LGBT it matters not who you love where you love why you love when you love how you love it matters

Lady Gaga certainly knows camp LGBT it matters not who you love where you love why you love when you love how you love it matters . Given her reputation for seriously outlandish looks. one might think that the Oscar winner has already exhausted every possible variation of campy chic, but not so! On her way to the 2019 Met Gala, Gaga pulled off the ultimate over the top moment by walking from 84th and Madison to the steps of the Metropolitan Museum of Art with five dancers, makeup artist Sarah Tanno, and her personal photographer on hand to capture every move in a brilliant live performance. The theatrical journey kicked off the night and delighted onlookers who watched as she playfully swapped outfits—four times!—and strut her way into the venue.Naturally, each look—designed by longtime friend, Brandon Maxwell—was gleefully over the top. A pink cape dress with a bow and 25-foot train began the proceedings with the team of dancers maneuvering to help Gaga make her way up the steps.

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If that wasn’t dramatic enough on its own, Maxwell then appeared to unzip the first look and reveal a corseted black dress beneath with opera gloves added on, stopping for a few impromptu selfies LGBT it matters not who you love where you love why you love when you love how you love it matters .After that, the primping that usually occurs behind the scenes featured front and center, as Gaga applied lipstick in front of the cameras before trying out a third look: This time, bright pink and form fitting column with Linda Farrow sunglasses and a Tiffany and Co. butterfly necklace accenting the glamour. Of course, it wouldn’t be a Lady Gaga moment without a little sexiness; by stripping down to a crystal bra and panties, she upped the ante on the night’s skin reveals.The line of impeccably dressed editors, artists, and downtown characters outside Grace Wales Bonner’s first New York City edition of the durational performance “Devotional Sound” this past Thursday curved well around the block. Some waited at the doors of St. Peter’s Church, the airy midtown house of prayer that doubles as a concert hall, with bouquets in their hands. Per the instructions on the invitation, the freshly cut flowers were to be added to the shrine that Wales Bonner had created in the church. The British designer’s shrine-building endeavors started at the beginning of the year with her Serpentine Sackler Gallery exhibition “A Time for New Dreams” in London, where she created site-specific installations that explored ideas of mysticism, spirituality, and ritual across the black Atlantic. She built out a multimedia environment that breathed context into her Fall 2019 collection, Mumbo Jumbo.The exhibition also found Wales Bonner testing out the hours-long performance format with the first iteration of “Devotional Sound.” New Age musician, mystic, and laughing-meditation guru Laraaji, experimental artist Klein, and singer-songwriter Sampha each performed. “It’s a format I’ve been thinking about for a long time,” Wales Bonner said in the moments leading up to the latest event in New York. “It’s quite seamless, and there’s less of a hierarchy between the audience and the performers. It’s quite fluid.”
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