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Kim Kardashian certainly knew . How to turn heads after the Met Gala last night. While exiting the club Up and Down, Kardashian was spotted wearing a radiant Kool Aid blue latex dress by Thierry Mugler that was reminiscent of a saucy Cher mid-residency in Vegas. The sculpted number had a diving décolletage that scooped below the navel and the cut-out was outlined with chandelier crystals. With it, KKW sported zip-up gloves that hit the forearms and matching zip-up knee-high blue socks with platform PVC heels. For the full Cher effect, she also wore the singer’s signature accessory: a blue and silver glinting tinsel wig.
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While KKW went to extremes, her husband Kanye West didn’t opt for an outfit change and stuck to his $40 Dickies jacket that he wore on the red carpet earlier that night .Kardashian’s love affair with synthetic materials wasn’t only featured post-Met. She had initially arrived on the red carpet in a Thierry Mugler beaded nude silicon dress that highlighted her hourglass figure with a super cinched waist and ruching. To create a wet effect, the dress was dripping with a constellation of beaded chandelier-like droplets. Apparently, she was inspired by Sophia Loren’s sensually drenched dress from the 1957 film Boy on a Dolphin and had been tweeting out images of Loren just prior to stepping onto the red carpet. Forget diamonds: In Kardashian’s world, a show-stopping dress is a girl’s best friend.There was no shortage of extravagance on the Met Gala red carpet last night, but to hear cochair Lady Gaga tell it, Jordan Roth stole the show in his stately yet sumptuous Iris van Herpen look. A printed floor-length cape with a radius as tall as he is, it was a veritable coup de théâtre. That’s fitting: A Broadway tycoon with a serious fashion obsession, Roth’s musical Hadestown is the most-Tony-nominated production of the year, and his next project is Moulin Rouge. Camp, the theme of this year’s Costume Institute exhibition, as defined by Susan Sontag’s landmark 1964 essay, is a concept for which he’s well equipped.“For me, I gravitate to the performative ideas of camp, both the artifice and exaggeration, but also the metaphor of life as theater. That’s where I live,” Roth told Vogue. Van Herpen, who is Dutch and based in Amsterdam, was the right talent for this project, he continued, because “I’ve always been completely mesmerized by her pieces. Each one feels like this extraordinarily thoughtful and exquisitely executed work of art, with so many literal and figurative layers. That’s not unlike Sontag’s essay. And that’s the kind of piece I wanted to create. Also, the kind of experience I wanted to have making it.”
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