When Lisa arrived at the 2026 Met Gala in a custom Robert Wun creation, she didn’t just walk the red carpet—she performed a sartorial striptease of the highest order. The gown, a sheer ivory confection embroidered with 66,960 Swarovski crystals, was conceived as “The Bride lifting up her own Veil.” But beneath that veil, the real story lies in the corsetry and foundation garments that have always defined the architecture of bridal lingerie. Wun’s design, drawn from his fall 2025 couture collection, echoes the 19th-century tradition of the trousseau, where a bride’s undergarments were as meticulously crafted as her outer dress. The 2,860 hours of handwork that went into Lisa’s look recall the painstaking lacework and boning of Victorian corsets—garments that, once hidden, now take center stage as art. Lisa’s choice of jewelry—Bulgari’s High Jewelry Sapphire necklace from the Eclettica collection and a Serpenti necklace coiled around her 3D-printed arm—further nods to the serpentine symbolism of transformation, a theme long present in lingerie’s evolution from constraint to empowerment. As the first K-pop artist to serve on the Met Gala host committee, Lisa embodies a new era where the body’s second skin—whether a Wun gown or a Bulgari gem—is celebrated as wearable sculpture. The Costume Institute’s “Costume Art” exhibition, with its “Fashion Is Art” dress code, could have no better ambassador than a woman who turns every layer into a revelation.
Originally reported by WWD