• NASCAR Cup Series driver Carson Hocevar attended the 2026 Met Gala after being personally invited through NASCAR
• The 23-year-old wore a custom Christian Dior gray suit arranged by Cadillac F1 brand advisor Cassidy Towriss
• Hocevar said he was stunned by how many celebrities already knew about NASCAR and knew who he was
• He appeared on the E! telecast and said he hoped to meet Sabrina Carpenter — but didn’t quite pull that one off
• His mom’s reaction to seeing him on her favorite channel may have been the highlight of his whole night

Carson Hocevar is used to going fast. What he’s not used to is a red carpet. The 23-year-old NASCAR Cup Series driver showed up to the 2026 Met Gala this past Monday in a sleek Christian Dior gray suit — a long way from the fire suit he wears every weekend at 200 miles per hour.

So how exactly does a NASCAR driver score an invitation to fashion’s biggest night? Hocevar explained it plainly after truck series qualifying at Watkins Glen on Friday: “They called NASCAR and asked. They watched [me win] Talladega and must have saw the Chili’s suit and thought I was into fashion with how crazy our suits get and invited me.”

He paused, then added: “It was a great time.”

From the Pit Lane to the Carpet: How the Look Came Together

Getting the invite was one thing. Showing up in something worthy of the Met Gala’s “Fashion Is Art” dress code — on short notice — was another challenge entirely. That’s where Cassidy Towriss came in. Towriss is the chief brand advisor for the Cadillac F1 team and wife of Dan Towriss, CEO of TWG Motorsports, the parent company of Spire Motorsports, the team Hocevar drives for in the Cup Series. She knew exactly who to call.

“She knew exactly who to hook me up with,” Hocevar said. “I went to Texas for the race [last weekend] and went and got fitted and got everything. She was a lifesaver in the whole deal.”

The fitting process apparently went smoother than expected — even if Hocevar had a small internal crisis about it. “It was luckily that my favorite was the gray one and it was the first one [I tried on]. And I didn’t want to be like, ‘I like the first one’ because they are going to think I just don’t want to try anymore on. … They all liked the first one.”

He let the team handle the rest. “They handled everything. I was like, ‘I have no preconceived notion, I don’t know what I’m supposed to do. You just take care of me.'”

For context, this was a Met Gala where Beyoncé arrived in a custom Balmain gown with a jewel-encrusted skeleton embossed across the front, Emma Chamberlain wore a hand-painted Mugler dress that took 40 hours and 30 base colors to create, and Lisa showed up in a Robert Wun creation made from 66,960 Swarovski crystals. Karan Johar’s look alone required over 5,600 hours of artisan work across 86 days. Hocevar’s Dior suit held its own.

“A Total Different Universe”

Hocevar, who has a reputation as a free spirit on the NASCAR circuit, admitted the whole evening felt like stepping onto another planet. But the thing that genuinely surprised him? How many people at the gala already knew who he was.

“It was shocking how many people knew of NASCAR and knew of me,” he said. “There was a bunch of people I got to meet. It was just an opportunity and experience that I never thought I would go to and enjoy. It’s a total different universe and world than I’m used to.”

He appeared on E!’s live telecast and made no secret of the fact that he was hoping to cross paths with Sabrina Carpenter. That particular meet-cute didn’t happen. But clearly plenty of other celebrity encounters did — he just wouldn’t name names.

And yes, he briefly considered showing up in a fire suit. “It would be funny,” he said. “I would have been a lot more comfortable if I just had a sponsor hat on.”

The Moment That Mattered Most

Hocevar has won races. He’s driven at Talladega. He’s racked up social media followers at a rate that made the Met Gala invite make a certain kind of sense. But none of it quite compared to one specific reaction Monday night.

“I don’t know if I made my mom as proud driving any vehicle … compared to how proud she was and excited I was on her favorite channel,” he said. “The only uptick would maybe be a Hallmark Christmas special. If I was on that, that might top the Met Gala. But she was super excited.”

A Hallmark Christmas special. Someone make it happen.

The post NASCAR’s Carson Hocevar Crashed the 2026 Met Gala appeared first on Cream.

• Christina Ricci commented “Yikes” on a Variety Instagram post featuring Katy Perry at the 2026 Met Gala
• Perry attended the event in a face-covering metallic mask and custom Stella McCartney gown amid the Ruby Rose allegations
• Ruby Rose has accused Perry of sexual assault at a Melbourne nightclub in 2010 — Perry’s rep calls it “categorically false”
• Victoria Police have confirmed an investigation into the alleged 2010 incident is underway
• An insider says Perry is worried the scandal could impact her relationship with Justin Trudeau

Christina Ricci said everything she needed to say in one word.

The Addams Family actress dropped a pointed “Yikes” in the comments of a Variety Instagram post featuring Katy Perry and Heated Rivalry star Connor Storrie at the 2026 Met Gala — and the internet immediately took notice. The post showed Perry in her now-viral Stella McCartney gown and mirrored metallic face mask, with Storrie, 26, playfully covering his own face with one hand to match her look. Two additional individual portraits of the stars in their full looks rounded out the carousel.

Ricci’s comment was short. It didn’t need to be anything else.

https://www.instagram.com/p/variety_met_gala_perry_storrie

Fans flooded the replies in agreement. “Came here just to like the comment,” one person wrote. Another simply added, “you said it, girl!” Others were more forgiving of Perry’s eccentric look — one commenter wrote “Okay Katy, i kinda like it 🤍” — while someone else joked about Storrie getting to ask Perry if she’d “ever felt like a plastic bag drifting through the wind,” a nod to her hit “Firework.”

The timing of Ricci’s comment is hard to ignore. She and Ruby Rose co-starred in the 2013 Australian film Around the Block, and Rose is currently at the center of a serious and ongoing allegation against Perry. Whether Ricci’s “Yikes” was a fashion critique, a statement of solidarity, or both — she’s not saying. Reps for Ricci did not return requests for comment.

The Ruby Rose Allegations, and Where Things Stand

Rose, 40, publicly accused Perry of sexual assault last month in a Threads post responding to a Complex Music update about Perry’s reaction to Justin Bieber’s Coachella performance. “Katy Perry sexually assaulted me at Spice Market nightclub in Melbourne,” Rose wrote. “Who gives a s–t what she thinks.”

In a follow-up post, Rose said it had taken her “almost two decades” to come forward. “Though I am so grateful to have made it long enough to find my voice, it just shows how much of an impact trauma and sexual assault takes. Thank you for seeing me,” she wrote. Rose has since said she’s filed a police report and finalized statements with authorities, adding that she is “no longer able to comment, repost, or talk publicly” about the cases or the individuals involved.

Victoria Police confirmed to multiple outlets that detectives from the Melbourne Sexual Offenses and Child Abuse Investigation Team are actively investigating a “historical sexual assault that occurred in Melbourne in 2010” at a licensed premises in the city’s Central Business District. Crucially, as Jacqueline Harris, a rep for Victoria’s Office of Public Prosecution, confirmed to TMZ: “There is no statute of limitations on prosecuting indictable (serious) crimes in Victoria.”

Perry has not been charged. Her rep issued a firm denial, calling Rose’s allegations “not only categorically false, they are dangerous reckless lies,” and pointing to what they described as Rose’s “well-documented history of making serious public allegations on social media against various individuals, claims that have repeatedly been denied by those named.”

The Mask, the Meaning, and the Moment

Perry’s Met Gala appearance — her first major public outing since the allegations broke — was impossible to miss and impossible to interpret simply. She arrived at the Metropolitan Museum of Art in a custom ivory Stella McCartney gown cut from Italian deadstock duchess satin, a burned satin train (reportedly designed as a nod to her upcoming single “Watch It Burn”), and a metallic mirror headpiece custom-designed by Miodrag Guberinic. The mask, according to a press release, was “designed to be a literal and symbolic reflection that invites the observer to consider that their perception of others can mirror their own internal world, and conversely mask truth.”

She skipped red carpet interviews entirely.

The look drew immediate comparisons online — “fencing astronaut” was a popular one, nodding to Perry’s Blue Origin space flight last year. One fan wrote “this eve from wall-e serve,” another said “I need this helmet for when my social battery runs out,” and a more pointed commenter simply wrote “im irritated she SHOULDVE STAYED HOME WTF IS THIS?”

There was also a detail that sent fans into a separate spiral entirely: Perry’s opera-length gloves appeared to have six fingers — a widely recognized hallmark of AI-generated imagery. Given that Perry was at the center of viral fake AI photos purporting to show her at the Met Gala in both 2024 and 2025, many fans read the extra finger as a deliberate, knowing joke. Perry appeared to lean into the conversation with a playful post after the gala, and the Magician tarot card she carried as an accessory only added to the air of intentional symbolism.

She did eventually lift the mask on the carpet, revealing her face to photographers.

Justin Trudeau Is Sticking by Her — For Now

Behind the spectacle, sources close to Perry say the situation is taking a real toll. An insider described things as “horribly painful” for the pop star, who is reportedly anxious about how the investigation could affect her relationship with former Canadian Prime Minister Justin Trudeau.

“Justin is being 100 percent supportive, but it’s still a horribly painful situation,” the insider said. “Katy can’t help but worry about how it could impact things with him. He has his own image to protect.”

A separate Canadian society source previously told Page Six that the allegations represent “the first challenge they’ve faced since they’ve been together,” describing Trudeau — long known as a vocal advocate for gender equality and women’s rights — as being in an “awkward situation.” The source noted that his progressive public identity makes the timing especially complicated: “This could put a little bit of a dent into their coupledom.”

The insider’s final word on Perry’s mindset: “Katy is confident that she will be cleared — but it’s still a nightmare.”

Meanwhile, Perry is pressing forward with what’s shaping up to be a major musical comeback — a summer tour, her eighth studio album tentatively titled Scorpion Drama, and the upcoming single “Watch It Burn.” Whether the world is ready to receive it the way she’s hoping is, right now, very much an open question.

The post Christina Ricci’s One-Word Shade at Katy Perry’s Met Gala appeared first on Cream.

• Timothée Chalamet skipped the 2026 Met Gala to attend the Knicks’ Game 1 playoff win over the Philadelphia 76ers at Madison Square Garden
• Kylie Jenner walked the carpet solo in a jaw-dropping custom Schiaparelli nude gown that became one of the night’s most-talked-about looks
• It’s the second consecutive year Chalamet has chosen a Knicks playoff game over fashion’s biggest night
• A source close to Jenner’s inner circle claims she’s being urged to “recognize her own worth” amid the relationship
• The couple reunited the very next night for a sake-and-wagyu dinner date in Chelsea with friends

Timothée Chalamet made his priorities crystal clear on Monday night. While Kylie Jenner was turning heads on the Met Gala red carpet in a faux-nude Schiaparelli gown, her boyfriend of three years was a few miles across Manhattan, courtside at Madison Square Garden, watching the New York Knicks dismantle the Philadelphia 76ers 137-98 in Game 1 of the Eastern Conference Semifinals.

Chalamet, 30, posted an Instagram Story from his seat at MSG showing the court during a break in play — no apology, no explanation needed for a man who has made his Knicks loyalty a personality trait. Jenner, 28, meanwhile, was leaving jaws on the floor in a Custom Schiaparelli Haute Couture look that featured a nude corset complete with faux nipples, blending into a voluminous white skirt that gave the illusion of a dress slipping off her body. She accessorized with an antique silver necklace adorned with rhinestones, pearls, and hand-sculpted bird heads. The look perfectly captured the gala’s “Costume Art” theme.

It’s the second straight year Chalamet has made this exact call. Last year, he stayed home to watch the Knicks’ Game 1 against the Boston Celtics instead of attending the gala. And he’s never once apologized for it. On the 7PM in Brooklyn with Carmelo Anthony podcast, he explained his stance plainly: “That Knicks run last year, I think that was the most fun period of my life. Those four months, I’m not even kidding. Just the Garden being electric.” He added that he was simply too “locked in” supporting the team to attend fashion’s biggest night.

https://www.instagram.com/p/DXU14RaEmkG/

His Knicks credentials are legitimate. A New York Times profile from May 2025 traced his fandom back to social media posts from November 2010, when a 14-year-old Chalamet was attending LaGuardia High School in Manhattan — years before his breakout on Showtime’s Homeland, let alone Call Me By Your Name or Dune. “Celebrity Row at the Garden delivers on its name,” the Times’ Scott Cacciola wrote. “And in that group of A-listers, Mr. Chalamet has the fan credentials to hang with any of them.” Monday night, he was seen chatting courtside with Tracy Morgan before tipoff, while Jalen Brunson dropped 35 points on 12-for-18 shooting in just 31 minutes to lead the blowout.

The Knicks’ own Instagram account couldn’t resist. After Chalamet posted a photo dump from MSG on May 5, they replied: “Check your dms we just sent you a 10-day.”

https://www.instagram.com/reels/DXsf92Ckbzo/

The Couple’s Very Busy New York Week

Before the split-screen moment of Monday night, Chalamet and Jenner had actually been inseparable across New York City. The day before the Met Gala, the two were photographed holding hands as they arrived at a weekend performance of Broadway’s The Fear of 13 — the show Jenner’s sister Kim Kardashian co-produces, starring Adrien Brody and Tessa Thompson. Kris Jenner was also there for the family outing. (Kim returned the following night with a different plus-one: her boyfriend Lewis Hamilton, catching the show for the first time. Whoopi Goldberg and Casey Affleck were also in the audience.)

Earlier in the playoffs, on April 28, Chalamet and Jenner had been very much together at MSG — courtside next to Ben Stiller and his wife Christine Taylor — for the Knicks’ 126-97 blowout win over the Atlanta Hawks in Game 5 of the first round. Page Six noted the Marty Supreme actor was rather affectionate with Jenner during that outing. The four later headed to 4 Charles Prime Rib for a double date with Jordyn Woods and her fiancé Karl-Anthony Towns.

And the day after Chalamet chose basketball over fashion? The couple was right back together. According to Page Six, they dined Tuesday night at Sushi by Bou in Chelsea’s new “Reserve Menu” — caviar, bone marrow, toro, wagyu — with four friends, getting sake bottles and, a spy at the restaurant reported, “having a great time.”

Fans Are Divided, and Some Insiders Are Talking

Not everyone found Chalamet’s move charming. The internet split pretty cleanly into two camps: those who called the choice relatable (and appreciated that he wasn’t attending what some see as a Jeff Bezos-backed spectacle), and those who felt he owed Jenner a carpet appearance — particularly given how publicly she’s shown up for him.

Jenner attended the Golden Globes, Critics’ Choice Awards, the BAFTAs, and the Oscars as Chalamet was nominated for Marty Supreme. She was at the film’s premiere. She has been a visible, consistent presence through his entire awards season. And this is the second year running that the Met Gala — her night — was the one he sat out.

“He never supports Kylie when it’s about her, but she always supports him,” one social media user wrote. Another echoed: “I feel like Kylie be showing up to events to support him but he never (rarely?) does for her.”

There’s also the possibility that Chalamet simply wasn’t invited. He has only attended the Met Gala once — as a co-chair in 2021, where he wore a white Haider Ackermann blazer with sweatpants and Converse Chuck Taylors. He notably made headlines earlier this year for comments perceived as dismissing opera and ballet, which didn’t exactly endear him to the arts establishment crowd that populates the gala guest list.

Behind the scenes, at least one unnamed source has been making the rounds with a sharper take. “There is a feeling that Timothée is culturally and intellectually operating on a totally different level than Jenner,” the insider told OK Magazine, “and there’s the feeling in the industry his relationship with Kylie has blurred that image in ways that have not helped him professionally.” A separate source told the outlet that people in Jenner’s inner circle are “increasingly urging her to recognize her own worth” and that she “should not have to carry the relationship on her shoulders.”

For what it’s worth, the couple’s own public record tells a different story. At the 2026 Critics’ Choice Awards, after winning Best Actor for Marty Supreme, Chalamet closed his speech with a rare and direct acknowledgment: “And lastly, I’ll just say, thank you to my partner of three years. Thank you for our foundation. I love you. I couldn’t do this without you. Thank you from the bottom of my heart.”

A source close to the couple told Us Weekly in April that the two are “very serious and committed to each other” with a relationship that’s “strong” and built on “a good rhythm.” The insider added that they’ve had “real conversations about their future,” have discussed getting engaged, and that “Timothée never thought about starting a family until he met Kylie.”

The couple has been together since April 2023, when they were first spotted getting cozy at a Beyoncé concert in Los Angeles. Jenner, who shares daughter Stormi, 8, and son Aire, 4, with ex Travis Scott, has since become a regular fixture at MSG — even picking up some criticism from Lakers fans back home in Southern California for her sudden Knicks allegiance.

The Knicks face the 76ers in Game 2 soon. Whether Jenner is back courtside — and whether there are any more scheduling conflicts ahead — remains the question. But if the sushi dinner is any indication, Chalamet’s choice of basketball over the Met Gala doesn’t appear to have cost him much at home.

The post Timothée Chalamet Ditches Met Gala for Knicks Game appeared first on Cream.

• Kim Kardashian nearly chipped her custom fiberglass breastplate at her final fitting before the 2026 Met Gala
• The piece — an original Allen Jones body cast from the late 1960s — was repurposed, painted at an auto body shop, and cut down from a full-length form into a wearable bodysuit
• The entire look came together in just three weeks, with Kim traveling to Jones’ Oxfordshire studio and Whitaker Malem’s London space
• Behind-the-scenes footage from Vogue captured the near-disaster moment, with Kim saying she would’ve had to cancel entirely
• Alternate looks from the creative process — including a pink version and a fully backless design — are even more daring than what made the carpet

Kim Kardashian made it to the 2026 Met Gala steps in one piece — but it was a closer call than anyone knew.

In a behind-the-scenes video captured by Vogue at her final fitting, the 45-year-old reality star and The Kardashians star bumped directly into the cone-shaped fiberglass breast mold at the center of her custom look — and immediately feared the worst.

“Did I break this?” she said, visibly alarmed after hearing a smacking sound. “I ran into it so hard. If I broke it or chipped it… we wouldn’t have had a Met look. I would’ve had to cancel.”

Fortunately, the piece survived. And on Monday, May 4, Kim walked the carpet in full sculptural glory — a tangerine hardshell bodysuit and matching leather skirt that stopped traffic and set social media on fire.

@voguemagazine

Nobody make any sudden moves. These #MetGala looks are delicate. Watch the full edition of Vogue’s #TheFinalFitting with #KimKardashian at the link.

♬ original sound – Vogue

The Story Behind the Sculpture

The look wasn’t just fashion — it was a genuine art collaboration three years in the making in spirit, and three weeks in execution. The centerpiece was an original Allen Jones fiberglass body cast, a work the British pop artist titled “Body Armour,” created in the late 1960s as a prop for a film he’d written that was never produced. Jones originally cast it from a model in 1967 or 1968, and Kim was adamant she wanted the real thing.

“I wanted something original,” she explained in the Vogue video. “I didn’t want to cast my own body. I wanted the original breastplate that he had made.”

The piece is more storied than it might appear. A portrait of Kate Moss wearing the same Jones breastplate in 2013 sold for roughly $52,000 at Christie’s. For Kim’s version, that original mold was repurposed, finished in a glossy orange at an auto body shop — and it started as a full-length cast, feet and all, before being cut at the ankles and then high on the hips to create a wearable bodysuit. Jones himself hand-painted details on the final piece, insisting the collaboration feel current rather than like a museum loan.

“He was adamant that it’d be something current and fresh that he had just worked on,” Kim said, “not just a piece from his past, but something a little bit more current as well mixed together.”

Leather artisans Patrick Whitaker and Keir Malem of Whitaker Malem crafted the half-skirt that completed the look. The duo told Perfect magazine that Kim’s body was a near-perfect match for Jones’ original sculpture. “Kim’s torso curves and silhouette were remarkably close to Allen’s breastplate sculptures, which were never really intended to be worn,” they said. “We’d never seen an Allen Jones breastplate fit anyone as well as Kim!”

The whole look came together in just three weeks — a whirlwind that had Kim traveling to Jones’ studio in Oxfordshire and then to Whitaker Malem’s space in Dalston, London, for the fitting that nearly ended in disaster. The project was creatively directed by photographer Nadia Lee Cohen, whose Allen Jones-themed shoot for Perfect magazine originally sparked the idea.

“It was a whirlwind few weeks,” Kim said. “No stylists, no nothing. I just kind of went in with my idea and made it all happen.”

The Looks That Almost Were

In a carousel of behind-the-scenes photos Kim posted to Instagram, fans got a glimpse at the creative process — and the alternate looks are, if anything, even more daring than what made the carpet.

The team originally planned to paint the breastplate pink before landing on the signature orange, a nod to the classic colorway Jones had used first. There was also a dark iteration, captured in a black-and-white shot of Kim posed atop a glass pedestal table. Earlier versions of the breastplate were also fully backless, held in place with only leather straps.

In another image from the shoot, Kim appears in pale pink silk bloomers with an open back, a sky blue cropped turtleneck, matching socks and pumps, and a padded bra with faux nipples — gripping a pool cue with billiard balls scattered at her feet. It’s a direct visual reference to Jones’ stylized, fetish-inflected figures, and it’s a lot.

The pre-carpet shoot also served a practical purpose: testing hair and makeup before the real thing. Hairstylist Chris Appleton ultimately went a different direction from the earlier fittings, giving Kim a loose “cashmere blond” look worn down for the carpet. “The inspiration behind Kim’s Met hair look was disheveled — a lived-in, undone glamour influenced by the provocative work of Allen Jones,” Appleton wrote on Instagram. Makeup artist Mario Dedivanovic kept things deliberately muted to let the sculptural orange piece do the talking.

Interestingly, Jones himself had a preference. At the final fitting captured on camera, the artist told Kim he’d always envisioned the contrast of her dark hair against the warm tones of the piece. “In my naivete, I accepted Kim as I saw her for the first time and the contrast of the dark hair made me spark to these warm colors,” he said. They agreed to see what worked — and in the end, the blond won out.

Kim’s Met Gala History of Close Calls

This wasn’t Kim’s first brush with Met Gala wardrobe chaos. At the 2023 gala, her custom Schiaparelli Haute Couture gown — covered in more than 50,000 freshwater pearls and 16,000 crystal pearls — started shedding by the end of the night. Her solution? She put her daughter North West on pearl duty. “I told my daughter to grab them all. They’re real pearls, and she was putting them in her purse,” she later told Vogue.

The year before that, she famously wore Marilyn Monroe’s actual dress to the gala — a commitment that required losing 21 pounds in three weeks. “It was such a challenge. It was like a movie role,” she told Vogue at the time. “I haven’t had carbs or sugar in about three weeks.” And in 2024, she arrived in a Margiela by John Galliano corset so restrictive she admitted on The Kardashians that she couldn’t breathe in it.

This year, at least, she had a moment to herself before all the madness. Before heading to the Met, Kim posted an Instagram Story of herself out in New York City eating ice cream — rainbow sprinkles and all — a surprisingly low-key beat of calm before one of fashion’s most high-pressure nights.

The fiberglass held. The orange was perfect. And for her 13th Met Gala, Kim Kardashian didn’t just wear art — she nearly broke it first.

The post Kim K Almost Broke Her Met Gala Look Before the Carpet appeared first on Cream.

• Blue Ivy Carter, 14, made her Met Gala debut on May 4 alongside parents Beyoncé and Jay-Z
• Video shows Jay-Z, Beyoncé’s publicist, and stylist Ty Hunter all asking Blue Ivy to remove her sunglasses — she ignored every one of them
• Blue Ivy wore custom Balenciaga and became one of the youngest people ever to attend the gala
• Beyoncé secured a parental exception to the event’s strict 18-and-over rule as co-chair
• Beyoncé was attending the Met Gala for the first time in a decade

Blue Ivy Carter showed up to the Met Gala, kept her sunglasses on, and did not take instructions from anyone — including her father, Jay-Z.

The 14-year-old daughter of Beyoncé and Jay-Z made her long-awaited Met Gala debut on May 4, stepping onto fashion’s biggest stage in a custom Balenciaga look: a strapless white gown with a long flowing train, a matching cropped bomber jacket worn off the shoulders, silver stiletto heels, a diamond rivière necklace with rings and a hand chain — and a pair of chic cat-eye sunglasses she had absolutely no intention of removing.

Footage obtained by the Daily Mail and now circulating widely on social media captures the moment the whole thing played out. As the Carter family made their way up the famous Metropolitan Museum of Art staircase, Beyoncé’s publicist Yvette Noel-Schure can be seen approaching Blue Ivy and repeatedly gesturing for her to take the shades off. When that didn’t work, Noel-Schure turned to Beyoncé for backup. Stylist Ty Hunter stepped in next. Then a tuxedo-clad Jay-Z — looking sharp in Louis Vuitton — moved closer to make sure his daughter could hear him over the noise of the crowd.

Blue Ivy was unmoved. The glasses stayed on.

@beyhivebabii

Blue WAS NOT coming off them sunglasses 😂😂😂 She so cute thoooo! #blueivy #beyonce #metgala2026 #fyp #beyhive

♬ original sound – BeyHiveBabii 🐝

Beyoncé, for her part, didn’t seem the least bit bothered. The proud mom — stunning in a diamond-encrusted skeleton-inspired gown custom-made by Olivier Rousteing, complete with a sweeping feathered train and jeweled headpiece — stood beside her daughter smiling adoringly through the whole standoff.

“It feels surreal because my daughter’s here,” Beyoncé told Vogue during a livestream of the event, acknowledging her ten-year absence from the gala. “She looks so beautiful. It’s incredible to be able to share it with her. And I think she looks so incredible.”

“She was ready!” Beyoncé added. “She is ready.”

How Blue Ivy Got Through the Door in the First Place

The sunglasses weren’t even the biggest rule Blue Ivy bent on Monday night. The Met Gala has maintained a strict 18-and-over policy since 2018, when Dance Moms star Maddie Ziegler publicly revealed she’d been turned away for being too young at 15. Event organizers confirmed the policy to The Hollywood Reporter at the time, stating plainly that the gala is “not an appropriate event for people under 18.” Charli D’Amelio was reportedly turned away in 2021 at 17. Kaia Gerber waited until she was 18. Millie Bobby Brown has never attended.

Blue Ivy just turned 14 at the start of 2026.

The loophole: organizers have always allowed exceptions for minors accompanied by their parents. And with Beyoncé serving as a co-chair of this year’s event — alongside Nicole Kidman, Venus Williams, and Anna Wintour, with Jeff Bezos and Lauren Sánchez Bezos as honorary chairs — an exception was made. Blue Ivy stayed close to her parents all night, which is exactly what the rules require.

She’s now one of the youngest people ever to walk those stairs. The record still belongs to Elle Fanning, who attended the 2011 Met Gala at just 13, before the age restriction existed.

Blue Ivy wasn’t the only famous teenager to benefit from the co-chair exception. Nicole Kidman brought her 17-year-old daughter Sunday Rose Kidman Urban — who turns 18 in July — who arrived in a pale purple Dior look beside her mother. Keith Urban was not in attendance.

A Debut Years in the Making

Blue Ivy was four years old the last time Beyoncé attended the Met Gala. That was 2016, under the “Manus x Machina” theme. This year, she came back as co-chair — and brought her daughter with her to a night that felt, by every measure, like a full-circle moment.

It’s not as though Blue Ivy needed an introduction to the spotlight. She’s one of the youngest Grammy winners in history, taking home the award for Best Music Video at age nine. She joined Beyoncé onstage during the Cowboy Carter Tour in 2024, walked the red carpet at the London premiere of the Renaissance concert film in 2023, and voiced Kiara in the 2024 animated film Mufasa: The Lion King. She walked the 2025 Angel Ball alongside her grandmother Tina Knowles and was photographed at the 2026 Super Bowl wearing a $3,895 Off-White varsity jacket. She’s been building a public fashion history for years.

Monday night was just the next chapter.

And if the sunglasses moment is any indication, Blue Ivy Carter is going to write it entirely on her own terms.

The post Blue Ivy, 14, Ignores Jay-Z’s Sunglasses Request at Met Gala appeared first on Cream.

• Olivia Wilde wore a Thom Browne black off-the-shoulder gown with a caged white tulle train to the 2026 Met Gala
• The look was styled by Karla Welch and nodded to the event’s “Costume Art” theme and “Fashion Is Art” dress code
• It’s Wilde’s first Met Gala appearance since 2023, when she made headlines for wearing the same Chloé dress as another guest
• Fans on X went wild for the look, calling it “breathtaking” and praising its front-to-back drama
• Her arrival came shortly after ex Harry Styles’ fiancée Zoë Kravitz walked the carpet

Olivia Wilde showed up to the 2026 Met Gala and made absolutely sure no one forgot she was there. The Booksmart director and actress walked the carpet at the Metropolitan Museum of Art on Monday night in a Thom Browne gown that was all sleek sophistication in the front — and a full-on fashion statement in the back, complete with a structural cage attached to a sweeping white tulle train.

Styled by Karla Welch, the 42-year-old wore the off-the-shoulder black gown without a single piece of jewelry, letting the architectural drama of the dress do all the talking. Her blond hair fell in loose beach waves, keeping the whole look effortlessly cool despite the gown’s undeniable theatrics.

A Look Built for the Theme

The cage-back design was a deliberate nod to this year’s Costume Institute theme, “Costume Art,” which explores the centrality of the dressed body through depictions and interpretations of the human form across the Met’s vast collection — pairing garments with artworks to reveal the relationship between clothing and the body. The dress code, “Fashion Is Art,” gave celebrities plenty of room to get creative, and Wilde leaned all the way in.

She’s hardly the only one making Thom Browne a red carpet moment lately. Cara Delevingne wore a design with painted-on abs to the Vanity Fair Oscar Party, and Teyana Taylor turned heads in a trompe-l’oeil style at the SAG Awards. But Wilde’s caged train might be the most literal interpretation of fashion-as-sculpture the designer has sent down a carpet in recent memory.

Fans on X weren’t shy about their feelings. “Olivia Wilde is so breathtaking! Not a stitch out of place. Of course Thom Browne fits like a glove,” one user wrote. Another put it more simply: “Yess Olivia Wilde surprising all of us with a dress that gives fashion in the front and PARTY in the back.”

Back at the Gala — and in the Conversation

This is Wilde’s first Met appearance since 2023, when she turned up to the Karl Lagerfeld-themed evening in a Chloé dress — only to find herself in the same gown as Vogue China Editor-in-Chief Margaret Zhang. This year, there’s no risk of that particular awkwardness. The cage sees to that.

Her Met Gala debut came nearly two decades ago, back in 2007 at the “Poiret: King of Fashion” celebration, when she wore a black halter dress. The boldness has only scaled up since.

Wilde also gave fans a peek behind the curtain before the big night. In a series of Instagram Stories, she posted a photo of herself on the subway in a baseball cap, gray hoodie, and blue coat, writing: “Mentally preparing for the Met by practicing not ever sitting down or having to pee.” In another Story, she showed off her freshly manicured nude nails with the caption, “Really have to stop taking such bold risks with my nail color.” Classic.

Adding a layer of tabloid intrigue to the evening: Wilde arrived on the carpet not long after Zoë Kravitz, who is currently engaged to Wilde’s ex Harry Styles. Whether the two crossed paths inside the museum is, for now, anyone’s guess.

Co-chairs for this year’s gala include Beyoncé, Nicole Kidman, Venus Williams, and Anna Wintour. But on the carpet Monday night, it was the woman in the cage-back gown who had people talking.

The post Olivia Wilde’s Met Gala 2026 Look Has a Cage on the Back appeared first on Cream.

• Robert Wun dressed eight guests at the 2026 Met Gala, including Lisa, Beyoncé, and Naomi Osaka
• Lisa’s crystallized ivory gown featured 66,960 Swarovski crystals and 3D scans of her own arms, inspired by Thai dance
• Beyoncé’s Stargaze Gown involved 20+ rounds of sketches and 4,340 hours of handwork — the most the label has ever put into a single look
• Naomi Osaka’s two-part look debuted in the Met’s own “Costume Art” exhibition and revealed a second red gown underneath
• Wun’s team was still working until 3 a.m. the night before the Gala at his New York atelier

Robert Wun didn’t just have a good Met Gala. He had the Met Gala. The London-based, Hong Kong-born couturier dressed eight guests at fashion’s biggest night — including BLACKPINK’s Lisa, Beyoncé Knowles-Carter, tennis star Naomi Osaka, producer Jordan Roth, Indian businesswoman Ananya Birla, singer Audrey Nuna, Norwegian salmon heir Gustav Magnar Witzøe, and Thai luxury consultant Nichapat Suphap. For an independent designer who shows on the Haute Couture calendar in Paris, it was a moment that would be hard to top.

And yet, Wun says he wasn’t panicking. “The management of dressing all of them wasn’t particularly challenging. I was expecting the worst,” he told WWD the day after the Gala. Most clients had reached out months in advance, giving his team enough runway to build each look with care. Still, “it’s still challenging. There’s a lot of back and forth, and even until the day before, we’re still working until 3 a.m. in the New York atelier,” he said.

This was Wun’s fifth Met Gala. But by any measure, 2026 was his biggest.

Lisa’s Look: 66,960 Crystals and a Bride Lifting Her Own Veil

Of all eight looks, Wun singled out what he created for Lisa as “something truly special.” The custom piece — officially titled “The Veil” — is a fully crystallized ivory sheer gown and veil that took its conceptual anchor from a striking idea: a bride lifting up her own veil. Extending from the shoulders are extra-arm sculptures, each one built from 3D scans of Lisa’s actual arms, arranged in postures that reference traditional Thai dance positions. It’s surrealist couture that also happens to be deeply personal.

The execution was staggering. The gown is embroidered with exactly 66,960 white Swarovski crystals, each placed by hand, across 2,860 hours of work. The arm motif draws from Wun’s Fall/Winter 2025 Couture Collection, but his team rebuilt the concept entirely around Lisa’s form. She finished the look with a Bulgari sapphire-and-diamond necklace — the one flash of color against all that ivory.

Wun says he deliberately proposed something Lisa had never tried before. “When I propose a design for a moment worth fighting for, especially on the carpet, such as the Met Gala, I would try to propose something that maybe the artist has never tried before, or not usually a direction they would be willing to explore,” he said. “I was very pleasantly surprised when they actually confirmed to go ahead with that look.”

The two had never met in person before the week of the Gala — despite Lisa wearing his designs for the past five years. When they finally did, Wun was floored. “She has been nothing but sweet, kind and willing,” he said. “Although the veil and armpiece are so heavy. I think it’s about five kilograms in weight. At the end, when she had to be on the carpet by herself — she literally just owned it like a champion. You don’t feel like she is carrying all that weight on her shoulders. She simply shone, and I have so much respect for her.”

Lisa, a member of the Met Gala host committee this year for the first time, attended the 2025 Gala in a Louis Vuitton look. This year, she was the only BLACKPINK member to wear something outside of a brand endorsement — and she made it count.

Beyoncé’s Stargaze Gown: 20 Rounds of Sketches, 4,340 Hours of Work

Beyoncé Knowles-Carter wore Wun’s Stargaze Gown inside the museum — not on the red carpet, where she arrived in a custom Olivier Rousteing design alongside her daughter Blue Ivy Carter. The conversation for the Wun piece started back in December, and what followed was an unusually collaborative process.

“There are over 20 rounds, I believe, of design sketches, and a lot of conversation back and forth. A lot of personal notes on what she loves,” Wun said. The concept he landed on was cosmic in scale: the perspective of stars looking down at Earth, seeing the golden glow of coastlines at night — the kind of view you catch from a plane window. When Wun described the idea to Beyoncé, she already had a reference. “She said she found that look also on social media, she screencapped it, shared it with us, and she said ‘Yeah I think this is the one.'”

The finished gown contains 3,180,000 stitches of embroidery across 4,340 hours of handwork — the highest volume of work Wun’s label has ever put into a single piece. “Even when we got to New York, the amount of work that we carried out just to make sure all the embroideries were perfect, and the veil sat right,” he said. “I have to give all the credit and all my love to my incredible team. They have worked so hard on this look, and to be able to see that come together inside the museum as well has been truly phenomenal.”

Beyoncé, one of the four co-chairs of the 2026 Gala alongside Nicole Kidman, Venus Williams, and Anna Wintour, made her Met debut back in 2008 in Armani Privé and attended consistently through 2016, often in custom Givenchy. This year marked her return to the event after a decade-long absence. “It is an honor to dress the co-chair of this year’s Met Gala and to be part of her big return,” Wun said.

Naomi Osaka’s Two-Act Moment

If Lisa and Beyoncé were the headliners, Naomi Osaka gave the Gala one of its most theatrical surprises. She arrived in a sculptural ivory coat with open seams that exposed red crystals from within, adorned with stripped feathers flaring upward like a fountain — and a matching wide-brimmed hat by London milliner Awon Golding. Underneath, when she shed the outer layer, was a breathtaking red gown illustrating the human anatomy, needle by needle, in four shades of faceted Swarovski crystals. The red gown alone totaled over 3,280 hours of handwork.

The outer look had already made its debut in the Met’s current “Costume Art” exhibition — so Osaka was, in a sense, wearing art that was already on display inside the museum she was walking into.

“This is the shedding of the skin and the human anatomy,” Osaka told Variety on the carpet.

It was only her second time attending the Met Gala — she co-chaired the 2021 edition — and her first appearance at the event in five years. The collaboration with Wun began earlier this year at the Australian Open, where she walked onto the court in a jellyfish-inspired dress and a massive veiled hat from the designer. That look drew criticism from some corners of the tennis world, but Osaka was unfazed. “There’s a demographic that’s been talking about ‘traditional’ tennis outfits and calling me classless for what I wear,” she wrote on Threads. “To be honest, I see it for what it is. I don’t do this for them though; they will never get it, and I don’t want them to. I do this for the people who are like me.”

Wun and Osaka had never met in person until the London studio fittings for the Gala looks. “I was so appreciative to meet him and see how he works,” she said. “He didn’t have an ego and was just willing to change things to make me more comfortable or hear my perspective on things.” For his part, Wun — a self-described huge tennis fan — was just as taken with her. “Being able to share this creative moment has been incredibly special,” he said.

Osaka was attending ahead of traveling to Rome for the Rome Open, which began the following day — a reminder that for her, fashion and competition aren’t separate worlds. She’s been treating them as one for a while now. The Met Gala just happened to be the biggest stage yet.

The post Robert Wun on Dressing Lisa and Beyoncé at the Met Gala appeared first on Cream.

• Lena Dunham returned to the Met Gala for the first time since 2019, serving on this year’s host committee
• She wore a custom red sequin-and-feather Valentino gown designed by Alessandro Michele, inspired by Baroque painter Artemisia Gentileschi
• The look is meant to represent blood splatter from the painting “Judith Slaying Holofernes” — yes, really
• Dunham’s return comes weeks after the release of her memoir Famesick, in which she detailed her turbulent past Met Gala experiences
• She and Nicole Kidman accidentally twinned in red sequins and feathers — Kidman in Chanel, Dunham in Valentino

Lena Dunham made her return to the Met Gala steps Monday night, and she did not come quietly. The Girls creator, 39, hit the carpet at the Metropolitan Museum of Art in a head-to-toe red custom Valentino gown — strapless, sequin-covered, draped in feathers from neckline to train, with a thigh-high slit and a pair of matching strappy Rockstud heels that felt like a full-on love letter to the 2010s. Bold doesn’t quite cover it.

The look was designed by Valentino’s Alessandro Michele, and the inspiration behind it is… a lot. Dunham told Vogue she wrote Michele a “long, elaborate fan letter” to secure the collaboration — and it worked. The two landed on Artemisia Gentileschi’s Baroque masterpiece Judith Slaying Holofernes as their jumping-off point, which Dunham described as her vision for the “Costume Art” theme. But Michele didn’t go the obvious route.

“I shared that inspiration with Alessandro,” Dunham told Vogue, “but because his brain works in the most magical ways, rather than leaning into the Renaissance garments or the swords or any of it, he was attracted to a particular blood spatter on the neck of Holofernes.”

So the gown — the miles of red sequins, the dramatic feathers grazing her chin — is meant to be the blood. Dunham herself confirmed it. Make of that what you will.

The reaction has been mixed, to put it kindly. Critics have pointed out that the design follows a frustrating pattern of dressing plus-size women in heavily embellished, feather-heavy silhouettes that prioritize spectacle over shape. Valentino had a rough night overall at the 2026 gala — the house also dressed Tessa Thompson (in a Yves Klein-inspired blue), Colman Domingo (a Basquiat reference), and Tyla (peacock-inspired), with varying degrees of success. Thompson, for what it’s worth, was widely credited with making her look work through sheer force of charisma.

Dunham, for her part, completed the ensemble with a pink-and-red polka dot manicure, a half updo, and understated makeup — letting the dress do the talking, for better or worse. The Rockstud slingback pumps she wore — platinum pyramid studs, squared toe, inspired by Roman bugnato architecture — are from Valentino’s pre-fall 2026 collection, a silhouette that’s been quietly making its comeback (Anne Hathaway wore them for The Devil Wears Prada 2 press; Dakota Johnson wore them to Valentino’s spring 2026 couture show). On Dunham’s foot at the Met? Firmly back in the conversation.

The Accidental Twin Moment Nobody Planned

Here’s the thing nobody saw coming: Dunham and Nicole Kidman showed up in nearly identical looks. Kidman, one of this year’s co-chairs, wore Chanel — also red sequins, also feathers — and the two were side-by-side in the cultural conversation all night despite never actually walking the carpet together. Kidman arrived early, as co-chairs do, alongside her daughter Sunday Rose Kidman Urban. The matching was entirely unplanned, which somehow makes it more entertaining.

The 2026 Met Gala, co-chaired by Kidman, Beyoncé, Venus Williams, and Anna Wintour — with Jeff Bezos and Lauren Sánchez Bezos as honorary chairs — centered on the exhibition “Costume Art,” curated by Andrew Bolton to explore the relationship between clothing and the body. The dress code: “Fashion Is Art.” Dunham’s spot on the host committee, alongside Sabrina Carpenter, Doja Cat, Angela Bassett, Zoë Kravitz, and others, made her return feel official — a full-circle moment for someone who grew up visiting the Met every Sunday with her family.

“Of all the places I’ve felt amazed to be in my life, the Met after dark on the first Monday in May is right at the top,” she wrote on Instagram back in December when her committee role was announced. “I love this theme — feels like it was tailor made for my passions, focused on the intersection of art and the body, and all the versions of what a fashionable body can be.”

What the Memoir Revealed About Her Complicated Relationship With This Night

The comeback carries real weight. In Famesick, her second memoir released April 14, Dunham wrote candidly about her history with the gala — and it’s not exactly a highlight reel.

In 2017, she wore an Elizabeth Kennedy gingham gown and platform combat boots, and was rushed to the emergency room later that night due to an endometriosis flare-up. She spent four days in the hospital. In the book, she describes the moment her father came to collect her: “Leaving the hospital a few days after the ball, my father carrying my gown in a massive trash bag, I saw my own face on the lobby television with a chyron below it, reading: ‘Lena Dunham Rushed to the Hospital From 2017 Met Gala.’ My father looked at it, looked at me, and didn’t say anything except, ‘Well, that happened.'”

Her 2018 attendance was even more surreal. She was on a 28-day leave from a rehab facility in the Berkshires, where she was being treated for a painkiller addiction. “The whole event felt like a fever dream — cameras flashing, people shouting names that weren’t mine, champagne I couldn’t drink circulating like a joke I wasn’t in on,” she wrote. “At midnight, I climbed into a black SUV and drove back to Massachusetts — Cinderella in her pumpkin. They made me drop my dress at the door to my room so they could search it for contraband.”

Her last appearance before this year’s was 2019, when she and Girls co-star Jemima Kirke wore matching Christopher Kane latex dresses for the “Camp: Notes on Fashion” theme. Then the invitations stopped. She wrote in Famesick that she simply “stopped being invited” — and left it there.

The memoir also covers her five-year relationship with Jack Antonoff, claims of erratic behavior from Adam Driver during the Girls years, and the anxiety of running a show while also starring in it. Ahead of its release, she told People what she hoped readers would take away: “I hope that the book makes people feel that whatever unique trip they’re taking, no matter what sort of peaks and valleys it has, that there’s value in it and that out the other side, [they] could feel good and even safe. Because I think there were moments where I imagined that I would never feel safe again, and I want to be able to say to people, I do now.”

Beyond the memoir, Dunham’s Netflix rom-com Too Much premiered last summer, and she’s currently in post-production on Good Sex, starring Natalie Portman and Mark Ruffalo, due on Netflix later this year.

So yes, the gown is divisive. Yes, the blood-spatter concept is a lot to explain on a red carpet. But after everything Dunham has been through at this particular event — the ER, the rehab leave, the years of not being asked back — showing up in the boldest red dress in the room, on her own terms, as part of the host committee? That part, at least, lands.

The post Lena Dunham Returns to the Met Gala in Blood-Inspired Valentino appeared first on Cream.

• Sudha Reddy wore a 550-carat tanzanite necklace valued at over $15 million to the 2026 Met Gala
• The centerpiece stone, the \”Queen of Merelani,\” comes from Tanzania’s Merelani Hills — the only place on earth it’s found
• Her custom Manish Malhotra gown took 3,459 hours and more than 90 artisans to create
• Tanzanite is one of Reddy’s birthstones, and the violet-blue color was chosen to echo her midnight blue gown
• This marks Reddy’s third Met Gala appearance, each one a deliberate showcase of Indian craftsmanship

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Sudha Reddy walked into the 2026 Met Gala wearing $15 million around her neck — and it was every bit as extraordinary as that sounds.

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The Indian billionaire philanthropist and businesswoman, 47, arrived at the Metropolitan Museum of Art on Monday, May 4 in a look that stopped the red carpet cold. The centerpiece wasn’t just the jaw-dropping custom Manish Malhotra gown she wore — it was the necklace from her personal collection, featuring the \”Queen of Merelani,\” a 550-carat deep violet-blue tanzanite pendant sourced from Tanzania’s Merelani Hills, the only place in the world where the stone exists.

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Stylist Mariel Haenn told People that the piece features a Victorian-finished chain of large triangular and pear-shaped rose-cut diamonds set in delicate floral clusters, with the massive tanzanite suspended at the center. Reddy rounded out her jewelry suite with a 23-carat yellow diamond ring and a 30-carat rose-cut polki diamond ring — and, per People, a 40-carat Asscher-cut Colombian emerald with a diamond halo in 18k yellow gold.

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The total estimated value? Over $15 million. It’s one of the most expensive pieces of jewelry seen at the Met Gala in recent memory.

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The Gown Behind the Jewels

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The necklace didn’t exist in a vacuum. Reddy’s custom Malhotra couture — officially titled \”The Tree of Life\” — was its own staggering achievement. The deep royal blue velvet corseted gown was blanketed in antique gold zari embroidery, with a sweeping theatrical train and a diaphanous hand-embroidered tulle cape. Malhotra’s atelier built the look over 3,459 hours using more than 90 artisans, working across several Indian embroidery techniques: zardozi, marodi, resham, and metalwork, all rooted in Kalamkari — one of India’s oldest textile traditions, with a history stretching back roughly 3,000 years.

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The train was dense with meaning. Gold vines, flowers, and tree branches built toward the central Tree of Life motif, while regional symbols were woven throughout — the Palapitta (Indian Roller bird), the Jammi Chettu, Tangedu, Kalpavriksha, and representations of Surya and Chandra. Peacock motifs appeared across the back. The shoulders carried the heaviest sculptural detail, with brass, copper, and silver elements worked into the upper back.

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The violet-blue of the tanzanite wasn’t accidental. It was chosen deliberately to echo the midnight blue of the gown — a cohesion that made the entire look feel like one unified, museum-worthy statement.

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\”Fashion, for me, has always been about the emotion behind the image,\” Malhotra said. \”With ‘The Tree of Life,’ we wanted to create something that carries memory and the soul of the craft.\”

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Why Tanzanite — and Why It Means Something

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Here’s where it gets interesting. Reddy’s December birthday makes tanzanite one of her birthstones, so the choice was personal from the start. But the stone itself carries a deeper lore. According to Fire Mountain Gems, tanzanite is believed to facilitate higher consciousness and stimulate intuition and perception. It’s also considered a calming stone — useful, perhaps, for one of the most high-pressure red carpets on the planet.

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There’s another layer: because tanzanite requires extreme heat to reach its full color potential, it’s long been associated with helping wearers reach their own full potential and access new sides of themselves. For a night themed around fashion as art and self-expression, that symbolism lands.

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And then there’s the visual magic. Tanzanite is pleochroic — it appears to shift color depending on the angle of the light, moving between blue, purple, and deep violet. On a red carpet lit from every direction, that stone would have been alive all night.

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A Met Gala Record Built on Indian Craftsmanship

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This was Reddy’s third Met Gala appearance, and each one has been a deliberate statement. She made her debut in 2021 in a star-spangled gold gown by Falguni Shane Peacock. In 2024, she returned in a Tarun Tahiliani creation paired with her “Amore Eterno” necklace — a piece featuring more than 180 carats of diamonds, including a 25-carat heart-shaped stone and three additional 20-carat heart-shaped diamonds.

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The 2026 look raised the stakes considerably. Reddy, who is based in Hyderabad and serves as a director at Megha Engineering and Infrastructures Limited, has used every Met Gala appearance as a platform for Indian designers and artisans — and this year, she was explicit about why.

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\”Hyderabad is my foundation, and this ensemble is a translation of that cultural identity into a language that is both global and deeply personal,\” she said in a statement. \”Indian craftsmanship isn’t a legacy confined to history but a living, breathing art form. It was vital to demonstrate that these ancient techniques possess the structural integrity and aesthetic power to lead the global fashion dialogue.\”

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Haenn echoed that in her own statement: \”By including techniques that date back over 3,000 years, they have created a breathtaking, multi-dimensional ensemble that speaks to both cultural legacy and contemporary grandeur. The look is a masterful tribute to India’s creative soul.\”

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The 2026 Met Gala, themed \”Costume Art\” and curated by Andrew Bolton, was co-chaired by Beyoncé Knowles-Carter, Nicole Kidman, Venus Williams, and Anna Wintour, with Jeff Bezos and Lauren Sánchez Bezos serving as honorary chairs.

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Somewhere in that crowd, a 550-carat tanzanite was catching the light and changing colors all night long.

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“category”: “Style

The post Sudha Reddy’s $15M Necklace at Met Gala Is Stunning appeared first on Cream.

• Heated Rivalry star Connor Storrie made his Met Gala debut on May 4 in a custom Saint Laurent look styled by James Yardley
• Storrie ripped off his jacket on the carpet to reveal a polka-dot halter top and massive biceps, drawing screams from the crowd
• He accessorized with Tiffany & Co. jewelry and a £49,500 Omega Constellation Observatory Moonshine gold watch
• Storrie attended as a Saint Laurent brand ambassador alongside co-star Hudson Williams, who wore Balenciaga
• The 26-year-old also changed into a second look — a tan blazer, cape, and nothing underneath — for GQ’s after-party

Connor Storrie walked up to the Metropolitan Museum of Art on Monday night like he’d been doing it for years. He hadn’t. This was his first Met Gala — and he absolutely knew it.

The Heated Rivalry star made his debut at the 2026 Met Gala in a look that started as one thing and became something else entirely the moment he hit the carpet. Leaving The Carlyle Hotel in a sleek black blazer, Storrie made his way to the steps — and then, in a move that has since set social media completely ablaze, he took the jacket off. What was underneath: a black-and-white polka-dot halter top with a floor-length bow train that cascaded behind him, and arms that have no business existing on a person who was waiting tables in Los Angeles just one year ago.

The crowd screamed. Photographers yelled, “Do that again!” He obliged, flipping the trailing fabric back and forth, letting it flutter in the breeze. Of course he did.

The Look, Broken Down

Storrie attended the gala as a brand ambassador for Saint Laurent — the French house signed him in January, right as Heated Rivalry fever was reaching its peak — and creative director Anthony Vaccarello dressed him accordingly. The look was a riff on the house’s iconic Le Smoking tuxedo: wide-legged black trousers, a black blazer (pre-removal), and that now-famous polka-dot piece — technically a Lavallière top in polka-dotted silk muslin — with a ruffled turtleneck and a dramatically long scarf that trailed several feet behind him like a train. It was, in Storrie’s own words to GQ, “super-duper YSL, super Saint Laurent.”

“We went with a very classic Saint Laurent silhouette: a smoking jacket, super-wide shoulder, very black, very, very classic YSL,” he told GQ. “A wide, uber-straight leg. And then I have this floor-length bow that falls off the back of it. It’s like a pussy-bow top without the sleeves, but then the bow goes in the back and it creates this waterfall train that’s underneath the blazer that we will reveal. So you get kind of a two-beat moment.”

That two-beat moment was very much the point. Stylist James Yardley, who has been building Storrie’s fashion identity since the show launched, told WWD: “From the outset, we knew it was always going to sit within that classic Saint Laurent space, which felt appropriate for his first Met with the brand. My role was to refine and shape what they presented so that Connor felt confident and comfortable in it.” The goal, Yardley said, was something that felt “confident, elegant and authentic” — and the restraint of the look, he added, was its own kind of statement.

For accessories, Storrie pinned a jeweled Jean Schlumberger by Tiffany & Co. Fleurage brooch to his neckline, added diamond drop earrings from the same house, and wore an Omega Constellation Observatory watch in 18-carat moonshine gold — a piece that retails for £49,500, with an 18-carat gold dial that harks back to the first Omega Constellation from 1952. Against the more restrained black of his outfit, it made a quietly spectacular statement. His signature golden curls were styled flat, with strands finger-curled onto his forehead in what Teen Vogue accurately called “baby bangs.”

A Year Ago, He Was Waiting Tables

The scale of Connor Storrie’s ascent is genuinely hard to wrap your head around. As recently noted by Vanity Fair, it was only a year ago last week that Storrie and his Heated Rivalry co-star Hudson Williams were officially announced to lead the cast of the Crave series. Before that, both actors had been waiting tables — Storrie in Los Angeles, Williams in Vancouver. Then the queer hockey drama debuted on HBO in November 2025, captured over 10.6 million U.S. viewers, and turned them both into overnight stars.

Since then, Storrie has presented at the Golden Globes, carried the Olympic torch at the 2026 Winter Olympics, hosted Saturday Night Live in February, signed with Saint Laurent, become a Tiffany & Co. ambassador, and graced the cover of The Hollywood Reporter‘s Power Stylist issue alongside Yardley. This past Saturday night, he landed in New York, dropped his bags, and immediately went straight to 30 Rock — where SNL talent booker Keri Powers, whom he’d bonded with during his own hosting stint, asked if he wanted to introduce Olivia Rodrigo’s new single, “Begged.” He said yes. His nine-second cameo, four words spoken, drew “giddy shrills” from the studio audience.

The Met Gala, then, was simply the next logical step.

“I feel good,” he told GQ ahead of the night. “I mean, I love my look. I’m really happy with what Anthony pulled together, and I’m really happy with the guidance and the ideas that James had. And it’s really cool to watch something start out as just a conversation and a concept and come to fruition.”

As for nerves? He didn’t have any — or at least claimed not to. “I’m really not nervous, to be honest with you,” he said. “I feel like people have explained to me a million times exactly what’s going to happen, and I’m like, I still don’t really know what that looks like. I think it’s going to be a beautiful zoo. It’s going to be some chaos, I can imagine. But yeah, I mean, I feel good.”

He was also refreshingly self-aware about the gender gap in red carpet preparation. “I hear stories of girls being in their cars for an hour not being able to sit,” he said. “I’m sure some of them have started whatever extravagant hair and makeup they have six hours before we even have to get ready to go. So I think comparatively to a lot of other people who are involved, I think I have it pretty easy.”

The Katy Perry Moment, the After-Party Look, and What’s Next

Inside the gala, Storrie had one of the night’s most charming photo moments: standing next to Katy Perry, who arrived in an all-white Stella McCartney ensemble with a chrome-paneled mask that completely obscured her face, Storrie held his own hand over his face in a deadpan mirror of her look. Two faceless attendees at fashion’s biggest night. It was very funny, and very him.

The night didn’t end at the museum. Storrie headed to GQ’s after-party at Twenty Two in Union Square and changed into a second look entirely: a tan blazer and slacks, a flowing chocolate-brown cape, matching shoes — and nothing underneath the jacket. Just his torso, on display, as if the jacket removal on the carpet had been a preview of coming attractions.

His co-star Hudson Williams was also in attendance at the gala, arriving in a powder blue Balenciaga suit — the two of them, once again, dressed by different stylists and once again making the internet lose its mind simply by existing in the same orbit. At the Vanity Fair Oscars party in March, they accidentally matched in sheer looks. Williams’s stylist Anastasia Walker posted about it afterward: “Me and [James Yardley] didn’t plan this lol.”

The 2026 Met Gala, themed “Costume Art” with a dress code of “Fashion Is Art,” was co-chaired by Beyoncé, Nicole Kidman, Venus Williams, and Anna Wintour — though the event carried some political undercurrent this year, with Amazon’s Jeff Bezos and Lauren Sánchez Bezos serving as honorary chairs amid protests and notable absences from stars including Meryl Streep, Zendaya, and Bella Hadid.

For Storrie, none of that seemed to cloud the night. He showed up, he took the jacket off, and the crowd screamed. Heated Rivalry season two starts filming this summer, with a spring 2027 release targeted — and Storrie is also in talks for the A24 comedy Peaked and circling the film Turpentine.

He told Vogue Adria recently that he’s been consciously trying to stay grounded through all of it. “I put a lot of energy into staying grounded in where I am, what I’m doing, who I’m speaking to,” he said. “Someone being loud doesn’t make them right. I’ve also realized I need a creative outlet. Making music, writing, planning films. That brings me back to my center. That’s where I have control. Where I’m not just playing a role.”

Based on Monday night, he’s playing it pretty well regardless.

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