The 30 Worst Met Gala Outfits That Had Nothing To Do With The Theme Of The Evening

Gwyneth Paltrow received considerable flak for her simple, fuchsia gown. And so she should have; the Met Ball’s punk theme was decidedly not reflected in such a simple, conformist frock.

Though her spirit of irreverence was on-point, Coco Rocha’s embellished, leopard-print gown veered too heavily towards gaudy as opposed to defiant.

Mary Kate Olsen’s fur-trimmed satin robe and silken dress certainly appeared comfortable, but 2013’s theme required punk attire, not bohemian bedclothes.

It only seems fitting that both Olsen sisters would eschew the Met Ball’s theme simultaneously. In no way could Ashley Olsen’s wispy orange caftan be considered punk, but then again, when has the designer ever played by the rules?

There is a fine line between timeless elegance and excessive opulence, and Sandra Lee’s Cinderella gown unfortunately crosses the boundary into the latter category.

Though Lupita Nyong’o rarely takes a sartorial misstep, the 12 Years A Slave actress’s netted, embellished contraption certainly played with the boundaries of beauty in 2014. No ensemble should draw comparisons to a haphazardly-draped fishnet.

Do I sense a Blade Runner theme in Brie Larson’s avant-garde getup? The ensemble was innovative in nature but could have used a dose of streamlining.

How Kate Upton was wrestled into such an uncharacteristically unflattering gown remains a mystery, but the garment’s horizontal stripes and oddly-placed flared train are uncomplimentary even to a Sports Illustrated model.

Kristen Stewart’s avant-garde sartorial concoction was one part Raggedy Anne and two parts Flash Dance at the 2012 Met Ball.

Though I admire Christina Ricci’s daring in adopting a complex style like this fanned, embroidered frock, the actress’s petite frame appeared to be swallowed whole by the garment’s folds.

One couldn’t design a more imaginative dress to grace the Met Ball, but the garment’s proportions and tiers unfortunately resemble that of a spruce Christmas tree.

Kirsten Dunst often favors frocks that are inspired by eras past, and often to great effect. However, this ’40s-style belted coat dress appeared too informal for the Met Ball’s black tie sartorial code.

When an actress herself appears uncomfortable in a gown, the sartorial jigs is up. An uneasy Shailene Woodley hit the red carpet of the Met Ball sporting a transparent, off-the-shoulder, metallic, embellished gown that featured a few too many competing elements.

Technologically speaking, Katy Perry’s illuminated ball gown was a great feat of creativity. However, the singer still appeared to have wandered off the set of Tron: Legacy.

An elegant train can be a thing of beauty when fashioned in a simplistic manner, but Coco Rocha’s tie-dyed tail appeared more like a discolored duvet.

In small doses, Pepto-Bismol pink can lend ensembles a certain flair. However, Between the bow, corsetry, and ruffles, Rosario Dawson’s pink gown reads as cloying, not couture-inspired.

At its core, Joy Bryant’s pastel apricot-hued gown with its embroidery and flutter sleeves is lovely. However, there is just too much fabric.

In order to channel a bygone era without appearing staid, an ensemble must have at least several modern elements. Though perfectly appropriate and quite like something Marilyn Monroe might have worn, Naomi Watts’ pleated gown was stuck in the 20th century.

Pairing pink and crimson shades always poses the potential to appear like a Valentine’s ensemble gone wrong, especially when said ensemble consists of little more than a silk bodysuit veiled in transparent rose drapery.

A riot of color and pattern, Kimora Lee Simmons’ dress looked more like a piece of modernist artwork than a couture gown.

Though its tailoring was impeccable and its shade an inspiring, neon hue, Kate Mara’s ruffled gown was simply too overwhelming to the eye.

Inexpertly fitted, drop-waisted, and rendered in an uninspiring combination of noir and teal hues, Amanda Peet’s frock was the sartorial equivalent of a paper bag.

Thanks to its burgundy satin composition and slight train, Ellen Barkin’s vampy suit appeared more appropriate for a guest spot in Interview With The Vampire than the Met Ball.

Emmy Rossum deserves serious props for effect and innovation, but her military-inspired, gilded coat was an overwhelming choice for the Met Ball.

Whether or not model Linda Evangelista intended to evoke the idea of a kimono with her satin, single-shoulder embroidered frock is a mystery, but the stiff, heavily detailed gown looked like it belongs in a museum than on a Met Ball attendee.

Sometimes, less is more in terms of fashion, and Margherita Missoni’s multi-strapped maxi dress simply proves the point by way of bad example.

A mashup of modernity and 17th-century courtly couture, Amber Valetta’s corseted, printed gown was more befuddling than beautiful.

With a slightly longer hemline and a more polished shrug, Kristin Davis’s Met Ball ensemble could have been pitch-perfect.

In all likelihood, Victoria Beckham has gazed at this boudoir-ready babydoll dress in the intervening years since she first wore the look, and slowly shaken her head at the sheer insanity of such an ensemble.