Why Lauren Sánchez Bezos Is Storming the Gates of the Met Gala – Mother Jones

When distinguished guests and A-listers gather tonight for this year’s Met Gala, two new faces will greet them on the receiving line: Lauren Sánchez Bezos and Jeff Bezos, both of whom will be at Monday’s event as honorary chairs, in addition to their roles as lead sponsors.

The appointment, which prompted a small outcry and calls for a boycott, is something of an apotheosis for the Bezoses, who have spent recent years effectively inviting themselves into some of the most exclusive corners in high fashion. There they were in January, sitting next to Anna Wintour herself, at the Paris couture shows. During the same visit, Sánchez Bezos was seen palling around with Zendaya’s stylist, the highly influential “image architect,” Law Roach. (The following day, Sánchez Bezos was spotted tripping in sky-high heels on her way to dinner with her husband.) And in June 2025, Sánchez Bezos became one of the exceedingly few brides to have their nuptials celebrated with a Vogue cover.

The enthusiasm with which the Bezoses have stormed the gates of the fashion world is the latest attempt among today’s oligarchs to seize cultural cachet. These titans of industry, apparently no longer satisfied with enormous wealth and power, now seem hellbent on sealing their reputation as fashion insiders.

But is any of this landing with the public? Will serving as honorary chair at the top of fashion’s biggest staircase cement the Bezoses’ status in high fashion? I talked to Anne Higonnet, an art historian at Columbia University, for more.

Lauren Sánchez’s eagerness to join fashion royalty is well established at this point. Now, as honorary chairs for the Met Gala this year, a sort of “storming the gates” image is invoked.

I’m going to use that image to say that what we have been witnessing in our culture is that the gates have been moved to a new place, and the most visible peak of the phenomenon is the Met Costume Institute. We are witnessing a sea change in cultural values, with fashion rising in the hierarchy of the arts with lightning speed, and the power of the super-rich to control culture. And this is the moment where the change really becomes visible. You’re absolutely correct that Jeff Bezos and Lauren Sánchez have realized that this is the gate.

Can you point to any historical precedents for this? The rich and powerful attempting to gain further influence through fashion?

Yes and no. In the larger scheme of clothing history, every society has expressed its hierarchy through clothing. Societies used to be run by a very tiny group at the top, or even just one or two people. Basically, a king, who sometimes has a queen, would get to wear something different from what anyone else was allowed to wear. The birth of modernity overturned many of those rules, including what art forms were considered to have more prestige. Of course, there were other prestigious art forms, but before modern times, clothing was much more powerful as a marker of hierarchy than we tend to remember.

What’s happening now is that the hierarchies of the art world are tumbling around, and fashion is really rising in the cultural scheme. As it does that, the super-rich, who are smart, are increasingly involved in fashion. One very, very visible, important way to do that is to be the chair of the Met Gala. So, surprise, surprise: Jeff Bezos and Lauren Sánchez are the chairs of the Met Gala.

Relatedly, Big Tech is set to have a major presence at this year’s event. These are people who have enormous wealth and seemingly everything. Why are they so eager to conquer fashion?

Because fashion has become so much more visible and important, largely thanks to social media, where you see much more [content] about fashion than painting, sculpture, or architecture, which used to be the three dominant arts. This power is quantifiable, too. Just look at the number of followers fashion influencers have versus how many followers high art museums have. Consider that the floor plan of the Met has always been a map of cultural power. And now, with this gala, the Met recently decided to allocate its prime real estate on the ground floor to the Costume Institute because it is so commercially important. It will be the first thing people see when they enter, instead of the gift shop.

At the same time, the announcement of the Bezoses’ honorary chair appointments was tucked into the end of a two-page memo. Is there an implication here that organizers, namely Anna Wintour, understand that this is a controversial appointment?

Anna Wintour rides controversy like the wind. She’s one of the great culture power brokers of our time, and perhaps the single most visible power broker today. She’s way too smart not to realize that something is changing. The way I would put it is that she understands the magnitude of the move she’s made with [the Bezos appointment]. It’s as big a change as people think it is, whether you approve of it or you don’t approve of it. She’s doing it, and she’s being bold. She’s riding the wind of cultural change.

Evidence number one is the Sánchez Bezos appointment to the gala. Evidence number two is the new location of the Costume Institute inside the Met. Evidence number three is the theme of the show and of the gala, “fashion is art.” Because while it is not historically specific or even thematically specific, it’s a power manifesto. It’s not begging for fashion to be recognized as art. It’s just announcing, painting, sculpture, and architecture—move over.

Let’s talk about Sánchez’s fashion more broadly. How would you describe her style?  What is the story that Sánchez is trying to tell us through her clothing?

Her clothes are self-objectifying showcases of Bezos’ wealth. There’s this brilliant economic historian, Thorstein Veblen, who wrote these essays about what he called “conspicuous consumption.” Even though it’s from the 1890s, my students just love this concept and totally understand why it’s as relevant now as it ever was. He said clothing can manifest conspicuous consumption to show everyone that you have money to waste. Veblen also made a brilliant gender point by noting that we live in a world that is controlled by men, and the ultimate way in which [men] show their wealth is how their wives or mistresses dress. It was the ultimate show of power, because they got to do all the conspicuous consumption with none of the bother of having to wear the clothes that were not comfortable or practical in any way.

Some have argued that despite the expensive clothes, Sánchez often comes away looking cheap or tacky. Why?

That’s because her clothes have to be screamingly expensive. Style has to do with individuality and an affirmation of one’s aesthetic place in the world; it’s very much an affirmation of self. And the greatest style in the world is the most confident, understated style, which we call elegant or chic. Sánchez Bezos is neither. She’ll never be elegant, ever.

The mayor, who, at least to my mind, is on the opposite end of this, is not coming. What is he signaling here?

Well, first of all, Alexandria Ocasio-Cortez got in big trouble for going in 2021. So he hasn’t forgotten that. I mean, if you’re a socialist, and you go to an event where the seats cost $75,000, you’ve got a lot of explaining to do.

But also, look at his wife, who is actually quite elegant because she conveys that she is a person in her own right and that her worth in the world does not depend on money.

Finally, things are bad out there. Economic inequality, war, constant dystopia. Parties like this can feel a bit strange. Historically, though, is there something to say about fashion’s role in class struggle?

Clothing’s role in expressing social hierarchy is the rule, not the exception, of history. Now, in our modern post-French Revolution, universal rights of man, way of thinking, we don’t think that clothing should necessarily express social hierarchy. But at the same time, as with all forms of art, some people do it better than others. I’ve seen homeless people with more style than some supermodels. Style is why I’ll never stop loving clothing as an art form. Clothing and style are also one of the most democratic of all the arts. We all do it. We all can do it.