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Met Gala 2025: 53% of readers say this star had the best Met Gala red carpet look ever — plus more about this year's theme

Met Gala 2025: 53% of readers say this star had the best Met Gala red carpet look ever — plus more about this year's theme

Yahoo05-05-2025

It's Met Gala Monday! The first Monday in May is reserved for the annual Metropolitan Museum of Art's Costume Institute fundraiser in New York City, orchestrated by Vogue's esteemed editor-in-chief, Anna Wintour. The event has been unofficially been called fashion's biggest night, thanks to the array of meticulously-crafted looks from the hottest designers modelled on the steps of the Metropolitan Museum of Art by the who's who of film, music and fashion.
Last week, we asked Yahoo Canada readers to weigh in on some iconic Met Gala looks from the past. More than 7,600 votes were cast — and the results might be surprising.
Keep reading to learn more about who our readers thought has won — and lost — the Met Gala red carpet
Click here to learn more information about the 2025 Met Gala and this year's theme
Blake Lively's architecturally-inspired gown at the 2022 Met Gala was a clear winner for best dressed, having earned more than 53 per cent of reader votes.
The look was designed by Atelier Versace for 'In America: An Anthology of Fashion' and featured a reversible skirt that mimicked the oxidization process of the Statue of Liberty. Lively's show-stopping turn on the museum's steps where she quickly transformed her dress was a memorable Met Gala moment that's certainly hard to top.
Rihanna's bold canary gold ensemble at the 2015 Met Gala earned her second place in our Met Gala best dressed poll with 14 per cent of votes.
The dramatic look embodied the theme of "China: Through The Looking Glass" and took more than 50,000 hours to create.
The Kardashians and this custom Schiaparelli look aren't for everyone. The star's ensemble at the 2023 Met Gala "Karl Lagerfeld: A Line of Beauty" featured more than 50,000 pearls, but it was a swing and a miss with Yahoo Canada readers. Kardashian's look was dubbed the worst of the Met Gala, earning 45 per cent of reader votes.
Woodley's Joan of Arc-inspired look at the 2018 Met Gala skewed more Tin Man from The Wizard of Oz than an homage the theme of "Heavenly Bodies: Fashion & The Catholic Imagination." The Ralph Lauren look earned 19 per cent of reader votes to earn the title of runner-up for worst dressed.
Earlier this year, the museum's Costume Institute announced its 2025 exhibition, 'Superfine: Tailoring Black Style.' The exhibit is based on the 2009 book by Monica L. Miller 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity.'
The exhibit includes 12 sections that each represent an element of dandy fashion with particular focus on dress in the United States and Europe Ownership, Presence, Distinction, Disguise, Freedom, Champion, Respectability, Jook (a space for dancing, drinking and enjoyment) Heritage, Beauty, Cool and Cosmopolitanism.
This year's Met Gala co-chairs include actor Colman Domingo, Lewis Hamilton, A$AP Rocky and Pharrell Williams.
Historically, a dandy was a man in the late 18th and early 19th century who was meticulous about his clothing, grooming and styling.
Dandy fashion focuses on superb tailoring, meticulousness, an appreciation for the effort and passion for clothing. Men who were considered dandies were passionate about clothing and their appearance to the point that it was both criticized for their preoccupation and obsession with beauty and aesthetics while simultaneously impacting the way society looked and dressed. They were, in a sense, an early influencer whose fashion was usually a step ahead of everyone else.
Dandyism as a movement wasn't necessarily entirely superficial. Some dandies embodied almost a spiritual and intellectual appreciation and understanding for beauty as a whole. 'Genius dandies' elevated the aesthetic and title to something larger than material goods.
Black dandyism at its core is a sign of power and rebellion. Black men embodied the idea of a 'self-made' man within a society designed to suppress them starting in the late 1800s. Clothing, specifically dandy-inspired clothing that was meticulously tailored and styled, was a symbol of access to finery, an appreciation for beauty and the ability to move beyond social constraints of class and race.
The concept of Black dandyism has expanded to describe the power and impact of Black people and their style on society and traditionally white spaces. In modern day, Black dandyism has been used as a way to describe how Black men created a cultural shift in power dynamics using clothes in sports and entertainment. An example would be how NBA players transformed pregame and red carpet attire from a traditional suit to looks that express their unique sense of style. These looks not only change how people behave and dress within these structures, they simultaneously impacting the way the rest of society dresses — whether or not they are given the credit.
Most designers use the Met Gala theme as a jumping off point to explore an element of the exhibit itself. For this year's exhibit, 'Superfine: Tailoring Black Style," some designers may play literally to the aesthetics of the 18th or 19th Century dandy, with era-appropriate attire and simply adopt the element of attention to detailing and grooming.
But don't be surprised if some designers take direct inspiration from Black dandies in history like entertainer George Walker, sociologist and editor W.E.B. Du Bois or poet and activist Langston Hughes. Some may also choose to pay tribute to women who broke cultural barriers like author Zora Neale Hurston or entertainer and WWII Resistance fighter Josephine Baker or embody style elements of the Jazz Age. Similarly, some guests may dress in drag to exhibit the traditional dandy style.
Others may take the expansive view of Black dandyism and choose to showcase looks from prominent figures in music and entertainment from the '70s, '80s, '90s or '00s.

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Sequins. Feathers. Drama. Bob Mackie Didn't Just Design Clothes — He Created Moments
Sequins. Feathers. Drama. Bob Mackie Didn't Just Design Clothes — He Created Moments

Yahoo

time4 hours ago

  • Yahoo

Sequins. Feathers. Drama. Bob Mackie Didn't Just Design Clothes — He Created Moments

Sequins. Feathers. Drama. Bob Mackie Didn't Just Design Clothes — He Created Moments originally appeared on L.A. Mag. It's hard to separate Bob Mackie from the legends he's dressed—Elton John, Cher, Diana Ross, Tina Turner, RuPaul Charles, Carol Burnett—but behind every rhinestone and feather lies the vision of an artist who knew, instinctively, how to magnify a person's pure essence through silhouette, shimmer, and new documentary, 'Naked Illusion', Directed by Matthew Miele which is now streaming on PRIME, peels back the rhinestone curtain and reveals the man behind the magic. This isn't just fashion history — it's a glittering masterclass that doesn't just show his work; it shows how his vision helped steer the whole showbiz machine. Trust me, when I say darling, you'll want to watch every fabulous frame! Speaking with him feels like slipping into fashion history. And yet, Bob is anything but stuck in the past. He's warm, sharp, and disarmingly candid. He doesn't just speak in quotes—he tells stories that a deeply personal conversation with me he weaves through his childhood, his creative awakening, his unexpected family revelations, and his thoughts on Pride, Mackie reflects on what it means to be seen and to survive. With humor and grace, the man who defined red carpet magic opens up like never before.'I always knew I was different,' Mackie says from his home in Palm Springs. His voice soft but certain. 'I didn't play the same games as the other boys. I wasn't interested in baseball—I could draw, and that's what I did.' Mackie spent much of his childhood in the company of his British grandmother—no pets, no nonsense—and a boundless imagination. While other kids ran laps, he taped miniature set designs to Coke bottles, staging elaborate fantasy productions with paper dolls and records. 'I would build these little shows on my dresser,' he recalls. 'Play music, change the sets. Then start all over again.'Those daydreams eventually drew him to Hollywood, California, first sketching for other designers before making a name for himself as the go-to for showbiz reinvention.'People say I do 'the Cher look,'' he laughs. 'But Cher is Cher. Diana Ross is Diana. Mitzi Gaynor, totally different. You have to know who you're dressing. Their body, their energy, their essence.'That essence has defined some of fashion's most unforgettable moments. I ask him about the Met Gala, and his eyes light up. '1974. I went with Cher. It was quiet when we walked in… and then, boom. Hundreds of photographers. That dress is still in papers every year.'Even now, he speaks of Cher not just with pride, but with the affection of a creative soulmate. They understood each other without needing to it's not all sequins and applause. In the documentary, Mackie revealed something far more intimate: a granddaughter and two great-granddaughters he never knew he had.'It was a shock,' he says. 'But when I saw their pictures—I thought, they look like my son. They look like me.'He beams as he describes them—smart, sweet, and stylish, with a fondness for vintage shopping and a family full of creative women.'They've got great taste,' he adds, grinning. 'One's even got a stylist aunt in LA.' Mackie isn't interested in slowing down. He's still designing, still dreaming, but these days he chooses his projects carefully—joy is the driver now.'I don't do it every day like I used to,' he says. 'But when I do? I still love it.'And the advice for young designers hoping to follow in his footsteps?'Work for someone whose style you admire. Learn from them. But don't copy them. Find your own voice.'It's the same spirit he instilled in every dress: boldness, individuality, and a belief in the conversation winds down, I share a personal story. About wearing a tuxedo with a half-ballgown to Elton John's Oscar party in LA. About the pride my mother Marianne felt seeing me in the look. About how growing up I would see all of Bob's creations flipping through magazines had inspired it all. 'You wore it,' he smiles. 'That's what matters. You did it. That's the power of clothes.'Bob Mackie gave stars their wings. But perhaps his greatest gift is reminding us that we all deserve to shine. This story was originally reported by L.A. Mag on Jun 1, 2025, where it first appeared.

Dina Pugliese says people 'have no idea' what her life was like before she left TV due to burnout: 'I felt like a failure'
Dina Pugliese says people 'have no idea' what her life was like before she left TV due to burnout: 'I felt like a failure'

Yahoo

time14 hours ago

  • Yahoo

Dina Pugliese says people 'have no idea' what her life was like before she left TV due to burnout: 'I felt like a failure'

Dina Pugliese's warmth is contagious. When the 51-year-old speaks, it's as if you're sitting with a beloved aunt at her kitchen table, being fussed over and offered anything you could possibly want or need. It's her uncanny ability to move through the world creating an instant familial atmosphere that has led to her success as the host and executive producer of Breakfast Television (BT). For almost 20 years (save for a two-year hiatus in 2023), the Toronto native has been a constant on morning television, willingly giving herself and her energy in hopes that viewers begin their day on the right foot. With a rejuvenated career and an upcoming panel talk at the Women's Healthy Living Show in Toronto next weekend, Pugliese remains determined to connect with her audience. But this time, she's no longer looking to distract viewers from their problems. She's sitting with them in their struggles by sharing her own — and reminding them that they're never alone. Yahoo Canada recently spoke to Pugliese about burnout, caregiving and more. In 2023, a demanding career and years of shouldering the weight of private stressors had taken its toll; she felt as though she had nothing left to give. In February of that year, Pugliese announced on air that she was leaving BT. While she says her decision was necessary — it wasn't one she took lightly. 'I felt like I was disappointing so many people, including myself. I couldn't believe I let myself get to that point of burnout. The last couple months were a complete fog,' she said. 'For years I had gone through different family health crises and I'd been spending all night in the ER or hospital wards. I was with my family during their chemo treatments and radiation and then I would show up on BT. I looked at it as compartmentalizing pain.'Pugliese recalled an author once saying that during a difficult time, she gave herself 15 minutes a day to cry in the shower before moving on with her day. 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All somebody has to say is something nice and I'm bawling… because people don't have to be [nice], so often you only hear about the negatives. When somebody just shoes their kindness and their decency, it goes right to my heart." As a public figure, Pugliese has faced more than her fair share of criticism and hurtful comments from strangers. A glimpse into her social media account shows Pugliese with her family, travelling, smiling and enjoying life. Her followers never would have known that privately her family was in the trenches, fighting to hold on to one another. "There's so many things people don't know. They have no idea. I remember for years people would look at Alex and I, we'd share photos when we would travel, because we both love to travel and they'd be like, 'Must be nice' or asking why we don't have any kids," she said. "They had no idea that we tried... It would have been the biggest blessing. 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From the Archives: Who Was Madame X? Hamish Bowles Shares the Back Story on John Singer Sargent's Most Famous Sitter
From the Archives: Who Was Madame X? Hamish Bowles Shares the Back Story on John Singer Sargent's Most Famous Sitter

Vogue

time19 hours ago

  • Vogue

From the Archives: Who Was Madame X? Hamish Bowles Shares the Back Story on John Singer Sargent's Most Famous Sitter

'The Madame X Files,' by Hamish Bowles, was originally published in the January 1999 issue of Vogue. For more of the best from Vogue's archive, sign up for our Nostalgia newsletter here. John Singer Sargent's 1884 portrait of Virginie Avegno Gautreau, universally acclaimed as Madame X, is a definitive study in image-making. La Gautreau flaunts her otherworldly looks and her chosen role as that exotic ornament to society, a professional beauty. She is a sphinx without a secret, 'prophetic of all the sophisticated chic of Vogue,' as Philippe Jullian, historian of fin-de-siècle culture, noted in 1965. But who was this fascinator whose mystery remains compelling more than a century after Sargent captured it in sensual oil paints? John Singer Sargent, whose career is celebrated in a retrospective at the National Gallery of Art in Washington, D.C., from February 21 to May 31 (and then traveling to Boston), with a related show of drawings at the Corcoran Gallery of Art from February 14 through May 9, was born in Florence in 1856. His American parents led peripatetic lives and raised their children gypsy fashion, traveling restlessly across Europe. By the early 1880s, after a solid schooling in the atelier of the respected academician Carolus-Duran and at the École des Beaux-Arts, Sargent was already establishing a name for himself in Paris as both a portraitist and a painter of exotic genre scenes of Italy, Spain, France, and Morocco. It seems inevitable that he should have been bewitched by the notorious Victoire Gautreau since throughout his career, Sargent was drawn to unconventionally exotic beauties. He had already delighted in the feral charms of Rosina Ferrara, a Capri girl, and mysterious Moroccan beauties like the one imbibing incense in his Fumée d'Ambre Gris, painted in 1880. Later, he produced some of his most spirited portraits when presented with sitters like the haughty Spanish dancer Carmencita; the art dealer Asher Wertheimer's lively daughters Almina, Ena, and Betty; the madcap Gertrude Vanderbilt Whitney; and Vaslav Nijinsky. He called the fabulous and extravagant beauty Rita de Acosta Lydig 'Art in its living form,' and presumably Madame Pierre Gautreau's symbolist looks inspired similar sentiments. Sargent found her 'strange, weird, fantastic, curious.' Fascinated, he determined to capture her as a sitter, and he embarked on an elaborate courtship. He began by enlisting the help of a mutual friend, Ben del Castillo, to whom he wrote, 'I have a great desire to paint her portrait and have reason to think she would allow it and is waiting for someone to propose this homage to her beauty... tell her that I am a man of prodigious talent.' Virginie Gautreau conceded. The sittings began in Paris in 1883, and that summer Sargent set off for the Gautreaus' country estate, the Château des Chesnes at Paramé in Brittany. Here, among the immemorial oaks that gave the 1708 house its name, the Gautreaus had planted clumps of pampas grasses and tropical palms in accordance with the fashionably exotic taste of Troisième République society.

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