Like Lainey, I was very much looking forward to Ruth Negga’s look for the Met Gala. Her red Valentino at the 2017 Oscars is one of the best red carpet looks of the last 5 years.
It’s not that Ruth didn’t adhere to the theme this year – black and white certainly has Catholic undertones. The large buttons on the wrist are a nod to menswear – I’m stretching to tie this to clerical clothing. What’s throwing me off is the clash of texture and tones between the top and the skirt. The skirt is pleated (was this a purposeful nod to a Catholic uniform?) and the top is very blouse-y, with ruffle details. What I think I like about this the most, and what I would have liked to see more of, is the style of sequins around the shoulders, which gives off some light and reflection. I just wish there was more of that (and less of the black stripe, which breaks up the flow of the look). Still, this isn’t a fail, not even close. Ruth couldn’t fail. I’m being greedy because we’ve seen her do so much more.
And doing a lot is Greta Gerwig, in a high collar black and white creation by The Row. (This to me screams Mary-Kate and Ashley, which I’m not mad at.) It’s voluminous but so impeccably tailored and detailed, with little in the way of accessories. Look at the way the sleeves are layered – see how stiff the top layer of black is, so as not to put any weight on the white fabric underneath? And the darting down the front, which leads into a defined waist (that is far from cinched), the proportion of the bubble sleeves and the long cuff and the trim around the neck – it’s both a nod to a nun’s tunic and a priest’s cassock and collar. And from a housekeeping perspective, it’s so pristine and pressed, so staunch. Finally, the headband is a simple tie-in, and I actually appreciate that she didn’t go with a headpiece for this. The gown stands on its own – no crucifix required.
