Olivia Wilde wore a violin-themed vintage dress designed by Karl Lagerfeld at yesterday’s event
Read more news stories here
The Met Gala event was held on 1 May in New York City, where stars celebrated the fashion world’s biggest night at the Metropolitan Museum of Art.
This year’s theme was ’Karl Lagerfeld: A Line of Beauty’, commemorating Lagerfeld’s long career in contemporary fashion history. Actor-director Olivia Wilde opted to celebrate with an outfit resembling a certain stringed instrument…
The ‘Gold Violin’ dress was designed by Lagerfeld in 1983 for the Chloé fashion house and enjoyed a revival at last night’s event.
’What I loved about the original design was the musical inspiration of it, and the surrealistic touch on it,’ Gabriela Hearst, Wilde’s current designer told Vogue. ’There was something quite timeless that we could bring back to the Met Gala in 2023.’
What do you think about the Gold Violin dress? Would you wear it? Do you think it even looks like a violin? Leave a comment below or email thestrad@thestrad.com.
Read: Photo gallery: the Harris Tweed violin
Read: Photo gallery: 300 years young – Stradivari’s decorated ‘Rode’ violin
Read more news stories here
The number one source for playing and teaching books, guides, CDs, calendars and back issues of the magazine.
In The Best of Technique you’ll discover the top playing tips of the world’s leading string players and teachers. It’s packed full of exercises for students, plus examples from the standard repertoire to show you how to integrate the technique into your playing.
The Strad’s Masterclass series brings together the finest string players with some of the greatest string works ever written. Always one of our most popular sections, Masterclass has been an invaluable aid to aspiring soloists, chamber musicians and string teachers since the 1990s.
This year’s calendar celebrates the top instruments played by members of the Australian Chamber Orchestra, Melbourne Symphony, Australian String Quartet and some of the country’s greatest soloists.
2 Readers' comments