Met Gala 2026: Editor’s Picks

The perennial debate, "Is fashion art?", echoes through the halls of the fashion industry, a question that has long occupied designers, critics, and enthusiasts alike. This year’s Met Gala, with its theme "Fashion is Art," directly confronts this enduring inquiry. Coinciding with The Met’s upcoming exhibition, Costume Art, which aims to elevate fashion to its rightful place alongside other celebrated art forms within the museum’s prestigious archives, the gala’s broad directive opens a vast interpretative landscape. While some celebrities might opt for literal interpretations, perhaps evoking Tracee Ellis Ross’s 2019 embrace of a literal picture frame, or even venturing into costume territory akin to a living Mona Lisa, the Dazed editorial team has curated a selection of inspired choices, drawing from fashion history and contemporary artistry.

The Artistry of the Met Gala: A Historical Perspective

The Met Gala, officially known as the Costume Institute Gala, has been a cornerstone event in the fashion calendar since its inception. Established in 1948 by Eleanor Lambert, a fashion publicist, its initial purpose was to raise funds for the Costume Institute and celebrate its annual exhibition. Over the decades, the gala has evolved from a more exclusive, industry-focused affair into a globally televised spectacle, drawing in A-list celebrities, designers, and cultural influencers. The event’s reputation for extravagant themes, meticulously crafted ensembles, and a dash of celebrity drama has cemented its status as a significant cultural moment, often dictating fashion trends and sparking widespread discussion. The choice of "Fashion is Art" for the 2026 gala signifies a deliberate move by the Metropolitan Museum of Art to formally acknowledge and champion fashion’s place within the broader art historical canon, a recognition that has been long advocated by industry figures.

Dazed Editors’ Visions for "Fashion is Art"

Ted Stansfield, Editor-in-Chief

"I’d like to see Zendaya in one of the pink looks from Comme des Garçons’ AW26 show because that collection was art! And Zendaya would look great in it."

Stansfield’s selection highlights the avant-garde nature of Rei Kawakubo’s creations. The Autumn/Winter 2026 collection from Comme des Garçons, characterized by its sculptural silhouettes and bold use of color, serves as a prime example of fashion transcending mere clothing to become wearable art. Zendaya, known for her fearless red carpet choices and ability to embody complex sartorial narratives, would undoubtedly bring a powerful presence to such a piece, translating the collection’s artistic intent into a compelling visual statement. The designer’s consistent exploration of deconstruction and unconventional forms has often been hailed as high art, aligning perfectly with the gala’s theme.

Isobel Van Dyke, Life & Style Writer

"I’d like to see Doja Cat go completely naked, wearing only International Klein Blue body paint. Naturally, the paint will need to be wet so she can roll down the Met steps, recreating Yves Klein’s famous Anthropometry paintings, for which the artist used women as ‘human paintbrushes.’ Or, for anyone wanting to play it safer, they could opt for Schiaparelli’s AW23 couture collection, or Phoebe Philo’s Celine SS17 collection, both of which referenced the artist’s famous shade of IKB."

Van Dyke’s suggestion directly references a seminal moment in art history and its potential fashion interpretation. Yves Klein’s Anthropometry series, developed in the early 1960s, utilized the female body as a living tool for artistic expression, a provocative concept that Van Dyke proposes for the Met Gala red carpet. This approach, while daring, directly embodies the fusion of the body, art, and performance. The alternative suggestions, referencing Schiaparelli and Phoebe Philo’s collections, point to the enduring influence of International Klein Blue (IKB), a specific hue of ultramarine blue that Klein patented. This color’s significance in art history, particularly its association with Klein’s minimalist and conceptual works, makes it a sophisticated nod to the "Fashion is Art" theme.

Alex Peters, Beauty Director

"As the name suggests, Jean Paul Gaultier’s SS94 collection Les Tatouages was covered in tattoos. They were printed on the clothing and stencilled on the models’ bodies. Piercings, traditional Indian jewellery, African tribal prints and beading, corsetry, Joan of Arc-style armour, Eastern mysticism and the wild spirit of punk all also featured in a show that brought together the diversity of styles, cultures and traditions that Gaultier was seeing on the streets of Paris at the time. The collection was hugely influential (and provocative) and also very fun, and it would be great to see tattoos and body modification recognised and represented during a celebration of different art forms. Although, depending on the heritage of the celebrity wearing the pieces, some of the traditional Indian and African piercings should be gracefully avoided."

Peters’s choice delves into the rich tapestry of Jean Paul Gaultier’s oeuvre, specifically his Spring/Summer 1994 collection, Les Tatouages. This collection was a vibrant exhibition of Gaultier’s signature blend of subversion and celebration of global cultures. The incorporation of tattoos, both printed and applied directly to the skin, underscores a bold exploration of body art as an integral element of fashion design. The collection’s eclecticism, drawing from diverse cultural influences and subcultural movements like punk, exemplifies how fashion can act as a powerful medium for cultural commentary and artistic expression. The acknowledgement of potential cultural sensitivities surrounding the use of traditional adornments reflects a nuanced understanding of art’s impact and ethical considerations.

Elliot Hoste, Fashion Writer

"Michaela Stark’s work has always treaded the line between fashion and art, and that’s why she’s a perfect fit for this year’s theme. She uses contorting corsetry to subvert female forms, placing the body in direct conversation with fashion, and overturning our expectations of what certain bodies must look like in certain garments. One of her most recent works – a 2026 calendar – was inspired by the late performance artist Lee Bowery, who also skillfully blurred the lines between fashion and art. As the designer often uses her own body as a canvas, Stark herself on the red carpet would be the perfect person to capture the theme."

Hoste champions Michaela Stark, a designer whose work inherently blurs the boundaries between fashion and fine art. Stark’s innovative use of corsetry to manipulate and redefine the female form challenges conventional notions of beauty and the body’s relationship with clothing. Her inspirations, such as performance artist Leigh Bowery, known for his transformative and often shocking artistic expressions, further solidify her position at the intersection of art and fashion. The suggestion for Stark to potentially attend the gala herself, utilizing her own body as a living artwork, offers a profound interpretation of the theme, embodying the very essence of fashion as a visceral art form.

Marios Mystidis, Head of Fashion, Social

"Not going to lie, this year’s theme is making it so hard to choose a look. And yes, while the broadness makes it easier for people to ‘have fun with it’, I’m slightly afraid we’re about to see a lot of questionable getups. Anyways, back to what I’d choose – I keep returning to the final look of Alexander McQueen’s legendary No. 13 show. Undeniably one of the wildest finale moments in fashion history, the piece perfectly encapsulated ‘Fashion is art’ at the time, creating a one-of-a-kind work live on the runway. The look was inspired by Rebecca Horn’s 1991 installation ‘High Moon,’ and I’m not sure where it is now, but if any of the It-girlies could get their hands on it, it would definitely be a gag. Alex Consani, I’m looking at you."

Mystidis’s selection harks back to a pivotal moment in fashion history: Alexander McQueen’s Spring/Summer 1999 show, known as No. 13. The finale featured a dramatic live creation where Shalom Harlow was spray-painted by robotic arms, transforming her dress into a dynamic, evolving artwork. This performance piece, inspired by Rebecca Horn’s artistic installations, perfectly encapsulates the theme of "Fashion is Art" by integrating performance, technology, and design into a singular, unforgettable moment. The speculative mention of obtaining the actual piece or a recreation highlights the desire for iconic, art-historical references to be present at the gala.

Emily Dinsdale, Art & Photography Editor

"Rather than spell out exactly what I want to see at this year’s Met, I will give you a very clear idea of what I do not want to see. I don’t want to see an overly literal interpretation of the theme. I don’t want to see someone walking up the red carpet brandishing a picture frame. Neither do I want to see ‘uncanny’ make up in the style of Picasso’s cubist portraits. A Vincent van Gogh ‘Starry Night’ dress (AKA a dress with stars on) is also unacceptable. Ditto a Jackson Pollock-themed outfit, splattered with paint. Or anyone emerging from a shell à la Botticelli’s The Birth of Venus. Fin."

Dinsdale offers a counterpoint, articulating a clear vision of what constitutes an uninspired interpretation of the theme. Her rejection of overly literal or cliché artistic references – such as picture frames, direct imitations of famous paintings, or obvious visual puns – emphasizes a need for deeper conceptual engagement. This perspective underscores the Met Gala’s potential to elevate fashion beyond mere costume or decorative application of art, urging for a more profound dialogue between the garment, its wearer, and the artistic inspirations. The preference for more nuanced interpretations suggests a desire for guests to engage with art history in a way that is both respectful and innovative.

Laura Pitcher, US Editor

"This year, I want to see some genuine masterpieces on the red carpet – specifically through exciting artist-designer collaborations. Let’s get Bad Bunny in a suit by Willy Chavarria and the artist Ektor Rivera (like Pharrell did with Henry Taylor for his Louis Vuitton debut), or Taylor Russell in a sculptural Dior ensemble inspired by Lauren Halsey. There are plenty of opportunities to treat the carpet itself as a performance – I’m thinking Shalom Harlow at McQueen or Bella Hadid at Coperni – so I’m also expecting a dramatic entrance from the likes of Zendaya."

Pitcher’s vision centers on the power of collaboration between artists and designers, a strategy that has gained significant traction in recent years. The proposed pairings, such as Bad Bunny with Willy Chavarria and Ektor Rivera, or Taylor Russell with Dior and Lauren Halsey, exemplify how interdisciplinary creativity can result in truly unique and impactful ensembles. The reference to iconic red carpet performances by Shalom Harlow and Bella Hadid highlights the potential for the Met Gala to become a stage for sartorial performance art, where garments are not just worn but enacted. This approach suggests a forward-thinking perspective on how fashion can serve as a dynamic platform for artistic dialogue and cultural commentary.

Thom Waite, Senior Writer

"All too often, crossovers between fashion and art land somewhere in the realm of gauzy florals and chunky jewellery you’d find in the National Gallery gift shop. It’s time to forget about your Monets and your Mondrians – unless you’re pulling 60s YSL out of the archive, in which case… fair enough – in favour of some more interesting references. I’d like to see Jonathan Anderson dip into Dior’s recent-ish history to dress someone as a Hajime Sorayama robot (Grimes? Too obvious. Hunter Schafer maybe?). At the very least, the Met collection – which is supposed to inform choices at this year’s Ball – includes some more out-there masterpieces to serve as inspiration. Who dares dress as a little armoured critter from one of their several Hieronymous Bosch paintings? That’s what I want to see."

Waite advocates for a departure from predictable artistic references, suggesting more unconventional and perhaps even surreal inspirations. The nod to 1960s Yves Saint Laurent acknowledges the historical significance of designers who directly engaged with art movements. However, Waite pushes further, proposing contemporary artists like Hajime Sorayama, known for his futuristic, often robotic imagery, and the richly detailed, fantastical works of Hieronymus Bosch. The suggestion of dressing as a Boschian "armored critter" speaks to an appreciation for the more obscure, yet artistically profound, corners of art history. This perspective champions a bolder, more intellectual approach to interpreting the theme, encouraging a deeper dive into the vast and varied world of art for inspiration.

Habi Diallo, Branded Content Editor

"From her very first BA collection up until now, Simone Rocha has consistently shown her love for French artist Louise Bourgeois. For AW19, Rocha worked in collaboration with the Louise Bourgeois Foundation to make a collection that channelled Bourgeois’s work, most notably her ‘Cells’ series. Since Chloë Sevigny actually walked the runway of that show and has worn a Simone Rocha look to the Met before, she would be my dream guest to wear some iteration of one of those pieces. But the look MUST be worn with one of the rare 24K-gold-plated silver earrings which reinterpret Bourgeois’s 2003 ‘Spiral Woman’ sculpture."

Diallo’s suggestion highlights a sustained and meaningful dialogue between designer Simone Rocha and artist Louise Bourgeois. The Autumn/Winter 2019 collection, a direct collaboration with the Bourgeois Foundation, is a testament to Rocha’s deep artistic reverence. The "Cells" series by Bourgeois, exploring themes of confinement, protection, and the psychological landscape of the body, offers a complex and poignant source of inspiration. The choice of Chloë Sevigny, a past collaborator and Met Gala attendee, as the ideal wearer, adds a layer of curated intention. The specific emphasis on the "Spiral Woman" earrings, reinterpreting Bourgeois’s sculpture, underscores the importance of detail and the intricate ways in which art can be translated into fashion.

Chester McKee, Video Coordinator

"This year’s museum exhibit is all about connecting the body to art, so I’d like to see one of Thevxlley’s vase bodices on the Met steps next Monday. At Daniel Del Valle’s show in February, we watched models squeeze and cram themselves into the impressive works backstage, so it feels pretty on theme. And the fact that Del Valle considers himself more of an artist than a designer definitely fits the dress code ‘Fashion is Art’."

McKee points to the emerging designer Thevxlley (Daniel Del Valle), whose work explicitly bridges the gap between sculpture and fashion. The "vase bodices" are not merely garments but artistic constructions that reshape and interact with the human form. The visual of models physically contorting themselves to wear these pieces, as witnessed at Del Valle’s February show, directly aligns with the theme of the body as a canvas for art. Del Valle’s self-identification as an artist rather than solely a designer further emphasizes the conceptual underpinnings of his creations, making his work a potent embodiment of "Fashion is Art."

Tiarna, Beauty Writer

"A lot of younger designers right now are getting experimental with SFX within their collections, expanding the body’s form to build on the narrative of their shows. I’d love to see Alysa Liu in New York-based designer Gabe Gordon’s recent AW26 collection, which mixed 1960s ice-skating aesthetics with a supernatural werewolf plotline. Liu already has the ice-princess presence down, so it feels like a natural match. The SFX wolf claws and frostbitten make-up are mandatory."

Tiarna’s selection focuses on the integration of special effects (SFX) within fashion design to create narrative and transform the body. Gabe Gordon’s Autumn/Winter 2026 collection, blending 1960s ice-skating aesthetics with a werewolf theme, offers a unique and dramatic artistic concept. The proposed pairing with figure skater Alysa Liu leverages her existing performance presence and aesthetic, creating a symbiotic relationship between the wearer and the avant-garde design. The inclusion of SFX elements like wolf claws and frostbitten makeup elevates the ensemble beyond a mere outfit, transforming it into a fully realized artistic character, directly addressing the "Fashion is Art" theme through immersive storytelling.

Implications and Future Directions

The Met Gala’s "Fashion is Art" theme represents a significant moment in the ongoing discourse surrounding fashion’s cultural and artistic standing. By dedicating its annual exhibition and gala to this concept, The Met signals a broader institutional recognition of fashion’s complex and multifaceted role in society. This move is likely to encourage designers and celebrities to push creative boundaries, leading to more innovative and conceptually rich interpretations on the red carpet. The diverse suggestions from the Dazed editorial team illustrate the myriad ways this theme can be approached, from historical homages and performance art to contemporary collaborations and the experimental use of materials and techniques. As fashion continues to evolve, its classification as a legitimate art form is increasingly solidified, with events like the Met Gala serving as crucial platforms for this evolving dialogue. The challenge for future galas will be to maintain this high level of artistic engagement, ensuring that the theme transcends superficial interpretation and fosters genuine dialogue about the intrinsic artistic value of fashion.