Madonna’s divisive — yet perfectly in step with the “Fashion Is Art” theme — 2026 Met Gala look on Monday evening drew directly from The Temptation of St. Anthony by little-known British-Mexican Surrealist painter Leonora Carrington.
The singer collaborated with Saint Laurent creative director Anthony Vaccarello on the black satin, floor-length gown, which featured cascading ruffles and a sheer lace panel running down the centre. She accessorized with satin opera gloves, a rhinestone-encrusted bird pendant, towering leather platform boots and a gilded horn, alongside a dramatic headpiece complete with a sheer veil. Designed by Philip Treacy, the theatrical headpiece (which was famously owned by the late fashion editor and style icon Isabella Blow) featured a crystal-encrusted brooch and a miniature black ship perched on top. Madonna was surrounded by seven women in pastel column dresses, each blindfolded, holding the gown’s cape to create a star-like formation around her.
Her extra-long couture wig, created by renowned wigmaker Merria Dearman, measured 50 inches and combined tousled waves with crimped textures and tightly braided strands.
Madonna’s look references a specific vignette within Carrington’s 1945 painting. While the dominant image in The Temptation of St. Anthony is a towering three-headed figure in a flowing white gown, the composition is layered with symbols tied to the legend of Saint Anthony resisting earthly temptation in the Egyptian desert. Off to one side, Carrington depicts a woman in a flowing black dress surrounded by brightly coloured figures — a scene that closely mirrors Madonna’s Met Gala staging, down to the ship-topped headpiece and horn.
Carrington created the painting in the mid-1940s as part of a competition organized by filmmaker Albert Lewin, who invited artists including Salvador Dalí and Max Ernst to produce works for a planned film. The submissions were judged by figures including Marcel Duchamp and Alfred Barr.
“The picture seems pretty clear to me, being a more or less a literal rendering of St. Anthony, complete with pig, desert, and temptation. Naturally, one could ask why the venerable holy man has three heads, to which one could always reply, why not?” Carrington once said of the painting, according to Sotheby’s auction house.
Formerly owned by the late Lorenzo Zambrano, the painting was auctioned by Sotheby’s in 2021 for approximately $2 million.
Born in England on April 6, 1917 and later based in Mexico City, Carrington developed a singular Surrealist language rooted in myth, mysticism and transformation — a lineage that resonates with Madonna’s long-standing fascination with artists like Frida Kahlo. This also isn’t the first time Madonna has drawn from Carrington’s work; the artist previously served as an inspiration point for the “Bedtime Story” music video, the third single from Madonna’s album Bedtime Stories.
At the time artists like Carrington often got boxed into the role of muse, they were often there to inspire men instead of being taken seriously. But Carrington wasn’t having that. She once said, “I didn’t have time to be anyone’s muse…I was too busy rebelling against my family and learning to be an artist.”
Carrington died on May 25, 2011, aged 94, in a hospital in Mexico City as a result of complications arising from pneumonia, but her work continues to ripple through contemporary culture — now, quite literally, onto the steps of the Met.
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