fashion is having. Where they want to be like this pinnacle of fantasy and luxury, but they also want to be seen and like, just continuously drawing our attention back to the drudgery of how the sausage is made. Made like, like that where the money comes from, where the. Where the labor conditions lie. Like the utility of fame as a celebrity. And celebrity is like a money making vehicle. There's no real China. Right.

[Anna]

Like, there's so many. Like, there's like. Let's really talk about what's like, really problematic.

[Bianca]

Yeah.

[Anna]

If we're gonna go there or let's just not. And let's have a nice ball.

[Elena]

Yeah. Yes.

[Anna]

And I kind of like the second option because the first one doesn't feel like tenable or that interesting. Really.

[Elena]

It's like China is kind of like the Israel of fashion. They just exert way too much influence. They do, sure.

[Bianca]

It's just so frustrating. It's like one of those things where. Yeah. Again, it's just you want to, like, discuss these sorts of issues.

[Elena]

Issues.

[Bianca]

But, like, the thing about it is that that is what people derive gratification from. It's not like solving from the things in any material way. It's really just like.

[Anna]

Nor the clothes.

[Elena]

Yeah.

[Anna]

Nor the artistry. It's just the discourse.

[Bianca]

Yeah, exactly.

[Anna]

And like, neither are we, like, solving the problems, nor are we. We're just slapping a dollar bill on Sarah Paulson's place and like, someone's feeling satisfied. But, like, it's who.

[Bianca]

I feel like people are really trying to gauge, like, the public interest in like, champagne socialism and like, caviar communism. It's like, is it working? Is it believable? Can we get away with like, having these sorts of, like, displays of ostentatious.

[Elena]

Like the sad thing is that, like, when you have that, they're not even ostentatious stations. Yeah. They're just like ghetto and bro. Wait, okay. Who is Luke Evans?

[Bianca]

I don't know.

[Anna]

Because the guy that wore the leather daddy.

[Elena]

Yeah. Oh, yeah, yeah. Who? He was one of my favorite looks of the night because he did like Tom of Finland reference.

[Anna]

Yeah.

[Elena]

And like, I. I hated everything about the look. Obviously. It was like trashy, tacky, looks bad. But he really like Gucci.

[Anna]

No. I don't know who dressed him actually, but it was giving like the last Gucci no clue. That's kind of why I didn't include him. Because I didn't though it was a good look.

[Elena]

Yeah. Like he. He was the one person who like, understood the assignment.

[Bianca]

Yeah. Did you see all the bottles of piss people were leaving around the Met?

[Anna]

I saw the New York Post thing.

[Elena]

I wonder if that was real or if it was just like a psyop

[Bianca]

of two or three things that people

[Anna]

took their own pictures of that like they self documented. It's so hard to tell. That's why, like, AI really is kind of the theme.

[Bianca]

Yeah. No, it's true. That's exactly what I would have done is like, if I had been invited to like, show something at the Met Gal, I would have done something that rift On AI and like the in unbelievability of what you see on the Met Gala Runway. Because it's the best.

[Elena]

Maybe next year.

[Anna]

We'll be there.

[Bianca]

We'll be there. We'll be up in there. I think.

[Anna]

I think I got a chance.

[Bianca]

Yeah. Yeah. But like the looks, my favorite looks, they were all fake. And it took so much research to figure out what was real and what was just.

[Elena]

I know, I know. I was seeing you girls being like, is this real?

[Bianca]

Yeah.

[Anna]

You. You can tell?

[Bianca]

No, there were some really good ones. Or if they were like old seasons.

[Anna]

Yeah, yeah, yeah.

[Bianca]

Like I don't be keeping up with the Met looks. Like, I know we can all like mid journey our way onto the Met Gala carpet could be nice.

[Anna]

Yeah.

[Elena]

It could be satisfying. The mechanics of actually going to the Met Gala because you like walk the red carpet, get.

[Anna]

Then you have dinner and then they all claim in there, like you take the bathroom selfie in the feed banter. They all claim to be like, and I'll see you in there. We'll dance the night away. They're all like, we're all gonna dance all night. But like, I don't know if that's really going.

[Bianca]

No, no. They're in and out. They're like out by 9pm and then

[Anna]

there's an after part party.

[Bianca]

Yeah, there's like 12. Yeah, that's when the night really starts. Because like the Met Gala is short. It's like from five until like nine.

[Anna]

And there's acts.

[Bianca]

There's one or two. Like, I think Ariana Grande performed at this one.

[Anna]

Okay.

[Bianca]

Our year there was Lizzo.

[Anna]

Huh.

[Bianca]

But like, yeah, no cameras are allowed. It's supposed to be very like private and intimate. The dinner is like two hours. And then I think the real money made making vehicle is the after parties and all of the appearances and DJ sets and different looks that they have to wear. And I think they stop at like four or five different after party venues. So it's bizarre. It's like such a weird shorter than

[Anna]

the new Criterion gal.

[Bianca]

Yeah. Yeah. But these things are so short and so like commercially oriented. And it's like all of the media is meant to feel so organic and fresh and fun and like happenstance.

[Elena]

And it's crazy, but it really is. It's like you wake up at 8 in the morning, they get you into hair. 10 or 11. Yeah. You're in there for four hours and they farm you out to the Gala in the Uber.

[Anna]

You take a beta blocker because you don't want to get too scared.

[Elena]

Yeah.

[Anna]

And then you just. Yeah.

[Bianca]

Like, but unless you're part of like 10 to 12 celebrity media placements, like, walking the carpet is really awkward because nobody documents you, nobody photographs you. And like, I saw so many awkward clips of girls who were like, invited to the Met Gala, but nobody took their picture. And it's just so sweet and awkward and. Yeah, it's one of those things. But I love the Met gal. I think it's an important, like, initiative. I think beauty is a civic duty. I love to see.

[Anna]

I love the match. I mean, that's what people forget. That's what it's for.

[Elena]

Yeah.

[Anna]

It's for the Met, it's for art, for sure. For the patronage of the arts. And in that way, it's obviously really important, but it's also important in that it, like, tells us something. Like, I do think that, like, the Dust bowl flapper Depression era kind of references are telling.

[Bianca]

Yeah.

[Anna]

And in general, like, what? You can kind of like take the temperature in a way. Like the super bowl halftime show.

[Elena]

Right.

[Anna]

But almost more reliably. Cause there's more like diversity of voices and bodies. But yeah, it, like, tells you something about where things are at.

[Bianca]

It's also cyclical and self referencing differential.

[Anna]

Not like. Or even if it's not like organic, it's still. It's information.

[Elena]

Right.

[Anna]

That's good to have and it's fun. And it's fun. Like, it's a great day on the feed because I'm like the gay. Like, I love when, like, homosexuals get to speak their minds.

[Elena]

I really do. I'm like, I love that, like, you.

[Anna]

Yeah.

[Elena]

They've been speaking their minds for a

[Anna]

while, but like, when they have a special, you know, when they're like, thriving in what they're in their lane and

[Elena]

they're not forced to opine about, like, politics. Yeah.

[Anna]

It's great when they, like, can actually talk about culture.

[Elena]

Yeah. Through Culture Domain.

[Anna]

And it's just. Yeah. It's a fun. It's a fun event.

[Elena]

Yeah. I guess it does remind me of how much I love homosexuals. So true. So true.

[Bianca]

Which the White House Correspondent Dinner had none of.

[Anna]

Not a single. I mean, that's the problem.

[Elena]

Homosexuals and it's attendance. But they were.

[Anna]

They were all at the Grinder Gala.

[Elena]

That's crazy.

[Anna]

I said this about the Melania doc. It's like she clearly just has very, like, low status homos around her. And everyone would benefit if there could be more of like, a symbiotic relationship between, like, Genuine creative avant garde patronage and like, subversive impulse and homosexuals. But something got fragmented somewhere.

[Bianca]

Yeah. Anyway, it just felt overwhelmingly austere and forgettable.

[Anna]

Yeah.

[Bianca]

With like one or two exceptions even.

[Anna]

So. Yeah, I mean, it's like, it's just gonna take so much now too.

[Elena]

Well, because I feel like back in the day, as Ella Debbie inadvertently points out, it was just like, she's so smart. It was less documented. Come on, girl.

[Bianca]

Yeah, that'll be fun.

[Anna]

I don't want to talk that like that.

[Elena]

I'm sorry.

[Anna]

Sorry.

[Bianca]

Less documented.

[Anna]

Well, she can't talk without looking sideways and reading off a piece of paper.

[Elena]

Who among us has the hairiest toes? Ooh, say me. Hondo P. I. I had laser. Me too.

[Anna]

So one of y'.

[Bianca]

All. Well, what's next? What's the next, like, fashion moment?

[Elena]

What is September?

[Anna]

September?

[Elena]

Yeah.

[Anna]

You got a W. It feels. What are you working?

[Elena]

What are you thinking?

[Anna]

What's going on?

[Bianca]

It's crazy.

[Anna]

Are you okay?

[Bianca]

Am I okay? That's such a good question. I'm good. I'm. People on the Internet seem to really like me.

[Elena]

There's no misunderstanding about my creative mission.

[Bianca]

No, it's good.

[Anna]

It's hard to, like, all the best artists have that experience, so that's good.

[Bianca]

Super legible online, I mean, but Elena,

[Elena]

online aside, you are like a real life fashion designer, which very few people are.

[Bianca]

What does that even mean? If I could choose to love it, love any other thing, I 100 would.

[Elena]

That's not true. I would.

[Anna]

Yeah, you literally could do something else and you choose not to. Every day, every single day, you wake up and you choose fashion.

[Bianca]

Oh, there's. It's over there. But we're working on our show towards for September. Yeah, it's. It's hard because, like, you have to create an entirely parallel economy of sponsors and patrons and collaborators if you want to, like, make it through the 2020s with your creative integrity intact. It's like you can't rely on industry mechanics for anything. And, like, nothing's selling anymore. Like, it's not just a me problem. It's.

[Elena]

It's an industry wide issue. Like, does feel like, you know, it's

[Bianca]

like nobody's buying clothes. Nobody's selling clothes. So what is the purpose of your

[Elena]

venture in this moment specifically?

[Anna]

Like, in a more prosperous era. And I feel this way about Hollywood too. Maybe this is cope, but I feel like you could be problematic and still solvent. Like, because there just was, like, there wasn't so much scarcity. Like, there were people who were just like, whatever. Like, like everyone.

[Elena]

Even non problematic people.

[Anna]

Well, that's what I mean is like, so there was space for problematic people to be solvent because everyone. Everyone was. And everyone's down. It's like cutthroat.

[Elena]

Yeah.

[Anna]

And you have to, like, fight for these, like, scraps and like, is it worth your dignity?

[Elena]

And you being problematic is really incidental.

[Bianca]

You know what is so crazy is I don't believe that I'm problematic at all.

[Anna]

And you're not.

[Bianca]

I am continuously shocked that people are shocked. Like, I was like, oh, clavicular. Everyone's gonna love it.

[Anna]

Like, they're gonna get it. I mean, that's. It's ridiculous that you got heat for clavicular when literally every single person is

[Elena]

talking about in indirect ways. And everyone. I said this to Megan because it's like people get mad about media personalities platforming Nick Fuentes, but it's like all the mainstream establishment liberal pop publications love to talk about him.

[Bianca]

Oh, they love the plausible deniability. They love the arm's length out access.

[Anna]

Right.

[Bianca]

As long as somebody else is taking the fall for it.

[Anna]

But like, clavicular is not even problematic.

[Elena]

That's the thing.

[Bianca]

Yeah. And like that.

[Anna]

And like, why can Adam. Why can Adam Freeland talk to. But he can't walk in a fashion show.

[Bianca]

I know, I know.

[Anna]

Which is more. Seems more aligned with, like, why isn't

[Elena]

that he will be soon.

[Bianca]

Well, like, female artists have so much less.

[Anna]

Like, I think there's something to it, like, like actually engaging with him as, like, an art object, as a model.

[Bianca]

Yeah.

[Anna]

Is. Makes so much more sense than, like, talking to him about his views. If we're like, you know, that's just

[Bianca]

what feels so urgent to me about, like, the poss. The conceptual possibility of fashion is, like, capturing all of these different, like, cultural artifacts and digesting them in real time, like, with your audience and not sanitizing or like, offering people these, like, tidy moral conclusions about the people that you cast in your shows or like the thematic references you include in your work.

[Anna]

So showing them. Yeah, yeah, yeah. So it's righteous.

[Bianca]

It's.

[Anna]

You're on the right path.

[Bianca]

I'm playing a long game.

[Elena]

I'm playing a long game.

[Bianca]

And perhaps people don't understand.

[Anna]

You're smart. You're smart to do that. You are.

[Bianca]

We'll see. We'll see how it nets out.

[Elena]

But.

[Anna]

And it's. It is. It's just everything. Everyone's broke.

[Elena]

That's really the problem.

[Bianca]

Yeah. In all of these different ways, like, Financially, spiritually. Yeah, Inspirationally, bro. What is there to talk about that isn't, like, the lived moment that we're all experiencing? And I don't know, I just feel like fashion is really absconding from that response. Responsibility in any meaningful way.

[Elena]

Completely.

[Anna]

I mean, even. And I mentioned this on. On me again also, but I was like, with, like, Joan Rivers passing.

[Elena]

Yeah.

[Anna]

There's really, like. You saw the banter on the Vogue live stream. It's like, what are you. So what do you say to yourself to feel comfortable? Like, it's like, well, like, no one's taking any of these people to, like. Yeah, but yet they want to put the dollar bill on their face.

[Elena]

Right.

[Anna]

They're doing social critique, but no one actually is, like, saying anything. Everyone's saying the same. Same, like, platitude, banal.

[Bianca]

Yeah.

[Anna]

About, like, fat. How fashion is art.

[Bianca]

Yeah.

[Anna]

Like, okay, what.

[Elena]

What else?

[Anna]

What else? What else is it? What else is it?

[Elena]

Yeah, yeah. Fashion is clearly like, its own thing, but also a subset of art. It's artist. It's creative in nature.

[Anna]

It is art.

[Elena]

But, like, people should ponder normal art.

[Anna]

It's fallen on hard times.

[Elena]

Is music actually. Is it a type of art? Like, that's like.

[Bianca]

Yeah. Right. So what kind of theme would you like to see for the next MET Gala?

[Elena]

I just want to see more concrete themes, like painting numbers.

[Bianca]

Yeah.

[Anna]

Like, a specific camp was great.

[Elena]

Camp, Like a specific.

[Anna]

Karl Lagerfeld.

[Elena]

Great. Whatever. Tom of Finland. Vienna secession. Like, impressionism. Like, any.

[Anna]

Like, even Gilded Age.

[Elena]

Yes.

[Anna]

Roll out the flapper dresses and, like, see what else someone comes up with. Like, give someone, like, a hard. Give someone, like, a hard boundary. And then, like, that's where creativity happens is when people have, like, restrictions.

[Elena]

Yeah, agree, totally.

[Anna]

So, like, yeah, fashion is. Art is not that interesting. And it's reflected kind of in the looks.

[Elena]

Yeah.

[Bianca]

Ariana Grande performed. Did you see that?

[Anna]

No.

[Bianca]

She was carried in on a group of beautiful, scantly clad men. Sang a song about God. Some kind of Disney song from Wicked.

[Elena]

From Sleeping Beauty. Oh, so. And yet didn't see a single picture

[Anna]

of her or her looks.

[Bianca]

Yeah. Right.

[Elena]

Weird, right?

[Anna]

I saw some people. Well, maybe the after party's also kind of police because I only see people getting out of cars. Right.

[Elena]

Yeah. But I saw a photo of Gabriette wearing vintage Versace dress.

[Bianca]

Did she attend or. She just went to, like.

[Elena]

She just went to the after party.

[Anna]

Olivia Rodrigo. She was wearing, like, a Vivienne Westwood, like, like the knit. It looks really cute.

[Bianca]

I loaned to Alex K. And Anokia. I haven't bothered to, like, dig through images, so I have no idea if it worked out or not, but we'll see. My phone's not blowing up, so I had other offers, but it's fun. It's fun to. Fun to participate.

[Anna]

Well, thanks for coming.

[Elena]

Thank you so much.

[Bianca]

What a fun night.

[Anna]

I love you.

[Elena]

Love you too.

[Anna]

See you. You.