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Culture

Met Gala Looks Inspiring Interior Trends

By Anna Hale
06.05.2026

Dopamine Dressing, Dark Romanticism, and the Return of Maximalism. The 2026 Met Gala looks as the interior trends we're seeing right now. The theme was fashion as fine art, but every look told us something about the rooms we're craving right now.

The 2026 Met Gala red carpet felt less like a fashion event and more like the world's most aspirational mood board brought to life. "Fashion Is Art" gave designers permission to go fully unhinged, in the best possible way, and what emerged wasn't just clothing. It was colour theory in motion, texture studies in silk and steel, spatial drama wrapped around a human form.

At Glassette, we spend a lot of time thinking about how personal style translates into the way people design their homes. And watching look after look unfold, we kept having the same thought: we want to live inside that.

Here's our edit of the night's best looks, reimagined as the interior trends we're seeing at the moment.

Image: Vogue Magazine
Image: Getty via Vogue Magazine
Hailey Bieber in Saint Laurent - High Contrast

There's something quietly radical about a look that refuses to be one thing. Hailey Bieber's Saint Laurent moment, a molten gold bodice meeting deep ink-blue chiffon, wasn't trying to be pretty. It was trying to be interesting. The friction between the two is exactly what made it land.

We're seeing the same tension play out in interiors right now. The all-over tonal room has had its moment, and what's replacing it is something with a little more edge, spaces that pair opposing materials and depths deliberately. Think dark lacquered surfaces against warm brass, or a room where shadow is treated as a design element rather than something to design around. It's not clash for clash's sake. It's the understanding that contrast creates structure, and structure is what makes a space feel considered rather than decorated.

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Image: Getty
Image: T Magazine
Hunter Schäfer in Prada - Intentional Imperfection

There's a lot of noise at the Met Gala, which is exactly what makes a look like Hunter Schäfer's Prada so quietly arresting. Beige, not ivory, not cream, just beige - artfully shredded to reveal a blue floral lining underneath. Rose appliqués at the waist. The whole thing felt less like getting dressed and more like uncovering something.

That idea of revelation is one we're seeing a lot of in interiors right now. The deliberate expose - raw edges left unfinished, a layer of plaster stripped back to show what's underneath, wallpaper that hints at pattern without committing to it fully. It's the opposite of the polished-everything approach, and it's far more interesting. Schäfer's look understood that what you reveal matters as much as what you conceal, and the best rooms are starting to understand that too. Neutral on the surface, something unexpected underneath.

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Image: Source unknown, found via Pinterest
Image: Getty via Vogue Magazine
Kendall Jenner in Zac Posen - The Return of Classical Grandeur

Not every Met Gala look needs to reinvent the wheel. Sometimes the most powerful thing a designer can do is reach back, further back than last season, further back than last decade, and pull something ancient into the present. Kendall Jenner's Zac Posen gown, inspired by the Winged Victory of Samothrace, did exactly that. Draped, sculptural, and quietly monumental, it was a look that understood timelessness isn't the same as playing it safe.

In interiors, we're seeing the same appetite for the classical reimagined. Not pastiche, not a straight reproduction of a Greco-Roman column, but the underlying principles that made those forms so enduring. Weight. Symmetry. The sense that a space, like a sculpture, has been considered from every angle. Plaster detailing is coming back with intention. Drapery, actual fabric hung with purpose, is returning to rooms that have spent years keeping things clean and minimal. There's a growing desire for spaces that feel like they've always existed, that carry a kind of quiet authority. Jenner's look was proof that looking backwards, done right, is one of the most forward-thinking moves you can make.

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Image: Getty via Vogue Magazine
Image: Source unknown, found via Pinterest
Zoë Kravitz in Saint Laurent - Gothic Minimalism

Black lace over a Victorian silhouette sounds like it should be a lot. In Zoë Kravitz's hands, wearing Saint Laurent, it was the opposite - restrained, atmospheric, and completely assured. The hammered gold medallion earrings were the only ornamentation it needed. The whole look understood something that takes a long time to learn: that moodiness isn't about adding more, it's about choosing better.

It's an approach that translates directly into how the most interesting interiors are being put together right now. The gothic impulse - dark, textured, romantically heavy - is having a real moment, but the version worth paying attention to strips away the theatrics and keeps the soul. Aged wood. Stone with depth to it. Velvet used sparingly but purposefully. The kind of room that feels like it holds a history even if it was finished last year. It's not about creating a set, it's about creating an atmosphere - and, just like Kravitz's look proved on those steps, the difference between gothic and gloomy is almost always restraint.

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Image: Source unknown, found via Pinterest
Image: Getty via Vogue Magazine
Beyoncé in custom Olivier Rousteing - Structural Maximalism

A decade away and Beyoncé returned to the Met Gala steps wearing a crystal skeleton over a sheer gown, a sweeping train, and a crown. Not a subtle re-entry. But then, subtlety was never the point - and the look was so fully committed to its own vision that it bypassed spectacle entirely and arrived somewhere closer to architecture. The crystal framework mapping the body's structure underneath wasn't decoration. It was the design.

That idea of making structure the showpiece rather than something to be hidden is one of the most compelling directions in interiors right now. Exposed frameworks. Rooms where the bones of a space are celebrated rather than concealed behind plasterwork and paint. Lighting that traces the geometry of a ceiling. Shelving that doubles as sculpture. It's a maximalism that earns itself, because every element is load-bearing in some way, visually, spatially, conceptually. Beyoncé's look didn't need to be quiet to be considered. The best rooms operating in this register understand the same thing: when the structure is beautiful enough, it becomes the statement.

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Image: Getty via Vogue Magazine
Gracie Abrams in Chanel - Gilded Maximalism

When the theme is fashion as art, the most interesting response isn't always the most conceptual one - sometimes it's the most literal, executed with enough conviction that it transcends reference entirely. Gracie Abrams and Matthieu Blazy at Chanel went straight to Klimt, and the result was a gown that carried the full weight of the Golden Period with it. Geometric, mosaic-like, glistening - it wasn't inspired by The Kiss so much as it inhabited the same world.

Klimt has been quietly informing interiors for a while now, but what we're seeing move through the most considered spaces at the moment is something more specific than gold as a finish. It's gold as a philosophy, the idea that a surface can be layered, that pattern can be structural, that richness comes from accumulation rather than excess. Decorative tilework in warm metallics. Wall coverings that reference the tessellated, almost Byzantine quality of his compositions. Textiles that mix geometric forms with organic warmth. It's maximalism with an art historical backbone, and it's a long way from anything that could be called gilded for gilding's sake. Abrams's look was a reminder that some references are iconic for a reason, and that the right homage, done with precision, never reads as pastiche.

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