Posen brought a modern sensibility to the ancient statue, using the classic white T-shirt—a Gap staple—as a jumping-off point. “I took a white Gap T-shirt off of my back in my studio and started pulling it and tweaking it and figuring out how—in a contemporary way, in a glamorous way—to interpret the sculpture that influenced humanity and our modern culture,” he says. (Also on the mood board were masters of jersey and drapery: Madame Grès, Azzedine Alaïa, Roy Halston Frowick, Madeleine Vionnet, Geoffrey Beene, and Claire McCardell.)
Jenner, who was “super, super, super involved” in the process, was keen to capture the rippling, windswept tunic with an ultrathin fabric, which led Posen to a lightweight cotton-viscose blend that created a wet drapery look. “It’s been really cool to see him work. I can see his wheels turning, which is such a treat for me,” Jenner says. “I love being a part of every step of the process.” The designer added some dimension by layering the tea-dyed liquid jersey with satin-face chiffon and organza to mimic the statue’s fluid drapery.
Winged Victory of Samothrace, circa 190 B.C.
Heritage Images/Getty Images
Zac Posen’s sketch for Kendall Jenner.
Courtesy of GapStudio
Posen also commissioned Abel Cepeda Ljoka and Will Kowall of the New York brand Seks to create the base of the dress, a leather corset to be worn underneath. “We 3D-printed her body and made a mannequin and a bust of it that is the corset underneath this,” he explains. Posen draped the fabric to show off the corset like an exposed breast.
A longtime Met Gala attendee, Jenner has her routine down to a science. “I sit there in glam before I get there and I watch that red carpet on the livestream,” she says. “And then to be able to get inside and run into people; I feel every year it’s like my yearly high school reunion.” Still, even on her 12th turn, Jenner admits that she gets some pre-Met jitters: “I’ll probably need a shot before the carpet.”