Original subtitles

(indistinct shouting

from photographers)

(indistinct shouting)

Photographer:

Hold that right there, please.

(indistinct shouting continues)

Anna Wintour: The Met stairs,

you know,

that famous red carpet,

has grown in spectacle

over the years.

It's a kind of theater.

(man speaks indistinctly)

Fashion can create a dream,

create a fantasy.

But there might be some

questions about

whether fashion belongs

in a museum like the Met.

Photographer 2: Rihanna!

(indistinct shouting continues)

(elevator dings)

Some people have a very 19th

century idea of what art is.

There are people

within the museum

who still dismiss fashion.

Thomas Campbell: When I

started off as a curator,

art was considered to be

painting, architecture

and sculpture.

Anything outside of that

was decorative arts and,

quite frankly,

looked down on.

Costume and fashion being

one example of that.

Wintour: The museum is

its own little world,

its own little city.

Some more old-fashioned

traditionalists

are used to things being done

in a certain way and

maybe a Costume Institute

makes them a bit uncomfortable.

Harold Koda: Physically,

the Costume Institute is

subterranean.

And so the psychology of it

has always been that

we were in the north sector...

in a basement.

It was not seen, really,

as an art area.

(indistinct conversation)

Andrew Bolton:

Fashion is still considered

more in the female domain

than something like painting.

I think that's the reason

why some people

are quick to dismiss

fashion as art.

Koda: Fashion seemed

frivolous and trivial

to the 19th century attitudes

about fine art.

But it's laden with concepts,

aesthetic principals,

the most refined techniques...

Everything that we subject

the criteria of art to.

We're about clothing

as art works.

Wintour: It's rare to find

someone so creative,

that they can change the way

you look at an art form.

But McQueen definitely did.

Newsreader: Our top story:

Alexander McQueen

has been found dead

apparently committing suicide

at his London flat.

Newsreader 2: Brilliant

and controversial

fashion designer...

Newsreader 3: The bad boy of

British fashion died an icon.

An inspirational designer

who helped transform

the fashion industry.

Newsreader 4: They were shutting

down his shops today,

and there were people fleeing

his shops crying.

(bagpipes playing)

(cameras clicking)

Campbell:

It was the immediate aftermath

of McQueen's suicide...

Andrew came to me and said that

he had been thinking about

an exhibition.

Tom was reluctant initially.

He felt it was a bit ghoulish.

There needed to be some time

before we did an exhibition

of McQueen.

Wintour:

A lot of people felt that

an exhibition may not be

appropriate so soon after he,

he died in such

an awful way,

but Andrew is a real visionary,

and our job is to help him

execute his creative genius.

Campbell:

The combination of the objects,

the very theatrical

mise-en-scène,

the sound...

(sound of rushing air)

There was an immersive

component to the exhibition

that took it to a new level.

The degree to which the show

became a phenomenon...

None of us

were prepared for that.

People queuing around

the museum.

It hasn't happened

for many years.

Wintour:

It touched a chord in people

that I'd never seen before.

Campbell: It redefined

exhibition-making in museums.

Bolton: "Savage Beauty"

was the turning point

in terms of how art critics

began to view fashion,

and the first time they did

begin to see it as an art form.

When you're confronted

by genius,

it speaks to everybody.

McQueen was one of the most

provocative designers,

but I always saw this

incredible beauty

about his work

and this deep romance.

He always tried to tap into

this juncture between

beauty and ugliness and terror.

And he had that ability

to use clothes to move you.

The McQueen show has become

a little bit

of an albatross in a way...

A millstone around my neck.

Because it's the show

that every show that

I've done subsequently

is measured against.

Invariably the reviews

in The New York Times...

"Not as good as

the McQueen show."

And it's sort of...

disappointing to read that

in print

because every show

has its own momentum.

I remember being at school,

and we had a career adviser.

They went

around the class saying,

you know,

"What's your ideal job?"

And I said

my ideal job would be

curator in the

Costume Institute of the Met.

And I was about 17.

It really was

a dream come true.

I was just so seduced

by the romance

of getting lost

in the museum and

finding objects that

you weren't expecting.

But my overwhelming emotion was

just being intimidated by

the museum and the curators.

I felt a bit of a fraud as well,

to be honest.

I felt as if I was gonna get

found out really quickly

that I wasn't actually

meant to be doing the job.

I still feel a bit like that.

This show that we're currently

curating is called

"China:

Through the Looking Glass."

It's a collaboration between

the Costume Institute

and the

Department of Asian Art.

We want to show how

Western fashion designers

look to China for inspiration.

There is this ongoing dialogue

between the East and the West.

And fashion is easier

to understand

than language itself.

Every show I do

is quite personal

and I'm so tired of hearing how

McQueen is the most successful

show we've ever done.

It would be nice if China

was able

to knock it off its pedestal.

Bolton: It's like the

Great Wall of China.

(Wintour chuckles)

- Let's start at the beginning

- Wintour: Wow!

- Wintour:

- It's huge. Yeah.

Bolton: We have a

whole section based on

blue and white porcelain.

Starting with a really early one

from Molyneux from the 20s.

- And then Sarah's from...

- Wintour: They were amazing.

Bolton: This is Guo Pei,

a Chinese designer.

Cavalli, Karl, Rodarte...

That leads into

St. Laurent's Chinese collection

- and his Opium scent.

- Okay.

We're borrowing one of those

from the St. Laurent archive.

But the big presence really

is John's Chinese collection

for Dior.

Oh, wow!

Look at the fullness.

Love his tailoring.

Bolton: Galliano is a designer

who is difficult to unpack.

Because he's collaging

all these ideas

into a particular collection.

He's taken the idea of

the 18th Century panier,

which is normally at the side

of the gown,

and twisted it around

so its frontal.

He's doing so many references

to the Bowery, the Queen Mother.

Eighteenth century,

Peking opera, Kabuki.

He's an amazing storyteller

on the level of

fantasy and romance.

So I wanted to interview John

because he looks at China

constantly for inspiration.

What surprised me was how

consistent China was as

an inspiration in your work

and I just wanted to find out,

why China?

I think it was

that sense of mystery and...

...danger, but only danger that

you've got that feeling

through portrayals

from Hollywood.

There's mixtures of Chinese

opera, geisha

and the Queen Mother...

I don't think I set out to

recreate China.

As you can see,

I certainly didn't achieve it.

So, it was a fantasized...

...vision of China.

A fictional character develops,

and I kinda, like,

start living it,

breathing it.

Paint the picture who she is,

how she looks by candle light.

Can you smell that

powdery lipstick?

I like to express my emotion

through the cut.

Each time you cut a fabric,

it's a different

relationship you have to it.

It can be like

mercurial liquid oil.

Or like licorice.

The creative process

is my meditation.

Playing with textures

and shapes and volumes...

That's something that I love.

And because of that,

I am able to

to even think about

going back into an industry

where I've become an outcast.

That fantasy world that

I create is an escape for me.

(indistinct chatter)

Bolton: John weaves these

very personal

and seemingly bizarre narratives

into his fashion.

It's quite easy to dismiss

fashion designer's

engagement with China,

as being inauthentic.

But I want to focus on these

works of art that are

extraordinary examples of

a designer's imagination.

You think about someone

like Saint Laurent...

He absolutely changed

the course of fashion history.

There's about 2,000 pieces

in total haute couture?

I think it's more.

- Between 5,000 and 6,000.

- Six thousand.

- So beautiful...

- It's a Mondrian.

You've got so many of them.

Yeah, we have different

versions.

Bolton: The Mondrian dress,

with the idea of lining up

the stripes.

It's such tour de force,

isn't it?

Bolton: It looks very easy.

It's such a complicated thing

to achieve.

It's so radical.

Do you have the '71?

- Seventy-one fur, yeah!

- You do.

Yeah. Okay.

Bolton: The craftsmanship that

went Saint Laurent's clothes,

his usage of embroidery,

the element of camp...

It's iconic.

Bolton: They are unquestionably

works of art.

Oh, my goodness,

I haven't seen that before.

It's very modern.

Unbelievable.

Bolton: I see so much

magic still in fashion.

It's just overwhelming.

A dream come true.

(chuckles)

Bolton: I grew up in

a small town in England.

And the only access

I had to fashion were

star magazines,

emerging in the 80s.

I just missed

the punk movement.

The first movement that

I really engaged with

was New Romanticism.

Which was all about

gender blurring.

I remember seeing people

on the streets

thinking how they looked like

they'd arrived

from another planet.

But also how brave they were.

I was so impressed by the power

of fashion

to confront gender

and sexuality.

That's never left me, anyway.

You're still that little kid

from Lancashire who...

...is totally in awe.

Ah, Lawrence,

where is Singh, please?

- Lawrence:

- Okay.

Wintour:

The Costume Institute and Vogue

have a long history together.

Diana Vreeland actually ran it

after she left Vogue.

Please don't stand there!

Wintour: We have one major party

every year

to raise funds for

the Costume Institute.

The party supports

our operating budget

for the entire year.

Koda: The Met Gala

was the invention of

this small group of

fashion professionals.

It was relatively small,

but the department itself

was very small.

Bolton: Anna's taking it

to a different level,

in terms of the money that

she's raised over the years.

$120 million

for our department alone.

Michelle Obama:

Thanks to Anna's contributions,

the exhibits at

the Costume Institute

have drawn hundreds

of thousands of visitors

to this great American museum.

(applause)

Since Anna Wintour has

taken over the Met ball,

it has become the Super Bowl of

social fashion events.

It starts with months

of preparations,

not just for the exhibit,

but for the actual Met Gala.

Woman: We're starting to plan

for the gala,

starting to organize

with everything.

Do we want to talk

about guest count right now?

I think we should keep

the number as low

as we possibly can.

We were 608 last year.

Okay,

we're gonna start with 500.

- Five hundred.

- Five hundred.

Five hundred.

And everybody is cutting

their numbers, right, Harold?

- Do we need to talk about it?

- Yeah, we're trying.

There is the issue of

our partnership with

the Chinese Department...

That's another...

We really have to keep

the numbers down

and also the free seats.

There must be another way

that we can accommodate people.

You'll figure it out.

Anna is meticulously

vetting every single thing,

from the napkins, to the forks,

to the lighting...

The detail of the flowers,

the detail of the ushers,

the way they're dressed.

Everything has been vetted

by her for months

and weeks and months and weeks.

Okay, is there going to be

somebody literally here?

We have two people here.

Will there be

someone there too?

Yes, we have

literally an army up here.

It's a full battle squad.

André Leon Talley:

She has her legions,

her generals,

who work at Vogue.

Hi, girls, the plan today

is just to walk through

the path that our guests

are gonna be taking,

and also to place you

in your positions.

So if you could make

your way up the stairs,

just stagger yourselves, girls.

Please scatter a few steps up.

Talley:

Now, the Met is a place

that you consider

very, very correct.

Very formal.

Anna has taken that

out of the Met.

Photographer: Happy!

Sylvana Ward Durrett:

We have Dave Franco,

and then who's the other one

you were saying?

Josh Hartnett.

What has he done lately?

Nothing.

You guys are set.

You have great

carpet material right now.

Yeah, you have Kendall!

Michael Kors has

Liz Banks and Kate Hudson.

Prada has Emily Blunt.

Ralph has Anne Hathaway.

Versace has JLo.

Beyoncé, Kim and Kanye,

Rihanna, Kara,

Amber Heard,

Chastain, Julianne Moore...

All of those people are us,

I believe, right?

Woman: Yes.

They want to come?

- We're not completely sure yet.

- Okay.

Baz Luhrmann: As an icon,

Anna is very unique.

On the face of it,

she's the editor

of a very powerful

American-based magazine.

She's the artistic director

of a whole stable of magazines.

But that is not really the

power of Anna Wintour.

Anna's gift

is bringing culture,

both high and low,

to cross-fertilize.

- Hi, guys!

- Hey, Anna!

- You ready?

- Totally.

Okay, let's see the walk.

The Met Gala is a celebration of

a multi-cultural moment.

Pop and fine art mix in

the Metropolitan Museum.

Luhrmann: You can have an

acting icon next to

a musical icon,

next to a political icon.

It's like a giant aquarium

on that night.

Durrett: A lot of thought goes

into who sits next to who.

If they sat next to each other

last year.

If they sat next to each other

at other events.

So much goes into it.

It's shocking.

A lot of power-brokering.

Alex has six seats,

he's bringing

Gaga, Miley, Zoe.

Here's Tory.

Durrett: Ah-hah.

She's looking for

one other guy.

And then Ricardo is

down here with Jessica,

Julianne and Beyoncé.

So that's that.

What Anna has done is

understood that high fashion,

I mean, the most extraordinary

expression of this medium,

when it's paired

with celebrity,

becomes something

bigger than both.

And that is

what happens on the red carpet.

When you see Rihanna

in a couture gown,

it's transcendent.

Talley:

Each celebrity has been chosen

to wear a gown by designers.

It's like assignments.

The Met, for me, means a lot.

It's the only red carpet I do.

Riccardo Tisci: Each designer

brings his own muse.

A singer, a friend,

a model, an actress.

You bring the person that most

represents your aesthetic.

Koda: That attention all accrues

to the reputation

of the museum.

I thought he wasn't coming.

I know, but then he decided

he wanted to come.

Okay. Can he not be on his

cell phone the entire time then?

- Mm-hmmm.

- Maybe send him that message.

Loud and clear.

- Who's that?

- These are the two H&M people.

Wintour:

We shouldn't bury this table.

Seriously.

- Yes.

- That's not fair.

- Okay.

- Okay?

And then who are these people?

Those are people who

I'm hoping will go away.

Okay.

The exhibition, "China through

the Looking Glass,"

will present

an image of China

that is a fabulous invention.

Often film is the first lens

through Western designers

encounter Chinese imagery.

And the exhibition will explore

the impact of movies

in shaping their fantasies.

The film perhaps that's had the

greatest influence on designers,

is Wong Kar Wai's

In the Mood for Love.

No one has made the chi-pao

look quite as beautiful

on screen as Wong Kar Wai.

In the Mood for Love,

I would see it many times

and I love it.

It was like a truly,

like, beautiful gesture.

The colors were fantastic.

It's after that that I did

my Chinese collection.

I think is must be like

one year after.

It's good even not

to go to the country!

It's better, I think,

like to see through a book,

or to see all movie,

on the souvenir you have.

Bolton: We thought Kar Wai was

the right choice

to be the artistic director

of the exhibition.

Bolton: We're working on

the exhibition

design concepts still.

We're having the films

be the filter

between the art objects

and the high fashions.

Sometimes directly related,

and sometimes more of

a metaphorical device.

I would love the films

to be projected,

so that they're almost these

spectral figures

throughout the show.

Because I don't think this show

will have a linear narrative.

Now the structure of the show

is more like a Chinese garden.

You have an entrance,

but then you're free to walk.

That's a really good point.

Kar Wai:

So, I would use this medium

to create a continuity

and, also, the expression.

Bolton: There's two venues

for the exhibition.

We have

the Costume Institute galleries

in the basement of the museum,

and then we also have

the Chinese galleries

on the second floor.

The Chinese galleries

themselves weren't designed

for costumes,

they were designed for

flat works of art.

So incorporating costume

within them

is challenging,

to say the least!

Mike Hearn: We have over

50 galleries

of Asian art at the Met,

so it's probably the most

comprehensive collection

of Asian art anywhere.

There are bigger collections of

Chinese art in China obviously.

There's better collections of

Cambodian art in Cambodia.

But we do a pretty good job.

What I want to do is

do these 20-foot plexi-rods of

different sizes of that

naturally bend and light them.

So this is the first room

that you see.

Yes, bamboo forest.

The bamboo platform comes

all the way out here,

then it turns.

The height of the bamboo

goes just underneath

- the Arthur Sackler...

- Bolton: Gallery.

Nathan Crowley:

As you walk to the great

early Buddha sculpture hall,

you are transported

into another world.

We tried to show Chinese art

from the perspective

of the Chinese themselves.

It's not Disneyland.

I'm gonna put a

14-foot wide platform

by 12-foot platform here.

Cover this with a grey mirror.

I think Mike thought it might

look a bit too Disney.

We're gonna have panels anyway.

I think we just make them.

Bolton: The curators in

the Asian Art Department

were worried about

some of the topics

the exhibition was addressing.

It opens up debates

about colonialism,

Orientalism,

which could be interpreted

as being racist.

Hearn: For the West,

it didn't matter

whether we're talking about

China, Japan, Korea.

All of that was somehow

lumped together as "Oriental."

And I think there's still

a really strong sense

that China has been

taken advantage of,

maybe misunderstood,

by the West.

Isn't this place marvelous?

Look at those faces.

Hindu, Chinese, Portuguese,

Filipinos, Russians,

Malaya.

I didn't think such

a place existed

except in my own imagination.

Bolton: So many designers

reference China

through the films of the 30s.

It's the China

that is the stereotype.

And I want to sort of

deconstruct those stereotypes.

And tease out some of the

complexities and the dangers,

but also the romance of them,

as well.

Anna May Wong was

a Hollywood starlet

in the 30s and 40s,

who was fated to play

stereotypes of

the Chinese woman.

And it's either

the Lotus Blossom,

or the Dragon Lady,

which is basically

an Orientalized femme fatale.

Don't do anything foolish.

The Dragon Lady is a figure

who projects our fears

and desires and

anxieties onto you.

She is quasi-matriarchal,

she is financially independent,

she's sexually liberated.

She in a way lends herself

to a feminist interpretation...

...because the Dragon Lady

has become a way to represent

any powerful woman.

I though the gentleman in the

black night gown was the boss.

Who, Money Bags?

He's an errand boy.

The real boss is

a remarkable lady,

the most cold-blooded

dragon you will ever meet.

She'll devour you like a cat

swallows a mouse.

I've never seen

anything like it.

You walk in and this

is what you see?

It's not possible.

This is the reception area?

Man: This is when you walk in...

The racks?

I need to look at a plan.

This is not what you want to see

when people walk in.

Okay, so this has to go. Xavier,

are you listening to me?

- Yes.

- Okay.

All this furniture here

should go.

Get rid of all that.

It has to look like an area

that you walk into.

- That it's professional.

- Yes.

Not like a second-hand

vintage store.

No, no, no,

in the closet.

What about the lobby furniture?

I didn't even look at that.

This is making me feel

violently ill.

Take the whole thing out.

It's horrible.

It's just gonna give people

a headache.

Are we able to soften it

a little bit so it's not...

So it doesn't look like a disco.

(indistinct speech)

Let me say something about

the Dragon Lady image.

Anna has a public image.

Hi, thank you for joining us.

Anna Wintour, welcome to CNN.

Luhrmann: A lot of that is

absolutely true,

but I do think that if

Anna was a man,

there might be

less focus on that.

Because of your success

and your determination,

you've earned a reputation of

being intimidating.

Is that unfair?

Um, I think I'm decisive,

and I like to get

things done quickly,

so if that comes across

as intimidation,

I'm sorry to hear it.

There are so many

different stereotypes and...

I...

...think if one is bothered

by it,

...it's a little bit fruitless

because it's out there.

Inevitably, I have to ask you

just one question about

Devil Wears Prada.

A former assistant

wrote the book,

later turned into a movie.

Do you feel that that

was a breach of trust?

Ah, well...

It's part of life.

Stereotypes always

are going to exist,

is what you do with them,

what you make of them.

I think that she brought

attention to fashion,

in a way... You can look at

it in a negative way,

or in a positive way.

I choose to look at it

in a positive way.

In some ways, I think

I should be grateful to her.

Luhrmann: I've seen her recently

play herself,

and she plays the person

everyone thinks she is.

But it's a character.

It's kind of her "work armor."

(indistinct conversations)

Man: There's an updated

decor concept.

We've floralized

quite a lot of the design.

This is one idea.

And now this is the other.

That might be a bit much

for the carpet.

I think that we can...

- Tone it down.

- Exactly.

That's a lot of flowers.

What are the flowers underneath?

- Looks like wisteria.

- It's wisteria, yes.

Wisteria and bamboo.

What about pale lilac rather...?

We can do pale.

Cause I think pale

would look prettier

with the blue

than that dark color.

- I don't like that combination.

- With this color.

- But pale.

- Yes.

- We can go back to this.

- Yeah, we'll talk about it.

- Temple of Dendur...

- Wow...

Don't know about that.

Man: What aren't you sure of?

I don't see how you can compete

with the temple.

Whatever you put there

is gonna look fake.

Man:

There's very little we can do.

This is gonna look like

a Chinese restaurant.

I just don't see how

you can compete with that.

- Yeah, no.

- I mean it's, well...

If it was at night,

you have more of a chance.

Yeah.

So my advice is,

I would keep to the bridge,

- I'd definitely do the lilies.

- Bolton: The lilies.

And some decoration and then

some Chinese-type furniture.

Okay, thank you.

Bolton: We haven't yet finalized

the design of the exhibition.

We're end of December

at the moment,

so that's pretty late,

in fact, it's very late.

Campbell:

One of the big challenges

is the short time period

in which

we are pulling

the exhibition together.

It's the largest costume

exhibition we've ever done.

I really want the pace

to change

when you go through,

so I like the fact that

this is quieter

and more reflective.

And here,

- it's just sensory overload.

- It's just a drawing.

Bolton:

It's proving difficult,

not just because of the size

and scope of the exhibition,

but there's a lot of

conceptual challenges

and political hurdles.

(speaking Chinese)

Bolton: They're constantly being

brought up

by the Asian Art Department.

Probably this one...

Hearn: What is key for

the success of all of this

is that there is some

conversation with

the Chinese works of art, so

that it is not just wallpaper.

I think bringing

Western fashion

into the Chinese galleries

could be perceived as

a misinterpretation of

who the Chinese are,

what Chinese culture is about.

- (elevator dings)

- (indistinct speech)

This area is fashion

inspired by Imperial China.

So the idea is

the Chinese objects will be

in the perimeters

in the cases and

the fashion's in the middle,

that's the constant

you can see throughout.

We put a color theme

to each of these rooms

by using a light source

around those objects.

So we go from blue

probably to gold

and over to red.

The different light

colors the rooms.

Is that a bit rainbow?

Maybe...

Bolton: You don't want to be

fighting with the objects.

It'd be nice if it was a very

subtle glow because otherwise,

your eyes are being dilated

by the light in the--

You don't want it to look

like an amusement park.

Yeah.

All right, let's go on.

So now we go

into the bamboo forest,

so we moved on and become

a little more surreal,

by using lit plexi-rod.

It transfers the light

all the way through the rod.

I'm hoping over 20 foot

it would still maintain

a lot of that light.

Bolton: That's great.

And you're okay, Mike?

What we want to be careful about

is just making sure that

between the costumes

and the bamboo forest,

that we don't completely

obscure the sculptures there.

My goal is just

to make sure that

the Chinese objects

really look their best,

and that they aren't

overshadowed or

demeaned by whatever

we do design-wise.

But obviously for the run

of this exhibition,

those objects are

going to be not...

They're gonna be

less accessible.

But there's plenty of other

things for people to see.

I generally like the idea,

but I just want to

exercise as much discretion

as possible,

so that nobody comes around

and just says

we're using Chinese art

as just a stage prop.

In the architectural drawings,

I created all these sight lines

to the artwork.

I think there's 700 rods.

Do you think we need that many?

Yeah, I think we might need to

go to a thousand.

Well, yeah, but it takes

a lot to fill a room,

and your room is enormous.

At first, I thought

we'd need 3,000 so...

Which seems like a lot,

but it's not.

Are these tablecloths all

going to be different colors?

Yes, so these tablecloths

are going to be

- the colors of the cushions.

- Yeah, I like those colors.

- Yeah.

- Oh...

- (doorbell rings)

- Okay.

- How are you?

- Hello.

- Hi.

- Hi.

- So much to talk about.

- I know.

Can I ask this question?

How "Chinesey" like...?

We can show you.

Like, how chinoiserie is it?

Is the whole thing?

Let me show you a rendering.

Wintour:

What do you think about this,

as you walk up the steps?

Raul Àvila:

Dragons when people arrive.

So that's why...

It's more like an entrance,

like, "Hey, you're in China."

Dragons might be

a bit too obvious.

Can I say this?

I think it's

fantastically strong,

and I think it should be strong.

Right?

But the reason

I'm slightly reticent is,

in terms of the crowd coming,

how much

classical Chinese imagery

do you think they expect?

What they're gonna see

when they walk in.

When you go inside the

great hall, you see this.

Now that I think is

unassailably beautiful.

They say "China" without saying

"Chinese theme park."

I think the double dragons

at the front

belong to another show.

Right?

And by the way,

the water slide at the end

of it is awesome, right?

- Okay?

- (laughter)

Is this based

on a Chinese something?

Anna, it's the "something" part

than I'm worried about.

The complexity of the subject

matter itself requires

delicate handling

so we're not misunderstood.

We're working around

the main mine fields.

How many pieces in

the exhibition?

You already got everything

you want to borrow from China?

We're just waiting to hear

from the Imperial Palace.

It would be ideal

to get a Mao suit

worn from one of

the Communist Party members

during the Cultural Revolution.

But, I think, politically,

I think it's difficult.

Mao is an icon, and so there's

a limit to what our Chinese

friends will tolerate in terms

of how Mao is treated.

- It has to be respectful.

- I think so.

Of course, something is probably

going to blow up at any moment.

The building with all the flags

is the National Museum.

Then the one on

the other side of the flag

is the Great Hall of the People.

And this is the entrance to

The Forbidden City.

So you'll see the Mao portrait.

It's incredible.

On display next to me is a dress

by Roberto Cavalli,

whose colors and motifs

pay obvious homage

to Chinese

blue and white porcelain.

Fashion is about ideas.

The way we live.

(indistinct conversation)

Campbell: Guys, you really have

your work cut out.

Our aim is to beat

McQueen numbers.

Bolton: "China,

Through the Looking Glass,"

I think it's going to be

inevitably controversial.

There's going to be dissenters.

But I'm not afraid of

controversy.

And I think the show should be

controversial and provocative.

- Hi!

- Hey...

- Good to see you again.

- Good to see you.

Bolton: So here is where

I'm thinking about putting Mao,

the Buddha gallery.

It's the only space I can think

about putting him.

I think if we can have

the Mao jacket sculpture here,

that would be the centerpiece,

focusing on the idea of

changing nature

of deities within China and

the idea of monumentality...

You'd be able to take out

all these Buddhas here?

We'd keep the Buddhas in.

And you put Mao with

all these Buddhas?

Yeah.

I think it makes sense

intellectually because of

the deification of Mao in China.

I think it would be surprising

to have Mao in that space.

And it makes sense.

You have some hesitancy

still, Kar Wai,

about the Buddhist gallery.

- Yeah.

- You still feel it.

You still feel Mao

might not work there?

Because I think it will be...

First of all, it will be

an insult, too sensitive

for like, not the government,

besides that, it's the Chinese

and also the Buddhists.

And I'm thinking...

Is it nice to get

some controversy though?

Maybe not the way that you want.

Not in this particular context.

Why don't we just put it

just before you walk into

this big Buddhist hall.

You have this Mao section.

- Nice idea, actually.

- Yeah.

There's a lot to see.

The material is so rich.

But try not to make

the show too busy.

Because seeing too much

is seeing nothing.

I think we are all looking

forward to this exhibition.

But also have

a lot of questions.

From the little we can gather,

it seems like there's a lot of

symbols about dragons

and Ming vases.

Why is that?

And anything else,

because I, honestly,

I don't want to see

another Ming vase.

I love blue and

white porcelain so

I'm happy to see it

in the exhibition.

I think a lot of

people's questions will be

it seems like the more

contemporary version of China.

It's not really included

in this kind of

imagery, repertoire...

It's not,

you're absolutely right.

That's not the focus

of the exhibition, modern China.

- It's very much on the history.

- Reporter: Yes.

You mention a lot

about fantasies,

but fantasy always entails

misconstrued,

misinterpretation, reality...

So how the Western

perceive Chinese

and how Chinese perceive

their own culture

will be quite different,

from what I gather.

Were you questioning the idea

of fantasy and fashion?

I think if we don't have

fantasy in fashion,

then fashion will never change.

Of course, we all will love to

embrace fantasy in fashion,

but fantasy is

very likely to also entail

misinterpretations

or misconceptions.

So, as a curator, you must

have thought about that.

Yeah, but I think, as Anna says,

all fashion tells stories.

Every item in the exhibition

tells its own story.

All you're seeing in

the exhibition

are designers celebrating

actually Chinese culture.

We're also including the work

of several Chinese designers,

like Guo Pei and Laurence Yu.

Chinese designers also gravitate

towards the same sort of symbols

as Western designers.

It's not exclusively about

the West appropriating

Chinese symbols.

- Thank you.

- Bolton: Thank you.

I think she was really

politicizing it.

...the idea of the West just

plundering

the East for inspiration.

Or the fact that

it's all about the past.

Yes. She just wants everything

to start in 1949

- Woman: Are you good to start?

- (chuckles) Yes.

(speaks Chinese)

China went through

a unique period in its history.

During this period of history,

many Chinese destroyed

their own tradition.

But I feel today, it's changing.

I want to integrate

traditional Chinese culture

with modern aesthetics.

Eastern and Western cultures

collide together.

We want to find the wisdom

left by our ancestors.

So now, I am using my skills

to create something

for the nation.

As if I were making a

wedding dress for my country

with love in my heart.

How's the Guo Pei piece?

- Is it heavy?

- Very heavy.

Bolton:

Beijing seems like a dream now.

I was panic-stricken

when I came back

about how much work

we have to do.

Such a crisis point in terms

of concerns

about possible responses

to the exhibition worldwide.

All the Chinese, in the last

few hundred years,

we were always

looking backward,

we forget progress,

modernization.

So the new generation of Chinese

have benefitted

from modernization.

They were afraid

your exhibition

is too much only the past.

A lot of Chinese,

they're wondering

why all this dragon rope,

the beautiful coating,

not Chinese modern things...

Modern film, modern art...

How would you represent

through fashion, modern China?

How would you represent that?

The show is also posing

questions like,

what is the contemporary

Chinese aesthetic?

Because there's none

at this point.

Not yet.

In the making.

- So this is in the making?

- Yeah.

So, in a way, looking back

doesn't mean you are nostalgic.

I think

the only way to move forward

is not to forget

about your past.

We confront the idea

of the orientalist

stereotyping of China.

Particularly through

the character, Anna May Wong.

But also talk about

the genuine reciprocity

between China and the West.

We've just got approval

to start building.

So we're on a super-tight

time frame.

(chuckling)

Incredible.

Incredible.

I think the objects

that we've chosen

are really compelling,

really seductive,

and once you overlay them

with the curatorial narrative,

it could be extraordinary.

- Andrew.

- Hey, Mike, how are you?

My biggest concern, Andrew,

frankly,

is just to make sure that people

don't find the intensity

of the installation,

and the kind of...

Shall we say the imposition of

the design

so powerful,

that it overshadows

the intellectual content.

I think what happens with this

is it diminishes the focus on

the intellectual content,

and it just raises the level of,

well, this is all about...

...creating a sense of hype,

which is different from

what your goals are,

and what my goals are.

Bolton: It's a little bit

frustrating because

sometimes there's not an

overall understanding

of the narrative of the show,

but also the complexity

from the design prospective.

So it's just...

Yeah, a bit frustrating.

I try not to listen too much

to other people in terms of

what they expect

the show to be

and to try and trust

my own judgment.

Many people have a superficial

understanding of fashion.

People underestimate the power

of clothes to tell stories,

or to speak to people.

There is the perennial debate

about whether or not

fashion can ever be art.

It has, in some instances,

to do with intention,

that when a designer is

creating something,

they think they're creating

an art work.

Most designers, however,

don't approach it that way.

I never, never, never dreamed

that my clothes should be

in a museum.

I think that fashion is

supposed to represent

what's happening in society,

politically, economically...

The clothes have to live.

It's a little boring,

that designers

say they are artists, especially

when they say it themselves,

thinking, "You're an artist,

one should not be on a runway,

but one should be

in a gallery."

So go to a gallery.

What we do is applied art.

Chanel never said that

she was an artist.

She was a dress-maker.

Madame Vionnet was a dressmaker.

Madame Lanvin was a dressmaker.

They wanted to dress

a certain kind of society.

They were happy and flattered

when those women bought

those dresses.

Koda: Of course,

not all fashion is art.

It's not.

Some of it is

purely commercial.

But we still struggle

at the Costume Institute,

because as Americans,

there's a kind of

puritanical tradition.

And we hate the notion

that there might be commerce

associated with anything,

because somehow that

makes it less pure.

But as the definitions of art

have become more elastic,

you know, post-Dada,

post-Warhol,

we're no longer bound by

the 19th century categories

of fine versus applied art.

We never give up on this idea

that something transcendent

can be expressed in that same

very prosaic thing

that you wear.

Bolton: I would certainly

classify Lagerfeld

as an artist, even though

he always refutes it.

The application

of his embroideries,

it's an artistic expression.

(indistinct conversation)

When you discover someone

like John Galliano,

you really are in the presence

of a true artistic genius.

This is strange.

This is like seeing a child you

haven't seen

for a very long time.

Some of those stitches

you're not allowed to do anymore

because they'll turn you blind.

It's not for me to say

it's art or not,

but, certainly, the way

we apply some things

and the inspiration we took...

We did some wonderful things.

Wonderful things.

Koda: There is something about

the human impulse

to communicate and express.

An encyclopedic museum

like the Met

attempts to gather together

the most extraordinary

manifestations

of those impulses.

Keith, it's Sylvana.

Can you give me a call back?

I just want to talk about

Rihanna's budget. Call me. Bye.

So, Rihanna...

- Keith: (over phone) Yeah.

- We can't lose her, right?

So, is it just that she has

a larger crew than Kanye did?

She has a massive team

that she travels with,

and that's how she rolls.

Originally, the budget was

over (bleep) hundred thousand.

I told not to even send it

to me until they worked on it,

because it was a non-starter,

so they went back,

and they sent me a budget

that lowered it (bleep)

hundred thousand.

And I said, you know,

this is a charity so...

She's expensive, period.

We knew it, we just didn't

realize how expensive.

So, I think talk to Anna

and see,

you know, if she can

set that gentle note,

thanking them,

but at the same time...

- Gentle nudge.

- Anything you can do.

Yeah.

I'm breaking out

in hives right now.

(phone ringing)

Hi.

Okay, I don't know what to say.

I have no answer.

She is one of the biggest acts

in the world.

It's about twice as much

as any performer we've ever had.

They're not interested in making

it come down any further.

They feel that

they've done a lot.

So it's gonna take

a higher level ask...

You know, from you.

(chuckles)

Yes, that would be perfect.

Luhrmann: We live for

a cultural experience,

to feel like we're not alone,

to learn something

about ourselves,

to revel in the human journey.

But of course, there's glamour,

and of course there's...

"What are the parties like?"

And there's gossip.

But if it takes a little bit of

Rihanna dancing on the tabletop

to get the attention,

then so be it.

And then Jennifer Lawrence

comes up and speaks,

Guong Lee speaks,

and then Jennifer Lawrence says,

"Ladies and gentlemen...

...Rihanna."

Wintour:

In the world that we work in,

you need the mixture of art

and commerce.

You need both.

Too much of one or the other

would not work.

They have to exist...

hand-in-hand.

If you could say one brief thing

about two cultures

coming together.

That's what I want to say again.

I want to say thank you.

- Two cultures.

- Yeah.

You're gonna be incredible.

Beautiful.

I can't wait.

I feel better now.

No, no, no.

It's gonna be amazing.

It's always so calm up here.

That's because nothing's

going in.

Wow, it's a lot of work.

Bolton: So we can't install

until the lights arrive, okay?

The lights are one week late.

Why are they late?

Because they're not ready?

I don't know.

It's beyond me why.

We're already eight days late

on the panels delivery,

according to the schedule.

We just did the math,

at this rate, we're talking

about 6.8 days...

Middle of next week.

And obviously that doesn't work.

We gotta be realistic,

that we know what we're doing.

We're out of time.

How much overlap is there

between building

and art installation?

There can't be any.

So you've got ten days.

It's flat out now until we open.

Bolton: We just underestimated

the scale of the show.

It's like putting three shows

on at the same time.

I, unfortunately, have a very

organic approach to curating,

so I tend to change things

as I go along.

This time around,

we're driving everyone crazy.

And what is the plan for the

show in terms of lighting?

Tomorrow, can we start working

on these two galleries?

Whenever we can get to

something, we do it.

- That's...

- Who is going to tell you when?

We walk around and

around and around and we look,

and we say, "We can do that."

And we go and do that.

- But we have like 15 galleries.

- Clint Coller: I know.

It's a huge space.

We need them to absolutely

place the mannequins.

- This is...

- This is something that...

We have to talk to Andrew

about this.

Right.

Kar Wai: Andrew...

- Meet five minutes with me.

- Bolton: Okay.

At some point, I just need you

to give me mannequins.

- Mm-hmm.

- Because without the dresses,

and that's fine,

but you have to tell me,

which directions

the mannequins are facing.

- Mm-hmm. Okay.

- Can you do that?

Yeah.

The schedule that they

let us know today,

it means we have, basically,

two days to install

the whole exhibition.

We only have a

rehearsal for the temple?

Worse-case scenario, yeah.

Monday, you don't have

any rehearsal?

No.

There's no time on Monday,

we have to do that Sunday.

The temple's open on Sunday.

You're kidding,

that's not possible.

- Why?

- Why?

Because we need to rehearse.

He needs to be with Rihanna.

We have a lot to do.

We should close it.

It just means that from the

general public's point of view,

there is absolutely

no access

to the entire

north end of the building...

That's the...

That's... All the...

They'll come back next week.

Please, otherwise, it's just...

Raul is going to have to be up

three nights in a row.

- It's not human.

- (laughter)

Okay, the public will come back.

- All right, anything else?

- No, I think we've covered it.

It was Anna's

understanding that,

if he was paying the balance,

we weren't going

to add those seats.

Obviously it's more money

for the museum,

but the problem is we want to

keep this an intimate setting

because that's why

people come to this.

We're extremely appreciative,

I just...

I... I don't know what to do,

We just don't have the seats.

Wintour: Okay, I could swap

Baz with Harpers.

And where is Harvey?

Harvey's right here.

He won't like that.

Can we put somebody

better here

and move them there?

It doesn't have to be Harvey.

I think Anne Hathaway

should be here.

We're struggling to make

this work right now.

We still have three people that

don't have seats at the moment.

Can we block off the middle part

and in here, just make

a little hole here?

Because if we do something

in between these two pillars,

this is what

they're concerned about.

This is not art.

This is a pillar.

Oh no, it is Tiffany.

- Those are the Tiffany pillars.

- Expensive pillars.

Wintour: We're trying to work

with you guys.

You told us what we were trying

to do here was first possible

then it's not possible.

And then we move the tables.

Woman: You have to understand...

You are basically scrubbing

Engelhardt Court of all the art.

Wintour: Yes... But this is not

actually about that tonight.

It's actually about raising

money for the museum,

which we have done.

Nathan?

Do the lights work?

We'll know

in the next two hours.

What happens if they don't?

Yes, that's better.

Once you see those together...

Incredible.

We'll be finished, you know,

in the next hour.

Okay, you'll be finished by

the end of the day though?

I mean, we'll finish by...

Before we leave tonight.

(indistinct speech

in background)

Okay, okay, okay.

Talley: The dress is beautiful.

- It's so beautiful.

- The dress fits.

- It fits?

- It fits.

Maybe too tight here.

Yeah, that's what

I was thinking, maybe...

Here, I'll deal with that.

Talley:

The color is superb on you.

And what do you think of

the bracelet?

Mom only like diamonds.

Talley: So now you should walk.

Walk out of the room.

Excellent!

Sexy and soigné.

It's very beautiful.

A superb dress.

Luhrmann:

Anna is kinda beyond legacy.

I mean, she's got a legacy.

She could disappear

to Alaska now

and never be seen again,

dressed as Nanook of the North,

or something,

and, you know,

she's got a legacy.

She sent me

the fitting pictures...

Luhrmann:

She's a big business entity.

But the whole idea

with the Met Gala...

it's not a

commercial consideration.

It's a cultural consideration.

I don't pretend to be

a fashion historian,

but I think

fashion should be recognized

when you see how

it touches people

and moves people.

I mean, what more

can you ask from art?

- My God.

- (gasping)

Oh, my God.

She's gonna die,

has she seen it?

Man: No she hasn't been

here yet.

My God...

(chuckling)

We did it!

I'm gonna cry.

Unbelievable!

Wintour:

Does this go to the top?

Unbelievable.

Best one ever.

How many roses?

250,000.

(laughs)

(applause)

(clears throat)

Good morning.

"China:

Through the Looking Glass"

is almost three times the size

of our usual spring shows.

In total, there are over

150 costumes and accessories,

and over 40 designers.

- (indistinct speech)

- (cameras clicking)

What a relief that's over with.

- Yeah, but...

- (smashing)

(giggling)

Is that good luck?

- It wasn't a mirror.

- I'm sure it is.

Special kudos to Andrew

for surviving.

It works so beautifully

in the galleries.

It really does.

I couldn't agree more.

I'm thrilled.

I love you.

Was the speech ok?

Really good. Yeah.

Did I sound like

the Queen of England?

No!

(mocking laughter)

I'll see you later.

Probably about two-ish.

So this is H&M.

This is Veronica.

Vivienne.

And this is Cartier.

That's the best solution,

and then the small one is

in the middle, right?

Okay, right.

- Yeah.

- Let's move this in a bit.

Yes.

This is such a bad table, but

someone's gotta take

this table.

But no celeb, right?

Chloe Sevigny, Solange Knowles.

Oh.

But they'll talk to who?

Odell Beckham.

Durrett: It's tight,

but it's always tight.

Wintour:

These are fun people, right?

It's fine.

Yeah.

This is fine.

(laughing)

He's like, "What are you

talking about? What happened?"

What is this?

Nylon?

- Durrett: No

- Silk.

- Pure silk.

- Made in China.

(cheering)

Alright, George, let's do this.

Let's get this thing going.

What the fuck is this?

The other leg.

Let's see the legs.

- (chuckles)

- Thank you, darling.

(cheering)

Talley: Come over here, baby,

come to me.

Only you can wear

a dress like this.

The body rocks.

What do you do

to keep the body rocking?

What do you do?

Are you getting good pictures

of the dress and everything?

Chloe Malle: I was worried

people would take

Chinese-inspired and do

something wildly offensive

and actually people

have been very creative

and done some

really beautiful things.

Some major headwear.

(cheering)

Do you all love Chinese food?

I do.

- He doesn't. What do you like?

- No, I love Chinese food.

What's your favorite dish?

I like fried chicken wings

and General Tso's chicken

with some shrimp,

and chicken fried rice.

- I know you work for Vogue...

- (laughs)

He works for Vogue,

but you better tell the truth.

Anne Hathaway is heaven.

Looks so good, yeah.

Amanda Seyfried and Justin Long

look adorable together.

She's in custom Givency couture.

(screams)

Cher? I want Cher.

Someone help me!

Could you help me?

Come on here, baby.

Come to me.

Why did you let that happen?

Can someone go tell Sally that

the Clooneys did not stop?

Go tell her now.

You know the Clooneys

didn't stop.

So let Anna know that.

George said hello

but Mrs. Clooney

did not stop

in her Galliano dress,

I told Sally.

We got Justin Bieber, OK?

Sale bête! Sale bête!

Darling, wow!

How does it feel to be

one of the 100

most influential persons

- in Time magazine?

- Oh, thank you.

That is so brilliant.

I think it's so great

the way you're supporting

your step-father.

- Of course.

- It's really beautiful.

- It's really important.

- It really is.

We're here with dresses,

but, listen, after all...

(inaudible)

Hi, Pat!

♪ We gonna party tonight ♪

♪ We gonna turn up tonight ♪

♪ Oh, yeah ♪

♪ Oh, yeah ♪

♪ Oh, yeah ♪

Michael Kors:

The exhibit is this way.

Do you know how crazy I'd look

in a head piece like that?

You could pull

any head piece off.

Anna May Wong.

The first Asian movie star.

Wow!

That's Dior,

that's John's (Galliano).

Hudson: I want to wear that

in my bedroom.

So good to see you.

Thank you for your flowers.

How's business?

- This was my dress, that one.

- Wow.

It's the white one.

It was a wedding dress.

That must be an old one.

1925, something like that...

- 1924.

- 1924, even earlier, yeah.

In 1925, it was smaller.

Not so big volume as there,

but it was short already.

You're so smart.

History, I know it.

- The history of fashion.

- Wow!

(inaudible)

That is Alexander McQueen.

They do a lot of work in wood.

That is also McQueen,

the bolero.

That could be McQueen,

I'm not sure.

It's Alexander McQueen,

for Givenchy.

It's nice mix with

all these things from China.

It's beautiful.

I love the Chinese inspiration.

Wow!

Man: What's the dress?

Did you get my message?

Justin Bieber: How do you think

that would look on me?

- Alicia Keys: Wow!

- Gaultier: Voilà, that's mine.

Man: Wow, this exhibit...

Your mood changes

from room to room.

It's remarkable.

Keys: Wow!

Gaultier: Oh, the porcelain.

Keys: Wow, look at this!

Gaultier: That's Galliano

for Dior, I think, no?

Keys: Guo Pei....

- So gorgeous!

- Oh, my God!

Oh, my God!

This room is a dream!

All the celadon but

with the black lacquer.

And look at these shapes.

Like when people say,

"You couldn't walk in it."

Who cares?

It's that beautiful.

Kate Hudson: I know!

(indistinct shouting)

♪ (Nat King Cole

"Stardust" plays) ♪

Talley: Oh, I love a girl

from humble beginnings

who becomes a big star.

It's like the American Dream,

that's how you do it.

And just keep going with it.

I want more train

and more train!

I want drama!

I want five people

picking up my thing!

This is the black Frozen!

This is the queen of the night!

♪ (Nat King Cole

"Stardust" continues) ♪

Queen of the night.

Breaking up is not enough,

it's not enough.

- Beautiful!

- Thank you.

This moment, this fantasy!

It was made by Guo Pei.

It took two years to make this.

And let me just say...

You are wearing it

so beautifully.

You are so inspiring...

- Thank you.

- ...to so many people.

- Good night.

- Vocal rest.

Big night! Can't wait

to see you on stage!

- Thank you.

- Oh, it's got a pink lining.

Did you get the pink lining?

♪ (Nat King Cole

"Stardust" continues) ♪

I need to mainline

pinot grigio to my arm.

Have a Scotch.

Scotch in a glass? How classy.

Oh my God,

I'm gonna be all by my lonesome

just like high school.

You can sit with us,

sit with us if you want.

- Oh, my God!

- Oh, my God!

(gong sounds)

Campbell: Could I have your

attention for a moment, please?

The true star of this evening

is Andrew Bolton.

(cheering and applause)

Hello.

Bill Cunningham: Hello Andrew,

it's quite the success.

Hey! Thank you, Bill.

It's such a contemplative space,

it's very...

- Brilliant.

- Quiet.

When I think

how they allowed this...

Poor Mrs. Vreeland.

They killed her with exhibition,

keeping it downstairs.

The Asian Art Department

has been

incredibly generous with us.

They have, yeah.

Twenty years late.

What's up, Met Ball?

(cheering)

Isn't it amazing how fashion

can bring two cultures together?

(cheering and applause)

I wanna give a round of applause

to everybody here tonight.

Anna Wintour, thank you so much

for having me.

Everybody ready to party?

♪ (sings

"Bitch Better Have My Money") ♪

(applause fades out)

♪ ("Wild is the Wind"

by Cat Power plays) ♪

"Are you both there?

I'll be around 6:45,

Do I need to pick anything up?

I'm gonna say..."

- Starbucks.

- "Yes.

Big box of Starbucks."

Everybody looks shockingly

good this year.

Yeah, Chloe Sevigny

looked amazing.

- Spike Lee, he looks great!

- I know.

You gonna just die

over what Rihanna wore.

Martin Hoops:

I can't wait to see it.

- Oh, my God.

- Boom!

That is excellent!

It's like a Disney movie.

Every single one of them.

Boom.

Yeah, she should be the cover.

Yes.

Look at her body guard.

Where? This guy?

He's brilliant.

He's holding her purse!

I would hold her purse, too.

I would hold it all night.

Malle: Oh, my God!

Hoops: Do you see any

resemblance, David,

between me and Clooney?

So he went bow tie-less.

That's what studs

like this do, David.

Me and George,

we know what we're doing.

Malle: That's cool.

Actually that is good.

Hoops: This is good.

Now you got her

in a gothic room,

medieval gothic.

Ecclesiastical...

(indistinct)

Am I being banned?

Go back to your room.

- Getting close.

- Go back to my room!

- We'll do this.

- Malle: That's nice.

- Spread.

- Right.

- And then the last two.

- Great.

Hoops: I think it actually looks

really good.

Malle: Yeah, I do too.

I will bet everybody lunch here,

that when I lay out

that pomegranate,

she's gonna say,

"Oh, this is nice."

Yeah.

Okay, Martin, let's do this.

The pomegranates...

just perfect.

- Martin loves pomegranates.

- Yeah.

Me and AW have

a similar wavelength

in our brains.

She goes, you know,

"Big stars like Derek Jeter."

I said Jeter! I'm like,

of course, he's the captain!

I said he should get

a cover line. The captain?

I think that's almost

on the same par...

I told you, me and Anna have

same brain, the same brain.

Cher, Derek Jeter. I mean,

you gotta sell this thing.

This is not

a niche magazine, you know.

We gotta get the names

on there!

They said they're gonna

film the Met,

but it's not about the Met,

it's about this, right here.

This is going to be

the whole documentary.

That's it. Done.