I recently came across a post on X by a left-leaning feminist that captured the treatment of Melania Trump by the fashion media quite well. Brianna Wu, a former Democratic House candidate from Massachusetts, remarked, “If her husband were a Democrat, we would worship her.” In today’s climate, can you think of a statement that sums up a First Lady’s reception more accurately?
On the day of her husband’s inauguration, Melania set the tone for her second term in the White House, indicating a shift in her demeanor that even Kim Kardashian noticed. It was a notable change, suggesting no one would dictate this First Lady’s narrative. Although the fashion world recognized Mrs. Trump and her Eric Javits hat, it seemed they chose to look the other way, almost as if ordered to do so by their leader, Anna Wintour.
The film about her life is set to premiere in theaters across 30 countries on January 30. It incorporates a sense of revenge while capturing her experiences in the lead-up to her husband’s inauguration. If conservative audiences rally behind this quickly evolving First Lady, it might feel like a complete triumph for her.
There’s something really striking about the film’s preview. The dramatic music and the iconic MGM lion take us into the moment when Mrs. Trump looks directly at the camera and says, “Here we go again,” as if to say she knows exactly what to expect. That gaze into the lens is symbolic of her approach. Unlike previous First Ladies, Melania has allowed for behind-the-scenes access, then distributed the footage through Amazon MGM Studios and her production company, Muse Films.
She’s taken creative control in a way that parallels how designer Hedi Slimane redefined Celine. The vision here is distinctly hers, challenging the need for intermediaries between her and the public. Why not share her perspective directly, rather than through journalists or photographers hunting for a different angle?
The trailer highlights how she uses color to narrate her story. In one scene, she wears a blue coat by Adam Lipps, accompanied by a Javits boater and black gloves, creating an aura of quiet luxury with designer pieces from Saint Laurent and Dior, including her notable black and white inaugural gown.
Valentino, her favored designer who passed away recently, often utilized a palette of blacks, greys, and camel hues, while establishing “Valentino Red” as a trademark. Yet, this film also showcases a unique style. Emerging from a convoy are her black leather Christian Louboutin stiletto boots—an image representing her journey forward.
Watching this film, I find it interesting how Melania is cautious about granting media access to those who haven’t always treated her kindly. She’s firm in her independence, stepping out of the vehicle and opting to make her policies more visible and personal this time.
Although reports surfaced months ago about her reluctance with certain media, her instincts regarding their portrayal have repeatedly proven to be right. The images accompanying these narratives often aimed to highlight flaws rather than facts. Mrs. Trump, like her husband, has been justified—creative control is crucial when facing a media environment that may seek to undermine you at every chance.
This film represents an unconventional take on filmmaking that only she could manage. There hasn’t been a media preview, and the traditional fashion press has been entirely excluded. Instead, she emphasizes the craftsmanship that brought her vision to life during those critical 20 days.
The sentiment this year seems to be: why engage with a media outlet that has overlooked her so often? Despite being a fashion figure, she’s somehow transformed into one of the most style-conscious First Ladies in history, outshining even icons like Grace Coolidge and Jacqueline Kennedy.
Fashion trends seem to favor well-thought-out wardrobes with intentionality, and Melania is currently a prime example of that ethos. Yet, Vogue has shown little interest in featuring her, despite her significant impact on American high society.
I wonder—what if there was a Vogue cover in a previous season versus this one? It seems unlikely. Other First Ladies sought these covers for validation, especially since they didn’t possess the creative freedom that Melania holds over future projects.
Melania, perhaps echoing a sentiment of acceptance, might say, “C’est la vie.” She seems content and authentic, embodying a sense of self that doesn’t depend on external validation. It looks like she’s found her own way, and we get to witness her genuine spirit as it shines through.
