"...the interaction between an anonymous individual and his car, the transits of his body across the polished cellulose panels and vinyl seating, his face silhouetted against the instrument dials.
"Caring for him, I wanted to stroke his scarred thighs and abdomen, offering him the automobile injuries carried by my own body in place of those imaginary wounds he wished upon the actress." -J.G. Ballard, Crash
JAMES SPADER as James Ballard
CRASH (1996), dir. David Cronenberg
Zendaya at the Met Gala 2024, wearing custom Maison Margiela Artisanal by John Galliano, and hat by Stephen Jones.
The fruit, flowers, insects and birds on the gown fit the dress code of the night, 'The Garden of Time', inspired by J.G. Ballard's 1962 short story (explained here by the BBC).
The gown also references John Galliano’s Spring 1999 couture collection for Dior, in particular the gown below, decorated with grapes.
Maison Margiela said:
'A sage lamé bias-cut ‘siren dress’ overlaid with iridescent electric blue organza with ‘retrograding’ in undulating bands of hand-painted metallic crin, swathed in an aluminium material and iridescent organza drape and bow, with a corsage hand-embroidered in a bacchanal of hand-painted impasto in the grammar of the electric blues and emerald greens of scarab amulets, with formations of birds, flowers, vines, grapes and nuts, worn over a boudoir-coloured duchess satin corset. A silver metal-wire ‘reverse swatching’ hat and a black hand-painted voile crafted in the memory of plume and enveloped in matching coloured stockings by Stephen Jones for Maison Margiela, and Eau de Nil velour and faux lizard Tabi interlaced ankle-strap pumps by Christian Louboutin for Maison Margiela.
Created for Zendaya by John Galliano for Maison Margiela, the haute couture silhouette was inspired by the 1930s mythological works of the photographer Madame Yevonde and imbued with the memory of the orgiastic sceneries of the bacchanals of Ancient Greece. In a dance between painterly cutting and draping techniques – unique to each layer of the construction – and the superposition of fabric textures such as tin foil with transparent iridescent organza overlay, the composition conjures the staccato brushstrokes of Giovanni Boldini. The bias-cut ‘siren dress’ is a key expression in the creative practice of John Galliano, which first appeared at Maison Margiela in the Spring-Summer 2020 Artisanal Collection. Infused with a certain ‘snobisme’, the look is given the epithet of ‘86 and Lexington’, a nod to the subway station near The Met.
The dress was crafted with ‘retrograding’, a technique through which variations of thread-work, appliqué or encrustation degrade from the bottom to the top of a garment like the linear base drawing of a painting that hasn’t yet been finished. The ‘reverse swatching’ technique employed in the hat exchanges the fabrics traditionally used for certain parts of dressmaking with materials of a contrasting value.' X
"Modern consumerism relies on the subject believing that they are in control, while their thoughts and actions are progressively delimited by a fossil infrastructure that molds the ostensible user in its own corrosive image, leading to an inversion of user and used."
“For Vaughan, events have no meaning and do not even seem to be phenomenologically present until they are captured and mediated by some means of mechanical reproduction. The image is at the hands of the text's characters thus the subject of both fetishisation and exorbitation: nothing is more real than the image, and without the image there is no longer any real.”
this year’s met gala is haunted, not only by civil unrest and genocidal warfare, but by its own theme. invitees can dance in designer gowns like dead flowers but they cannot escape what the rotting garden represented to ballard: the inevitable, bloody fall of the ruling class.
"Though Ballard thought in terms of film and television—and though we ourselves play the role of the selecting computer in his scenario—this description almost perfectly captures the behavior of the average user of Facebook, Instagram, etc."
Honestly, I'm kinda disappointed that no one went to the Met Gala dressed as the advancing horde of poor people dressed in rags.
As was his custom before beginning his evening stroll, Count Axel looked out across the plain to the final rise, where the horizon was illuminated like a distant stage by the fading sun. As the Mozart chimed delicately around him, flowing from his wife’s graceful hands, he saw that the advance column of an enormous army was moving slowly over the horizon. At first glance, the long ranks seemed to be progressing in orderly lines, but on closer inspection, it was apparent that, like the obscured detail of a Goya landscape, the army was composed of a vast throng of people, men and women, interspersed with a few soldiers in ragged uniforms, pressing forward in a disorganized tide. Some laboured under heavy loads suspended from crude yokes around their necks, others struggled with cumbersome wooden carts, their hands wrenching at the wheel spokes, a few trudged on alone, but all moved on at the same pace, bowed backs illuminated in the fleeting sun. The advancing throng was almost too far away to be visible, but even as Axel watched, his expression aloof yet observant, it came perceptibly nearer, the vanguard of an immense rabble appearing from below the horizon. At last, as the daylight began to fade, the front edge of the throng reached the crest of the first swell below the horizon, and Axel turned from the terrace and walked down among the time flowers.
This was the theme of the fucking met gala this year:
In an unnamed place and time, a majestic villa overlooks a garden of delicate, glass-stemmed flowers. Home to Count Axel and the Countess, the otherwise elegant landscape is unsettled by a dark blot on the horizon. It is an army of furious workers, drawing nearer day by day. To slow its approach, Axel plucks the time flowers from his garden; each one dissolves in a burst of light which rewinds time itself, and so the threatening horde shifts back on the skyline. This solution, however, is only temporary. The garden of time is faltering, the flowers are almost all gone, and the masses will soon arrive to take their long-awaited revenge.
This is the premise of The Garden of Time, a 1962 short story by J.G. Ballard.