Kendall Jenner was considering skipping the Met Gala this year. She’d already gone 11 times (an even more impressive attendance rate when you remember that the Jenner/Kardashian clan was unofficially blacklisted until 2013), so her team thought she might miss this party. But if she does go, Jenner suggested, “I want to have a Zack moment.”
The next day, the model/influencer/tequila mogul received a racy text from a man she admired but had never met. Zac Posen, who was unaware of her secrecy, wanted to know if she would like him to wear it and walk her up the museum’s granite stairs on the first Monday in May.
Posen was never a shy man. Not when discussing his aspirations, aesthetics or belief in his talent, for good reason. Thanks to Charles Jamesian’s penchant for gratuitous charm, Poussin was quickly hailed at the turn of the millennium as an exciting person to watch. The industry looked at him as he flitted with an arrogant charm that matched his polished skill. When it flew too close to the sun, they watched it fall, then stepped on it. “That’s all” snobbery is already widespread The devil wears Prada Not a complete fantasy.
But I wouldn’t bet against Zac Posen any more than Kendall Jenner, so it’s no surprise that the designer is currently having a moment almost as interesting as Momager’s plastic surgery. Since his unexpected appointment as creative director of Gap, Inc. In 2024, Posen and CEO Richard Dixon stunned skeptics and made their fledgling brands great again. Last month, Posen was the subject of one such saga The New Yorker Personal files. Last night, Posen, wearing a bronze version of a leather jacket, took Kendall Jenner statuesque to the Met Gala, where the dress would garner rave reviews and land on several best-dressed lists. Shortly before that, he spoke to him Hollywood Reporter.
Thomas Falcon
First off, what are you going to wear? I’ve never seen you in a classic suit.
right. And you never will. Gap jeans of course. And I took the classic Gap Icon jacket and made it out of leather but then I gave it to these talented guys who were starting a new brand called SEXT, and I had them record it with this burnt bronze finish. I’ll wear it with a Gap tee that’s dyed in the same Parian marble color as Kendall’s dress.
Why were you so excited to design Kendall Jenner’s dress for the party?
Why? Look at her! It’s very beautiful. But I had stopped modeling by the time it took the industry by storm. We crossed paths, but never had the opportunity to work together.
Was it the letter that sealed the deal or did you surprise her with a stunning dress?
No, I’m not that designer who puts a dress on a hanger, holds out my hand and says, “Hey, wear this.” When I heard the theme was “The Art of Fashion” I started by looking at gorgeous images from previous centuries, and then I realized I wanted to find something truly iconic and classic that celebrated femininity. When I chose the amazing statue called The Winged Victory of Samothrace Located in the Louvre Museum, I told Kendall that I wanted to collaborate, and she agreed.
What made the process unique?
The process of making the dress was incredible. We first took a 3D scan of Kendall’s body. This allowed us to build a mannequin that mimicked her appearance. We then shaped the skin to reflect Kendall’s skin. There was no cutting of the skin as it fits like a second skin. Finally, the draping came into play when I took off my Gap shirt and started twisting and stretching it to fit the drapes on the statue. We then took the pleats, transferred them to the silk blend, dyed them the same color as the Parian statue’s marble, and draped them directly onto Kendall. I wanted it to move like it was Nike [the statue is of the goddess] Walking in the wind. Kendall even agreed to a little body exposure there. Just enough so they don’t break it up on TV. But we wouldn’t have been able to do this without the amazing young talent I was allowed to hire when Richard let me start GapStudio. [The Studio also designed the gown Posen’s longtime friend Claire Danes wore to this year’s Golden Globes.]
This verification should feel good. Do you feel any sense of vindication?
No, I’ve never been angry with the industry.
But you were aware of all the uncertainty that accompanied your selection as Creative Director at The Gap, Inc. Two years ago.
It was never my problem. I thought it was a great idea. It’s a huge range of brands. [The Gap, Banana Republic, Old Navy, Athleta.] I know some people were shocked, but it wasn’t as drastic a choice as people like you, who know my history, made it out to be.
Like everything else, fashion has evolved seismically. Any designer today must understand the business, be flexible, pivot, and transform. Fortunately, I have acquired a range of different skills over my 25 years of work. She worked at Brooks Brothers for eight years. She has collaborated with Target and David’s Bridal. I designed the uniforms for Delta Airlines. This is my experience in media,[Posenwasajudge[PosenwasajudgeonRunway project From season 11 to 16]. I’ve always been very attuned to popular culture[hehasdesignedcostumesforthePaulTaylorDanceCompanytheNewYorkCityBallet[hehasdesignedcostumesforThePaulTaylorDanceCompanyTheNewYorkCityBalletFeud: Cabot vs. Swans He has created stage performances for Celine Dion, Rihanna, Gracie Abrams, Ariana Grande and Kelsea Ballerini. Being at The Gap has given me the opportunity to play with and utilize all of these acquired skills.
You have been diligent in recruiting young talent to work with you.
I can’t do this alone. When I first met Richard, he didn’t offer me the role I was expecting. The scope was greater, the challenge greater. Because I’m not the only designer for The Gap. He oversees an amazing group of young designers across all brands.
When I entered fashion [Posen presented his first show was in 2002]. There was a huge gap between generations. Michael Kors, Narcisco Rodriguez and Marc Jacobs are still considered new designers [Kors was 42; Rodriguez, 41; Jacobs, 39. Posen was 21]. But now there is a steady flow of emerging creators. After more than 20 years in this field, I am ready to have a role in supporting the growth of young talent. There’s a tidal wave coming and I want to help.
The Met Gala still holds the same fascination for you.
You’re kidding. Sure it does. The first time I attended was in 1997, but I was working as an intern and watching Madonna go up the stairs in her Versace. My first time as a guest was in 2003. Tom Ford was co-chair. Eva brought Amore. Of course, it was a much smaller event. [The theme, ironically, was “Goddess.”]
Now he is a financial giant. It’s expensive to make a row of Taylor Swift floor seat tickets look like pocket change. You can’t even buy your way in without Anna Wintour’s approval. So, does the event still resonate with the public or even in the day-to-day workings of the fashion industry?
It’s just as important to the larger audience in general. Fashion has now become mass entertainment. It affects the box office.[[The devil wears prada 2 It grossed $234 million globally in its opening weekend, just before the concert.]It’s an integral part of social media. Most importantly, the thousands of visitors, especially young people, who attend the Costume Institute’s exhibitions have never visited a museum before. It’s a powerful reminder that art is for everyone.
The ceremony allows the largest high-end fashion houses to present the best works of their workshops. These talented craftsmen should be celebrated. Their work was seen and praised. Their work encourages people to dream. Do you know what the Met Gala reminds me of? Remember this wonderful scene in My fair lady? Imagine what it must have looked like on Royal Ascot’s opening day, 100 years ago. I loved being there. Isn’t it?
