A Very Expensive Lack of Imagination
Lauren Sánchez Bezos secured reported exclusivity with Schiaparelli for the 2026 Met Gala, only to arrive in a look that exposed a much bigger problem than one boring dress. This wasn’t just a fashion misfire. It was a case study in how the Met Gala is drifting away from artistic risk and towards billionaire branding, reputation management and creativity by committee. At an event themed “Fashion Is Art”, the real scandal wasn’t excess. It was safety.
Borrowed, Branded, and Sold Back
Prada’s promised collaboration with Kolhapuri artisans reads like progress — until you remember it only happened after the brand sent an almost-identical sandal down the Milan runway, priced it at over $800, and “forgot” to credit the people who’ve made the design for centuries. That’s the point: cultural appropriation in fashion isn’t a one-off scandal, it’s a repeatable script — extract, mark up, rebrand as “inspired”, apologise only when the backlash becomes expensive. And the harm isn’t theoretical. It’s economic displacement, cultural erasure, and a hierarchy where marginalised communities are punished for what luxury sells as “editorial”. Ethical exchange isn’t complicated: collaborate from the start, credit loudly, share profits, and shift power — because respect isn’t radical. It’s the bare minimum.
Dressed for the Runway, Undressed for the Office
Lagos celebrates Nigerian fashion on global runways, yet corporate offices still treat native wear as unprofessional. This essay examines the colonial roots of that contradiction and asks why professionalism in Nigeria still refuses to look Nigerian.