It was while Saoirse Ronan was enjoying the full fairy-godmother treatment, courtesy of stylist Danielle Goldberg, that Carey Mulligan decided she, too, was ready for a turn under the wand.
“I know Saoirse, and I was just like, ‘That’s exactly who she is!’” the actor says while milling around a gym in a friend’s size-13 sneakers, having left her own in London (the sum total of her Met Gala prep, bar “trying to drink water on the plane”). “Danielle has such an incredible eye,” she adds, “and is interested only in working with the person as they are, bringing out their personality, and ultimately making them comfortable.” For Mulligan, that has meant blood-orange-and-tangerine Colleen Allen skirt sets for the Beef premiere, and cocoon-sleeved The Row tailoring for collecting a CBE. She has always looked good, of course, but now she’s homed in on a singular, quirked-up chic that feels all her own.
For Met Monday, the pair picked out a Prada column dress of silk radzimir, printed with an abstract, solarized rectangle motif first seen in the house’s spring 1998 collection. “Danielle was poring over the archives, and when she showed me that print, I was just like, ‘That’s so cool and fun,’” says Mulligan. “Prada is so good at making clothes that feel slightly ‘off’—and this is that.”
Under Miuccia Prada—and now alongside Raf Simons—that instinct for the off-kilter, for de- and re-contextualizing the familiar, has long invited the sort of chin-stroking discourse befitting a “Fashion is Art” dress code. Still, Mulligan is quick to note, none of this comes at the expense of ease. “I’m not trying to be a sculpture,” she says. “I’m prepared to cinch my waist and wear heels, but I want to feel like myself. The moment it tips beyond that—that’s where I run into trouble.”
Prada spring/summer 1998.
Sarah Jessica Parker at a UNICEF event in 1998.
Ron Galella, Ltd./Getty Images
Being dressed by a stylist, then, isn’t so different from working with a costume designer: Both are, ultimately, in service of truth. (If her Oscar-nominated turn in Promising Young Woman prompted a brief flirtation with hot-pink—a palette she quickly retired, but revisits tonight—her role as Lindsay in Beef proved less influential. “The prairie dresses were spot on for her, but I found myself retreating into black jumpers and black trousers after that.”) Both, too, play an intimate role in defending the private/professional threshold—something that can feel perilously thin when you’re faced with a wall of camera flashes and a scrum of tiny mic-wielding reporters demanding to know what’s in and out. “It’s about making the press stuff feel more lighthearted,” she says. “I’ve been on a big journey—from being young and terrified and crying on every red carpet to thinking, ‘Okay, this is my job, and I’m talking with people I love about projects that have been so much fun.’ I think this look is fun, no? Not too serious?”
Even for a former co-host—of 2012’s “Schiaparelli and Prada: Impossible Conversations” gala, which is still her favorite because it coincided with her honeymoon—the red carpet is just as intimidating as when Mulligan first attended in a lilac Prada mini dress with black tights and peep-toe booties in 2010. “Every time I’m like, ‘I’ve been to the Met a lot, I’m fine! And then you reach the queue, and it’s like… shit.” The mood flips, apparently, as soon as the last photographer calls your name. “It all of a sudden becomes a different thing,” she says. “If you’ve been around for as long as I have, you end up bumping into mates you haven’t seen for years, surrounded by the most famous people in the world. It’s madness!” And then there’s the music—she “lost [her] mind” when Cher performed in 2019—and, inevitably, the exhibition. “Even when the theme isn’t ‘Costume Art,’ the Met Gala is always an extraordinary display of art, both in what’s worn for the evening, and what’s shown in the museum itself.”
