May 6, 2024 • 5 mins
On the first Monday in May each year, celebrities and fashion aficionados the world over descend on New York City for the Met Gala. Who better to consult with about the extravaganza than the master of ceremonies herself, Vogue editor Anna Wintour? In her sit-down last year with Table for Two host and AIR MAIL contributor Bruce Bozzi, Wintour reflected on her involvement in the Met Gala, and how it grew into the star-studded spectacle it is today.
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Speaker 1 (00:13):
The met.
Speaker 2 (00:14):
Well that was because of Oscar, I mean Oscar Delaarento,
who was my great friend and whose wife, Annette de Lorento,
is also a great personal friend. They called me a
million years ago and said, would you ever consider helping
the Costume Institute? And you know, I had been aware
of the VET and the what they did when I
(00:37):
was first living in New York and was a junior
editor at New York Magazine. And I remember going to
the met when I was there with someone called Henry Post,
who was my colleague in magazine, who sadly died of
e ades and was certainly one of the reasons that
I wanted to try and help at that at that
(00:58):
time and just be awed by what Missus Reeland had done,
and it just seemed it was a glamorous evening i'd
ever been at. And I didn't go to the dinner,
couldn't afford to go to the dinner. I was just
at the cocktails of Henry. But we had an amazing time.
And so when an Oscar called me, because after Missus
(01:21):
Reeland was no longer working with the museum, it's sort
of there was no leadership, or there wasn't as an
involved with leadership so much vision and asked me to
see if I could help. I mean, I really there
was not a grand plan. I just did it because
if Oscar called, you always said yes. And I really
(01:43):
was very naive. I think I didn't realize what I
was stepping into. And it just became something that I
felt more and more passionate about over the years, and
obviously it came more recently. Became so close with Andrew
Bolton and so love work with him and Bill to
support his division and his mind and helped put a
(02:05):
spotlight on the amazing work he does. And it the
met itself and it just grew over the years. But
I can't pretend that there was a grand plan or
a grand strategy. It just grew. I mean, and it
has been twenty five years. It's like it just in
a day.
Speaker 1 (02:23):
It's sort of interesting because that's the organic truth of it. Yeah,
when something has has a life of its own. I
think what makes it such a spectacular night is it's
organic it has grown into and it's actually you know,
one of the things that I don't think it gets
enough credit for, at least that I've read, is it's
(02:43):
it's an economic plus for the city. People come in.
It's all these sort of ansil instances.
Speaker 2 (02:50):
Yeah, it's almost become a week of celebration.
Speaker 1 (02:53):
Yes, I think.
Speaker 2 (02:55):
What's really important to note is it costome Institute is
its own department within the museum, and everything that we
raise over the year, and particularly of course during that
one night, that is what supports it. It supports its
(03:16):
acquisitions budget, it's operating costs, the cost of the exhibition.
We are self funded, so we receive no funding at
all from them itself. So that is sometimes an important
point that people don't necessarily realize. And of course raising
the money is so important, and putting a spotlight on
exhibitions and bringing a much broader language of fashion to
(03:43):
a broader public is incredibly important. But I do want
to say that it's supporting somebody like Andrew who of
first of all, he's so much fun, but he's brilliant,
and to watch how his mind starts to grapple with
the subject of an exhibition, I mean, I'm sure Brian
(04:03):
talks to you a lot about this in his role.
When you see a creative vision start to unfold and
put together all the different pieces and watch the storytelling
how a reality like. I know we get a lot
of attention around the party, but we do it because
of the black.
Speaker 1 (04:22):
I will say that I've had the good fortune of
going to the party and I seem always get the
dress wrong. I think it's because I'm married to Brian
Laurd who never lets me. I'll tell you, no one
realize after we had left, so I have some plan.
(04:48):
Table for two with Bruce Bosi is produced by iHeartRadio
seven three seven Part and Airmail. Our executive producers are
Bruce Bosi Nathan King. Our supervising producer and editor is
Dylan Fagan. Table for two is researched and written by
Jack Sullivan. Our sound engineers are miil B Klein, Jess Krainich,
(05:08):
Evan Taylor, and Jesse Funk. Our music supervisor is Randall Poster.
Our talent booking is done by Jane Sark. Table for
two's social media manager is Gracie Wiener. Special thanks to
Amy Sugarman, Uni Scherer, Kevin Yuvane, Bobby Bauer, Alison Kanter, Graber,
Barbara Jen, Jeff Klein, and the staff at the Tower
(05:30):
Bar in the world famous Sunset Tower Hotel in Hollywood.
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcast,
or wherever you listen to your favorite shows.
The met.
Speaker 2 (00:14):
Well that was because of Oscar, I mean Oscar Delaarento,
who was my great friend and whose wife, Annette de Lorento,
is also a great personal friend. They called me a
million years ago and said, would you ever consider helping
the Costume Institute? And you know, I had been aware
of the VET and the what they did when I
(00:37):
was first living in New York and was a junior
editor at New York Magazine. And I remember going to
the met when I was there with someone called Henry Post,
who was my colleague in magazine, who sadly died of
e ades and was certainly one of the reasons that
I wanted to try and help at that at that
(00:58):
time and just be awed by what Missus Reeland had done,
and it just seemed it was a glamorous evening i'd
ever been at. And I didn't go to the dinner,
couldn't afford to go to the dinner. I was just
at the cocktails of Henry. But we had an amazing time.
And so when an Oscar called me, because after Missus
(01:21):
Reeland was no longer working with the museum, it's sort
of there was no leadership, or there wasn't as an
involved with leadership so much vision and asked me to
see if I could help. I mean, I really there
was not a grand plan. I just did it because
if Oscar called, you always said yes. And I really
(01:43):
was very naive. I think I didn't realize what I
was stepping into. And it just became something that I
felt more and more passionate about over the years, and
obviously it came more recently. Became so close with Andrew
Bolton and so love work with him and Bill to
support his division and his mind and helped put a
(02:05):
spotlight on the amazing work he does. And it the
met itself and it just grew over the years. But
I can't pretend that there was a grand plan or
a grand strategy. It just grew. I mean, and it
has been twenty five years. It's like it just in
a day.
Speaker 1 (02:23):
It's sort of interesting because that's the organic truth of it. Yeah,
when something has has a life of its own. I
think what makes it such a spectacular night is it's
organic it has grown into and it's actually you know,
one of the things that I don't think it gets
enough credit for, at least that I've read, is it's
(02:43):
it's an economic plus for the city. People come in.
It's all these sort of ansil instances.
Speaker 2 (02:50):
Yeah, it's almost become a week of celebration.
Speaker 1 (02:53):
Yes, I think.
Speaker 2 (02:55):
What's really important to note is it costome Institute is
its own department within the museum, and everything that we
raise over the year, and particularly of course during that
one night, that is what supports it. It supports its
(03:16):
acquisitions budget, it's operating costs, the cost of the exhibition.
We are self funded, so we receive no funding at
all from them itself. So that is sometimes an important
point that people don't necessarily realize. And of course raising
the money is so important, and putting a spotlight on
exhibitions and bringing a much broader language of fashion to
(03:43):
a broader public is incredibly important. But I do want
to say that it's supporting somebody like Andrew who of
first of all, he's so much fun, but he's brilliant,
and to watch how his mind starts to grapple with
the subject of an exhibition, I mean, I'm sure Brian
(04:03):
talks to you a lot about this in his role.
When you see a creative vision start to unfold and
put together all the different pieces and watch the storytelling
how a reality like. I know we get a lot
of attention around the party, but we do it because
of the black.
Speaker 1 (04:22):
I will say that I've had the good fortune of
going to the party and I seem always get the
dress wrong. I think it's because I'm married to Brian
Laurd who never lets me. I'll tell you, no one
realize after we had left, so I have some plan.
(04:48):
Table for two with Bruce Bosi is produced by iHeartRadio
seven three seven Part and Airmail. Our executive producers are
Bruce Bosi Nathan King. Our supervising producer and editor is
Dylan Fagan. Table for two is researched and written by
Jack Sullivan. Our sound engineers are miil B Klein, Jess Krainich,
(05:08):
Evan Taylor, and Jesse Funk. Our music supervisor is Randall Poster.
Our talent booking is done by Jane Sark. Table for
two's social media manager is Gracie Wiener. Special thanks to
Amy Sugarman, Uni Scherer, Kevin Yuvane, Bobby Bauer, Alison Kanter, Graber,
Barbara Jen, Jeff Klein, and the staff at the Tower
(05:30):
Bar in the world famous Sunset Tower Hotel in Hollywood.
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcast,
or wherever you listen to your favorite shows.
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