{"id":582667,"date":"2026-05-05T18:25:56","date_gmt":"2026-05-05T16:25:56","guid":{"rendered":"https:\/\/highxtar.com\/notas-de-la-gala-met-cuando-el-diablo-viste-de-zara-y-amazon-lo-patrocina\/"},"modified":"2026-05-05T18:30:41","modified_gmt":"2026-05-05T16:30:41","slug":"notes-from-the-met-gala-when-the-devil-wears-zara-and-amazon-sponsors-it","status":"publish","type":"post","link":"https:\/\/highxtar.com\/en\/notes-from-the-met-gala-when-the-devil-wears-zara-and-amazon-sponsors-it\/","title":{"rendered":"Notes from the MET Gala: When the Devil Wears Zara (and Amazon Sponsors It)"},"content":{"rendered":"\n

The Met Gala has always been a carefully crafted fantasy. A space where fashion transcends reality, shielded by spectacle. In 2026, even though the theme was \u201cFashion Is Art,\u201d the fantasy seems to be falling apart\u2014or at least, reality can no longer be concealed beneath it.\u00a0
Because this is no longer about infiltrating the elite; it\u2019s about cultural dominance. What has happened this year is no mere coincidence: Zara dresses\u00a0Bad Bunny<\/a><\/strong>\u00a0and Stevie Nicks\u2014in this case, in a John Galliano design\u2014while Gap turns a T-shirt into haute couture on Kendall Jenner, and Marta Ortega makes her first appearance at the gala. It\u2019s not fast fashion trying to look like luxury: it\u2019s fast fashion operating as the dominant language\u2014which it is.<\/p>\n\n\n\n

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