“A Night to Remember”

Anna Wintour (Photo: Randy Brooke)

The Costume Institute Gala’s red carpet was held to celebrate the opening of the exhibit, “Charles James:Beyond Fashion” at the Met from May 8 until August 10.   However the display, while showcasing spectacularly constructed couture, was beside the point.  This event is all about New Yorkers showing Californians that we can do a celebrity studded event as big as LA in a more organized fashion and with more creativity and excitement (despite Gwyneth Paltrow’s feeling to the contrary), without having to close down ten avenue blocks.  The evening was more celebrity packed than any of the other years of memory with couples who normally shun the spotlight such as Sean Penn and Charlize Theron, Emma Stone and Andrew Garfield, Victoria and David Beckham, and Amber Heard and Johnny Depp proudly strolling down the red carpet.  The mix of socialites, movie and television stars, supermodels and billionaire moguls was an amalgam that is rarely seen on any occasion in any country.

Riccardo Tisci and Naomi Campbell (Photo: Lieba Nesis)

The only explanation for the immense turnout is the woman behind the Costume Institute- Mrs. Wintour herself and the venue at which the event is held – the Metropolitan Museum of Art which is home to a treasure trove of art and design masterpieces. A palpable excitement was felt in the press check-in which began at 4:30 PM with nearly all the photographers and media showing up in tuxedos and gowns- perhaps writing and picture taking is lucrative. British born designer, Charles James, is viewed as America’s first couturier who mastered the lavish sculpted ball gown so the dress code which specified white tie, tails and decorations for the men along with lavish ball gowns and gloves for the women could have been a study in ridicule; however, to the chagrin of many, myself included, few in attendance at the event adhered to the dress code.

Karlie Kloss in Oscar de la Renta (Photo: Lieba Nesis)

I was looking forward to seeing Kanye West and Jay Z in top hats and “decorations” with their accompanying belles, Kim and Beyonce in poufed out gowns and gloves; however, both these couples came in demure dresses and tuxedos leaving me bored and dejected at the thought of having nothing to laugh at for the next couple of months. Anna Wintour who came on the red carpet first, flouted the dress code, as usual, by appearing in an expensive looking floral concoction, with black ribbons strewn throughout.  This was my favorite of her looks especially sans fur shawl. Wintour, who was teary eyed, said she was “honored” to have the first lady and all her friends in the industry come out to support her and felt “humbled” by the experience.

Sarah Jessica Parker (Photo: Lieba Nesis)

The few in the crowd who looked magnificent while adhering to the dress code deserve to be praised as this was a difficult feat to achieve judging by the sparse numbers who accomplished it. Sarah Jessica Parker, stunned in a floor length black and white Oscar de la Renta dress with white gloves and Oscar’s signature sewn into the back of the dress.  Parker, accompanied by Andy Cohen who referred to Sarah as someone as iconic as the Statue of Liberty, started off the evening on a fashion high note which few others were able to live up to. Bradley Cooper, whose increased girth was noteworthy, went whizzing by, while his girlfriend Suki Waterhouse posed tirelessly in a resplendent Burberry tulle gown replete with pink and light green frothy layers.

Katie Holmes in Marchesa (Photo: Lieba Nesis)

Some more fashion hits abiding to the ball gown theme were Karolina Kurkova in a blue Marchesa sculpted gown and Katie Holmes in a beguiling yellow off the shoulder Marchesa- these two were standouts. Zac Posen, who estimated he dressed 11 women for the evening, looked draculalike in a custom Ralph Rucci couture suit. Posen was accompanied by Dita Von Teese wearing a red and cream Posen dress- these two gave the Addams family a run for the money. Others wearing Zac Posen, whose gowns are sculpted and constructed similar to Charles James, included model Liu Wen who stunned in a sea foam green Posen and Karen Elson who appeared resplendent in a light pink debutante dress; basically if you wore Zac, your look was on target.

Nicole Richie in Donna Karan and Katie Couric (Photo: Lieba Nesis)

However, some fashion luminaries, such as Lupita Nyong’o and Gabrielle Union chose to go Prada to unfortunate effect.  Lupita, it seems, thought this was a Great Gatsby premiere, which is the only way to describe her bejeweled green Prada getup. Similarly, Gabrielle Union wearing a black Prada bra top and skirt, got the theme wrong dressing for a punk meets goth night out on the town. Another punk holdover was Nicole Richie in her outdated purple hairdo and gray slip Donna Karan dress.  Similary, Kristen Stewart, in a sheer starry Chanel dress with multicolored hair looked edgy and fashion forward- perfect for last year’s punk theme.  Lena Dunham, in a Giambattista Valli gown, which was ill fitted with a short hem in the front and a semi long skirt in the back appeared in a trend that is no longer current.   Taylor Swift, who was scheduled to wear J. Mendel, wore a luminous pink Oscar de la Renta dress with a bow in the back and an embroidered train.  Naomi Campbell, in an ivory studded Givenchy gown, looked radiant and glamorous putting her younger counterparts to shame when she graced the red carpet accompanied by Riccardo Tisci.

Tabitha Simmons in Dolce and Gabbana (Photo: Lieba Nesis)

There were some trends that were surprising, including the ubiquitous black and white combo which never seems to grow old, the floral bridesmaid Dolce and Gabbana look, and the “I am too cool to care what the theme is” ensemble. First, the black and white gowns sported by the statuesque Charlize Theron, the party girl supermodel Cara Delevingne, the fashion designer Stella McCartney, and the fashion forward Hailee Steinfeld and Naomi Watts was a modern, sporty look but lacked the wow factor that was supposed to be a signature of this event.  On the other hand, the floral loose Dolce and Gabbana alta moda dress worn by Tabitha Simmons with a long train and pink floral appliques was magnificent- yet it just felt wrong for anything but a bridal dress at an outdoor Italian wedding.

Giovanna Battaglia (Photo Lieba Nesis)

Similarly, Giovanna Battaglia, in a black floral Dolce and Gabbana dress – was pretty but predictable and chose a dress that did not flatter her slim figure. Kate Upton, looking svelte in a black sheer illusion Gabbana dress with a floral headpiece proved that while she may never be a fashion icon teenage boys will continue to worship her bountiful figure.Those who looked elegant with little heed to the theme are too many to list yet a couple deserve mention. Anne Hathaway was boring in a red gown as compared to her knockout look last year. Rachel McAdams in a light pink sheath was plain, and Rosie Huntington-Whiteley in a short black and gold heavily constructed Balmain was dramatic yet off theme for this evening. Victoria Beckham, as a designer herself, should have done better than a white column dress, and Grace Coddington who admitted to doing the “opposite” attended in a black pantsuit. On the other hand, we have to be thankful that Kim Kardashian looked elegant in a boring midnight blue gown.

Gisele Bundchen and Tom Brady (Photo: Lieba Nesis)

The biggest disappointment of the evening was Beyonce, who as usual showed up hours late. However, instead of astounding us, as she usually does, with her fashion risk taking,  she wore a muted black dress with her hair in a bun; Jay Z rescued the duo by spicing things up a bit with a white tuxedo jacket. Mostly, the men played it safe wearing classic tuxedos and designer suits. At the conclusion of the event at 11 PM, it dawned on me that this entire extravaganza takes place within the span of 4 hours. The excitement which vanishes in the blink of an eye will give rise to pictorial images and anecdotes that will last indefinitely. The Costume Institute which celebrates beauty and embellishment will continue to thrive as long as the illusion of celebrity continues to achieve ascendancy.

“A Face in the Crowd”

Considering the fact that I am crowd phobic I don’t really know  how to explain the fact that I was one of several hundreds camped out in front of the steps of the Metropolitan Museum for approximately two and a half hours last night.   ” I’ll just have a little look-see at what’s happening with the Costume Institute Gala red carpet,” became something else entirely when my innocent little stroll found me making my way amongst New Yorkers bonding and  at times, clashing over fashion and celebrity in a very high stakes game of who could identify the star, the designer or the star’s dress designer. There was another concurrent and hilarious side game going on; actually more of a snark-fest to rival Joan Rivers on Fashion Police, but more about that in a bit.

The masses were just starting to assemble as I took a place on the south side of 82nd Street. I soon moved to the slightly less dense  north side and took up residence next to a melting pot of New Yorkers, white, Asian, black; young and, shall we say, less youthful (nobody was really old due to the need to stand, crane your head and dodge telephoto lenses, cell phones and the occasional iPad). Pretty soon there were people against the barricades, on the curb, on the raised concrete fenced in area in front of the buildings on Fifth Avenue as well as limber folks that climbed onto streetlights and onto the rear ledges of news vans. I trained my failing eyes on the small stretch of real estate under the tent; the portion of the red carpet which was visible. Cars would drive up a block to my right and while I couldn’t see who was getting out, the response of the crowd would clue me in to know immediately whether it was “anyone who mattered” as one of my fellow onlookers termed it. The excitement would spread like wildfire through the crowd, the cheer would go up and then the shout-out for that person or couple. It was definitely a popularity contest of the hierarchy or ranking of the already popular, taking me back to my high school days when the captain of the football team, head cheerleader and homecoming queen would come onto the field. Early on, a streaker in a pink thong ran by and I wondered if it was the same guy who hit up the Prabal Gurung Fashion Week Show in February (at least it was a bit warmer now).

Besides trying desperately to see through or around the people in front of you, the oncoming traffic was never stopped meaning that every vehicle particularly the buses, would block your view and your shot not to mention the police, handlers and PR people on the carpet who would often get in the way. As the tourists buses went by, passengers were blithely taking photos of the assembled throngs rather than the stars on the carpet. The “snark-sters,” a group of fashion conscious gay black men, hollered humorous derisions and expletives about what they were going to do to the bus or person blocking their visual access. They also provided endless entertainment as they critiqued the celebs and their frocks.

Some of my favorite comments include a description of Maggie Gyllenhaal’s colorful dress and matching cape “She looks like an umbrella!”; the somewhat enhanced appearance of Taylor Swift: “Where’d those boobies come from? She’s trying to get a husband tonight!” to “Donatella, show us your lips! She looks like she needs botox on her back.” To the  trio of Kendall Jenner, Jourdan Dunn, Toni Garrn “I bet they’re all wearing Topshop” (which they were). When Diane Von Furstenberg appeared with Jessica Alba and Selena Gomez there was this about DVF “She’s like 110 years old.” Surprisingly, they also threw shade on People Mag’s Most Beautiful Lupita Nyong ‘o and her feathered “tribal” Prada number with this. “No, no, no Lupita! You disappoint me. Of all the places to make a fashion mistake, not the Met Gala!!! She should get back in the car.” When someone would stay too long on the carpet they would say “Okay, Alexander Wang, you can go inside now.” Their critique, while hysterical was actually spot on and they clearly worked in the fashion industry. They gave props to Victoria Beckham “look at that English girl posing with the hand on the hip” and loved her dress silhouette (her own design) but agreed that the back needed more “definition.”

Some dresses such as Gabrielle Union’s crop top and Brie Larson’s gold pants ensemble were deemed not appropriate for an event such as this one.  Brie Larson  sporting the popular hairdo known as Bantu Knots recently seen on Rihanna at the iHeartRadio Music Awards in L.A. as well as on Anne Hathaway ,Miley Cyrus and others growing out short hair, was deemed ridiculous for the Met. When questioning some of the unlikely wardrobe choices, one of the men said in falsetto “What do you suppose she said? Oh, I’ll just wear this?” He also did an impeccable Kim Kardashian imitation as in “I just can’t…believe I’m on the cover of Vogue” in her singsong-y voice. Before the long awaited arrival of Kimye they warned Kim that “she better bring it after that disaster last year.” Happily they were pleased when she arrived in teal Lanvin and said approvingly “That’s a good dress!” followed by “look at that ass!” which one can’t help doing. From our perch, of course, we didn’t know that she was flashing her blue underwear but hey, at least she was wearing some. Meanwhile, to my left, a guy who professed to being “too old to know who anyone is” repeatedly asked me stupid questions like “Is that J-Lo?” (I have no idea who he was referring to because no one I saw looked remotely like her) or “Is Madonna coming?” and “How about Lady Gaga?” I gave him the withering look I generally reserve for my husband and he finally shut up.

The most anticipated of the evening were Kim and Kanye, Rihanna, and Queen Bey and King Jay Z arriving last and in that order, were quite audibly rewarded.  When Rihanna flashed her back to the crowd there was an unmistakable  gasp (including me).  The combination of her white strong shouldered dress , open back, cropped midriff and beautifully draped tail of her skirt made for an awesome sight in tandem with the flashing lights of the photographer’s cameras.  Rihanna got halfway up the stairs when even bigger diva appeared.  “Be-yon-ce, Be-yon-ce, Be-yon-ce”  came the chant and you could almost feel sorry for “Bad Girl RiRi.”

When Bey and Jay finally arrived on the carpet, even the “peanut gallery” had nothing bad to say despite what I would term an underwhelming but sparkly beaded black  bodice/sheer skirt and train get-up “She’s got a sparkly net on her head,” is all that they could collectively muster.  If you happened to see SNL this week with Andrew Garfield as the host, there was a clip called “The Beygency” where no one must utter a single disparaging word about Bey or they are  hunted down and put in a prison cell for life.  The explanation: everyone here must have seen it!

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It’s official. Anna Wintour has reached the Mt. Rushmore of Fashion: she is now immortalized. There is no question that Anna has been preparing for this moment her whole professional life.  And after a $40 million facelift (that took approximately three years), she is ready for her close up. And no, I’m not referring to Anna Wintour herself (though she IS looking especially refreshed these days – even foregoing her signature shades). I’m talking about the Anna Wintour Costume Center.

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There are many ‘Firsts’ surrounding the Metropolitan Museum of Art’s AWCC (http://www.metmuseum.org /) and its attending inaugural exhibition, Charles James: Beyond Fashion. Where to begin? It’s the first time a First Lady has attended the traditional Monday morning press preview (yup, Michelle Obama was on hand, looking like the essence of Spring in a Naeem Khan embroidered green floral dress). But, then again, it was hardly your average garden variety press preview (unless you want to refer to it as a “Wintour Garden Variety”). It’s the first time it was not just a press preview but a ribbon cutting, which explains WHY Mrs. Obama was there AND the unusual pomp and ceremony. Mrs. Obama not only cut the ribbon to officially open the Anna Wintour Costume Center, she also spoke at the ceremony (along with the museum’s Director and CEO Thomas P. Campbell, Aerin Lauder, whose company, Aerin ,is sponsoring the exhibition, and Curator in Charge, Harold Koda).

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Others in attendance at the glorious Temple of Dendur for the morning festivities (it was positively resplendent in Cherry Blossoms), were U.S. Representatives Carolyn Maloney, Jerry Nadler, and Manhattan Borough President Gale Brewer. Not to mention what looked like a “who’s who” of fashion. Designers from both the Old Guard and the New Guard mingled over coffee, fresh juice, croissants, and came to pay their proper respects (I half expected to see people kissing Anna’s ring but thankfully, that did not happen). Everywhere I looked I saw Ralph Lauren, Tommy Hilfiger, Alexander Wang, Vera Wang, Carolina Herrera, Michael Kors, Diane Von Furstenberg, Donatella Versace, Zac Posen, Rodarte’s Mulleavy Sisters, Gilles Mendel, Donna Karan, Calvin Klein, Olivier Theyskens. There were also plenty of Vogue and Conde Nast editors (Amy Astley, Grace Coddington, Tonne Goodman,  Linda Wells).

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More firsts:  this is also the first time the Metropolitan Museum of Art has named a space after an individual who has not donated money. Quite a coup for the Vogue editor-in-chief who has raised approximately $250 million for the Costume Institute and who, over the past year, had Conde Nast Editorial Director added to her impressive resume (a position created solely for her). While Anna Wintour, (arguably the most influential person in fashion), bestowed the title, “First Lady of Fashion”, upon Michelle Obama, when she first put her on Vogue’s cover, it is she who undeniably holds that esteemed title. Anna certainly knows what she wants and she always gets her way, and this year, to ensure that Monday evening’s Costume Ball (it’s her party after all) would be better and more memorable than ever, she mandated all male guests to wear “white tie and decorations” making it the first time there was a mandatory dress code for that high profile soiree. (I guess you can refer to Monday May 5th as Decoration Day).

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Charles James approached his sculptural designs with a scientific and mathematical precision (he was “an architect every bit as much as he was a designer” in the words of curator Harold Koda), And so, instead of having a set designer create the exhibition, for the first time, the Met hired an architectural firm, Diller Scofidio & Renfro. (The firm is designing an expansion of the Museum of Modern Art.)  And, for the first time, the exhibition, comprised of approximately 75 of Charles James’ most “notable designs” (though there is an entire gallery filled with superbly tailored daywear, the highlight are undeniably the amazing ball gowns from the 40’s and 50’s) is being presented in not one, but two locations: the new Lizzie and Jonathan Tisch Gallery in the Anna Wintour Costume Center, and in the special exhibition galleries on the Museum’s first floor.

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The use of video animations (which clearly illustrate how James was able to painstakingly reconfigure the female form with his sculpted and anatomically considered designs), was especially effective: given the fact that as unbelievable as they are, let’s face it, voluminous ball gowns seem more than a little out of step with today’s modern life, especially urban life. And in our cramped NY apartments, who has the closet space to house these beauties other than Jean Shafiroff LOL? Quite frankly, I’ve been wondering how the Met will even be able to accommodate all those those Charles James- like gowns worn by attendees of the Gala on Monday evening! Though on second thought, maybe this exhibit will start a ball gown resurgence.

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What is not irrelevant, and never gets old, is the unbelievably painstaking construction that goes into designs such as these, and being able to see that process up close and personal, makes it quite special, as it becomes far more than just looking at pretty clothes. Through the use of archives, sketches, patterns, swatches, etc., Charles James, who might not have been a household name prior to this show, has been able to come to life. And let’s not underestimate the influence of these designs on a whole new generation of designers. “Charles James was a wildly idiosyncratic, emotionally fraught fashion genius who was also committed to teaching,” said Harold Koda, Curator in Charge of The Costume Institute.  “He dreamt that his lifetime of personal creative evolution and the continuous metamorphosis of his designs would be preserved as a study resource for students.  In our renovated galleries, we will fulfill his goal and illuminate his design process as a synthesis of dressmaking, art, math, and science.”

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Highlights from the morning press conference:

Thomas Campbell: “Fashion is many things. Expression, identity, reflection, catalyist, armor, muse. It is an art form to be sure. But one that has a distinctive relationship with its audience. This morning, we’re in the company of a few people who know the power of dress, not the least of whom is our very special guest, the First Lady, Michelle Obama. Our clothes punctuate a much larger conversation about who we are and how relevant our history is at the present. Charles James brought a whole new dimension to that dialogue. He was a sculptor, an engineer, an artist . When Harold Koda proposed Charles James as the opening ,subject of this exhibit, I was immediately sold on the idea. Harold Koda and co curator Jan Reeder worked closely with the architectural firm Diller Scofildio & Renfo to show us fashion as we have never seen it before; amplified and analyzed in ways that will engage and enlighten every visitor. The new Anna Wintour Costume Center not only includes this innovative exhibition area but also holds the Costume Institute’s library, conservation lab, a seminar room, and collection storage. All designed to accommodate and inspire the next generation of design students, some of whom are with us today (there was a group from FIT along with President Joyce Brown). There is nothing more satisfying than seeing a group of students captivated by a collection and the work of our curators”.

“The Center is a fitting tribute to our trustee Anna Wintour whose ceaseless enthusiasm and advocacy have been so significant to us. For the 16th year, her energy and dedication at the helm of tonight’s benefit will raise the necessary funds for the Costume Institute to thrive. Know that you are part of an historic day at the Met and for New York. Mrs. Astor used to call the Met “The Jewel in the Crown of New York City”. And today, they’re sparkling just a little brighter. “

Aerin Lauder: “Thank you Anna Wintour for giving me the opportunity to be part of such a special occasion. I met Anna almost 20 years ago and have been in constant awe of her ever since. There is no one more deserving of this honor. To me the Costume Institute represents the interception of fashion and art both of which have played a large role in my personal and professional life. It’s a great New York treasure that has always been a source of inspiration. I’m sure that with this exciting renovation, the Costume Institute will have a deeply profound influence on the lives of many in the months and years ahead. On behalf of my company Aerin, we are thrilled to sponsor the exhibition, Charles James: Beyond Fashion. It’s a landmark year for the Costume Institute and I can’t think of a better exhibition for the Costume Institute than this retrospective on Charles James whose revolutionary approach to fashion had an astounding and lasting influence on design. Our sponsorship of the show is reflective of our company’s commitment and dedication to the preservation of the arts, especially here in New York City where I was born and raised. I’m proud to be part of this historic exhibition at this historic moment. We are proud to join Conde Nast to celebrate the work of such a groundbreaking, visionary artist.”

Harold Koda curator in charge of the Costume Institute: There are very few things that costume curators crave and all of them have been made possible because of Anna’s passions. We have wonderful new galleries, a conservation area that has been revisited, research center, and the opportunity to communicate to the next generation of students and scholars, which we feel is an important element in their evolution as students in a wider way”.

“The new Anna Wintour Costume Center achieves a comprehensive revisiting of all the needs of the department. Named in honor of Anna who has been our extraordinary advocate for all these years, she has never wavered in her enthusiasm for our efforts and has always supported our work. Today is really a tribute to Anna. The new Lizzie and Jonathan Tisch Gallery is more up to date with technology and allows us to explore different ways of investigating what we think of as the art of fashion”.

“It is fitting to inaugurate this new space with a show devoted to Charles James, an idiosyncratic original, because he is an artist who happened to work in the medium of fashion. One of his early achievements was a down jacket but in typical fashion, he made it in satin and eiderdown and used it for evening. He also earlier designed a little wrap dress that he called The Taxi Dress because he envisioned a woman being able to put it on or take it off in the back of a taxi. Clearly a mischievous provocateur, but also a man very definitely ahead of his time. With my co-curator Jan Reeder and and my collaborators we’ve attempted to reveal the distinctive quality of the James approach. James was someone who engineered the hidden physics of the dress even though he was remembered for the glamorous surfaces. We believe that the public will leave with the understanding of his great innovations because of the vocabulary of analysis. For James, it was always a work in progress. It was Diana Vreeland who said James would rather keep working on a gown than actually see it going to a party. Happily for the Costume Institute, we are ready for the party! Our hope for the New Center is to convey James’ belief in fashion as art and realize its create inspiration”.

The First Lady of the US Michelle Obama, who was introduced by Thomas P Campbell:

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“It is truly a pleasure to be here today to inaugurate this brand new center in honor of our friend Anna Wintour. And I want to thank everyone for their hard work which made this day possible. Especially Anna herself. I know that Anna hates being the center of attention so this is probably killing her but we love it. The truth is, I’m here because of Anna. I have such respect and admiration for this woman who I’m proud to call my friend. And I’m here because I’m so impressed not only with Anna’s contribution to the fashion world, but to the many causes she shares and cares about, especially this American Museum”.

“Thanks to Anna and so many dedicated individuals, the Met will be opening up the world of fashion like never before and that’s really the mission of this new space. To show that fashion isn’t an exclusive club for the few who can attend a runway show or shop at a certain store. This center is for anyone who is curious about fashion and how it impacts our culture and our history. And we know that curiosity is out there. Previous exhibits at the Costume Institute have drawn hundreds and thousands of visitors, many of them students. And as we cut this ribbon today, that’s really who I’m thinking about: the young people who will find their way to this new space”

“Maybe they’ll come initially because they love fashion and they love shopping. But then they’ll learn that fashion is not just about what we wear. It’s also a business. It’s an art. It’s a career that involves science, engineering, accounting, marketing, and so much more. Maybe when they learn about the math which was behind Charles James’s designs, they will pay more attention in geometry this semester. Maybe they’ll think about going to college. Or maybe they’ll learn what it takes to succeed in the fashion industry. How you need passion and grit and a fierce belief in yourself and your vision. Traits that our young people should develop”

“And after seeing this exhibit, maybe they’ll explore other parts of the museum and get a greater appreciation for our history and culture. So for our young people and for people of all ages, this center will be a source of learning and exploration and a gateway to so much more. So I think it is fitting that it bears Anna Wintour’s name because that is who Anna is and that is what she’s about.  She is one of the most powerful leaders in the fashion industry. She’s one of the most powerful women in any industry for that matter. And that alone is such a singular accomplishment. But she has never been content to achieve greatly only in the fashion world.

She has always used her power for so much more. Working tirelessly to end HIV Aids; to create Fashion’s Night Out to boost the economy;  her incomparable efforts to support the Met. She has sought the spotlight not for herself but for the people and causes she believes in. And today Anna and I are actually working on an idea to bring students to the White House to work on a Fashion Workshop. My message to the young people today: You’re here because we want you to dream bigger. We believe in your promise and we know if you commit to your education if you have the courage to fail and fail again until you succeed, one day you might be like the legendary designers who are here today. One day you could be a leader in the fashion industry or any industry you choose. I hope you can be an inspiration multiplier like Anna so we can create more days like today. I think Anna said it best. When asked what power means to her, she said “it’s a wonderful opportunity to help others”. We are grateful for all you have given back and to see your name on this wonderful center. And so with that, it is my pleasure to cut the ribbon”.

And so it was done.

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The official ceremony renaming the Costume Institute “The Anna Wintour Costume Center”. Lookonline.com will be posting additional pictures from both press events this afternoon.

Her winning smile! Click on image for full size view

Look for Marilyn Kirschner’s full report later this evening on both of today’s press events and Lieba Nesis will be on the red carpet tonight with coverage of all the celebrity entrances.

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