The First Monday In May [FAST]

Bolton represents the traditional museum ideal: scholarly rigor, aesthetic sensitivity, and a deferential approach to source cultures. In one pivotal scene, Bolton agonizes over a video installation by Chinese artist Yang Fudong, worrying that juxtaposing contemporary Chinese cinema with imperial robes might be “orientalist.” His vocabulary is one of anxiety and reflexivity.

The film’s title itself is ironic. The “First Monday in May” is the Met Gala—an event that, in 2015, had become a global media spectacle. But the film spends only its final 25 minutes on the Gala itself. The preceding 65 minutes are devoted to research, installation, negotiation, and doubt. Rossi’s argument, therefore, is that the real story is not the red carpet, but the invisible labor and ethical compromise that make the red carpet possible. The First Monday In May

Conversely, Wintour operates with the efficiency of a political strategist. When Bolton hesitates over a seating chart—debating whether to place a tech CEO next to a Chinese minister—Wintour overrides him: “We need youth. We need noise. We need Instagram.” The film subtly critiques Wintour’s pragmatism while simultaneously acknowledging that her celebrity-driven machinery generates the $15 million necessary for Bolton’s intellectual project. The “First Monday in May” is the Met

This paper posits that the film’s primary achievement is its refusal to resolve these tensions. Instead, Rossi presents the Met Gala—and the exhibition it funds—as a ritual of hierarchical reinforcement, where cultural capital (Bourdieu, 1979) is displayed, exchanged, and occasionally challenged. Through a close reading of key sequences, this analysis will demonstrate how the documentary exposes the structural paradoxes of major institutional curation. The documentary’s most explicit dramatic engine is the partnership between Andrew Bolton, the soft-spoken, Oxford-educated curator of the Costume Institute, and Anna Wintour, the monolithic editor-in-chief of Vogue and the gala’s long-time chairperson. Rossi’s argument, therefore, is that the real story

In a meeting with Chinese museum consultants and scholars, Bolton presents his thesis: that Western designers (Galliano, Saint Laurent, Poiret) misappropriated Chinese iconography, yet in doing so, created a new artistic language. The Chinese delegates listen politely before one notes: “You are showing Western fantasies about China, but you have almost no contemporary Chinese designers in the main galleries.” Bolton’s response—that the exhibition is about the Western “look” of China, not China itself—is met with silence.