I didn’t get to see her acceptance speech for Best Song (“Masterpieceâ€), but I did hear that several people thought she was narcissistic and arrogant. Well, duh. It’s Madonna, and she’s entitled. And as Matthew Rettennmund rightfully points out, she never wins anything, so I’m forgiving most of what she may have said.
Let’s talk, instead, about the dress. While I think it’s lovely enough, it feels like she settled for an in-between version of a full-blown ball gown (which I would have loved) and something far simpler. The diamonds do brighten it all up, though I have mixed feelings about the cross. Still, the whole effect is passably pretty, but once again I yearn, perhaps unfairly, for something more.
I like when she goes daring and edgy (as in her dramatic canary Olivier Theyskens gown, woefully under-appreciated at the 1998 VH-1 Fashion Awards, her brilliant bunny-eared Louis Vuitton ensemble at the 2009 Met Gala, or the glorious John Galliano get-up of the Evita premiere in 1996 – my favorite red-carpet look of all-time), and this one seemed to play it just a little safe – albeit in a gorgeous way.
It’s a nice soft set-up for what she’s going to wear for her next high-profile appearances: the Superbowl and the Oscars (assuming she attends the latter). I hope she removes the half-gloves before they become a sad trademark, or opts for a full-length formal version a la the Golden Globes of 1996, or the bombshell Marilyn Monroe-homage at the Oscars in 1991. Love it or hate it, the world is once again talking about Madonna. She wins.
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