“I’ve loved fashion my entire life,” says Gwendoline Christine. “I’ve loved fashion, acting and art. And so to be asked to be part of the committee for this evening that raises funds for the Costume Institute, which is one of the best exhibitions that I look forward to every year, is a real privilege for me.”
The actor was part of the host committee at the 2026 Met Gala, and worked with her partner, designer Giles Deacon, on the dress, as well as artist Gillian Wearing on a mask and milliner Stephen Jones on a headpiece, paired with custom Herbert Levine shoes. She was styled by Katie Grand with hair by Adir Abergel and makeup by Jenna Kuchera for Pat McGrath.
Related Articles
“I really returned to the foundations of how I feel about fashion, how I feel about these moments, how I feel about my body,” Christie says. “And what it came down to really for me in terms of fashion’s art is relationships.”
You May Also Like
“In response to the theme ‘Fashion Is Art,’ I approached the body as a constructed, painterly surface with reference to John Singer Sargent handling of tone and light — Sargent crimson, carmine and lake create a beautiful complexity when worked through depth, shadow and movement so the surface feels alive rather than static,” Deacon says.
“The structure is corseted and precise, giving a classical foundation, but the surface is deliberately worked by hand,” he continues. “Each strip is individually cut, placed and subtly frayed, creating variation in tone and texture so the dress reads as constructed rather than decorative. The collective reds move through deeper, shadowed tones into lighter, more translucent layers, giving it the depth and presence of a painting.”
Christie says that after settling on a silhouette, they still felt like something was missing.
“I felt like I hadn’t embodied the relationship strongly enough, and something was bothering me. I knew that I needed to take this into a different place,” she says.
She then came across a photograph by Madame Yevonde called “Mask” in the National Portrait Gallery that inspired her.
“It made me think about the duality of our existence in an ever turbulent world. It made me think about my own masks in my work, my own deep vulnerability that I feel for many reasons, but in part my physicality,” Christie says. “And I thought about one of my favorite contemporary living female artists, the British Turner Prize-winning artist Gillian Wearing.”
“Gwendoline approached me to ask to recreate something along the lines of a photographic work I made called ‘through mask and mirror’ in 2017,” Wearing says. “There is something about mask as both a mirror and a disguise, it creates a subtle, disorienting dialogue between self and reflection, and the instability of identity, that the self is never singular, never one thing,” Wearing says. “That we all wear masks, we all have many selves we perform for different people or events. The mirror mask emphasizes this performativity, which is perfect for the Met Gala, where the attendees are both themselves and their public personas; it’s an event where everything is much more magnified.”
“As someone who often felt marginalized within the industry and society, who has been embraced, and I am fortunate enough to have a wonderful career as an actor and an artist, this is an extremely meaningful moment to me,” Christie says of the 2026 Met experience. “And I’m hugely, hugely grateful for it.”