If you’re in need of inspiration for your next office look, allow Rosé to provide a slick new take on corporate attire. This weekend, the Blackpink star stepped out in New York City in a subversive version of a classic skirt suit, hailing from Saint Laurent. Worn over a simple white T-shirt, her ensemble featured a collarless jacket and knee-length skirt—each crafted from black leather.

The singer’s nonchalant nod to uptown style, however, was far from the simplicity of an average matching set. Her jacket included silver-buttoned front pockets and shoulder straps, as well as a contrasting brown lining. Meanwhile, her skirt was cinched by a thick, silver-buckled belt to enhance its biker edge.

Leaning into a business-worthy approach, Rosé paired the skirt suit with black nylon tights and a glistening pair of black patent leather pumps—complete with the sharply pointed, elongated toes that have become a signature of creative director Anthony Vaccarello in recent seasons. Saint Laurent’s slouchy, shiny black leather Shortense bag with rounded gold hardware, as well as a pair of thin rounded black sunglasses, gave her monochrome attire a carefree finish.

The corporate-esque set was Rosé’s latest all-black look from the French fashion house while in Manhattan this week. On Monday, the singer attended the Met Gala in a high-slit gown accentuated by a crystal-covered bird brooch. Afterwards, she took on the evening’s afterparty scene in a strapless, silky ruched dress with a wavy hemline, channeling the flair of ‘80s eveningwear.

Despite its corporate origins, the singer’s skirt suit remained nonchalant from its edgy take on ladylike dressing—which was smoothly in tandem with her dark style streak. As a longtime Saint Laurent ambassador, Rosé’s regularly worn its separates and formalwear on and off the red carpet over the years. In fact, her latest Met Gala outing marked her third with Vaccarello, who just celebrated his 10-year anniversary at the brand. Clearly, when it comes to effortless dressing, consistency is key—and Rosé’s got it in spades.

If your boss wears Louboutins, they now have two things in common with Jennifer Lopez. Amidst the press tour for her new Netflix film Office Romance, Lopez has stepped out in an array of looks that nod to workwear and corporate style. Her latest brought a dynamic take to simple office-wear, complete with a glamorous height boost only she could pull off.

In Los Angeles, Lopez stepped out in a set of light gray slacks and an ivory silk blouse. However, this wasn’t your standard office manager’s attire. Her trousers included a triple-waisted silhouette with flowing wide legs, cinched at the top by a reptilian-embossed belt with a large gold buckle. Meanwhile, her button-down shirt featured oversized, padded shoulders and was unbuttoned to form a plunging neckline in a nod to power dressing.

Lopez completed her look with two bold accents that were also core to her high glamour sensibility. A recent adoptee of Schiaparelli under Daniel Roseberry, she carried a small, warm brown top-handled version of the brand’s viral Face bag. Her style included allover reptilian embossments, complete with sculptural gold accents that formed its namesake face. Meanwhile, the star—always one for a sky-high heel—opted for a towering set of Christian Louboutin’s nude Dolly Alta pumps. The round-toed shoe featured thick platform soles and 6.29-inch stiletto heels, originally released as part of the brand’s fall 2023 collection. Though the style certainly soared, Lopez strolled in them with ease—fitting for a musician with a song called “Louboutins.”

The star’s ensemble may not have been up to code for your standard workplace, but her accessories certainly were. Lopez finished her outfit with squared gold post earrings and a matching watch, as well as a small diamond pendant necklace. Her look was complete with a pair of glistening brown Prada Symbole sunglasses, which delivered added drama from their oversized frames and triangle-textured temples.

Though Lopez’s business-ready outfit aligns with her current corporate-themed project, the star’s never shied away from luxe takes on office-wear. In fact, she’s regularly worn ensembles from slouchy suits to skirt suits, statement-making blazers, and classic button-downs and slacks—and occasionally swapped her go-to heels for office-friendly ballet flats. However, even when faced with the recent “quiet luxury” trend, Lopez has still gravitated towards eye-catching accessories and embellishments for a little extra drama.

Of course, Lopez’s business wardrobe is fitting—after all, she is also a businesswoman. Since 2001, the star’s led her production company Nuyorican Productions across numerous film and television ventures. Her latest deal, inked with Netflix in 2021, has found Lopez acting and producing various projects for the streaming service, including Office Romance, the films Mother and Atlas, and her own Super Bowl documentary Halftime. As a true multi-tasker, there’s still more to come from Lopez—including the film Happy Place and an adaptation of Isabella Maldonado’s Cipher. Clearly, this boss is clocked in until further notice.

Buying a Birkin bag? Elite. Making a fashion homage to one of Jane Birkin’s most iconic looks on the Cannes red carpet itself? Well, that reserved for Bella Hadid only.

Last night, Hadid stepped out for a screening of La Battaille De Gaulle: L'Âge De Fer in a skintight Schiaparelli Haute Couture gown. Designed by Daniel Roseberry, the sweeping white lace number featured a long-sleeved silhouette with a bodycon fit, finished by a thin, ruffled mermaid train. A plunging neckline cinched by a dangling black crystal ornament, as well as a lace-up back topped by a large, flowing black bow, added a touch of Schiaparelli’s signature surrealism. In tandem with the festival’s high glamour, Hadid’s look was complete with sparkling diamond earrings and smooth black Gianvito Rossi pumps.

Though it was indeed glamorous, Hadid’s ensemble held far more detail than meets the eye. The star’s ensemble was actually an homage to a white lace dress that Birkin wore in 1969 to the Union of the Artists Gala in Paris. As history goes, Birkin opted to subvert fashion norms by wearing the Pucci dress backwards, creating a deep neckline that she cinched with a brooch. The same technique was used intentionally in the design of Hadid’s look, with a similar texture and shape creating a united thread.

The ensemble was also a strong example of the power of design. Hadid’s dress wasn’t composed of lace fabric, but rather an embroidery of anchor threads and chords, creating a tromp l’oeil effect. Ultimately, the custom piece was the result of 22,160 hours of work, according to a statement from Schiaparelli. That dedication to craft is one that’s made Roseberry an undeniable innovator in the fashion industry today, with his approach to the French house’s surrealism being especially intricate and immersive.

This year, her run has taken several days to spawn a look that’s a distinct hallmark of the event, compared to past viral appearances in looks ranging from a daring red Roberto Cavalli dress to a bust-less Schiaparelli gown accentuated by gold-dipped lungs. However, with a key reference that’s nostalgic and heartfelt, Hadid’s latest ensemble made a meaningful fashion statement—and simultaneously became one of the most powerful dresses to walk the Palais des Festivals steps this year.

With her latest outing, it’s clear Olivia Rodrigo has the London look down. The singer’s ongoing streak promoting her third album you seem pretty sad for a girl so in love has taken her to the United Kingdom, where she’s continued her penchant for girly, whimsical dressing. This time, however, she added a big dash of mod with a print that’s both a British fashion staple and one of spring’s biggest trends.

This morning, Rodrigo strolled through London in a black short-sleeved Rudi Gergenreich dress covered in white polka dots originally from 1971. The vintage collared piece was cheekily layered beneath a cropped lime green sweater vest, which was actually part of the dress. The singer’s look was complete with a smooth black leather Coach shoulder bag, dark Ray-Ban sunglasses, and tall white over-the-knee socks. Her outfit was given a preppy finish from smooth black leather slingback pumps, accentuated by short block heels and narrow rounded toes.

With her especially literal reference point, Rodrigo’s outfit particularly called back to the short-cut shapes and geometric details of “mod” fashion. Gergenreich was a top designer of this particular style era, which was popularized at the time by stars like Twiggy and Peggy Moffitt—making her look even more aligned with the decade’s rule-breaking, futuristic look. This year, the pattern’s also popped up in new collections by Altuzarra, Carolina Herrera, Fiorucci, Self-Portrait, and Khaite, affirming its longtime fashion appeal.

Given her latest nods to preppy, schoolgirl-adjacent fashion, Rodrigo’s polka-dotted dress was also in sync with her own recent personal style shift. While upholding her youthful streak, Rodrigo’s latest album cycle has seen her embrace feminine ensembles with soft colors and vintage inspirations. Bow-topped, feathered, and babydoll-style dresses have all been key to her rotation, hailing from labels including Vivienne Westwood, Nina Ricci, Anna Sui, Betsey Johnson, and Saint Laurent.

Rodrigo’s ensemble also channeled Britain’s longtime love of a good old polka dot print. Princess Diana famously wore polka dot dresses and gowns and the pattern later appeared in the wardrobes of Victoria Beckham, Kate Moss, and Sienna Miller in the early 2000s. Most recently, it’s also been core to Lily Allen’s subversive looks tied to her post-divorce album West End Girl, and worn just this week for Cancer Research UK’s 125th anniversary by Kate Middleton—who’s frequently donned the print for a range of occasions.

Rodrigo’s dotty ensemble marks the latest instance of polka dots making a statement abroad, while also affirming her frequent penchant for vintage. It’s anyone’s guess which decades she’ll pull from next—whether in London or elsewhere.

Dressing for vacation often means mixing casual, relaxed comfort with just the right note of fantasy. Take Irina Shayk for example. For a recent trip to Spain, Shayk continued her always-daring ways with a cheeky mix of athletic and sexy pieces that were uniquely her own.

As shared on Instagram, Shayk posed for photos in a wispy transparent midi dress covered in silver zebra stripes. She strategically wore it sandwiched between a white bodysuit and an oversized gray blazer. Most comfortable, however, were her sneakers—a chunky, “dad”-style pair of New Balance 530’s with thick rubber soles and mesh paneling. While the lace-up pair’s metallic silver trim matched her contrastingly sheer dress, it delivered a relaxed, devil-may-care feel to Shayk’s look—especially when paired with white Nike tube socks. She’s on vacation, after all.

Naturally, Shayk’s ensemble was finished with an assortment of on-trend accessories. The model matched her outfit’s cool white palette to a white Hermès Birkin bag with palladium hardware, as well as a dangling sculptural pendant necklace. Large, gleaming silver hoop earrings completed her look with a dash of heavy metal.

Of course, this was just one of the looks in Shayk’s vacation repertoire. The star’s post also found her roaming across stone streets in a white minidress and lemon-yellow mesh Alaïa flats. Meanwhile, she slipped on a lacy black minidress and silky pants with crystal-trimmed, thong-strapped heels and a simple gold cross pendant necklace for a night out. But even supermodels rewear pieces from their suitcase on vacation, which Shayk proved while lacing into her chunky “dad” sneakers with a black jumpsuit at the gym.

Given her edgy, statement-making aesthetic, Shayk’s vacation wardrobe affirmed that personal style doesn’t have to be an afterthought when packing for travel. In fact, it can still be central to your off-duty wardrobe. The star’s held a longtime love of sheer pieces, from sweeping vintage dresses to transparent minis and underwear-baring ensembles. Adding her penchant for eye-catching chunky sneakers, it wasn’t a surprise that either piece made it into her suitcase for a sun-drenched trip abroad.

Tilda Swinton played the icy White Witch in 2005’s The Chronicles of Narnia. While she’ll be handing that role over to Emma Mackey in Greta Gerwig’s upcoming reimagining of the beloved franchise, she still has the look down. Arrive at Chanel’s second Metiers d’Art 2026 show in Seoul, South Korea, her artisanal look by Matthieu Blazy was “ice queen” in the best way possible.

Swinton arrived to the show at Centre Pompidou Hanwha in an intricate take on Chanel’s classic skirt suit. Hailing from Blazy’s spring 2026 haute couture collection for the brand, Swinton’s look featured a knee-length skirt and collared shirt beneath a collarless cardigan. The gauzy silk set included a pale blue-gray and soft gold palette, as well as gleaming chain lining trim strung with small pearls.

An intricate burst of texture was seen across Swinton’s outfit as well, courtesy of numerous small silk pieces cut into abstract ovals. When layered and embroidered onto the trio of pieces, the detail created a feathered effect across Swinton’s ensemble. The elegant, gleaming attire instantly channeled the fluttering of birds’ wings—an element seen throughout Chanel’s couture show, which included feather and mushroom motifs inspired by lightness and metamorphosis.

Swinton completed her look with a pair of cap-toed pumps—another Blazy iteration on a classic Chanel house style. Her pale blue style featured a slingback silhouette with low heels, completed by thin black paneling across its toes. Together, the actor’s skirt suit and pumps emphasized how classic, staple designs can be reinvented through artistic craftsmanship, while still upholding their sophisticated and elegant stature—a perspective seen throughout Blazy’s tenure at Chanel so far.

The moment marked Swinton’s latest outing in Blazy’s Chanel designs, following appearances in his pieces at the Cannes Film Festival and the brand’s cruise 2027 and haute couture spring 2026 runway shows. Most notably, she was one of the first stars to wear Blazy’s Chanel at last winter’s Marrakech Film Festival, as well. After Kristen Stewart, Penelope Cruz, and Sandra Hüller’s recent Cannes outings, her Seoul appearance marked Chanel’s ongoing streak as 2026’s leading label on the red carpet.

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.

Though Ella Hunt’s starring in a new office-set series, she’s not worried about HR approving her outfit. The actor wore a dynamic Prada look to the premiere of her new Hulu show Not Suitable for Work, with plenty of sleek elements that you wouldn’t see in a corporate workplace. It certainly lived up to the show’s name.

While arriving to the red carpet at 1 Hotel Brooklyn Bridge, Hunt wore a slate-gray bandeau top. Crafted from smooth fabric, the piece featured a daring triangular slit that cheekily nodded to tailored seams seen in workplace-friendly suiting. Her flowing, asymmetric skirt was spliced between light gray chino fabric, ruffle-trimmed pale yellow silk, and sultry black floral lace.

To keep focus on the piece’s combination of textures, stylist Austen Turner minimally accessorized Hunt’s look with a flowing black satin waist belt. Her ensemble was finished with a simple pair of black leather stiletto-heeled sandals, secured by thin upper straps.

Meanwhile, other members of the Not Suitable for Work cast took a formally glamorous approach to dressing for the premiere. Avantika sparkled in a multicolored striped gown, Constance Wu bloomed in a white flower-topped mini, and Mindy Kaling shimmered in a crystal-trimmed gold dress. With their assortment of dark neutral suits, matching sets, and coordinated separates, their co-stars Jack Martin, Nicholas Duvernay, Will Angus, and Jay Ellis were also sharply dressed for the occasion.

Hunt’s Prada attire stood out from its edgy silhouette and mix of textures, continuing the actor’s recent minimalist streak promoting Not Suitable for Work before its June 2 release on Hulu. She’s previously stepped out in a range of dark ensembles with silky textures and tailored fits from Hodakova, Miu Miu, and Carven, as well. With this premiere look adding a risquè edge to her established repertoire, it’s anyone’s guess what sleek style statement Hunt will make next.

Mother’s Day is still on the horizon—but a dance music mother convention took place last night in Brooklyn. This week, house musician Rochelle Jordan shared a group photo online with a holy trinity of alt-dance and R&B star: Kelela, PinkPantheress, and Tinashe. They had assembled for Pink’s event at the Brooklyn Storehouse. Together, the crew’s members individually showed a different take on going-out dressing, united by an undeniably sleek flair.

Kelela took color-blocking for a spin with a dark blue ribbed sweater and bright red miniskirt. A blue, white, and black leather racing jacket added a motorsport influence to her look. PinkPantheress took on a similar color palette with deep blue capri pants and a bright red bra, layered beneath a sheer blue crop top. The singer and producer returned to her signature small shoulder bag as well, toting a cool brown suede version of the Y2K-inspired accessory.

Meanwhile, Jordan and Tinashe opted for darker ensembles. Tinashe slipped on a pair of black leather pants and a curved crop top, worn beneath a shearling-lined coat. Jordan embraced the drama of early 2000’s dressing in a black and white minidress covered in a zebra stripe print, layered over sheer black tights. Gleaming silver earrings brought a glamorous touch to the house singer’s attire.

Together, all four musicians’ looks were surprisingly coordinated—indeed, it seems great minds think alike. However, each star’s individual pieces and aesthetics remained unique and singular. The only thing missing? A group single that would certainly break the internet.

For Aubrey Plaza and boyfriend Christopher Abbott, nominated for his role in Broadway’s hit revival of Arthur Miller’s Death of a Salesman, this year’s Tony Awards was an opportune time to make their couples debut. The moment comes just weeks after the pair announced they were expecting their first child. Given the occasion, the duo did so in style—with Plaza also continuing her chic maternity fashion streak.

At the Tonys, Plaza arrived at Radio City Music Hall in a black dress from Chanel’s Coco Beach capsule collection. Her minimalist design featured a sleeveless silhouette with thin white straps, each accented with small metal hardware shaped in the brand’s gleaming “double C” logo. Thin white stripes were printed across the smooth, silky fabric, creating a geometric statement—much like similar styles crafted by Matthieu Blazy for the house’s cruise 2026 and Metiers d’Art 2026 collections.

Plaza accessorized with equally minimalist pieces. Her look was complete with low-heeled black leather sandals, with a dash of sparkle from a diamond-covered Effy Jewelry ring and pointed hoop earrings. A deep red manicure brought her attire a subtle hint of color, further adding to its classic nature.

Abbott was sharply suited in a custom Thom Browne ensemble, featuring a black velvet tuxedo jacket with grosgrain trim and pleated kid mohair trousers. Smooth black leather Chelsea boots completed his look, which was given a dapper touch from a white oxford satin-weave shirt and black neck tie.

Together, Plaza and Abbott made a strong case for coordinating couples’ style on the red carpet. With their ensembles’ smooth textures and stark palettes, the pair effortlessly complemented one another without matching too intentionally.

Plaza announced her pregnancy with Abbott earlier this spring. The pair were first romantically seen together at Death of a Salesman’s opening night in April, with the Tony’s marking their first red carpet outing as a couple. Though Abbott did not take home the trophy for his category, Death of a Salesman swept the Tony’s with six wins—including Best Performance by an Acreess in a Featured Role in a Play for Laurie Metcalf, as well as Best Revival of a Play. Additional honors went to The Lost Boys, Ragtime, Schmigadoon!, and Cats: The Jellicle Ball, among other productions.

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.

Wearing an all-white look presents a unique challenge. How can one wear the light hue without inviting wedding dress comparisons? As Emily Blunt proved, the answer lies in construction and texture with a helping hand from Alaïa.

At the Paris premiere of Steven Spielberg’s Disclosure Day, Blunt shone in an all-white Alaïa outfit. Initially appearing to be a peplum-style dress, her custom ensemble—inspired by the brand’s fall 2026 collection, its last by Pieter Mulier—was actually a halter-neck bodysuit layered beneath a tiered skirt. With its exaggerated waistline and gathered ruffled sides, the actor’s skirt created a pointed silhouette that also furthered its optical illusion. Her stark attire was glamorously paired with a rounded gold cocktail ring and orb-shaped earrings from Marco Bicego, each covered in diamonds for a dazzling finish.

Blunt’s look was complete with an equally revamped shoe style: a pair of white almond-toed pumps crafted from sheer mesh. The ankle-strapped set added an unexpected textural base to her attire, while remaining surprisingly practical for warmer weather. Indeed, this summer’s faced a resurgence of see-through shoes with clear jellied, mesh, and PVC detailing that bare the foot, as seen in new styles by Tory Burch, Britt Netta, Jimmy Choo, and Saint Laurent—plus, of course, Valentino’s viral PVC-paneled stilettos. Blunt’s transparent heels complemented her dress’s neutral color while continuing its architectural themes—and, through a high-fashion method, showed a new way to style summer whites.

In summer months, all-white dressing is always an east way to look put-together while deflecting the sun’s rays. Though Blunt’s attire was too avant-garde for the Hamptons or Martha’s Vineyard, her look certainly brought a texture-forward approach to wearing whites on the red carpet. The same practice has been utilized by Dua Lipa, Tilda Swinton, and Zendaya this year, affirming its high-fashion appeal. Plus, with summer just beginning, this certainly isn’t the last instance we’ll see stars in all-white—whether on or off the red carpet.