The Metropolitan Museum of New York dresses its grand staircase this Monday night to celebrate a new edition of the Met Gala. A party with a purpose, that of highlighting fashion and its intrinsic link with art, which this edition begins wrapped in controversy due to the intrusion of Jeff Bezos and his wife Lauren Sánchez as hosts of the gala.
The beauty of Louis Garrel is a scientifically proven fact every time he comes up in conversation, ever since he was part of Bertolucci’s The Dreamers more than twenty years ago. His could be considered a cheeky beauty, the kind that triggers the silent envy of the rest of masculinity, less fortunate in looks. What not everyone knows is that, in addition, he is very nice. He yells the name of this reporter as soon as he enters the room at the María Cristina hotel in San Sebastián, where we have arranged to take some photos of him on the day of the premiere of Couture, the film set during Paris Fashion Week that he stars in alongside Angelina Jolie.
Its beauty is such that it seems to have been hand-painted, which is why it has been officially recognized as one of the Most Beautiful Villages in Spain. Unofficially, it has earned another title: “village of the artists.” Perhaps it is because it offers a perfect symbiosis between historical heritage, artistic avant-garde, and landscape richness.
There was a time when an invitation to the Met Gala conferred more authority than visibility. Those who ascended those stairs did not need to amplify their image: they already defined taste. In 2003, when the entry cost $3,500, critic Cathy Horyn described it as “the most expensive party in town.” The sponsor was Gucci, Tom Ford was at the height of his influence (not yet measured in followers or likes), and the detail (4,000 peonies in the centerpieces) was not excess, but language. Taste was the theme. Taste was the argument.
The popularization of aesthetic treatments with fillers, the increasing use of drugs like Ozempic and other GLP-1 agonists, or even everyday gestures such as constantly leaning towards the mobile phone, are shaping a new physiognomy of the contemporary face. It is increasingly common to observe signs of sagging at early ages, in a context where concern about appearance is skyrocketing.
A well-made suit doesn’t demand attention, but rather accompanies, supports, and integrates, each of its seams responds and each proportion fits. This philosophy has accompanied Silbon since it began its journey in 2009, up to the present day, where it has already become an emblem of contemporary lifestyle.
