Sarah Jessica Parker Breaks Down 10 Met Gala Looks From 1995 to Now | Life in Looks | Vogue

What does this theme mean? We've had some very abstract songs where you say: Well, how do you interpret it? It's like singing a song, you're either a performer or you're not. Hello Vogue, I'm Sarah Jessica Parker. I'm taking a little walk down memory lane, some of my Met Gala

looks

, shall we open the book? Okay, ah, yeah, I don't know who put that wine glass in my hand, but I didn't drink white wine in

1995

at all and if I had that, I guarantee you when I left, I was still so full, this dress is a little mysterious and my guess is that it was purchased at a thrift store that I then had sewn up and clearly did my own hair and makeup.

I've never gone alone, like I've been too scared, too nervous. I think I didn't know enough and therefore I went as if I had known more. I probably would have found a way to regretfully decline your kind invitation. It's much more pompous. Now then I want to say that their objective was the same right which is to draw attention to this particular part of that Museum and obviously raise much needed funds, but it was much more, it was a quieter affair, in short, when they invited me and They told me the topic I said it out loud I really wish I could go with him and we called him Lee.

I wish I could go with Lee. I wish I could go to the queen. A lot of things came to mind like no, him, he just said, no, him. Have they already asked you to call him? He's obligated and I really didn't know him well enough to be so presumptuous. I like to muster up the courage or whatever it takes and I reached out and asked if he would consider attending with me, which means more. Me with him like I could be with him that night and he said yes, but what strikes me most about this photograph is that now you can see where his shoulder ends and I start and there's an overlap there.

I guess I've seen the photo. a lot of times and I know what this is and I know what it took for him to do this and how much he cared and all the details and everything, but what strikes me about this photograph is where our heads are. and the more careful I'm being or cautious or the Shire that he was, the more timid I became and I see that in this and I'm being very careful with him, I feel like I'm literally saying like I'm you. Okay, it wasn't a fun night, but it wasn't because I was so nervous.

I just wanted him to be okay. He knew how I felt about him and there was so much affection and such deep admiration. everyone loved him because he was a very soulful person, like he was a very soulful person and you were like in love with him and I think I was like everyone else, like I was in love with him. I have every pin he dropped. His mouth in my possession I still have everything he cut in my possession I still have things that seem like nothing from every test I did with him I have in my possession Halston was so American and internationally so American when he was traveling and I did those incredible shows all the time.

The time I worked at Halston, he was, you know, always present, he's all I thought about. The only thing I think about is the theme and the influence every time I go to the Met. I don't understand how the others didn't spend. Seven to ten months working on it, as if to say: how do you not arrive exhausted? for the details of doing it right. All these people came together and worked very, very hard to put together an extraordinary exhibition and everything is like. academic and historical and it is fashion and then it is this and it is a task and you must interpret it and it must be laborious and it must be challenging and it would be very easy to find a beautiful dress to wear that night like this "It would be a great relief and I would like to go on vacation, but that's not the assignment, the assignment is the topic and sometimes the topic escapes you like you can go for days and I've had conversations with Alyssa and other people like, what does this topic mean?" I've had some very abstract issues where you say, well, how do you interpret that?

It's like singing a song, you're either a performer or you're not. I mean, this was easier because it was like America. Oh well, Halston and a certain silhouette was super American and super Halston, so it was fun and 70s, you know, very 70s, late 70s. I love this dress, this dress is not something I wear usually because this collar is very high and reminds me a lot of Lee. Radzwill and this dress reminded me a little bit of Valentino in the 60s, like I've played it in things and I really loved it, not as much as I did, but it was McQueen and you know I wanted it to be like a mint colored shoe that also it felt very 60s, a lot of thought went into his contributions and you know his unique approach to his work and you know his draping skills, his cuts and all the things he did in his own way that made him so extraordinary.

This is Valentino, I loved it. I love this dress I loved this whole collection that I remember and this dress is so substantial you can't tell, but it's like, I think it's taffeta, an absolutely beautiful fabric, beautifully made, like everything Valentino is, was and is , and I thought it was very accurate to have shoes in the same fabric, we also have a file that was so comfortable, it was so easy, you know, it was like going out with friends, it didn't have as much weight around it and it's always about the outside. The only thing it makes me feel is that I thought about it, you know the way my brain interpreted it, but everything else is really about the night and not about me. um I shouldn't pick favorites and I'm not going to say it's my favorite but it's pretty close I wish you could see all the bits and pieces the boots the slit the back of the hair the back of the headdress the close up of the work that's on in the fabric of the dress and then when I spoke to Philip because I always talk to him he knew the issue and you'll see what it is and it needs time we were afraid of the height we didn't know the height we weren't afraid of it we were like well, what is that?

I'll be sure and it didn't come until quite late and then we got it and then Serge put it in my head the day before, which was very helpful because we said, oh, that's the ratio, okay, now we know what I have to do I went with Hamish and had to sit on the floor to get to the Met because the helmet wouldn't fit if I sat in a seat you always work really hard sometimes it comes out in surprising ways sometimes it's exactly how you plan sometimes it's better, sometimes Sometimes you fall short for various reasons and this was just one of those things where everything came at the same time and everyone did their job, everyone did their job, obviously, in a super sentimental way and that, by the way, this hair could be so good, it would be a touch.

We knew we wanted Mr. de la Renta to do this. This idea arose due to the foundations of Charles James. It is as if this lattice has more to do with the boning of the foundations. So we went to Mr. de la Renta and this came up. together as you do and I asked Mr. De la Renta, could I have his name in scarlet on the back of this dress? and no, no, no, no, no, no, no, I can't, I can't, I can't, I can't. 't and we pushed like we pushed into the cut like we were like who was going to get him to say yes to this idea and I knew he wanted it in scarlet or poppy, that's right, that's right, scarlet silk thread, he did. and then people told us that he was as happy to be convinced as if he had never said yes on his own because that would have been very immodest of him, but this was his last stress, as far as I know, that ever built this.

It was his last public piece and the fact that he said his name big, that Sigma, that famous signature of his that we blew up and I said it wasn't bigger, bigger, let's be bigger, like they were sending us This big. I said no, they were. that big, I was like no, that big and we expanded it proportionally in the way that you could, you could feel it like you know, so I loved it and I think there's a gardenia in my hair that I thought was very suitable for the period sorry I skipped one oh we designed it ourselves Phillip made the headdress um Lars Nord built this whole thing we did it together do you know those poppies?

We took a lot of things from inspiration and research, etc., etc., these shoes were made by SJP. The collection made these boots, the helmet had passed, traveled from the UK and arrived at customs. We knew it had arrived, but it wasn't in our possession yet and it was Sunday, there was no way we couldn't have any assurance that this. Overall this headdress would be in our hands on Monday and there would be no point in going to the Met, honestly I probably wouldn't have gone or Surge would have had to make a headdress out of hair, so Alyssa said who can't take no for an answer , no matter the obstacle in front of her, she says then I guess I'll just have to pick up the ocean and move it to the side for a minute um and then she went to JFK and just demanded like she just said I'm not leaving here without that helmet , but you know it's the Met Gala, so if it's not Soup To Nuts, if it's not from stem to stern, then it's like you're off balance, you can't go that far and then take it off. a piece like it's all balanced it's a physics game at the time of course Hamilton had just opened and we were all like we were looking at Hamilton costumes we had this artist printed stuff that really spoke to the theme of similar machinery and hand coming together and that kind of work and that kind of skill, so I feel like you're not seeing it here I love those shoes I love that we did these two different things these are my own snaps on the front of the shoe this is a shoe a satin al that we call Hamilton I'm not good at like hey lin-manuel look at me recognize something familiar in what I'm wearing do you know my shoe the satin that we call Hamilton like he already knew my feelings about the show that were no different from anyone else's, as if we were all hypnotized, hypnotized, Dolce Gabbana.

I mean, that headdress was incredible and it weighed like that, it was like that, it was no heavier than this same Italian that you know marching through Naples with that in your head it's not strange this dress everything was incredible and once again you put on a dress that dress and you say, I'll see you later certain things when they're well made and put together and you just do it If you get in the car and say, "Okay, I have to bend down, get down, get down, get down, but you're going to bed, you know What do I mean, like it's not a burden, the downside is that you'll be alone until two." three and four in the morning, getting everything out like you could because you're alone, like sometimes my husband isn't awake and I don't feel like it's his responsibility so I'm alone a lot of times like I try but this I didn't have many pins and it was quite easy, yes, with gratitude for countless happy, bittersweet, joyful and privileged memories in reverse and those were my known

looks

, take it or leave it.