Browne says he was Horror Halloween we used to smile and then we worked at Lilly shirt . inspired first and foremost by the female form. “I designed this dress for Cardi specifically because she has the ultimate beauty in a woman’s body, and that is what the dress is about for me: taking advantage of that beauty,” the designer says. In spite of its full coverage, the dress really does emphasize certain areas—there are yonic embellishments, a heart-shaped cutout on the backside, and 44-carat ruby nipples, custom-designed by Stefere Jewerly, which cost a whopping. Only Cardi could manage to show no skin yet still draw attention to every single body part.Katy Perry always embraces the Met Gala’s themes with gusto. As music’s queen of kitsch, she lives to interpret an offbeat concept and her frequent collaborations with Moschino designer Jeremy Scott have yielded some of the wildest Met fashion moments in recent memory. Still, she may have outdone herself this year by arriving on the carpet dressed as a giant crystal chandelier complete with glowing lights.
Horror Halloween we used to smile and then we worked at Lilly shirt, hoodie, sweater, longsleeve and ladies t-shirtThe over-the-top outfit had onlookers reaching for their iPhones in an attempt to capture what could be the night’s most unexpected look Horror Halloween we used to smile and then we worked at Lilly shirt .For its creator, the decision to light up the carpet quite literally was an obvious one. “Who has ever been to a ball that did not have a chandelier?!,” shared Scott. “The idea of elegance itself is quite camp and I wanted to play with that concept, poke a lil fun at it with a loving nudge.”As one can imagine, bringing this radical idea to life required serious skill. “The look is extremely complicated, perhaps my most complicated creation to date!” said Scott whose team spent 6 weeks painstakingly placing thousands of Swarovski crystals onto the dress before hanging actual chandelier pieces from the Swarovski’s lighting branch for added authenticity. All the effort would have been in vain if Perry’s look didn’t have a final touch of magic: a working light fixture beneath the layers of sparkle. “There is a built-in corset consisting of 18 steel bones and two hidden battery packs to illuminate the lights,” said Scott, “I mean who wants to wear a chandelier that doesn’t light up!”With a personal spotlight to brighten her strut up the steps of Metropolitan Museum of Art, Perry was at her exuberant best. Not to be outdone, Scott gave the crowds disco dapper in his crystal-encrusted suit and together they were a perfectly matched pair. After years of collaborating, Scott considers the star his partner in crime. “Working with Katy is always fun because she really gets my humor and can play with it like nobody else and even amp it up a few notches,” he says noting her meticulous knowledge of his oeuvre and fearlessness. “I could not have dreamt up a better muse if I had created her in a test tube at a lab!”
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