00:00Do you want to know my biggest Met Gala regret?
00:02Yes.
00:03Just kidding.
00:04I'm kidding, I'm kidding, I'm kidding.
00:06We don't have time, you don't have time,
00:08and I don't have the patience.
00:15Hi Vogue, it's Kim,
00:17and we're at my final fitting for my Met Gala look.
00:19Lucky number 13.
00:21Is this one your 14, maybe?
00:22I thought this was my 14.
00:23Oh, this might be the 13.
00:25Can we count?
00:26Givenchy, Lanvin, Cavalli,
00:29Balmond, Vivian Westwood,
00:31Versace, Mugler,
00:33Valenciaga, Marilyn Monroe,
00:36Schiaparelli, Margiela,
00:37Rome Hart.
00:38I did the math, guys.
00:39Oh, wait, wait, no, because COVID.
00:42Because of COVID.
00:45Oh, there is a list, hold on, let me see.
00:462020 canceled, so they're including the 2020.
00:49Yeah.
00:49So it's 13.
00:50Do you want to know what my COVID one was
00:52that no one knows?
00:54My COVID one was
00:56Christian Lacroix.
00:57We have all the sketches,
00:59we met up in Paris,
01:01we picked fabrics,
01:03we were ready to roll.
01:07Everything is art directed
01:09and creative directed
01:09by Nadia Lee Cohen.
01:11I love doing a shoot before the Met.
01:13It's the best way
01:15to test what hair and makeup
01:16we're going to do.
01:17After putting on this really
01:18like tonal neutral wig,
01:20I kind of,
01:21I'm not sure.
01:22I want this for the final look,
01:24I might want to go a little bit more blonde.
01:26So now it gives us time
01:27to like dye it
01:28and figure it out
01:30before the actual carpet.
01:32To me,
01:33the theme is all about
01:34fashion and art.
01:35And I see a lot of conversations
01:37about bodies of art.
01:39And I think that really resonates
01:41with me.
01:42Obviously with Skims
01:43and everything that I do
01:45is so focused on the body
01:46and my body,
01:47whether it's a fragrance
01:48that I launch
01:49and it's my body
01:50is the perfume.
01:52I can't wait to see
01:52how people like represent
01:54their own bodies
01:55with art
01:56and what that means to them.
02:00Welcome to my world.
02:02I don't,
02:02I don't travel without
02:04studying to art.
02:05I can see, yes.
02:06You're not alone.
02:08Ultimately,
02:08when I thought about
02:09how your body
02:10is represented in art,
02:12I felt like Alan Jones,
02:15who would make art pieces
02:17of breastplates
02:18in the mid-60s.
02:20I have seen his work
02:22referenced so many times
02:24by people in fashion.
02:25And I've always like
02:27been a big admirer
02:28of his work.
02:29And so when I really
02:31had to think about it,
02:32I thought like Alan Jones
02:34would be iconic,
02:36sexy, classic,
02:38cool, innovative.
02:40There's so many words
02:41that come to mind
02:42when I think of Alan.
02:43The one that I'm wearing,
02:45we took his old cast
02:46from 1967, 68,
02:50from a model
02:51that he had cast back then.
02:52And I wanted
02:53something original.
02:54I didn't want to cast
02:55my own body.
02:56I wanted the original
02:59breastplate that he had made.
03:00It is full to the floor
03:02and they are,
03:03you can't move
03:03because it's out of fiberglass.
03:05So we cut it into
03:06like a bodysuit.
03:08So I found the most amazing
03:10like sculptors of leather
03:12that make these corsets
03:14and pants,
03:14Patrick Whitaker and Kier.
03:15They made the bottom
03:16of the skirt
03:17that's connected.
03:19I love Alan Jones'
03:21paintings as well.
03:22So he actually painted
03:23on our piece.
03:25It was really cool.
03:27He was like adamant
03:27that it be something
03:28current and fresh
03:30that he had like
03:32just worked on.
03:33Not just a piece
03:34from his past,
03:35but something
03:36a little bit more current
03:38as well,
03:39mixed together.
03:40Kate Moss had worn
03:41his original orange piece
03:43from the mid-60s.
03:44First, it was going
03:45to be pink
03:46and then we were like,
03:47no, let's go
03:48with the classic
03:50orangey gold color
03:51that he did first
03:52and I had never worn
03:54that color before
03:55so I thought it was
03:56really cool
03:56to try something new.
04:00For this particular look,
04:01the color is quite vibrant
04:02and orange
04:03so for makeup
04:04we're staying
04:04quite muted,
04:06a little bit softer,
04:07very softly sculpted eyes,
04:09very low to medium contrast
04:11so it's not kind of
04:12fighting with the look
04:13and just enhancing overall.
04:15We're going for something
04:17way out of our comfort zone.
04:18We would never normally
04:19go for a color like this
04:20but in all of Alan's work
04:22he uses synthetic looking wigs.
04:25It's very wiggy
04:26which is obviously
04:27what we try not to do
04:28if we're ever going to use one
04:29but we're leaning into it today
04:30that's why we're trying
04:31these different colors.
04:31Kim would always normally
04:32have a root
04:33which kind of makes it
04:34look more natural
04:35and we didn't
04:36because we want to
04:36kind of play into it.
04:37I think this is the one time
04:38to really create the whole look
04:40and I think it's the Met Gala
04:42so we're going to have some fun
04:44and we do a shoot like this
04:45because you can actually see
04:46how it's all going to come together.
04:47It's tricky because
04:48things read differently
04:49on a shoot
04:49to how they do
04:50on a red carpet
04:51and in real life.
04:51Isn't that like
04:52the scandal of all time?
04:53Something who looks fabulous
04:54with the perfect lighting
04:55and the angles
04:56and then you go on the carpet
04:57and it's like
04:58the worst lighting
04:59on the planet
04:59and it's like
05:00she's a fraud
05:02like what a catfish
05:03she looks nothing like that
05:04and it's like
05:05no no no
05:05you have no clue
05:07what you're working with.
05:09Like when I went blonde
05:10not to bring this back up
05:11but
05:11We can move past this
05:13there's a couple of questions
05:14But Marilyn
05:15like I did not tan
05:17or anything
05:19I did a red carpet
05:19the day before
05:20looked amazing
05:21but on the carpet
05:23you can look orange
05:23if the carpet's red
05:25and it's bouncing off
05:27you know
05:27it's just
05:28carpets are scary.
05:30We had about
05:31three weeks max
05:33to make this happen
05:34and to get fiberglass
05:36body forms
05:36and painted
05:37at auto body shops
05:38and figuring out
05:39the right color
05:40and getting the leather
05:41skirt made
05:42so it was a big
05:43collaborative process
05:44but like
05:45no stylist
05:46like no nothing
05:48it was like
05:48that was really hard
05:49for me
05:50this time
05:50because I just
05:51kind of went in
05:53with my idea
05:54and just made it all happen
05:55and
05:56like leaned on Nadia
05:57it was like
05:58a whirlwind few weeks
06:11did I break this
06:12I ran into it
06:14so hard
06:15if I broke it
06:16or chipped it
06:17what about right here
06:19no
06:19okay
06:21we wouldn't have
06:22had a met look
06:22I would have had to cancel
06:27come in
06:29are you happy
06:30with how the look
06:31turned out
06:31I'm very happy
06:33with how the look
06:33turned out
06:34because you're in it
06:35what did we have
06:36two weeks
06:36three weeks
06:37from when I called you
06:38to today
06:39three weeks
06:40fortunately
06:41I was just
06:42between paintings
06:43and I had
06:4410 days
06:45and I was thinking
06:46what am I going to do
06:47and suddenly
06:47there's the phone call
06:48I was just telling them
06:50fittings are so important
06:51because
06:51our final fittings
06:53because now
06:53we know
06:53maybe this isn't
06:54the right hair
06:55Alan wants my dark
06:56yes
06:56in my naivete
06:58I accepted
07:00Kim as I saw her
07:01for the first time
07:02and the contrast
07:04of the dark hair
07:05made me spark
07:06to these warm colors
07:08so we might have
07:09to revert
07:10to the dark hair
07:12we will see
07:13met Monday
07:14which will make
07:14this a unique moment
07:15we will see
07:31to the dark hair
07:34on my background
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