Zac Posen Takes American Fashion Into the Future with GapStudio
Zac Posen has long been a force in American fashion, known for his architectural gowns and red carpet masterpieces. From Natalie Portman, Michelle Obama, Rihanna, and even Miss Piggy, his gowns have graced everything from presidential galas to Hollywood premieres—and the occasional Muppet caper—with equal parts elegance and extravagent flair. Now, as EVP and Creative Director of Gap Inc. and Chief Creative Officer at Old Navy, he’s bringing that same precision and theatricality to some of the country’s most beloved brands. In his new role, Posen is reshaping heritage fashion through elevated capsule collections, a renewed focus on quality, and a clear-eyed vision for what modern Americana can be.
From creating MET Gala showstoppers to elevating everyday essentials, Posen’s career is defined by a seamless blend of theatricality, precision, and cultural insight. At Gap, he’s channeling that energy into the launch of GapStudio—a creative hub focused on limited-edition collections that marry heritage fabrics with modern silhouettes, all designed with intention and built to last. We got the chance to catch up with him in his Manhattan showroom and catch up on where he’s been, where he’s at, and where he’s going while at the helm of Gap.
You’ve taken on some big roles recently. Can you walk me through what you're working on right now and how you got here?
Well, I’m Zac Posen, and I’m EVP and Creative Director of Gap Inc., as well as Chief Creative Officer at Old Navy. I’m a designer, an imagineer, and an entrepreneur. I’ve been at Gap Inc. in this role for just over a year, helping guide all four of our iconic brands into the future—step by step—working alongside our CEO Richard Dixon and our incredible team across the company.
This role really kicked off about a year ago when we were considering whether to create a custom gown for the MET Gala. I’ve had a long relationship with the Metropolitan Museum—I was an intern at the Costume Institute from age 16 to 18. That was my real fashion education: learning from the archive, the library, and seeing legendary designers like Lee McQueen, John Galliano, and Tom Ford at work. I even attended my first MET Gala back in 1997 for the Versace exhibition—just as a wide-eyed intern with a staff ticket.
Fast forward to my time at Gap, we decided to go for it and created a dress for Da’Vine Joy Randolph. The next day, Anne Hathaway and her stylist reached out for another gown. We created it in just a few weeks, and when she wore it, the response was massive. The dress sold out in minutes.
That success sparked an idea: what if we created something ongoing? A studio within Gap, something rooted in craftsmanship, technique, and innovation. That led to the formation of GapStudio—a creative hub in our New York headquarters focused on more elevated capsule collections, around four drops a year, starting with womenswear.
That’s amazing.
Thanks! For me, it was a return to something familiar. For 20 years, I built one of the leading ateliers in America through my own label in New York. It was a diverse, intergenerational studio—my personal lab for experimentation and learning. That space shaped how I designed and thought about fashion.
I don’t even necessarily think of myself as a “gown guy”—I think of myself as someone who loves sculptural design. But we built that atelier because of the technical demands of the clothing. So when I brought that energy to Gap, it was about making timeless pieces—pieces that might be denim, knits, or cotton, but with a sense of intention and longevity.
So GapStudio is this mix of your design ethos and the brand’s identity?
Exactly. We started with core Gap fabrications and created younger, trend-driven designs that still reflect quality and heritage. We’ve got a menswear drop coming by the holidays too. These are beautiful pieces, offered at accessible price points—but definitely more elevated than standard Gap fare.
For styling, I brought in Alistair McKimm, and Mario Sorrenti shot the campaign with Anok, Alex, and Iman—today’s supermodels. It was one of those rare shoots where everyone was fully present and living in the moment. Pure magic.
American cultural output feels constrained right now for a number of different reasons. But Gap, to me, represents this classic, optimistic Americana fashion. What’s your relationship to that?
A lot of respect, honestly. There’s a certain purity to American style—refinement in casual wear, coolness in wardrobe staples. When I design, I think about essence and authenticity. What’s the clearest form of a piece? Gap has always been about inclusivity and accessibility, and that’s something I really value.
I think of the brand as balancing classicism with modernity. And representing American style with utility, openness, and cultural relevance—it’s an exciting responsibility.
How do you reconcile that with your background in high fashion and exclusive events like the MET Gala?
For me, it’s all about craft—whether I’m designing something for the red carpet or for everyday wear. It has to be made well and made to last. Even a MET gown should have timelessness, not just be a momentary spectacle.
That thinking carries through to GapStudio. Whether it’s the perfect double-breasted blazer, denim sailor trousers, a slip dress, or a trench coat—it’s about creating pieces with intention. Something as simple as a tank dress can become sculptural. A tee can become a statement if the cut, rib, and knit are just right.
It’s all about quality. I always advocate for quality—it's what customers deserve. And in this new chapter at Gap, it’s about offering that without exclusivity, bringing that level of care to more people.