Freya Allan went braless in a long-sleeve grey gown as she stepped out of the Ritz Carlton H๏τel in New York on Monday.

The actress, 22, was seen departing the luxury accommodation ahead of the star-studded Met Gala later this evening.

She put on a perky display in the racy ensemble and showcased her svelte model physique in the bodycon ensemble.

The Witcher’s star lifted her glamorous dress as she walked out of her H๏τel, showcasing her stylish black court heels.

Freya opted for a bouncy blowdry look, with a flawless base of make-up for the outing.

This year, a single ticket to the Vogue x Metropolitan Museum of Art event, will cost $75,000. A figure up 50 percent from last year’s still astronomical $50,000 per ticket price.

According to the Met, pricing for a 10-person table starts at $350,000.

One H๏τly-debated question each time the first Monday in May rolls around is: who ultimately foots the bill for the celebrities who populate the carpet?

The process begins with obtaining an invite – of course, not just anyone can purchase a ticket, even those willing to fork over handfuls of cash.

Often, design houses, the backbone of the Met Gala’s cultural relevancy, buy up tables and invite high-profile figures they hope to host.

For that reason, even the H๏τtest celebrities, are rarely paying full freight for their spots atop the staircase.

The event is ultimately a fundraiser and has, to date, under the leadership of Anna Wintour, raised some $223.5million for the museum’s Costume Insтιтute.

Last year, the gala raised about $22million.

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Famously, Anna Wintour – the frosty Condé Nast chief content officer, global editorial director at Vogue, and a Met Trustee since 1999 – supervises the тιԍнтly-controlled guest list.

Some 400 guests attended the 2023 event, according to the ᴀssociated Press.

This year’s Gala will take place around the Costume Insтιтute’s execution of its new exhibit: ‘Sleeping Beauties: Reawakening Fashion.’

The exhibit, which attendees will get an early viewing of this evening, celebrates the ‘reanimation’ of pieces from the insтιтute’s collection that have long-lived as ‘motionless’ artwork, as opposed to dynamic pieces that can be ‘worn or heard, touched, or smelled.’

‘The exhibition endeavors to reanimate these artworks by re-awakening their sensory capacities through a diverse range of technologies, affording visitors sensorial ‘access’ to rare historical garments and rarefied contemporary fashions,’ said exhibit curator Andrew Bolton.

‘By appealing to the widest possible range of human senses, the show aims to reconnect with the works on display as they were originally intended – with vibrancy, with dynamism, and ultimately with life.’