Of The Minute
June 1st, 2015 by Irene Ojo-Felix
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Portraits of Nabil Harlow (De Facto) by Nagi Sakai (De Facto)

Balmain has made history by becoming the first fashion house to appoint a creative director of hairstyling. The groundbreaking “master hair designer” position has been awarded to hairstylist Nabil Harlow who will develop trends, work on campaigns, and expand the hair product line. We spoke to Nabil about his early start, his old-Hollywood influences, and his new ideas for the Balmain glamazon.

So tell me all about yourself. How did you first get started in the industry?

I started when I was 16. I always loved hair because I was a big fan of old movies. I used to watch them with my grandmother on TV, and they were these amazing black-and-white movies with Greta Garbo, Jean Harlow, Lana Turner, and Joan Crawford. All that era of MGM movies back then made me love everything with that certain taste. I learned about perfection from them since they were very precise with the clothes, the makeup, the hair, they way they moved, the way they talked. It was a lot of overacting and drama.

I started doing my sister’s hair, my mom’s, my friends’, when I was maybe 13 or 14 just to have fun. Then at 16, I asked my parents to enter hair school but my dad didn’t want me to so I went to college. At 17, my mom finally pushed my dad to accept and I started hair school. I started going backstage and doing shows where I worked with Odile (Gilbert) and Orlando (Pita) to get experience. Then, at 20 I moved to New York since I wanted to learn English so I came and entered Frédéric Fekkai salon on 5th Avenue as a colorist. After 4 years I went back to Paris working in the movie industry doing hair. An agent asked to sign me as a hair stylist and that’s how I got started on my own.

And how has it been transitioning from the Hollywood world into high fashion?

To be honest with you, when I started working in fashion I thought “this is easy!” Especially, now in 2015, I feel like hairstylists don’t take enough chances to really mess up the hair. Perhaps it’s because the photographer is scared to mess it up so they want to play it safe. So now you see a lot of wet hair, a lot of hair combed back, a lot of hairpieces on the face because it’s very hard to retouch hair.

In the movie industry it’s very different because you can be working on a movie that is happening in the 13th century so you have to be very technical and need to learn everything that is possible for hair. You need to be skilled in wigs, extensions, and it’s double the work. I was an assistant forever because I wanted to learn everything and then you find your own ways and create your own taste.

And how would you define your own personal taste or aesthetic?

I love glamour. I think that women aren’t glamorous enough now. Everybody is very rock & roll and it’s cool but I don’t think it fits every girl. I think that it’s cool to work in a glamorous way but you can make it modern by undoing it a little bit or messing with the texture. I like to create texture and sculpt into it. There’s no dated hair to me. You can always make it for the now.

So how do you bring that aesthetic now to this joint venture with Balmain as the “Master Hair Designer”?

They trust me and we’ve been talking for a long time before this all happened. They wanted to make sure I was fitting their vision and they were also looking for someone who envisioned how they could expand. I explained to them my taste for hair and how I like hair that doesn’t look like you’ve been doing it for 3 or 4 hours, even if it’s super glamorous. I want it to look natural like the girl put her hand in her hair and the texture fell by itself. So, if the Balmain girl is something to me that would be it.

I always think about Balmain as being about the strength in femininity and Olivier gives power to that idea too. What words are you trying to bring to that Balmain woman?

Olivier’s woman is very graphically strong and it’s the right way to think about femininity. There is always that strong shoulder, that tight waist, the inner power shines through. The word I would bring is self-actualization. I don’t like to change someone and I didn’t like the word makeover. You have to work on what you have. When you have a diamond you just polish it and a woman is the same. Maybe there was something that she didn’t understand about her look and you just polish it so she can shine through and find herself.

As the Master Hair Designer, define more of your role.

Right now I’ve been developing the product line and expanding the range. I’m very excited about the campaign. When you’re working with photographers as a hair stylist, you’re doing your own thing but at the end of the day it’s their vision. It’s exciting that it will be about my vision this time, expressing myself, and the way I see hair. It’s also about creating trends and a lot of surprises for next year.


Explain the product line a bit more. What are you working on?

We have a full line including a holding hair spray, mousse, hair perfume, oil, a salt texturizing spray, and a cleansing shampoo and conditioner. Right now I’m working on perfecting the wax and more texturizing products. I want to have a hairspray with no alcohol for my curly haired girls so it’s not too dry and weighing down curls. The hair perfume is great as it acts like a sealer and gives a great sheen.

It’s interesting how a lot of fashion houses focus on makeup and not that much on hair. It’s interesting to see how Balmain has taken a bit of a risk here.

They love risks, they always do. Balmain isn’t afraid of taking chances on new talents and Olivier was evidence of that. You can’t be scared and you have to really believe with conviction. The people will follow!


To see more of the products, go to the website.

May 28th, 2015 by Steven Yatsko
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Last night Rankin (Camilla Lowther Management) and the filmmakers from RankinFilm, which includes himself, Vicky Lawton and Jack Sutcliffe, screened some of their collective work at the Soho House in New York. This inlcuded the Coco de Mer commissioned “X” advertisement. The frenetic 2 minute piece of filmmaking is a feverish discharge of provocation compiled from entirely different scenes shot by Rankin, Vicky Lawton, David Allain, Damien Fry & Joe Hunt, Trisha Ward and Bronwyn Parker-Rhodes. “You think about sex every six seconds,” opens the film–from there it’s one sex-fueled flash cut to another. Walter Campell, writer of “Under the Skin” and creative director at TBWA, and Vicky Lawton, both of whom served as co-conspirators for the project with Rankin, fleshed out the details with us below:


How did the collaboration process begin with Coco?

WALTER CAMPBELL: We approached Coco De Mer with an interesting concept around the area of simply thinking about sex…Where do those notions come from, what inspires them, how do we nudge those ideas into more flamboyant expression? Lucy picked up on the potential straight away; a good conversation ensued in which lead to next steps.

VICKY LAWTON: It was immediately obvious that we where all coming form a similar place and saw the project as a very elastic concept that would allow the brand to grow and experiment.

With so many different pieces, I’m curious how the individual shoots were approached and what were the guidelines?

WALTER: We had a palette of ideas and images that seemed interesting for very different reasons. Some we liked because they suggested a backstory, some we liked because we wondered how they came to be. Associations and connections were talked about a lot. There was a great deal of freedom in the shooting, and the experimentation was always fascinating to watch unfold.

VICKY: When I was approaching each shoot day, I was looking to gather lots of references on the mood and attitude, some lighting references – some poses on what I wanted to be inspired by. I’d then send that onto Walter to see what notes he had. Usually he came back with lots of different ways to make everything different and unique.

It’s an advertisement, but in this case it’s much more: What’s the conversation rendered by the sexual language used?

WALTER: The conversation is very much about conversation – especially the internal conversation of the viewer’s mind turning. It’s interesting to us that for many people, the end comes as a surprise. We think this is because they are entering their own headspace and their own imagination is already taking over the process. It is very much about that psychological slight of hand, about setting a flow in motion that we hope brims the viewers capacity to simply take it in, and naturally overspills into their own intuitive thoughts, either about what could happen next or what should happen next…

VICKY: The sexual language isn’t prescriptive – it’s not what you would expect a provocative film to be. The visuals don’t necessarily just show sexual imagery in its simplest sense, some are there to provoke different reactions or hint more at a mood or a feeling rather than just being erotic.

How was the role of the woman in this context meant to be depicted?

WALTER: It’s the female lens on obsession that interested us. This film is all about women, the voice running through the film is female. She is in control; she understands her power. We wanted to show a female seductive viewpoint and wanted to express this in a more considered and complex way, full of passion and regard.

VICKY: For me, it’s important that the woman is always in control. There’s a confidence there that’s inherent to each person, but how its projected is different with each director.

Did the female filmmakers approach this any differently from the guys in a noticeable way?

WALTER: I think they got to the lyrical sense very quickly – they were intimate on that connective mood in a profound way and there was more real heat more effortlessly. I think there is a sense of caution that most models bring to a situation like this, and it felt like all the directors really wanted to read how the models felt in the moment, and get to the place that felt most right and connected to their reality.

Are there any possible future collaborations between the two of you (to Rankin and Walter)?

WALTER: Working with Rankin is both liberating and educational. I always come out of it with more ideas than I went in with. That’s a brilliant result that I can’t wait to repeat.

RANKIN: Walt is a legend in our industry. His work is broader and more inspiring that just advertising and he is incredible to work with. I’d jump at the chance of doing something with him

Rankin at the Soho House screening / Photo by Steven Yatsko for Models.com

May 26th, 2015 by Steven Yatsko
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“I would like to be more prolific in being able to explore some personal things about myself. I’ve been really guarded most of my life,” filmmaker Adria Petty responds speaking of her series of shorts. Petty–yes, as in Tom Petty’s daughter–is someone who seems to be most comfortable with language in its figurative sense. It’s a personal dialect more native than talk. Her producer fittingly describes it as her “abstract alphabet.” That would explain her attraction to music videos and her espousing of fashion’s inherently visual agenda. Her filmography bounces from artists like Beyoncé, Rihanna and longtime-friend Regina Spektor, to beauty spots for Lancôme. Recently, Adria joined Cadence’s roster of image makers as well as Missing Pieces, two New York City based artist reps.

“Relentless” is the second chapter of Adria’s personal autobiographical short films, which she filmed while (very) pregnant with her daughter Everly (named after her father’s guitar). The first being “NU-6” and was a dreamlike documentation of her oddly emotional experience receiving an auditory test after temporarily losing her hearing. “Every word that they would ask me about would bring up this flood of thoughts and visual things and I was in this little soundproof cube that looked like a ‘50s bomb-shelter,” she explained. “Relentless” inwardly-looking explores Adria’s nebulous relationship with Everly’s father. For both nearly wordless films there’s an emphasis on personal disorientation that pivots on Adria’s eccentric edits. That playful sensibility creates her signature visual mischief.

Adria is a long-time New Yorker who resides in the East Village, so we sat down with her at Cafe Mogador to discuss her work. Debuting exclusively on Models.com, here is Adria Petty’s short film “Relentless”.

I read an article that you were selling your NYC apartment but this was back in 2012. But you didn’t end up selling it. You’re still there?

I ended up having a baby and not being quite as footloose and fancy free as I was before she arrived. I feel very connected with NY. I would like to move but I’m very attached to the neighborhood and my home. I’m kind of looking for the right place before I move.

How has having a child changed NYC for you? 

I just look forward to sharing it with her at every stage of her development because I love New York so much and I love my friends here so much that I just am excited for her to have that cultural impact and the kind of joy that I get from my friends who are my family here.

You traveled a lot when you were younger I imagine. Has that influenced the way you live your life–do you like to travel still? 

Oh yeah I traveled all the time. I like traveling. I feel really inspired by people and places. Connecting with new experiences. A lot of people who are the children of musicians and raised on the road, also I think children of directors and actors, you get used to not having that stability. That actually becomes your stability.

Is there a particular idea that you always find yourself exploring? Even if you’re not thinking about it–saying, “oh here it is again”? 

Falling. I think falling and people falling through some void. I find that image a lot in my work. It’s a sort of idea of the world out of control, but it’s safe. It’s a safe fall. It’s more like “Alice in Wonderland” falling down the rabbit hole. That idea of falling down the rabbit hole and embracing the chaos theory. I think the chaos theory is at the heart of the creative work I do, that there is sort of an amalgam of influences between the conscious and unconscious mind that pushes forward all the time.

What inspired Relentless? 

What was heavy on my mind was this relationship with Everly’s father, which is to this day just this completely undefinable and strange chemistry that I can’t say it’s good or it’s bad. It’s just the torture of romance. I think I just wanted to put it into some art form and convey what had happened there and how consuming and intoxicating that experience had been. And so I think I did. I think I did in my own cartoony way.

And you shot Relentless at the tail end of your pregnancy?

Yeah I shot it when I was pregnant a year ago, right before Everly was born.

So you were 8 months pregnant and decided to shoot?

I needed to shoot something, I felt really like I knew I wasn’t going to be able to for at least six more months, which wasn’t true, I actually shot my first commercial when Everly was two months old. I felt antsy that I needed to get behind the camera and say something about the experience that I’ve been through in the last year which was just really far out, you know?

Did you finish it before you had Everly? 

No I didn’t edit it until about six months until after she was born. I was busy, we traveled all over the world last year.

When you did NU6 first did you intend to continue this on as a continuation? 

Absolutely. I absolutely feel looking at Relentless that it’s a perfect next chapter of sort of what happens next. I’m sort of battling with finding some terra firma.

Have you already started thinking of your next one?

I have thought a little about the next one. I would like to be more prolific in being able to explore some personal things about myself. I’ve been really guarded most of my life. I felt I haven’t wanted to share that much and the truth is I’m such a sensitive person, but also such a deeply insensitive person in some ways. I can be very blunt and simple and direct about what I want. On the flip side, people like that they are actually very sensitive. I think now there’s definitely a higher level of sensitivity opened up in me in becoming a mother and it’s going to be fun to explore it creatively.

If you could paint with only one color, what color would that be?

Blue. I think my favorite color is probably purple. But blue inspires me, it uplifts me. Sometimes I’ll see a blue house or a blue car and feel uplifted by it. I think it’s a very beautiful color like a Chagall watercolor. I think blue is a very expressive color.

Is Chagall someone you like a lot? People flying through the air seems appropriate . . . 

I love Chagall. And I associate him strongly with the architect Antoni Gaudí–those kind of shapes and fragments. The surrealism I feel connected to.

May 21st, 2015 by Steven Yatsko
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Tao Okamoto for Models.com

With release of photographer Tim Richardson’s “Spiritual Machine” Models.com decided to follow up with the visionary imagemaker (and Models.com feature contributor) to talk about the new book and his body of work.  Machine is a selection of work encompassing the past 5 years from stories in Dazed and Confused to Vogue Hommes Japan. His hyper-effected images are an amalgam of fashion and futurism, glamour and distortion, form and technology–all exploring with verve the hybrid language of digital photography.

“Spiritual Machine” is available for direct purchase here

Let’s go back–What’s a defining moment for you as a artist? Something that made it all click. 

When I was around 13 I discovered David Bowie and Francis Bacon in the same week. Something in Bowie’s chameleon personae and the dark beauty of Bacon’s pictures really shook me up. The desire was already there to make images (I’d been drawing since I could remember) but they really tipped me over the edge. I remember I started making polaroid experiments with my father’s cameras…now here we are…

What was the first picture you ever took of? 

The first picture I remember consciously composing was a shot of my next door neighbor’s twin sons inside a burned out building. The roof was missing and the boys were standing in this skeletal blackened space. I think I’d just seen Mad Max 2–that bleached out light, which is so Australian, just made sense to me.

Tell me a little bit about Spiritual Machine…

The book was born out of a duality I recognized in my pictures: the tension between technology and the sensual nature of the human body. Whether it be installation, film, or photography the figure is almost always at the center of my images.

When did you start altering your work and how did that lead to exploring with other techniques? 

I’ve always manipulated my pictures–tried to get closer to the image in my mind’s eye. In the beginning I’d try altering my chemistry in the lab or manipulate the winders on my 35mm film cameras to create random multiple exposures. Before I discovered the studio I went through a period of only shooting at night… Anything to get closer to my own version of reality.

How do you approach your projects in terms of setting a direction? 

I usually research a theme or period that ties into the subject or character I am building with the creative team. Then I search for its opposite. For me duality, juxtaposing opposites, and sometimes in the most subtle ways, creates unique images.

Is there a single piece of work, idea, or person that continually inspires you the most and why? 

There is no one artist or piece of work. I look at painting and sculpture mostly for inspiration. Photography is so much about finding the moment–painting and sculpture are the opposite: they are images designed around permanence. Maybe it’s that permanence that attracts me.

How much improvisation happens in post? 

Post is often predetermined. It can dictate how and what you shoot for so many reasons. Improvisation in post is what happens when you decide to push the technology past its usual limits. Then the accidents happen and you run with it.

You mainly shoot in stark studio interiors, what is attractive to you about that environment? 

The studio is a blank canvas. Everything is possible in that context. I like that freedom, that experimental space.

Looking forward, are there new elements you’re hoping to introduce into your work? 

I’d like to develop the narrative, storytelling side of my images–push the character development further. Making the book gave me the opportunity to focus on a specific period of work (the last 5 years) and build a world around the images. To create a context beyond the single moment. I think the images and film I made with Guinevere van Seenus for the Milk Exhibition are the first step in making that change. A more filmic direction driven by identity.

Tao Okamoto for Models.com
Brooke Candy for Sunday Times Style
Guinevere Van Seenus
Rinko Kikuchi for V Magazine

May 21st, 2015 by models.com
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It’s safe to say that fashion models know a thing or two about cosmetics. As the first to test out every product and every look known to mankind models get their beauty straight from the source and throughout their careers pick up a wealth of knowledge. As a result some of the very best beauty products found their start in lines developed and created in collaboration with well-known models. Take a look at our selection for the very best from model cosmetic lines.

Foundation – Iman


As the first supermodel to jump into the beauty business Iman began with the goal of creating cosmetics for women of all colors. Iman Cosmetics’ foundations, bb creams and concealers offer a spectacular range of shades in darker colors, many of which are difficult to find from other beauty brands. The spectrum of colors offered is matched by the selection of formulations and coverage options – making Iman’s line a must for anyone in need of the perfect base.


Moisturizer – Miranda Kerr


The all-natural skincare market was in need of a touch of glamour when Miranda Kerr began her line Kora back in 2009. Since then Kerr’s certified organic products have developed a reputation for being simple, reliable and just plain good —what more can you ask from skincare? Our favorite is the gentle Hydrating Day and Night Creme.


Fragrance – Anja Rubik


Much has been said about Anja Rubik’s journey from top model to perfumer, but all you really need to know is that her airy green tea and lily combo smells wonderful. Rubik’s first scent has become a smash hit (and is frequently sold out at Net-A-Porter, Colette and the other exclusive boutiques where it is featured) so it’s only a matter of time before she gives the world another fragrant gift.


Eyes – Josie Maran


Josie Maran is the argan oil queen now and forever, but her popular label also boasts a range of enticing color cosmetics in addition to her skincare offerings. Maran’s watercolor shadows, brow duos and Argan Black Oil Mascara offer a pop of color and adhere to her luxury with a conscious tagline by being paraben free, cruelty free and packaged in recycled materials.


Lips – Doutzen Kroes, Liya Kebede


Though they have yet to launch their own beauty brands, superstars Doutzen Kroes and Liya Kebede have collaborated with L’Oreal for their own signature lipsticks. As part of the the L’Oreal Colllection Privee and Exclusive Reds line each contributed their own perfect nude and fiery crimson. Doutzen crafted an appealingly bright baby pink, while Liya went sophisticated with a deep wine color.


May 19th, 2015 by Steven Yatsko
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This year was the 23rd Life Ball charity held in Vienna, a festive event that contributes to the fight against AIDS. Always opening with a runway show enlisting some of fashion’s most celebrated and larger-than-life players, this year was Ball veteran Jean Paul Gaultier‘s turn in the spotlight. One of the couturier’s main muses is Alexandra Agoston who has been a Gaultier staple since she began modeling. “I first met Alexandra when she was just starting her first season in Paris. I was struck not only by her statuesque beauty, but also by how well-spoken she was,” said Jean Paul Gaultier of Alexandra. So of course she was cast to walk in his spanning retrospective fashion show for the Life Ball event–whose aim is “Fighting AIDS & Celebrating Life.” And celebrate they do, throwing one of the most fabulous parties of the year. It was 20 years ago he last showed at the event and Gaultier told Alexandra, “Life Ball helps a noble cause and I have been supporting it for many years. I first did a show in 1995 and I returned to Vienna 20 years later. Lifeball has grown, it’s an enormous celebration, a huge event; it is 20 times bigger and I am 20 years older but it doesn’t matter. My model friends walked in my show, it was a pleasure to find them again in Vienna and they inspired me to present more than a hundred looks. I hope they had as much fun as me.”

Alexandra, amidst all the Klimt inspired gold and glitter, captured the spectacle–exclusively here for Models.com:
































May 12th, 2015 by models.com
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Portraits by Mitch Ryan for models.com

In the space of several months, Australian model Jordan Barrett has emerged seemingly out of nowhere as one of the dynamic faces to watch for 2015. Discovered at 14, the now 18 year old golden haired Aussie, and newest member of the Hot List, with a healthy Instagram following of almost 100K, speaks to Models.com about his recent editorial experiences, how his career wasn’t an overnight success and gives us a peek into his world.

Tell us a little bit about your childhood and growing up in Australia?

I grew up on the beaches of Byron Bay, Australia. Swimming, longboarding..rockpools..and the rainforest. We rode dirt bikes, made toasted cheese sandwiches and drank banana smoothies…

After being discovered at 14, you worked selectively in Australia to work around your schooling. What kind of jobs did you do there and how did it help you get better with your modeling?

I did lots of editorial that took me to Sydney on weekends and school holidays…

You have been to quite a few cities. In one word or phrase, can you describe your experiences in each city?

Sydney- “Fun” Trouble
Tokyo- Work, Work, Work
New York- center of the universe
London- has a great beat
Milan- Jury out let’s see what happens next time
Paris- on the list
Stockholm – love the Swedes
Los Angeles – my home in the future
Las Vegas – been there done that
Miami Beach- Sun and beach

You get compared to River Phoenix but I’m getting a more young Leonardo DiCaprio vibe. Who are some of your favorite actors and/or films?

I like Leo DiCaprio in Basketball Diaries, Stand by me, Catch Me If You Can and The Beach. Love Johnny Depp. Angelina Jolie in Gia and Girl Interrupted.

So, because… Google… do you have any words to say about Paris Hilton, et al.

How very google of you. Love google, don’t believe everything you read.

In your first show season, you’ve walked for a range of designers. If you could walk for any of the top brands that you haven’t walked for, which would they be?
Tom Ford, DSquared2, Louis Vuitton, Dior Homme, Chanel

Tell us about your shoots with Bruce, Steven Klein, Inez & Vinoodh, Mert & Marcus

Bruce Weber (VMan/Vogue Hommes)– he shoots film, he and the team’s energy… incredible. And I love his dogs…
Steven Klein (Arena Homme +)- Very creative and interesting
Inez & Vinoodh (Vogue Paris)– Smoke machines + disco = Love
Mert and Marcus (not out yet)– ouch Charlie over the top

Your favorite clothes to hang out in.
I like jumpsuits and slides and anything mesh.

Who are some of your fave supermodels with whom you would love to work with?
Madam Moss

In 10 years, you see yourself…..
Living on the set of the movie The Beach…


May 8th, 2015 by Irene Ojo-Felix
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With Mother’s Day around the corner, we wanted to pay special tribute to our favorite model moguls that are able to juggle catwalk jaunts with demanding mommy duties! With their challenging schedules of traveling around the World, it can be hard to understand how they’re able to make time for the one thing that matters, family. These models are setting up their gorgeous mini-me’s to get into the family business from shots in front of prestigious photographers to well-angled selfies. Here’s to you SuperMoms — thank you for all that you do!

Take a look at their intimate moments from Instagram!

Gisele Bundchen


Liya Kebede

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Natasha Poly

Mariacarla Boscono

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Doutzen Kroes

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Jourdan Dunn


Christy Turlington

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Miranda Kerr

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Natalia Vodianova

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Lily Aldridge

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May 5th, 2015 by Irene Ojo-Felix
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Last night’s Met Gala was one for the history books when it came to over-the-top glamour. Celebrities and models alike took on the night’s theme, China: Through the Looking Glass, with memorable interpretations on Chinese-inspired couture ball gowns, accessories and beauty looks. Take a look at our pics below of the best dressed of the evening!

With strategically placed floral appliqués, Joan Smalls was beautiful in purple Roberto Cavalli by newly returned Peter Dundas as creative director for the brand.

NEW YORK, NY - MAY 04:  Joan Smalls attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Larry Busacca/Getty Images)
(Photo by Larry Busacca/Getty Images)

Rosie Huntington Whiteley was nothing but dramatic curves and utter chicness in rose gold Atelier Versace.

NEW YORK, NY - MAY 04:  Rosie Huntington-Whiteley arrives at "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Rabbani and Solimene Photography/Getty Images)
(Photo by Rabbani and Solimene Photography/Getty Images)

Liya Kebede took a daring departure from the run-of-the-mill ball gown in an embellished tunic and pant set by 3.1 Phillip Lim

NEW YORK, NY - MAY 04:  Liya Kebede attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Larry Busacca/Getty Images)
(Photo by Larry Busacca/Getty Images)

Cara Delevingne turned up a relatively safe jumpsuit by Stella McCartney with intricate, tapestry-like temporary tattoos drawn by artist, Keith “Bang Bang” McCurdy.

NEW YORK, NY - MAY 04:  Cara Delevingne attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Larry Busacca/Getty Images)
(Photo by Larry Busacca/Getty Images)

Wunderkind Kendall Jenner wore a custom sparkly jade, Calvin Klein number with laced-up sides and Chopard jewelry.

NEW YORK, NY - MAY 04:  Kendall Jenner attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Larry Busacca/Getty Images)
(Photo by Larry Busacca/Getty Images)

Lily Aldridge was a wonder in bustled, Cinderella blue by Carolina Herrera and a fishy crystallized Judith Leiber purse to match.

NEW YORK, NY - MAY 04:  Model Lily Aldridge attends "China: Through the Looking Glass", the 2015 Costume Institute Gala, at Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Taylor Hill/FilmMagic)
(Photo by Taylor Hill/FilmMagic)

Liu Wen wore a metallic, brocade Michael Kors frock with flattering cutouts and detailing.

NEW YORK, NY - MAY 04:  Liu Wen attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Larry Busacca/Getty Images)
(Photo by Larry Busacca/Getty Images)

Naomi Campbell was ever much the goddess with blunt bangs, a winged cat-eye, and her custom Burberry Prorsum gown that glittered with sequins.

NEW YORK, NY - MAY 04:  Naomi Campbell attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Dimitrios Kambouris/Getty Images)
(Photo by Dimitrios Kambouris/Getty Images)

Caroline Trentini wore a black Atelier Versace dress that was anything but simple with intricate lace detailing, a dramatic train, and exposed back.

NEW YORK, NY - MAY 04:  Caroline Trentini attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Larry Busacca/Getty Images)
(Photo by Larry Busacca/Getty Images)

Rihanna shut the red carpet down with her dramatic Guo Pei canary yellow, fur-lined ensemble.

NEW YORK, NY - MAY 04:  Rihanna attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Karwai Tang/WireImage)
(Photo by Karwai Tang/WireImage)

Fei Fei Sun wore a slinky, silver Michael Kors dress with a sultry back, bold beauty, and drop down jade earrings.

NEW YORK, NY - MAY 04:  Sun Fei Fei attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at the Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Jamie McCarthy/FilmMagic)
(Photo by Jamie McCarthy/FilmMagic)

Beyoncé Knowles left little to the imagination with a bejeweled Givenchy look accompanied with a swinging, side pony and fierce mood to match.

NEW YORK, NY - MAY 04:  Beyonce attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Karwai Tang/WireImage)
(Photo by Karwai Tang/WireImage)

Not to be upstage by her older sis, Solange Knowles (Next NY) took on this sculptural, holographic Giles dress that left us mesmerized.

NEW YORK, NY - MAY 04:  Solange Knowles attends the "China: Through The Looking Glass" Costume Institute Benefit Gala at Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by Karwai Tang/WireImage)
(Photo by Karwai Tang/WireImage)

Fan Bing Bing stunned in a gold sequined gown paired with a printed, emerald cape by designer, Christopher Bu.

NEW YORK, NY - MAY 04:  Fan Bingbing attends the 'China: Through The Looking Glass' Costume Institute Benefit Gala at Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by George Pimentel/WireImage)
(Photo by George Pimentel/WireImage)

Finally, Mother Monster Lady Gaga wore a sensational Balenciaga coat and sparkly jumpsuit for her first appearance at the Met Gala red carpet.

NEW YORK, NY - MAY 04:  Lady Gaga attends the 'China: Through The Looking Glass' Costume Institute Benefit Gala at Metropolitan Museum of Art on May 4, 2015 in New York City.  (Photo by George Pimentel/WireImage)
(Photo by George Pimentel/WireImage)

May 4th, 2015 by Irene Ojo-Felix
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For this year’s Metropolitan Museum of Art China: Through the Looking Glass curators and designers alike were asked to explore the influence of Chinese art and culture on Western fashion. The result was a memorable take on the meeting of worlds that are miles apart but uncannily alike in many ways.

To get you in the mood for this year’s sweepingly grand exhibit, take a look at our past coverage of The Costume Institute exhibits.


For last year’s Charles James, Beyond Fashion exhibition, vintage couture was on high display courtesy of the late, legendary designer. Known for his breathtaking silhouettes and masterful tailoring, James was a favorite of photographer Cecil Beaton and executed each detail to the highest standards of beauty.


The 2013 exhibition focused on all things punk for From Chaos to Couture. Anarchy reigned supreme as the exhibit looked at how high fashion has been influenced by the punk movement. From mannequins with attitude to a bathroom set from the iconic CBGB club, designs from Alexander McQueen, Givenchy, & Dolce & Gabbana paired perfectly with the bold atmosphere.


In 2012, Impossible Conversations between Miuccia Prada and Elsa Schiaparelli were the focus. With eccentric designs and a penchant for the peculiar, both influential creators connect their eras and share their similarities and differences.


In 2011, the fashion world paid tribute to the late, great Alexander McQueen. Savage Beauty brought together the innovator’s luxurious designs in a strikingly beautiful way with dramatic staging and interviews from McQueen’s colleagues, teachers and friends. As the Costume Institute’s most popular exhibition to date, it has had the current distinction of traveling home to the Victoria & Albert Museum and is currently on view until August 2nd.


2010’s theme was American Woman and explored the way clothing shaped the American vision of womanhood for the past century. Designs from Chanel, Lanvin and Vionnet were all highlighted to show the history of women in America from Victorian times to suffrage.


2009’s The Model as Muse exhibition looked at fashion history and the importance of models in the center stage. Photographers, designers, and influencers alike shared stories and images of their defining muses, showing the evolving ideals of beauty in fashion and just how crucial models are to the final vision.



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