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Online, such red carpet outfits have long afterlives as they are shared around social media, dissected by influencers and journalists alike. But the real-life fate of the garments themselves is less well-publicized. What happens to them after their moment of fame — where do they go and when are they seen again?

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Over the past two decades, the outfits worn by celebrities at red carpet events have garnered more and more attention, and consequently significance, said Lucy Bishop, a specialist in handbags and fashion at auction house Sotheby’s.

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It ushered in an age in which teams of stylists and designers are all involved in creating and realizing a red-carpet look, particularly for the highest profile events like theMet Galaandthe Oscars. As such, the incentives for preserving the immense work required to produce these looks are much higher.

“Those days of a gown being packed away and forgotten about for many years and rediscovered are sadly gone,” Bishop added. “Now, often when a gown is worn on the red carpet, there is usually a plan put in place for where that gown will end up.”

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Kim Kardashiantold Voguein May that she had every one of her Met Gala outfits “saved” in her wardrobe, except theiconic Marilyn Monroe dressshe wore two years ago before returning it to Ripley’s Believe It or Not!, which had loaned it to her for the event. Similarly, Zendaya bought the black taffeta 1996 Givenchy by Galliano gown she wore at last year’s Met Gala,her stylist said in an interview.

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Usually that process involves dry cleaning, but it can sometimes involve wet cleaning or simply vacuuming and brushing the garment, if everything else is impossible, Scaturro added.

Once garments have been cleaned, they almost always end up in a specialized storage facility — such as a fashion house’s archive or a private one, like that of Julie Ann Clauss, founder of The Wardrobe, an archiving and storage studio.

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Clauss and her team carefully consider howbest to preserve the roughly 100,000 pieces in their safekeeping — from the low light levels and controlled temperature and humidity levels, to the specific way in which the garment is stored.

“It’s really a case-by-case basis about how each particular item is mounted or stored,” she said. “So some things hang, some things are boxed, and some things have to be mounted, meaning they’re on, like a dress form, because these things are designed to be worn. They’re not really designed to hang or to be laying flat.”

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It featured several iconic looks, including the Marilyn Monroe-inspired tulle Oscar de la Renta dress worn by Billie Eilish at the 2021 Met Gala, the showstopping “Sun God” outfit worn by Billy Porter as he was carried into the 2019 event on a velvet litter, Rihanna’s 2021 voluminous Balenciaga black coat dress, and the glittering gold Peter Dundas dress Beyoncé wore for the 2017 Grammys.

In this way, these outfits become like pieces of art, their craftsmanship preserved and admired from a distance, no longer really clothes but exhibits and artifacts that will be studied by some future historian.

Getting outfits to these exhibitions is its own daunting task, too. Clauss recalled recently helping a client transport outfits for a tour that were “like these three dimensional, huge things, but fine beading, heavy crystals on really delicate stretch tulle fabric.”

“I was like: ‘Guys we can’t put these in a box…’” she said. “They need custom mounts made so they’re stable flying internationally and then they need to have a crate built around it. You see these crates and they’re tremendous, sometimes they’re like seven feet tall for a dress.”

Before red carpet dressing became so important for the fashion houses from the 1990s onwards, it was more common for a gown to be kept by the person who wore it, who would sometimes give it away or sell it on the open market, said Bishop.

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Even today, gowns are occasionally found on the open market, sometimes by taking unconventional routes.

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But later that evening after the red carpet event, designer Olivier Rousteingcut the long skirt off with scissors, allowing Tyla to walk after she had needed four men to carry her up the museum’s steps. Like the sands of time it represented, the dress had run its course.

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