Blush is no longer just the final step—it’s the product doing the most work in your makeup routine. The prettiest new formulas launching for spring add a flush of color, and they blur pores, boost radiance, and layer in skincare benefits. Creamy textures that melt in like a second skin, luminous finishes that fake a full night’s sleep, and pigment that does double duty as both makeup and treatment will all contribute to improving how your skin looks over time.

From glow-boosting balms to soft-focus powders and serum-infused tints, today’s blushes are designed to enhance more than just your cheeks. Consider this your guide to the multitasking blushes that are hitting the market now.

Merit Flush Balm Cream Blush

The Merit Flush Balm Cream Blush is all about flexibility—adapting to whatever look you’re going for. What makes it unique is that it boasts a balm-like texture that even a beginner can blend out, giving you a sheer, barely there tint with one swipe. This product also has the ability to build beautifully if you want more color without ever looking heavy or overdone. Because it’s so forgiving, you can apply it straight from the tube and blend with your fingers (no precision needed) making it an easy, versatile staple, whether you’re keeping things minimal or layering for a more glamorous look.

Morphe Cheek Thrills Multi-Finish Face Trios

For an option that does far more than just add a pop of color, this trio gives you a fully customizable cheek in one simple compact. It has a mix of cream, balm, and powder formulas, letting you play with different finishes to create dimension, glow, and a soft-blur effect all at once. The cream absorbs into skin for a natural flush; the balm adds that dewy, lit-from-within sheen; and the powder diffuses everything for a smooth, perfected look. Whether you wear each formula on its own or stack them together, the product is designed to enhance your skin rather than sit on top of it—making your blush look more like real skin, just better.

Prada Touch Cream-to-Powder Blush

The Prada Touch Cream-to-Powder Soft Blur Longwear Blush is less about adding color and more about refining your entire complexion. The texture starts off as a silky cream, then quickly sets into a soft-focus powder that diffuses the look of pores and texture. What I love most about this blush is that it lends your cheeks a smooth, almost airbrushed effect. It also blends seamlessly on contact and builds without ever looking heavy, landing on a soft-matte finish that still feels fresh and dimensional—not flat.

Benefit Play Daze Airy Liquid Blush

If there’s one blush formula that feels tailor-made for spring, it’s this one. The liquid blush delivers that fresh, just-pinched flush in a formula that’s light enough for warmer days but opaque enough to elevate your whole look. The texture goes on as a weightless liquid, then diffuses into a soft, blurred matte that looks like real skin, not makeup. It’s especially ideal as temperatures rise because it sets without feeling heavy or sticky. As a result, you get that breathable, cloud-like finish that won’t slide around by midday. And because it’s waterproof and transfer-resistant, the color will grip without going patchy or fading.

MCoBeauty Blush & Go Cream Stick

This formula from MCoBeauty doubles as a skincare-infused essential that keeps your face looking hydrated and healthy throughout the day. The blush ingredient list reads more like skincare than makeup, boasting castor oil, jojoba seed oil, shea butter, and hyaluronic acid, which work together to nourish, soften, and give skin that naturally plump, dewy look. Even better, it’s designed for true versatility. You can swipe this onto both your cheeks and your lips for a quick, monochromatic moment that pulls your whole look together.

LYS Beauty Cream and Powder Blush Duo

Consider this duo from LYS Beauty your no-fuss blush that takes the guesswork out of adding color and smoothing your skin. It’s composed of a cream layer that melts in for a skin-like base, plus a powder that softly diffuses, helping to even out texture and give cheeks a smoother, more refined finish. Together, the two create dimension without heaviness, so your blush looks fresh and seamless rather than flat. Infused with skin-loving ingredients like niacinamide and green tea extract, it also helps boost radiance and brighten the look of skin over time, making it feel like a glow-enhancing step as much as a makeup one.

You didn’t think Dua Lipa would leave the fashion at home during vacation, did you? The singer shared a glimpse into her and fiancé Callum Turner’s latest stop in Copenhagen, which included casual stripes and denim. However, the singer proved her prowess at elevating even the simplest pieces from her edgy, eclectic sensibility—and revived two nostalgic 2014 fashion trends in the process.

During her and Turner’s travels, Lipa posed for Instagram photos in a long-sleeved, sailor-striped Ann Demeulemeester shirt. The black and white piece was tucked into a pair of blue denim jorts with distressed hems, though it could also be cinched from long black side ties. Her look’s otherwise simple pieces were instantly nostalgic, simultaneously channeling the edgy style of 2014 from its sailor stripes and ripped denim. Both trends dominated the mid-2010’s from their specific aesthetics and grungy feel, as seen on fashion-focused stars like Miley Cyrus, Selena Gomez, and Cara Delevingne at the time.

Lipa’s 2014-coded outfit earned her signature whimsy from a wide-ranging mix of current trending accessories. The singer boosted her attire’s prints with a large, slouchy brown suede Phoebe Philo tote, complete with a dark brown striped pattern. A Western belt with thick silver hardware—a top spring style also seen at Coachella and Stagecoach—cinched her look with a dash of heavy metals. The musician’s ensemble was finished with smooth black heeled thong sandals, hailing from Demna’s first Gucci show, which embraced the sweeping nostalgia for similar 2000’s pieces today.

Lipa finished her outfit with glossy maroon sunglasses from Jacques Marie Mage, as well as a smattering of gleaming Bulgari rings. The finishing touches brought a punky feel to her look, utilizing subtle details to elevate its otherwise simple pieces.

However, Lipa’s trip abroad wasn’t solely a street style romp. While in Copenhagen with Turner, the star also shared snapshots of lush gardens, oysters, and lunch at Pompette—plus, per her caption, plenty of wine. The pair also enjoyed various art exhibitions on their travels, including pieces by Jean-Michel Basquiat and Sophie Calle’s On the Hunt exhibit.

Even when you’ve honed your fashion sense, there’s always room for a nostalgic reference. After Lipa’s past nods to ‘70s, ‘90s, and 2000’s style, it’s clear the 2010’s have successfully made it into the mix.

When Odessa A’zion showed up to her first Met Gala on Monday night, she was wearing a custom Valentino look she’d helped design herself. She and Alessandro Michele had traded sketches, notes, and references back and forth, riffing on the night’s dress code, “Fashion is Art,” until they got the daring outfit exactly right.

The final look was a nod to pre-war Hollywood: a black silk peplum corset with sparkling pink-and-blue floral embroidery, matching cut-out lily flowers covering A’zion’s chest, a black silk scarf worn like a choker, black tights and leather thigh-high boots, and a long black and slate blue embroidered cape worn off the shoulder, trailing dramatically on the floor.

“I loved the idea of lily flowers, embroidery, a fabric that would reflect, and a big old scarf and a long wide cape,” A’zion told W . “We had a lot of 1925-1940 cabaret wardrobes and film costumes, especially embroidered body pieces, on our moodboard. What they made back then was so elaborate and detailed. We loved and pulled from that quite a bit.”

A’zion typically does her own hair and makeup, and this night was no different, with a few extensions added to her signature bouncy black curls. She completed the look with well-placed sparkly freckle-jewels on her face and Pandora jewelry, including flower- and heart-detail rings. Of the night’s theme, she added with characteristic flair: “Fashion is always art, baby, no matter what it is!”

Though it was A'zion's initiation into fashion's biggest night—one co-chaired by Beyoncé, Nicole Kidman, Venus Williams, and Anna Wintour, and which raised a record-breaking $42 million for the Museum's Costume Institute—the 25-year-old is no stranger to a high-stakes red carpet. After her breakout last year as Timothée Chalamet’s love interest in Josh Safdie’s nine-time Oscar-nominated Marty Supreme, followed by her instantly cult-favorite role as Rachel Sennott’s influencer best friend on HBO’s I Love LA, A’zion has established herself as one of Hollywood’s most compelling new faces. The Met Gala was just a chance to show off her sartorial range—and to connect with some of her favorite fellow artists.

She was one of eleven attendees dressed by Valentino for the evening, a star-studded group that included Joe Alwyn, Colman Domingo, Sombr, and Tyla—who happens to have worn one of A’zion’s favorite Met Gala looks of all time. Also on A’zion’s personal Met Gala Mount Rushmore: “Rihanna! Madonna! Zendaya! Kim Kardashian! Cher!”

In the end, the best part of A'zion's look was the creative work that went into it. “[It was] really incredible to be able to collaborate on such a piece of art,” she added. “It meant so much to me. I felt so taken care of by Alessandro and the whole team. It was handled with such care and artistry. What a cool experience.”

The Met Gala is a particularly heart-thumping occasion, especially for first-time attendees. The best advice she got from those who’ve done it before, “‘Breathe on the carpet. It’s scary, but it’s fast.’ I think I forgot to,” she says. In past interviews A’zion has joked that she basically blacks out ahead of facing the photographer onslaught, a feeling she reiterated to W. “I don't think I have a free second to calm my nerves until I'm on the other side of the carpet, and it's over,” she said of her getting ready process. “Sometimes I'll turn off music for a little bit beforehand, so my brain doesn't explode."

A’zion was most excited for what happened at the top of the steps. “Honestly, I was most looking forward to seeing what designers had created this year,” she said. “And, seeing what happened on the other side of it all, because I had zero clue what went down in there.”

When she’s in the right headspace, though, her pre-carpet ritual involves putting on the soothing music of her favorite artists. “When I’m listening again, it’s Bob Marley, Led Zeppelin, The Rolling Stones, The Beatles, just good music. Whatever feels good.” It’s a fitting move for A’zion, who, in addition to preparing for acting projects like Oscar-winning director Justine Triet’s first English-language feature, Fonda, is also finally embracing her lifelong love of singing. Just a few days before the Met Gala, A’zion officially released her first two songs under her name, “Liquor Store Roses” and “Maybe I’m Not What You Need.” The spare, confessional ballads show off A’zion’s smoky, unguarded vocals.

As for what's next musically? "I guess we'll just have to wait and see!"

Once a year, for about half of the year, the generational baddie of the solar system, Pluto, stations retrograde. Before you start sounding the alarm, let me reiterate that Pluto stations retrograde for approximately half the year. And thankfully, this is nothing new to us. We’ve been experiencing the culture shifts provided by Pluto, the society-ruling sign, since 2023. From May 6 to October 16 of this year, Pluto will retrograde through the revolutionary, innovative, and forward-thinking sign of Aquarius. This retrograde gives us the chance to review how we’ve been changing socially, what tools are moving our lives forward, and our aspirations.

Aquarius is deeply connected to society and social lives. This is the trendsetter sign, after all: finger always on the pulse, keeping the rest of us from getting lost in the Stone Age. Over the past few years, you’ve probably noticed the way you connect with others is shifting—or, at the very least, your respect for these social interactions has changed. Pluto in Aquarius marks a social upheaval. In a digital age, where over half of the global population is on social media, we are more connected than ever. However, there is a trend bubbling up involving “dumb phones,” analog items, and the return of IRL house parties. While they’re all valuable ways to stay connected, Pluto’s retrograde in Aquarius encourages us to think about which social experiences lead to the most genuine human connections. Over the next few months, it’ll become apparent not just how you can build these connections, but also which connections hold the most value for you. Who are your people, and how will you continue to grow with them?

In addition to support from people, you’ve also got a few months to think about the gizmos and gadgets that will aid in your goal-chasing journey. Aquarius is the inventor of the stars, constantly thinking about what makes our world function and how to make life easier through innovation. That said, not all inventions stand the test of time. This doesn’t mean we shouldn’t try out new tools, or ways of problem-solving. We just need to be a bit more conscientious about it for the next few months. While Pluto is retrograde, there might be some technical difficulties in your life. These are moments you’re being called to ask “Is this the most efficient way to get what I need to get done? And on top of that, is this process actually progressing me forward, or is it just cutting corners?” Pluto in Aquarius seeks innovation, but also wants you to know when to cut through the slop that is cosplaying as progress.

Pluto in Aquarius is an aspirational time, and the next few months will help us remember where we are going. With the changes to culture and contraptions happening, it’s important to reflect on the life you want. Aquarius archetypically holds onto utopian ideals, with a humanitarian flair that understands progress requires a village. What does that dream life look like for you? Who and what will help you build it into a reality?

While it’s normal to expect the unexpected with any Aquarius transit (i.e. expect the end goal to change over time), it’s essential to have some kind of end goal in mind. Aquarius is dually ruled by Saturn and Uranus, which means this sign knows better than any other how to build upon what already exists. For you, that looks like the universe constantly taking what you want to do and naturally shaping it into something better. So do what Pluto requires of you and start making deep, fundamental changes to the things that aren’t working and are no longer aligned with your vision. Trust that whoever or whatever is pulling the strings will keep you on the right path.

For extra astro guidance, read for your rising sign below! These are sign-specific reflections to help you navigate the next few months of Pluto retrograde.

Aries

Expect a shake-up in your social life soon. Start exploring new ways to connect with the world around you—this is a good time to join a community or team-based club/organization. The airy energy of Pluto in Aquarius will only fan your flames higher and higher, so look forward to the inspiration that comes from others. Be cautious of falling into old social habits or patterns. Let these six months be a period of social rebirth.

Taurus

Pluto retrograde gives you the chance to revisit your legacy. You are a stability-loving sign, but you could be feeling an itch for something new. What aligns with who you are? Who can you work with to carve out a professional path that is perfect for you? There’s no more time to clock in and out without feeling a gust of inspiration. Take these few months to revisit your long-term plan of action.

Gemini

Pluto retrograde will push you to continue being curious. You might find yourself revisiting some old ideas of the world, or filling in the gaps of how you understand this place we call home. Close the loops over these next few months. Use this period of time to go as deep as the iceberg will allow you. No longer are you a jack of all trades, but rather you are becoming a master of all.

Cancer

Pluto retrograde will help you dive deep and shed your skin, metaphorically speaking. You will be experience a greater understanding of yourself and your most intimate relationships by the end of these six months. The manner in which you share who you are continues to evolve, so if there are any boundaries you feel like have been crossed recently, go ahead and re-establish them now. Embrace the intensity, expect the unexpected, and know that this is the time for you to take back control.

Leo

Pluto retrograde will be a moment to assess your relationships: professional, plutonic, passionate—all of ‘em. You might feel particularly like there are some power struggles going on, or a feeling that one party is trying to push the other to bend to their will. Compromise is key, but that doesn’t mean you should compromise on your values. How and with whom you choose to connect will change over the years, so let these next few months be a lesson in who should stand the test of time.

Virgo

It’s time to get serious about your work. These next six months, you might feel like life seems a bit more mundane, which is not necessarily a bad thing. Sometimes moving on autopilot is necessary to focus on inner work, or to chip away at a goal. That said, if you’ve been slacking at all you could experience a bit of tension. Reflect on how you want your life to operate and start making the changes slowly, over time, so that life can start being a reality.

Libra

Oh, how special this retrograde will be for you! During the next few months, you might notice an urge to explore former passion projects, reignite old flames, and find ways to reconnect with your inner child. Pluto in Aquarius is a spark of inspiration that shifts how you express yourself, and shine in the world. People-pleasing should go out the door, because right now is your chance to prioritize your happiness. Trust the fact that, if you make changes from within yourself, you will inspire others to do the same.

Scorpio

Pluto retrograde could be a bit tough, so get ready to do some of the hard work these next few months. You might have to revisit some tense conversations, or wash the salt out of any re-opened wounds. The lesson here is to focus on how you emotionally regulate yourself. What needs to change so you can feel more at ease, day in and day out? If there is something to get off your chest, or a hatchet that needs to be buried, take action.

Sagittarius

The next six months will be a bit of a mental whirlwind with Pluto retrograde. You might have moments of déjà vu in conversation, or you could feel as though you can’t get an idea out of your head. Revisiting how you consume information, and what you choose to share is important right now. Rather than getting caught up in an inner monologue, make sure you are sharing what is on your mind and perhaps someone else’s perspective could help you piece together the answer to the deep questions you’ve been asking.

Capricorn

Pluto retrograde is a great time for you to realign financially. You might have noticed that money is feeling a bit tighter than you’d like. There is only so much you can do about the global economy, but there are steps you can take. Revisit your budget and where you are spending your hard-earned cash. Doing this in conjunction with some reflection on your values will help you pinpoint what to prioritize. There’s no need to change what works, just find ways to be more conscientious about how you use your resources.

Aquarius

Pluto retrograde in your sign is both a celebration and a mourning period. On one hand, you will probably feel like you are disconnected from the person looking back at you in the mirror. You might question yourself, wondering who you will be at the end of this long transit. However, it is also a celebration of your growth and how much you’ve been able to overcome. Don’t stress about having it all figured out, or trying to force yourself into a box. You will continue to evolve, so be grateful for the person who got you here, and welcome in the person who will get you through the next phase of life.

Pisces

The next few months will be filled with healing and spiritual insights. Pluto retrograde will aid you in understanding more deeply your beliefs and your dreams. Additionally, you’ll find that these next six months will be filled with natural endings, both internal and external. Remember: when one door closes, another one will open. Be patient, and let yourself surrender to the changing of the seasons.

Kate Middleton is no stranger to recycling styles from her wardrobe for public appearances, which she did again this morning in London. Making an appearance at the University of East London to launch the Royal Foundation Centre for Early Childhood’s new “Foundations for Life: A Guide to Social and Emotional Development” initiative, Middleton was sharply dressed in a light tan suit by Roland Mouret. If you’d seen it before, its because she fist debuted it back in 2023.

Middleton’s suit encompassed a tailored blazer and high-waisted trousers, which she layered over a silky white collared blouse. She opted to keep her accessories minimal, only pairing the set with small pearly drop earrings and smooth brown leather Ralph Lauren pumps. In fact, the shoes were also a style Middleton’s reworn numerous times.

Her suit, meanwhile, was first spotted in 2023—also worn with a white top and pointed-toe pumps—during a meeting with frontline staff of the Streets of Growth program in London. When making appearances on the behalf of charities, Middleton likes to keep the focous of her own clothing. Yet, even when dressed in sharly tailored neutrals, she still makes a statement.

The royal also accessorized with her go-to gold Daniella Draper necklace, accented with letter pendants representing her children’s names. Like her shoes, Middleton’s jewelry has been part of numerous outfits since she was first seen wearing the piece last year.

The moment also continued Middleton’s suiting streak. Apart from her rotation of tea-length dresses, the royal often favors a coordinated suit in a range of colors from labels including Alexander McQueen, Emilia Wickstead, and Holland Cooper. Naturally, most have been re-worn for various occasions, similarly to her tan Mouret set.

Since wedding Prince William in 2011, Middleton’s become known for re-wearing her clothes across a wide range of occasions, from the red carpet to nonprofit visits. This Easter, she stepped out in a belted Self-Portrait blazer and dress that she first wore in 2022. Earlier in the year, the white Chris Karr coat from her 2023 Christmas service outfit was repurposed to celebrate the Hindu festival of holi with British Indian citizens, as well. This latest look shows that her upcycled fashion ethos is only growing, maintaining both responsible sustainability and polished style.

“Boobs are a big part of the show,” says Margo’s Got Money Troubles’s costume designer Mirren Gordon-Crozier. Anyone who has watched the Apple TV+ series starring Elle Fanning, Michelle Pfeiffer, and Nick Offerman knows that’s an understatement. Margo follows Fanning as Margo Millet, a college student with ambitions of becoming a writer who drops out after getting pregnant by her English professor. When she decides to keep the baby, she turns to OnlyFans to support her child, creating the sci-fi-inspired online persona Hungry Ghost. So yes, there are a lot of boobs—sometimes even green ones.

Gordon-Crozier was tasked with dressing both Margo and Hungry Ghost, two wildly different versions of Fanning’s character. Fortunately, the costume designer has plenty of experience transforming the 28-year-old actor. The pair have collaborated on five projects, including Margo, and have developed an easy shorthand over the years. “I know what looks good on her and what fabrics she likes,” Gordon-Crozier tells W, “But I always put her in itchy sweaters she complains about.”

Beyond the itchy sweaters, Margo saw Fanning in everything from 70-year-old knits to DIY cone bras while embodying her alien alter ego. Gordon-Crozier also relished dressing Pfeiffer as a kind of Real Housewives of Orange County reject, scooping up every fur-trimmed and snakeskin piece she could find across Southern California for the actor’s character, Margo’s mother, Shyanne. “She’s actually from Orange County,” Gordon-Crozier says of Pfeiffer. “So she was like, ‘This is who I would be if I hadn’t left.’” Below, Gordon-Crozier shares behind-the-scenes details from dressing the Margo cast—rounded out by Nicole Kidman, Greg Kinnear, Rico Nasty, Nick Offerman, and Thaddea Graham—along with exclusive images from the set.

“In the beginning of the show, Margo’s a student, and so I think she's trying to fit in,” Gordon-Crozier says. “She’s emulating her professor's style a bit, while putting her own twist on it. Like this knit [sweater] I got from the ’50s, but underneath she's wearing a red lace top.”

“It was really important for us to get this alien t-shirt right. We wanted to bring in that element of what happens later on in the script, like she’s looking at herself in the mirror and seeing herself in that t-shirt and getting ideas.”

“Margo is in that age range where she's definitely thrifting. She’s also probably taking clothes from her mother's closet, and they have a little bit of a magpie essence to them where they like sparkly and flashy things, but Margo wears them in a different way. So, I definitely wanted to incorporate Shyanne’s wardrobe into Margo’s.”

“For Shyanne, I took a lot of inspiration from the first two seasons of Real Housewives of Orange County before they went into logomania,” Gordon-Crozier says. “Michelle is so game for everything. She really got the character.”

“During the fittings, a big conversation was, ‘Does [Shyanne’s partner] Kenny like the cleavage? Is he okay with the cleavage? Or, does he want her to hide the cleavage?’ We decided to go with something in between. We would veil the cleavage a lot, and then every day, we would move her cross necklace up or down, depending on what Michelle was wearing, so it would lie perfectly.”

“Susie was one of my favorite people to dress,” Gordon-Crozier says of Margo’s roommate, played by Thaddea Graham. “I was really inspired by Rosanna Arquette's daughter, Zoë Blue. She has the most amazing style. It’s very whimsical. She'll wear a slip from the 1800s with a black choker. Susie's really creative, but we don't see that until later, when their basic roommates leave, and she can start being herself. We also found a lot of inspiration from real girls on Instagram with homemade, quirky style. Susie can crochet. She has a glue gun. She knows how to make her own stuff. But she's also figuring out her style. As the season progresses, you see that she becomes more and more of who she wants to be.”

“Susie is kind of the opposite of Margo in a way. She spends a lot more time thinking about her layers and what she's going to wear, who she's going to be that day.”

“Our whole thing with Margo is that she's a bit of a slob, so that's why sometimes her outfits are mismatched. She just grabs them from the ground.”

“Elle’s prosthetics were so good. We wanted to find a way to show her stomach, so we put her in this Poster Girl bodysuit,” Gordon-Crozier recalls. “But she’s not fully the Hungry Ghost yet, so she’s hiding it with a sweet little vintage ’70s cotton top. I think the lace skirt is Free People. She's always a mix of sexy and sweet.”

“This is what Margo wears to meet [her baby’s father] Mark's mother, so this is her dressing up. My assistant is very good at felting so we hand-felted this. We found a preexisting vest and just added those circles on. There’s a vintage ’70s lace top underneath.”

“The older people in this show are a little stuck in the era when they were most beautiful and thriving, before reality kicked in. So Shyanne and Jinx [Nick Offerman], and even Lace [Nicole Kidman] are a bit stuck in the ’90s.”

“That is a Paco Rabanne skirt, which she wears twice. I liked it with the body suit because of the juxtaposition.”

“There are a few repeat hero pieces,” Gordon-Crozier says. “Margo has her hero cowboy boots, which Elle actually took home because she loved them so much. There’s also her hero denim jacket which she wears a lot. She wears this white lace skirt twice. And then the red tassel jacket she wears a couple of times, too. I tried to repeat as much as possible.”

“Lace’s wrestling costume was all made of latex. I’d never worked with latex before so that was an interesting challenge. You can't just cut and sew it. You have to go to a specialist.”

“This was in the beginning, when Margo didn't really know what her OnlyFans character was. We thought, ‘What would Susie have?’ Susie's into cosplaying, elves, and all that underworld stuff. So this is us essentially taking stuff from Susie's closet.”

“This is one of my favorite outfits,” Gordon-Crozier says. “It’s a Poster Girl top and a Victoria's Secret bra. The skirt is vintage from the ’80s. And there’s a vintage belt and metallic boots, which I think are from Santee Alley. This is where Margo and the Hungry Ghost come together. She's a little more confident and she is finding her style. It's a well-thought-out outfit for her—perfect for her going out on the town.”

“This is my favorite Shyanne look. It’s Roberto Cavalli and the boots are Paris Texas.”

“Both Margo and Shyanne are magpies. They like sparkly things. So I think Margo genuinely likes her maid-of-honor dress, even though it probably came right off the rack from Bloomingdale's. But there was something less generic about it that I liked. In reality, it is vintage and we paired it with a Collina Strada necklace.”

“As she progresses into the world of OnlyFans, she has little money and she buys herself some new things. She’s meeting up with [her OnlyFans friends Rose and KC] and she’s playing into what maybe she thinks they would wear too.”

“We wanted [the Hungry Ghost look] to be DIY in a way because Susie is supposed to be making it all,” Gordon-Crozier says. “It's sort of janky, for lack of a better word, in a purposeful way, using things you can get at the store and are easily accessible. It’s a throwback to that [fall/winter 2017] Gucci ad from Alessandro Michele [and Glenn Luchford]. That was a big inspiration. So were the ’60s. We tested the body paint color a lot. Instead of a straight blue or green, we went with a teal.”

“The platform boots are from Dolls Kill. We got a lot of things from there. Elle helped me add little moons and aliens to them. Everything was custom-made and special. We also made the cones with the tassels. I purposely put the cones on the outside. It’s a little tongue in cheek.”

“A lot of [Rico Nasty and Lindsey Normington’s] stuff was from Wasteland, Dolls Kill, and then costume houses like Western Costume or Palace. They just have the wildest things in there.”

“Hair, makeup, and wardrobe collaborated a lot. Here, KC and Rose are cowboys, so we made their hair into lassos. Everyone in my costume department helped bedazzle the hats and belts, and we added the marabou to the bottom of the pants.”

“This is another one of my favorite outfits. The bodysuit is Agent Provocateur. I don't even want to say where the skirt is from because Margo probably wouldn't be able to afford it. It’s Bode, but let’s say she found it at Wasteland and got a really good deal.”

“I’m obsessed with this look and the green. That coat is vintage—real mink. We got that from a costume house. Elle looks so good in these body suits, so we just kept putting her in them.”

“We had a bucket on set, and everyone would put their [soda] can tabs in it. We collected hundreds of them and sewed them all onto Susie’s Shadowheart costume. That was fun.”

“Lace was really fun to dress,” Gordon-Crozier says of Kidman’s character. “She’s a lawyer now, so I considered what sort of suits an ex-wrestler would be attracted to. I did a lot of ’90 silhouettes and superhero colors. This one is Thierry Mugler.”

Last night, Katie Holmes brought a dash of historic glitz to Carnegie Hall’s 50th anniversary gala for its star-studded “Concert of the Century.” Draped in a black velvet dress with, Holmes mixed modern elegance with a bit of 1920s glamour.

The textured accent of asymmetric layers of black fringe strung with gleaming dark crystals gave her look a sparkling finish. It recalled the trimmed flapper dresses of the roaring '20s. Their party-girl spirit is still alive and well a century later. For a decidedly modern touch, Holmes slipped on a pair of sleek black peep-toe mules with pointed soles. V-shaped straps covered in silver crystals echoed her skirt’s sparkle.

Holmes’ personal style is unpredictable, but always elegant. She’s known for her slate of experimental, classic, and colorful ensembles that play with fit and texture, often styled by Brie Welch. While leaning on contemporary minimalism, she’s also dabbled in grunge and bohemian dressing, favoring New York-based and female-led labels like Chloé, Ulla Johnson, Leset, Khaite, and Staud. Lately, she’s been on a suiting kick, with looks ranging from a silky red Fforme set to a crisp white Brunello Cucinelli shirt (paired with a glittering gray maxi skirt for extra drama).

With her flapper-worthy outing, Holmes proved she can bring a nonchalant flair to even the most classic, versatile pieces. Plus, with her new film Happy Hours premiering at the Tribeca Film Festival next month, the star has plenty of fashion-forward red carpet moments in store this summer.

No matter how often women are commanded to celebrate their bodies, we know they can be a real inconvenience for souls.

The Metropolitan Museum of Art and its new Costume Institute exhibit have an answer, or at least, an exhibit. “Costume Art” opens to the public on May 10 and runs through January 10, 2027. The show follows this year's Met Gala—co-chaired by Beyoncé, Nicole Kidman, Venus Williams, and Anna Wintour, with a "Fashion is Art" dress code—which raised a record $42 million for the Costume Institute. “Costume Art” also inaugurates the Met's nearly 12,000-square-foot expansion adjacent to the Great Hall, a permanent home for the Costume Institute's annual spring shows and other exhibitions exploring the connection between fashion and art.

The exhibit might sound like a gallery show with outfits from Star Wars and Moulin Rouge, but it's actually a jam-packed tour of the myriad ways clothes can enhance or alter the human body itself. (The museum calls this practice “examining the centrality of the dressed body.”) The show uses nearly 400 objects—half garments, half more traditional “art,” like sculpture and painting—to make the case that when we get dressed, we create a collision between our inner selves and the outer world. We get to choose, at least a little bit, what the universe can look like. And especially in this political and social moment of imminent bodily harm, this daily practice of getting dressed is both resistance and a major excuse to party.

For the exhibit, the Costume Institute divides “the body” into 13 types, each populated with mannequins dressed in fascinating examples. “The Classical Body” juxtaposes Greek and Etruscan reliefs and statues with 1920s toga riffs from Coco Chanel and Jean Paul Gaultier, along with hand-stitched fresco effects from Maria Grazia Chiuri’s Dior era and Thom Browne’s eponymous couture line. “This is all hand-done,” Browne told press during the pre–Met Gala tour of the exhibit. “The graphic work was entirely stitched and embroidered.”

Each mannequin has a mirror for a face—designed by Palestinian-Canadian artist Samar Hejazi—so you can "see yourself" in the look; each dress is paired with an object, such as a 19th-century goddess statue or a column carved in 500 B.C. It gets eerie when the pairings are literal—Yves Saint Laurent and Jonathan Anderson’s takes on Van Gogh irises placed smack in front of the Dutch Impressionist’s 1889 Irises, or Adam McEwen’s faux-obituary screen print of the very much alive Nicole Kidman, displayed right next to the Jean Paul Gaultier dress Kidman wears in the fake-news layout.

Naturally, there’s a lot of corsetry in this show, including historic examples from the Edwardian and Victorian eras and a drop-dead amazing peplum brocade from Versailles. These looks are smooshed against work by Michaela Stark, the Australian artist whose distorted corsets purposefully push the body into fleshy ripples and bulges, creating the type of blobby silhouette most women have been taught to fear. Seeing them alongside the typically “desired” body shapes—slim, taut, gleaming—highlighted by gowns from Alexander McQueen and Tory Burch creates a sense of both hope and exhaustion. We’re still mired in the past when it comes to the female body’s cultural worth.

Even the exhibit’s section celebrating larger sizes and shapes is titled “The Corpulent Body” because, despite reported feedback from activists living in larger bodies, the Costume Institute could not bring itself to say the word “fat.” And if the most exquisite collection of fashion history in the world can’t practice basic body neutrality, what hope do the rest of us have?

The show fares better when it frames “The Disabled Body” in terms of its possibilities, using the Irish activist and fashion consultant Sinéad Burke (who has dwarfism) as both a model and a curatorial adviser. There is an adaptive graphic look by the American sportswear phenom Willie Norris, modeled on Aariana Rose Philip, a trans model who uses a wheelchair and attended the Gala wearing Collina Strada. Seeing these looks presented not just with consent but with the willing participation of these fashion fixtures is a compelling reframing of the daily staring contest that anyone living in an “atypical” body has to navigate with the world. It’s also a reminder that every body is not just valuable but fun, if we want it to be.

Another hit comes in a section called “The Aging Body,” where Batsheva Hay’s tongue-in-cheek HAG sweater lines up with oil paintings of witchy widows and goth-edged outfits with hems that drag on the floor. Perhaps once this black-on-black parade of swishy modesty read as crone-wear, but today you’re just as likely to see it on a junior at Parsons who rides her skateboard to class. Pointing out the breakdown of “age-appropriate” fashion—even as it revels in the black lace veils of a mourner or the quilted garden jackets of a retiree (rendered by Erdem in oversized quilted floral jacquard, of course)—is a considered example of how to dismantle stereotypes through clothes. It’s also a visual hoot.

So can the Costume Institute's new show about bodies make us feel better about our bodies? Maybe. It can certainly make us feel better about our access to power. Even in the Ozempic age, we don't have a choice about what kind of body we live in, and we have limited agency in how the world's larger systems value us, as women and as humans. But deciding how to display our power—and proudly stepping out in garments that reflect our values, whether craftsmanship, nature, ingenuity, or even, if it's your thing, just being blisteringly sexy—can be a tacit permission slip for others to do the same. Nobody's going to tell you what to wear in the morning except you. This exhibit has myriad options. Choose wisely. Wear proudly.

(But maybe avoid the 19th-century whalebone corset. That one really hurts.)

No matter how often women are commanded to celebrate their bodies, we know they can be a real inconvenience for souls.

The Metropolitan Museum of Art and its new Costume Institute exhibit have an answer, or at least, an exhibit. Costume Art opens to the public on May 10 and runs through January 10, 2027. The show follows this year's Met Gala—co-chaired by Beyoncé, Nicole Kidman, Venus Williams, and Anna Wintour, with a "Fashion is Art" dress code—which raised a record $42 million for the Costume Institute. Costume Art also inaugurates the Met's nearly 12,000-square-foot expansion adjacent to the Great Hall, a permanent home for the Costume Institute's annual spring shows and other exhibitions exploring the connection between fashion and art.

The exhibit might sound like a gallery show with outfits from Star Wars and Moulin Rouge, but it's actually a jam-packed tour of the myriad ways clothes can enhance or alter the human body itself. (The museum calls this practice “examining the centrality of the dressed body.”) The show uses nearly 400 objects—half garments, half more traditional “art,” like sculpture and painting—to make the case that when we get dressed, we create a collision between our inner selves and the outer world. We get to choose, at least a little bit, what the universe can look like. And especially in this political and social moment of imminent bodily harm, this daily practice of getting dressed is both resistance and a major excuse to party.

For the exhibit, the Costume Institute divides “the body” into 13 types, each populated with mannequins dressed in fascinating examples. “The Classical Body” juxtaposes Greek and Etruscan reliefs and statues with 1920s toga riffs from Coco Chanel and Jean Paul Gaultier, along with hand-stitched fresco effects from Maria Grazia Chiuri’s Dior era and Thom Browne’s eponymous couture line. “This is all hand-done,” Browne told press during the pre–Met Gala tour of the exhibit. “The graphic work was entirely stitched and embroidered.”

Each mannequin has a mirror for a face—designed by Palestinian-Canadian artist Samar Hejazi—so you can "see yourself" in the look; each dress is paired with an object, such as a 19th-century goddess statue or a column carved in 500 B.C. It gets eerie when the pairings are literal—Yves Saint Laurent and Jonathan Anderson’s takes on Van Gogh irises placed smack in front of the Dutch Impressionist’s 1889 Irises, or Adam McEwen’s faux-obituary screen print of the very much alive Nicole Kidman, displayed right next to the Jean Paul Gaultier dress Kidman wears in the fake-news layout.

Naturally, there’s a lot of corsetry in this show, including historic examples from the Edwardian and Victorian eras and a drop-dead amazing peplum brocade from Versailles. These looks are smooshed against work by Michaela Stark, the Australian artist whose distorted corsets purposefully push the body into fleshy ripples and bulges, creating the type of blobby silhouette most women have been taught to fear. Seeing them alongside the typically “desired” body shapes—slim, taut, gleaming—highlighted by gowns from Alexander McQueen and Tory Burch creates a sense of both hope and exhaustion. We’re still mired in the past when it comes to the female body’s cultural worth.

Even the exhibit’s section celebrating larger sizes and shapes is titled “The Corpulent Body” because, despite reported feedback from activists living in larger bodies, the Costume Institute could not bring itself to say the word “fat.” And if the most exquisite collection of fashion history in the world can’t practice basic body neutrality, what hope do the rest of us have?

The show fares better when it frames “The Disabled Body” in terms of its possibilities, using the Irish activist and fashion consultant Sinéad Burke (who has dwarfism) as both a model and a curatorial adviser. There is an adaptive graphic look by the American sportswear phenom Willie Norris, modeled on Aariana Rose Philip, a trans model who uses a wheelchair and attended the Gala wearing Collina Strada. Seeing these looks presented not just with consent but with the willing participation of these fashion fixtures is a compelling reframing of the daily staring contest that anyone living in an “atypical” body has to navigate with the world. It’s also a reminder that every body is not just valuable but fun, if we want it to be.

Another hit comes in a section called “The Aging Body,” where Batsheva Hay’s tongue-in-cheek HAG sweater lines up with oil paintings of witchy widows and goth-edged outfits with hems that drag on the floor. Perhaps once this black-on-black parade of swishy modesty read as crone-wear, but today you’re just as likely to see it on a junior at Parsons who rides her skateboard to class. Pointing out the breakdown of “age-appropriate” fashion—even as it revels in the black lace veils of a mourner or the quilted garden jackets of a retiree (rendered by Erdem in oversized quilted floral jacquard, of course)—is a considered example of how to dismantle stereotypes through clothes. It’s also a visual hoot.

So can the Costume Institute's new show about bodies make us feel better about our bodies? Maybe. It can certainly make us feel better about our access to power. Even in the Ozempic age, we don't have a choice about what kind of body we live in, and we have limited agency in how the world's larger systems value us, as women and as humans. But deciding how to display our power—and proudly stepping out in garments that reflect our values, whether craftsmanship, nature, ingenuity, or even, if it's your thing, just being blisteringly sexy—can be a tacit permission slip for others to do the same. Nobody's going to tell you what to wear in the morning except you. This exhibit has myriad options. Choose wisely. Wear proudly.

(But maybe avoid the 19th-century whalebone corset. That one really hurts.)

Despite the fact that the Met Gala takes place at the Metropolitan Museum of Art every year, it rarely has much to do with the museum’s art collection. Yes, fashion is, in a way, its own type of art, and over the years the Costume Institute has amassed an impressive collection, but we’re talking fine art—paintings, drawings, sculpture.

All that changed with this year’s Met Gala. Themed “Costume Art,” the event and corresponding exhibit explored the dressed body within the Met’s collection, placing works of art alongside both historical and contemporary garments. The word “body” in that description did lead many to go down the route of showing off their own figure, but just as many attendees focused on the intersection of fashion and art, looking to famous sculptures, paintings, and artists for sartorial inspiration. As a result, the 2026 Met red carpet turned into an art nerd’s dream, as gowns inspired by Gustav Klimt, Vincent Van Gogh, and more ascended the steps one by one. There were dozens of art-adjacent references, really too many to count, but we’ve chosen our favorite 14, the ones that really knocked the dressing assignment out of the park (Georges Seurat’s park, to be exact).

Hunter Schafer as Gustav Klimt’s Mäda Primavesi

There were a few guests who opted to dress like figures from art history, and specifically, figures from Gustav Klimt's paintings. Hunter Schafer, for example, attended the Met Gala as Mäda Primavesi, the nine-year-old subject of Klimt’s painting by the same name. Created between 1912 and 1913, the portrait depicts the daughter of patrons Otto and Eugenia Primavesi, and just so happens to be sitting in the Metropolitan Museum of Art’s permanent collection.

In order to transform into Primavesi, Schafer (with the help of her stylist Dara Allen) tapped Prada to create a linen gown with an empire waist lined with rosettes that matched the child’s own. Schafer also wore an almost identical bow in her hair, and mimicked Primavesi’s juvenile makeup with pink cheeks and blue eyeshadow smeared across her lids. That is where the similarities end for the most part. In the portrait, Primavesi wears a dress by couture designer Emilie Flöge, who was a friend of Klimt. The dress stops just under the knee in layers of ruffles, while Schafer’s deteriorated into tatters. Holes and tears emerged under the actor’s bust, and by the time the skirt reached the floor, there were merely shreds of the original fabric. But underneath the linen, flowed a floral skirt of pleated silk chiffon that created a dramatic train behind Schafer. Perhaps, the idea was that Schafer found the Flöge dress in the Primavesis’s attic over a century after Mäda sat for her portrait. Though the piece was destroyed from decades of storage, she handed it to Miuccia Prada and Raf Simons to fix it up for her to wear to the Met Gala.

Gracie Abrams as a Klimt Lady

Schafer wasn’t the only one inspired by Klimt’s work. Gracie Abrams, too, came as a leading lady from the Austrian artist’s mind. She seemingly referenced two of his most famous paintings: The Kiss and Portrait of Adele Bloch-Bauer I.

Matthieu Blazy designed a gorgeous, gilded Chanel dress for the singer featuring an embellished off-the-shoulder neckline and halter straps. Embroidered fabric continued the decadence while a chiffon skirt draped in chains fell to the floor. Abrams looked like she was covered in the gold leaf Klimt used generously throughout his “Golden Period,” when he painted both works.

A Quartet of Madame Xs

Madame X was another popular figure at the 2026 Met Gala, and Julianne Moore, Lauren Sánchez Bezos, Claire Foy, and Rosie Huntington-Whiteley all attended the event dressed in their own takes on the controversial figure.

In 1884, John Singer Sargent painted a portrait of the young socialite Virginie Amélie Avegno Gautreau titled Madame X. In the original work, Gautreau was depicted in a black dress with a dramatic, sweetheart neckline, a fitted waist, and jeweled straps. One of those straps, however, was haphazardly falling off Gautreau’s shoulder. That may seem like nothing in the era of naked dressing, but in the late 19th century, when the portrait was displayed at the Paris Salon, it was considered vulgar. The backlash was so bad that Sargent reworked the painting and altered the strap so it was securely placed on Gautreau’s shoulder. Now, Madame X, which resides in the Met, is considered the American Mona Lisa, so it’s no surprise it was referenced multiple times on the Gala’s red carpet.

Moore tapped Bottega Veneta for her recreation, wearing a simple black dress with a white strap that hung off her shoulder, while Foy went for a similar effect with her Erdem design. Sánchez Bezos, meanwhile, was the most true to Madame X’s original silhouette, and her Schiaparelli gown featured similarly jeweled straps, one of which draped her upper arm. Huntington-Whiteley, in Burberry, meanwhile, ditched the straps altogether, a concept the people of 1880s France likely wouldn’t have been able to comprehend.

Rachel Zegler as Lady Jane Grey

Paul Delaroche’s 1833 painting, The Execution of Lady Jane Grey, already has a place in fashion history. It was the inspiration for Alexander McQueen’s fall 1999 couture collection for Givenchy. At the 2026 Met Gala, however, Zegler tapped Prabal Gurung to turn her into the painting subject: the 17-year-old Queen of England who reigned for only nine days before being beheaded for high treason.

Delaroche’s painting depicts the final moments of Grey’s life, before she was deposed and killed in 1553 at the behest of her cousin, Queen Mary I. In the painting, Grey has been partially undressed, and she’s seen wearing a while silk underdress with a lace-up corset. Gurung took direct inspiration from this ensemble, placing Zegler in a similar top, albeit with a column skirt instead of Grey’s more voluminous alternative. The pièce de résistance, however, was the Jennifer Behr eye-covering Zegler wore over her face, solidifying the connection between her look and the famous painting.

Angela Bassett as Girl in Pink Dress

Zegler was joined on the red carpet by another attendee who Gurung dressed to look like a character straight out of a painting. The Nepalese designer also designed a look for Angela Bassett based on Laura Wheeler Waring’s 1927 work Girl in Pink Dress, which is also part of the Met’s collection. Waring was an American artist known for her portrayals of Black women during the Harlem Renaissance. Girl in Pink Dress epitomizes Waring’s work, depicting a young woman with a coiffed bob wearing a pink, flapper-style dress featuring a shoulder of flowers. Bassett’s gown is decidedly more modern with its draped bodice and a beaded skirt, but the color and addition of a flower-adorned shoulder make the inspiration very clear.

Heidi Klum as Raffaele Monti’s Sculpture

The most shocking look of the evening was undoubtedly worn by Heidi Klum. The Queen of Halloween clearly tapped her spooky season team to turn her into Raffaele Monti’s Veiled Vestal sculpture. During an interview with Ashley Graham and Cara Delevingne on the red carpet, Klum explained that she was inspired by a trip to the Met when she saw Monti’s work.

Veiled Vestal in an 1847 sculpture that depicts the Vestal Virgin. At the time, the depiction of translucent fabric was very popular in sculpture, and William Cavendish, 6th Duke of Devonshire, who commissioned the piece, requested Monti employ the technique. Upon its completion, Veiled Vestal was displayed at Cavendish's West London Chiswick House, though it was moved to Chatsworth House in 1999. If the sculpture looks familiar to you, that’s because it was featured in the 2005 film, Pride and Prejudice.

Klum’s over-the-top look was created by prosthetic makeup designer Mike Marino and is actually made of “foam and latex.” Klum insisted it wasn’t as uncomfortable as it looked. “I can sit, I can eat, I can do everything,” she said.

Kendall Jenner as a Winged Sculpture

Klum was in good company when it came to those who recreated sculptures at the Met. There were many dressed in statuesque ensembles, including Kendall Jenner, who opted for a slightly less literal approach from GapStudio by Zac Posen.

Jenner took inspiration from Winged Victory of Samothrace, the second-century Greek statue depicting the goddess of victory. Anyone who has visited the Louvre has seen the work, as it welcomes visitors at the top of its main staircase, making it the perfect piece to embody on the Met steps.

Along with Winged Victory, Posen was also inspired by the white t-shirt, a Gap staple. He used a lightweight cotton-viscose blend as well as liquid jersey with satin-face chiffon and organza to achieve the draped look on the dress. The fabrics covered up a leather corset, created by Abel Cepeda Ljoka and Will Kowall of Seks, which peeked out at Jenner’s bust for an extra touch of sex appeal.

And while Jenner didn’t display her wings while on the carpet, she had the opportunity to do so inside, lifting her satin-faced chiffon train to reveal the gorgeous printed effect.

Amy Sherald as Her Own Muse

What is cooler than dressing up like a figure from a historic painting? Dressing up as a figure from your own painting. American artist Amy Sherald attended the Gala in a custom Thom Browne look that turned her into a young woman in what is arguably her most famous work, Miss Everything (Unsuppressed Deliverance). She wore a black dress with white polkadots down one side, and a red pompom headpiece by Esenshel. White opera gloves and a red Hector bag completed this quirky ensemble.

Sherald first painted the work in 2014, citing Lewis Carroll’s Alice’s Adventures in Wonderland as inspiration for the piece. In 2016, Miss Everything won first in the National Portrait Gallery’s Outwin Boochever Portrait Competition. Just last year, the work was used for the cover of The New Yorker. It feels fitting, then, for Sherald to pay homage to this important piece in her repertoire on an evening celebrating art.

Venus Williams as her National Portrait

The biggest flex of all, though? Dressing like yourself from your National Portrait Gallery painting. Venus Williams did just that, showing up to the Met Gala in a Swarovski dress that seemed to jump right off Robert Pruitt’s canvas, Venus Williams, Double Portrait. The tennis player, who co-chaired the event, had Giovanna Engelbert recreate the Wimbledon-plate-inspired necklace from the painting, while also incorporating hidden symbols, which represented her family and her career as well as Black tennis history.

“It reflects not just my journey but the legacy of those who came before me—especially pioneers like Althea Gibson and Arthur Ashe, who paved the way,” she told Vogue. “It felt like a personal way to connect with ‘Costume Art’—using fashion to tell a story about legacy and progress and honoring those who made it possible.”

Madonna as the Queen of Sheba

To appreciate the inspiration for Madonna’s Saint Laurent look, one must view it from afar. As the singer ascended the Met Gala steps on May 4, she was flocked by seven women holding a large bolt of grey chiffon that emerged from her like a seven-pointed star. The effect brings to mind the 1945 work by British-born Mexican surrealist artist Leonora Carrington, The Temptation of St. Anthony.

Carrington originally painted Temptation for a competition organized by film director Albert Lewin. He tasked multiple artists, including Max Ernst and Salvador Dalí, to create their own surrealist version of the much-repeated subject, and Ernst’s depiction won the competition. In Carrington’s work, St. Anthony is the focus, but Madonna, instead, looked toward the Queen of Sheba, depicted to the right of him, with her own array of colorfully dressed helpers. Like the Queen of Sheba, Madonna held a circular trumpet as she walked the carpet to really drive home the reference.

This isn’t Madonna’s first time interpolating Carrington’s work. She was also one of several female surrealist painters that helped inspire her ‘Bedtime Stories’ video. When it was released in 1995, it was the most expensive music video of all time.

Luke Evan’s Tom of Finland Representation

While many attendees looked to fine art for inspiration, Luke Evans went in a different direction. He wore an outfit that immediately brought to mind Finnish artist Touko Valio Laaksonen, AKA Tom of Finland, who is known for his pencil drawings depicting hypermasculine male characters. The actor wore a full burgundy leather look from Palomo covered in silver studs and finished off with a matching tie, gloves, and leather belt. A hat, created by Spanish milliners Vivas Carrión, topped off the ensemble.

Beyoncé as the Visitor

While neither Beyoncé, Olivier Rousteing, nor the singer’s stylist, Ty Hunter, has confirmed it, we’re pretty sure the singer’s 2026 Met Gala look was inspired by Caroline Durieux’s 1994 work, Visitor. Durieux was a New Orleans-based artist, and any Beyoncé fan knows her connection with the city. Plus, the design of her crystal and feather-covered look mimics the skeletal figure in the lithograph. On the red carpet, Beyoncé said the ensemble was about celebrating “juicy, curvy, thin, tall” bodies, but if we were gamblers, we would say Durieux was also on the mood board.

Charli XCX’s Irises

Not every art reference at the Met was so overt. Charli XCX opted for something more subtle. The singer wore a black strapless dress by Saint Laurent, punctuated by resin irises climbing up her torso. Yves Saint Laurent was famously a big fan of Van Gogh, and for his spring/summer 1988 collection, the designer looked specifically to the Dutch painter’s famed floral paintings, Irises and Sunflowers, creating jackets embroidered with the flowers. While we can’t imagine Charli wearing the very buttoned-up outerwear, this was her way of referencing Saint Laurent, his love of art, and a famous painting, while still remaining disctinctly Charli.

Ben Platt as Georges Seurat’s Canvas

On the other end of the spectrum is Ben Platt, whose inspiration was clear the second he stepped on the red carpet. Platt turned his suit into a canvas, enlisting Tanner Fletcher to hand-paint and embroider an ivory silk wool suit with a scene referencing Georges Seurat’s famous painting, A Sunday Afternoon on the Island of La Grande Jatte.

The Costume Institute’s “Costume Art” exhibit celebrates the “dressed body,” and last night on the Met Gala red carpet celebrating the exhibit several stars found their fashion inspiration in the human body. Though, one body part proved particularly popular, and perhaps not the one you’d think. The red carpet was something of an all-hands meeting, with several stars putting their hands (and several extras) where our eyes could see.

Anne Hathaway kicked things off in a sweeping black Michael Kors Collection gown, which featured a strapless silhouette and full skirt. The star’s classic style earned an artistic touch from Peter McGough, who hand-painted the piece with a white Grecian design—including open palms—inspired by John Keats’ poem “Ode on a Grecian Urn.”

Others went the more sculptural route, like Lena Mahfouf. The French content creator’s look for Burc Akyol featured a pale blue draped skirt, complete with daring hip cutouts. Its most dynamic feature came from a metal bodice sculpted in the shape of silver hands, remaining innovative and bold while providing strategic coverage.

A similar effect—albeit with more technical results—was seen on Nichapat Suphap’s dress by Robert Wun. The Venture Management founder’s black, long-sleeved mermaid style gown included silver metal hands placed on its bodice, hip, and calf. However, the accents were actually animatronic, moving and adjusting their fingers on a whim—which proved both technologically eye-catching, going instantly viral online.

Wun also dressed Broadway producer and real estate heir Jordan Roth, who wore a muted gray velvet turtleneck dress with fully gloved sleeves. A spectral, faceless human form—a signature seen in Wun’s couture shows—protruded from the back of Roth’s dress. By appearing to gently touch his face, the accent added a surrealist, hands-on edge to Roth’s attire.

Wun’s hand-focused crew was complete with Blackpink member Lisa, who wore a sweeping sheer white gown with a matching veil—all embroidered with gleaming pearls and crystals. To keep her headwear upright, two extended white arms (naturally, covered in diamond bracelets) added to the look’s avant-garde nature. The pieces also created the surreal effect of Lisa having four arms, which certainly made a sculptural statement.

Sabine Getty rounded out the group in an Ashi Studio gown. The socialite and jewelry designer’s look featured a wispy, pale white layered skirt and one-sleeved bodice, punctuated by a sculpted breastplate. Cast in shades of black, brown, and red, her style depicted hand-painted arms clutching her body. Utilizing craft and an undone effect, her artisanal piece literally portrayed hands as a work of art—which, naturally, was perfectly on-theme.

All of the red carpet’s various hands leaned into a central theme of body security, all while highlighting the natural shape of the human form. However, their wide range of formats proved there’s more than one way to grasp that concept—both figuratively and literally.

To follow up 2023’s Oscar-winning Oppenheimer, director Christopher Nolan has chosen one of history’s great epics for his next blockbuster. The Odyssey will arrive in theaters this summer, and a stacked cast of Hollywood’s biggest stars will help bring Homer’s ancient Greek story to very modern IMAX audiences. Here’s everything we know about the film so far, including its first full-length trailer:

Is there a trailer for The Odyssey?

A short teaser for the film leaked last July and later debuted in theaters, but the first full-length trailer for The Odyssey premiered on The Late Show with Stephen Colbert on May 4, 2026. The clip conveys the story's texture and, like the great epic, starts with Matt Damon’s Odysseus recounting his life back home to Charlize Theron's Calypso. He recalls his decade-long journey, from helping the Athenians take Troy to navigating treacherous seas and other difficult situations. It hints, though, that the film will focus a great deal more on life back in Odysseus’s home of Ithaca, where his son, Telemachus (Tom Holland), and wife, Penelope (Anne Hathaway), have been waiting for him and trying to fend off Antinous (Robert Pattinson) from taking everything Odysseus has.

There’s also some strong evidence here that The Odyssey will simply be Nolan’s most Dad-friendly film yet. When Pattinson’s Antinous threatens to replace Odysseus as the master of the home, telling him he’s “pining for a daddy he’ll never know,” Holland’s Telemachus tells him with a shaky voice: “My dad is coming home.”

Watch the first Odyssey trailer below:

Who is in the cast of The Odyssey?

Some of the biggest names in Hollywood are part of Nolan’s film, including Matt Damon as Odysseus, Tom Holland as his son Telemachus, Anne Hathaway as his wife Penelope, Robert Pattinson as Odysseus’s rival and Penelope’s suitor Antinous, Zendaya as the goddess Athena, Charlize Theron as the sea witch Calypso, Jon Bernthal as Spartan king Menelaus, Benny Safdie as Menelaus’s brother Agamemnon, Mia Goth as the maidservant Melantho, John Leguizamo as Odysseus’s friend Eumaeus, and Himesh Patel as the Odysseus’s second-in-command Eurylochus.

Those are just the ones whose characters have been officially announced, though. The sprawling cast also includes: Elliott Page, Lupita Nyong’o, Logan Marshall-Green, and Travis Scott, to name a few.

Who has worked together before?

The film marks several creative reunions, including for Nolan and Hathaway, who starred in 2014’s Interstellar (along with Matt Damon) and 2012’s The Dark Knight Rises. Pattinson has also worked with the director, starring in 2020’s Tenet.

The Odyssey is the second of three movies starring Pattinson and Zendaya releasing this year, which also includes The Drama and Dune: Part Three. It’ll also bring Zendaya and partner Tom Holland back to the screen for the first time since 2012’s Spider-Man: No Way Home (their fourth Spider-Man installation, Brand New Day, arrives in theaters on July 31).

How will The Odyssey film diverge from the original saga?

There have been several films and TV series that draw inspiration from the foundational myth of The Odyssey. Kirk Douglas starred in a popular Italian version of the story in 1954’s Ulysses, and the Coen brothers’s 2000 musical-comedy O Brother, Where Art Thou? put George Clooney in the Odysseus role on a satirical journey through the American South (and included a folk-revival soundtrack that won the Grammy for Album of the Year). Nolan’s epic is closer to a faithful adaptation of Homer’s 8th-century BC epic, though it seems life back in Ithaca, with Holland’s Telemachus and Hathaway’s Penelope warding off Pattinson’s Antinous, will get significant screentime in addition to Damon’s long journey home as Odysseus, where he’ll battle mythical creatures like Cyclops and sirens.

What has Christopher Nolan said about the film?

It’s fitting that a director known for his massive-scale filmmaking would take on history’s great epic, and Nolan brought his characteristic sense of grandeur to the 91-day shoot. He told Empire magazine that they shot over two million feet of film (The Odyssey is the first feature film in history to be shot entirely with 70mm IMAX film cameras).

Much of that shoot occurred on the open ocean, which he called “vast and terrifying and wonderful and benevolent, as the conditions shift. We really wanted to capture how hard those journeys would have been for people. And the leap of faith that was being made in an unmapped, uncharted world.”

Of his decision to shoot in such physical conditions, he added: “By embracing the physicality of the real world in the making of the film, you do inform the telling of the story in interesting ways. Because you’re confronted on a daily basis by the world pushing back at you.”

He also told Colbert on The Late Show that The Odyssey was the original Marvel movie, saying: “Even comic book culture, whether you’re talking about Marvel or D.C. or all the rest, a lot of it comes directly from the Homeric Epics. The thing about Homer is, nobody knows if that was a person. Homer, in a way, is the sort of George Lucas of his time.”

And adding more evidence to the Dad Movie theory of it all, he also told Colbert that The Odyssey’s major thread about Odysseus’s dog is what really made him want to make the film. “It's really one of the things that hooked me,” Nolan said. “I'm a new dog owner. I'd never had a dog growing up. I didn't have a dog when my kids were young. We denied that, and then as soon as they left for college, we got a dog. They love the dog, too, when they get to visit. I decided to do The Odyssey because it's the ultimate dog story.”

When is the release date for The Odyssey?

The Odyssey arrives in theaters on July 17, 2026.