High Fashion Twitter + The First Inclusive Met Gala


Musings on creativity in isolation, previously-untapped social media potential, and the intense power of inclusivity.

Ah, the First Monday in May, an explosion of luxury, vanity, and – above all – exclusivity. And in 2020, for the first time since 1948 – cancelled.

But a pesky little pandemic can't stop the energy, the creativity, the passion of those who are traditionally excluded from that preeminent soiree. Those who watch the red carpet every year with rapt attention, to post amateur reviews on their Instagrams and pick apart each look – the aesthetic appeal, the designer, the influences, the statement – in 240 characters or less: the fashion students who sketch interesting passersby and construct entire life stories for them; the young and/or marginalized designers, sewing on their bedroom floors and parents' attics; the photography assistants who learn to light and frame by observation and are well-muscled from schlepping equipment; the burgeoning culture writers, posting their columns on Blogger sites; the art school attendees with a dream and a sharp eye.

So what comes of 11 brilliant young women finding themselves stuck at home, with no Gala to sustain them? Why, of course, they threw their own, following the theme for the cancelled Met event. The High Fashion Twitter Met Gala was a truly inclusive creative extravaganza. The only requirements? Twitter, internet connection, and a vision (or seven). "Attendees" could create brand-inspired photosets or ensemble moodboards, pull a look from their own wardrobes, design their own looks, or, thanks to the Open Creativity category, follow their whims and create whatever their hearts desired. [Scroll through the hashtag to explore this abundance of creation, or donate to the International Medical Corps to receive the ebook, which sums up the event beautifully and gives a fantastic overview of the theme, its historical references, the traditional exclusivity & exploitation of the industry, Virginia Woolf, and plenty of philosophy of time.]




Creativity can easily be quashed by too many responsibilities, too much stress, too little time. The go-go-go pace of our regular – that is, pre-pandemic – culture feeds into that high-speed, high-stress environment and makes creation a challenge, rather than a natural outpouring of imagination, emotion, and experience. But for many people, despite its obvious challenges and tragedies, this period of forced isolation is removing obligations and slowing the pace of daily life to the point where that creativity, that artistic passion, is allowed to bubble up and overflow. This Twitter-based phenomenon is one major example, but creatives in isolation are finding all sorts of intriguing, avant-garde ways to express themselves and continue their work despite the darkness of the world outside. From Zoom photoshoots to digital art installations to living-room concerts, the show goes on. Not for the show's sake, or even the audience's – no, because art is essential. Because, for many artists, they cannot exist without creation. Art is both an escape and a balm in times such as these.

As has always been the case. Just take Shakespeare for example.

The HFT Met Gala, despite its humble beginnings, garnered plenty of media attention. And this allowed that same explosion of creativity in isolation to come to the forefront of the fashion industry's focus. Perhaps this pandemic will lead to a radical new artistic movement, such as those that bloomed in the aftermath of wars and Depressions and plagues of yore – and maybe, just maybe, the fashion industry itself might enter into a long-(long-)overdue revolution of its own.
Now, the Met Gala always has some real standouts … and then a boatload of celebrities (or thereabouts) wearing the exact same looks, year after year. Last year's Notes on Camp extravaganza showed a notable divergence from what has come to be the Met Gala status quo – that is, a mere handful of stars who actually stick to the theme and make a statement. And that parade of creativity seen at last year's ball was spearheaded by an enormous uptick in the diversity of the attendees – drag queens, BIPoC stars, proudly LGBTQ+ icons, and so on. Of course, it was still far from being inclusive – or even legitimately diverse – but hey, progress is progress, especially with Anna Wintour in charge.


Far from "watering down" the industry, or causing a slide in taste or quality (which is a whole other conversation in and of itself), new voices, experiences, world views, and reference points make the industry more interesting, dynamic, and forward-thinking. [Met Gala 2019 was by far the most intriguing and entertaining red carpet, perhaps in history, with the sheer theatricality of the looks, the personas, and those entrances.] There is a deep wellspring of creative power that comes from inclusivity, from allowing anyone, not just those with privilege and/or those who fit a certain mould, to take part in the industry. The most interesting figures in fashion have always been those from an "unconventional" background, industry-wise – Dapper Dan, who faced mountains of prejudice and used money earned from gambling to start his career; Alexander McQueen, who built his business on welfare cheques; Diana Vreeland and her battle with expectations and conventions. Collaboration, empathy, and a bit less prejudgement would serve us all – not to mention the industry – enormously going forward. Just take some of the looks the HFT Met Gala participants came up with, even though they might veer dangerously far from the mainstream.

So, back to the HFT Met Gala. My little heart fell instantly in love with the concept, the team, the execution, and the entirety of the participants. I couldn't help but join in.

[And guess whose photoset ended up on the very first page of the chapter in the ebook? Unfortunately they included the wrong title in the caption – see above – but there are worse things.]

Here's that photoset in Tweet form:




Oh! And don't forget my brand challenge moodboard – the collage that was actually entitled "Pucci Post-Post-Structuralism" (because everything needs a touch of pretentious 60s French philosophy):




But enough about me. Catch a handful of my most favorite looks – the ones that bowled me over with their sheer talent and creativity and left me completely dazzled:














But this recreation of Lady Gaga's iconic looks (yes, all four!!) from last year might take the cake – supreme talent and a sharp wit. Sheer brilliance – just look:




There are so many more. Have an adventurous little scroll and see for yourself – be forewarned, though, in this couture Wonderland I play the White Rabbit and you may lose yourself. Oh, and do get the book – it's well worth it, as much for the cause as for the excellent commentary and fabulous creations.

Mille tendresses.
Collages by Annika Jordan