So I started thinking about playing around with the double C Chanel logo. I was very happy that they were open for me to do kind of shape-yĬan we talk about the headpiece? Once Karl Lagerfeld presented the double F Fendi logo on top of a hat. Your work does a lot with shape and volume and it’s great you were able to integrate that. And Marni had a tailor in New York make the body suit or corset. I don’t remember the name of the brand, but we had to go to different shops across eight different cities in Holland.Ĭan you talk more about the construction? We shaped it with wire and boning, and then we wanted to make the corset go away from the body so she could have space to move and it also followed the birdcage reference. These weren’t Chanel bags, correct? Right. We ended up going to different retailer shops here and buying like 55 bags and unscrewing all the chains on the bags and putting them together to make a dress. Everybody in my studio was researching how we could get chains.
But it was very last minute and we are in Amsterdam. That concept and the gold chain design were my two favorites. There was one that was inspired by the Chanel birdcage bag but it was made with pearls that went over the head. Was that your favorite design out of everything you proposed? Yea. Chanel is known for the leather fabric going through the handbag chains and I thought of the idea of creating braids that sort of go through the chains and then hit the ground. And I thought that would be really great. Originally it had a pretty big white skirt underneath it, but then Marni was like, maybe we could have the chains go to the ground. I made about six to nine design proposals and the one they chose was the golden chains. From there I started finding inspirations and sort of playing with different types of forms. And the idea of turning Yung Miami into a Chanel bag came up. We talked about her inspirations and pearls and Diddy’s look. How did it come together? Marni reached out maybe two weeks before the event. Here, Lantink speaks about the process of designing the dress, the impact it had on his brand, and his thoughts on the other Met Gala looks. The Dutch designer, who is based in Amsterdam, is known for using old luxury clothes to make something new and he took a similar approach with Yung Miami’s dress, which was constructed with about 55 handbags purchased across eight different cities in Holland.
Coco Chanel wasn’t really about logos, so I thought it would be fun to play with a logo.” “It was a tribute to Karl, who brought logos to Chanel. So I started thinking about playing around with the double C Chanel logo,” says Lantink. “Once Karl Lagerfeld presented the double F Fendi logo on top of a hat. His design was one of the few looks from the evening that played with a Lagerfeld signature: logos. He also created a head piece made out of fake hair that remixed Chanel’s double C logo with “CG,” which stands for City Girls. Lantink, who has created designs for artists like Beyoncé, came up with about nine concepts, including a birdcage made of pearls, but the corset dress constructed with gold chains, which were intertwined with fake hair to mimic the handles on Chanel’s quilted bags, was Yung Miami’s favorite. He’s the subject of the Costume Institute’s spring 2023 exhibition: “A Line of Beauty.” Lantink received a call from Yung Miami’s stylist Marni Senofonte two weeks before the event requesting concepts that paid homage to Karl Lagerfeld, the late designer who formerly led brands like Chloe, Fendi, and Chanel. Duran Lantink’s Met Gala design for Yung Miami (aka Caresha) didn’t make the red carpet, but it should have.
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