Marc Fennell

But actually, when you start looking at pictures of Diana Vreeland, you actually get a sense that maybe that Miranda Priester character might have had a little bit more in common with Diana Vreeland in terms of her look and how she carried herself.

That's always been my interpretation of Diana Vreeland.

Tell me which bits I'm getting right and which bits I'm getting wrong.

Alright, so Diana Vreeland, larger than life, running Vogue, building this whole mythology around it.

But what, you ask, does any of this have to do with the Met Gala?

Well, Diana, she's riding high right up until this happens.

So she's offered the job of being curator of the Met Gala and its exhibitions.

And what Diana brings as a curator, it's not just a makeover, although she certainly does do that.

She completely reconceptualizes it.

She brings this sort of energy.

She views this event through the lens of something she grew up with in the 1930s, this idea of the cafe society.

Yes, this is that idea that artists and socialites and movie stars and musicians kind of have this shared aura that they would party together at Studio 54.

You'd see them at all the same social events.

It's that idea that there's this rarefied world.

the rich, the famous, the creative, the rock stars that kind of exist.

And we should all just kind of bask in their glory from a great distance.

Am I getting it close?

But that whirlwind of energy and vibrancy came to a standstill in 1989 when Diana Vreeland, the Empress of Fashion as she was dubbed, died.

And this is what we picture when we think of the Met Gala.

The stars posing in their incredible outfits on this big, wide staircase.