Google Searches and Pantone Look Ahead to Met Gala-inspired Colors and Trends: From Zendaya's Hat to Savannah James in Windsor Wine
The after parties are long over and many celebrity guests from this year's Met Gala have returned their designer suits and gowns, but Google and Pantone have already forecasted gala-inspired trends.
Leatrice Eiseman, executive director of the Pantone Color Institute, expects classic black and white to retain their popularity, due to the number of celebrities who appeared in black, white or black-and-white outfits. The combination of black and white also offered an element of nostalgia that connected naturally to this year's Met Gala theme of 'Superfine: Tailoring Black Style,' Eiseman said.
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Pantone also expects wine reds and 'members of the brown family having increased sticking power as far as trend is concerned.'
'The theme really lent itself to spectacular designs and finishes in black, while outfits in white offered a beacon of light and clarity into what the future might hold,' Eiseman said. 'For monochromatic looks, we found the trains, tailoring, capes and volume provided much of the drama, not the color itself — as evidenced by Diana Ross and others,' Eiseman said.
Pantone also expects deep wine reds and maroons to have staying power. They are well-aligned with its Windsor Wine, as seen in Savannah James' Hanifa attire, the hue was also flagged in the London Fashion Week Pantone Fashion Color Trend Report for spring 2025. Windsor Wine and similar colors appeared as accents on suits and menswear-inspired dresses like the Thom Browne one worn by Nicki Minaj.
Eiseman noted how Alicia Keys and Swizz Beats wearing Moncler x EE72 by Edward Enninful gave the illusion of maroon by combining blues and reds. And Jodie Turner-Smith's patterned and structured Burberry ensemble 'added drama to the luxurious shade,' Eiseman said.
Wine reds' longevity is expected due to their richness and robustness, according to Eiseman. 'We think of them as power colors, because they take red to a more sophisticated level. You can buy a great lipstick red dress, wear it a few times and get great compliments. But a Windsor Wine piece is more likely to be a forever purchase, an item that you may wear seasonally, but that you reach for when you want something that feels elegant and extravagant.'
Pantone also expects variations of brown to be used with greater versatility and it delivers glamour. Eiseman mentioned how Pantone's Color of the Year, Mocha Mousse, was worn by Bad Bunny in Prada.
She also praised Aurora James in Thebe Magugu and Kara Young in anOnlyChild by Maxwell. Osbourne. Eiseman said, 'Part of its longevity comes from its versatility it can represent something rich and indulgent to eat one minute and simultaneously be the color of earth itself. Brown is perpetually en vogue because it offers us both ends of the spectrum as far as mood is concerned.
Google searches saw interest in 'Zendaya hat' jump up 170 percent after the actress and musician appeared in Louis Vuitton on the red carpet Monday night. Other key searches were for 'polka dot tie,' 'pava hat,' 'brooches,' 'large red rose brooch, 'Met Gala pastel colors,' 'lavender suit,' 'red suit,' and 'floral suit' were also widely searched, according to Google. During the event at the Metropolitan Museum of Art, 'Puerto Rican hat' increased by 650 percent, according to the company.
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Chicago Tribune
3 hours ago
- Chicago Tribune
Editorial: At Tribune Opinion, no robots need apply
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Miami Herald
7 hours ago
- Miami Herald
New '1984' foreword includes warning about ‘problematic' characters
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In Rose-Barry's view, the foreword is neither invasive nor ideological, but reflective. 'Perkins-Valdez suggests in her introduction that 'love and artistic beauty can act as healing forces in a totalitarian state,'' he noted. 'Now, I find that deeply suspect... but I'd use this introduction to generate a discussion in my class.' Taibbi and Kirn, by contrast, took issue with that exact line during the podcast. 'Love heals? In 1984?' Taibbi asked. 'The whole thing ends with Winston broken, saying he loves Big Brother,' the symbol of the totalitarian state at the heart of the book. Kirn laughed and added, 'It's the kind of revisionist uplift you get from a book club discussion after someone just watched The Handmaid's Tale.' Perkins-Valdez, a Black writer, Harvard graduate and professor of literature at American University, also noted the novel's lack of racial representation: 'That sliver of connection can be difficult for someone like me to find in a novel that does not speak much to race and ethnicity at all.' Kirn responded to that sentiment on the show by pointing out that Orwell was writing about midcentury Britain: 'When Orwell wrote the book, Black people made up maybe one percent of the population. It's like expecting white characters in every Nigerian novel.' Richard Keeble, former chair of the Orwell Society, argued that critiques of Orwell's treatment of race and gender have long been part of academic discourse. 'Questioning Orwell's representation of Blacks in 1984 can usefully lead us to consider the evolution of his ideas on race generally,' he told Newsweek. 'Yet Orwell struggled throughout his life, and not with complete success, to exorcise what Edward Said called 'Orientalism.'' Keeble added, 'Trigger warnings and interpretative forewords... join the rich firmament of Orwellian scholarship-being themselves open to critique and analysis.' Cultural overreach While critics like Kirn view Perkins-Valdez's new foreword as a symptom of virtue signaling run amok, others see it as part of a long-standing literary dialogue. Laura Beers, a historian at American University and author of Orwell's Ghosts: Wisdom and Warnings for the Twenty-First Century, acknowledged that such reactions reflect deeper political divides. But she defended the legitimacy of approaching Orwell through modern ethical and social lenses. 'What makes 1984 such a great novel is that it was written to transcend a specific historical context,' she told Newsweek. 'Although it has frequently been appropriated by the right as a critique of 'socialism,' it was never meant to be solely a critique of Stalin's Russia.' 'Rather,' she added, 'it was a commentary on how absolute power corrupts absolutely, and the risk to all societies, including democracies like Britain and the United States, of the unchecked concentration of power.' Beers also addressed the role of interpretive material in shaping the reading experience. 'Obviously, yes, in that 'interpretive forewords' give a reader an initial context in which to situate the texts that they are reading,' she said. 'That said, such forewords are more often a reflection on the attitudes and biases of their own time.' While the foreword has prompted the familiar battle lines playing out across the Trump-era culture wars, Beers sees the conversation itself as in keeping with Orwell's legacy. 'By attempting to place Orwell's work in conversation with changing values and historical understandings in the decades since he was writing,' she said, 'scholars like Perkins-Valdez are exercising the very freedom to express uncomfortable and difficult opinions that Orwell explicitly championed.' Related Articles Gabbard Links 'Ministry of Truth' to Obama Speech, Calls Biden 'Front Man'Tulsi Gabbard Compares Biden Admin to Dictatorship Over 'Ministry of Truth'Joe Biden's Disinformation Board Likened to Orwell's 'Ministry of Truth'Memory Holes, Mobs and Speaker Pelosi | Opinion 2025 NEWSWEEK DIGITAL LLC.


USA Today
14 hours ago
- USA Today
Beyoncé fans react to dance captain's absence during London concert: 'Where is Amari?'
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