Celebrity Style

Kendall Jenner Duped Kourtney’s Wedding Dress At The Met Gala After-Party

I can’t unsee it.

Kendall Jenner is seen arriving at the Met Gala after party on May 6, 2024 in New York, New York.
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At last night’s Met Gala, the museum’s steps turned into a verdant garden, with nearly all attendees leaning into the “Garden of Time” dress code. The carpet was awash in florals, vegetation, and all the critters who dwell among them. Kendall Jenner, however, decided to embody the Costume Exhibit’s 20204 theme instead.

Leaning heavily into the “Sleeping Beauties: Reawakening Fashion” concept, she wore an archival number that looked straight out of medieval times (perfectly embodying the Sleeping Beauty vibe). Hours later, however, she changed into another ensemble inspired by the newly-launched exhibit.

Unlike her red carpet gown’s 14th-century inspiration, Jenner’s after-party look recalled a fashion moment that’s much closer to home — within her own family, actually.

Kendall’s Bridal Mini Dress

To attend a post-Met hosted by Emily Ratajkowski, Jenner shed her Medieval aesthetic. Instead, she swung to the opposite end of the spectrum, debuting multiple ethereal white looks.

Her first was an Andreas Kronthaler for Vivienne Westwood creation, which featured an ecru zip-up bustier worn atop a matching mini skirt. The beige underpinnings were covered in a decadent lace overlay in bridal white.

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Between the corset, micro hem, and luxe lace, the dress was noticeably reminiscent of her sister Kourtney Kardashian’s wedding dress. The eldest Kardashian wore a similar look during her Italian nuptials to Travis Barker in May 2022.


Kendall’s Angelic Second Look

Jenner didn’t stop at two slays on Monday evening. She wore a third ensemble to the after-party, and it was a total stunner. The dress — another all-white style — featured a flowing satin skirt with a high-low hem and a sculptural bodice in the likeness of feathered angel wings.

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The masterpiece was archival Alexander McQueen for Givenchy. Exhumed from the Spring/Summer 1997 collection, easily could have been a fixture in the Met Museum’s hallowed halls.