It’s not quite the Cannes Film Festival unless Bella Hadid makes an appearance. The supermodel’s been a mainstay at the festival for years, and her latest appearances have been a lesson in styling light, breezy summer neutrals with a twist. However, it’s also affirmed her streak of approaching all aesthetics from bohemian to classic glamour with aplomb—and, oftentimes, mixing them together.

This morning, Hadid stepped out at a bustling Hotel Martinez in a sheer, light cream cardigan. The daring boho piece—cleverly layered over a silky bra—included swirls of gleaming beadwork, framed by ruffled trim adorned with thin bows. For a clean base, Hadid paired her knitwear with a set of double-buckled khaki trousers and leopard-print pumps, complemented by rounded tortoiseshell sunglasses and a gleaming gold pendant necklace. A slouchy brown leather Coach messenger bag decorated with prominent bag charm (in actuality a mini-version of Carol Bolt’s The Book of Answers) completed the Y2K-esque look.

Of course, as history has proved, Hadid’s always one to make a statement on the Cannes red carpet. On Sunday, she stepped out in a pale gray satin Prada dress accented with twinkling crystals along its neckline for the festival’s screening of Garance. Paired with stark white pumps and a matching bomber-sleeved cape, her look instantly brought to mind the monochromatic attire worn by stars like Gwyenth Paltrow and Uma Thurman in the ’90s. Gleaming Chopard diamond jewelry delivered added glamour, bringing Hadid’s ensemble a timeless elegance. Her red carpet look also came complete with a radiant glow from Prada Beauty, including the label’s beloved Prada Touch blush.

Beforehand, Hadid was still dabbling in neutrals—albeit with an aughts-influenced air. The star slipped on an Elie Saab look from 2003, featuring white satin trousers and a lace-trimmed white tank top. The romantic piece, covered in sequined pink and white flowers, was paired with its matching scarf for additional aughts glamour. Hadid finished her sun-soaked attire with white pumps and amber stone studs, with a vacation-ready flair from honey-toned Oliver Peoples sunglasses and two stacks of gleaming gold bangles.

Through a combination of vintage references and pieces, Hadid’s latest Cannes appearances have decidedly taken a turn for the nostalgic. Preceded by her arrival in a sporty vintage Prada set, it appears the model’s love of past decades is her key wardrobe theme at this year’s festival. The same ethos can be seen in her own personal style, famed for mixing a range of aesthetics and silhouettes. Though Hadid’s current looks are more light-hearted than her past Cannes attire, they prove that her knack for combining a range of aesthetics will always be in style.

Blackpink is no stranger to the red carpet, and, yet, somehow all four members had never attended the same Met Gala. At least until tonight, when Lisa, Jennie, Jisoo, and Rosé had something of a reunion on fashion’s biggest night. It marked the first time that all four members of the South Korean girl group attended the event at the same time. For Jisoo, it was actually her Met Gala debut. In the process, each of their looks highlighted the “Costume Art”-themed evening’s range of red carpet trends, with plenty of sparkle in tow.

Lisa stepped out in a sweeping sheer white dress by Robert Wun, complete with a long-sleeved bodice and mermaid-style skirt. The piece glittered from sprinklings of white and silver Swarovski crystals, but that wasn’t its most eye-catching element. White arm-shaped sculptures dripping in diamond bracelets were attached to the dress, holding up a matching veil over Lisa to form an abstract statement.

On a darker note, Rosé stepped out in a strapless black Saint Laurent gown by Anthony Vaccarello, featuring a bold thigh-high slit. The piece’s greatest statement came from a massive abstract brooch shaped like a Senfo hornbill, which was covered in dark crystals for added glamour. The bird itself frequently inspired Yves Saint Laurent, and famously appeared as a motif in his spring 1988 collection. The singer’s brooch smoothly aligned with the red carpet’s avian theme of birds and feathers while remaining distinctly minimalist. However, it wasn’t her look’s only glam factor; that went to her glistening diamond Tiffany & Co. collar necklace, whose layered jewels appeared to nod to the spreading of bird wings.

Meanwhile, Jennie opted for heavy metals in a shining Chanel dress. Her metallic column style, complete with a cinched bustier bodice, was fully overlaid with shimmering sequined leaves in a range of blue shades. The intricate piece took 540 hours to create, in tandem with creative director Matthieu Blazy’s passion for artisanal craftsmanship. A swinging diamond Chanel High Jewelry earring and diamond ring, complete with a crystal-covered clutch, finished her look with a burst of glamorous sparkle.

Jisoo rounded out the group in her blossoming Dior dress, a sequined style cast in hues of pink, purple, black, and white. The strapless piece was cinched by a sculptural layered waistline, accented—like its upper half—with cascading silk flowers in a similar palette. From far away, the dress appeared to feature a pattern of blossoming floral branches with petals floating down—with the illusion immediately being a work of art itself. A thin, diamond-lined velvet choker, small diamond rings, and ear cuffs from Cartier brought a bejeweled touch to her ensemble, which was one of the latest floral looks to hit the red carpet.

Altogether, Blackpink’s four members each delivered singular style statements while remaining in sync with the 2026 Met Gala’s key trends. Allover sparkle, sheer “naked” textures, avian and floral motifs, and sculptural accents have spread across this year’s carpet on a range of guests, from Nicole Kidman to Zoë Kravitz, Emma Chamberlain, and more. Together, Lisa, Jennie, Jisoo, and Rosé proved their penchant for keeping up with of-the-moment looks for fashion’s biggest night. Blackpink in your area, indeed.

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.

Through the decades, Kate Moss has remained a perpetual style reference for us all—but Ellie Bamber’s just taken the supermodel’s look to literal extremes. While promoting her new film Moss & Freud, in which she stars as Moss (who also executive produced the project), Bamber took the method dressing route with two distinct vintage outfits. Both hailed from Moss’s own modeling greatest hits of the '90s, showing another side to thematic dressing concept.

Bamber began her day in a sweet ensemble that Moss first wore on Versace’s spring 1994 runway show. Originally designed by Gianni Versace, the look featured a pale pink cable-knit sweater with ribbed trim and a metallic light green miniskirt. Stylist Aimée Croysdill enhanced the look’s pastel color scheme with a lavender top-handled Aspinal of London handbag and yellow slingback sandals from Christian Louboutin.

However, this was just Bamber’s first colorful look of the day. Later on, she posed at Moss & Freud’s London premiere in a Calvin Klein outfit from spring 1997—another archival set worn by Moss on the runway and its accompanying campaign. Hailing from Klein’s archives, the ensemble featured a smooth, strapless tomato red top with a light yellow bottom layer. Like Moss, Bamber wore the piece with its accompanying dark brown slip skirt, reviving the full ensemble after 28 years.

Croysdill complemented her premiere attire with thin gold Cartier hoop earrings, further emphasizing its minimalist palette.

Moss handpicked Bamber to play in her Moss & Freud, which is both an honor and a tall task. The drama depicts Moss’s experience sitting for a nude portrait by the late painter Lucian Freud (played by Derek Jacobi) in the early 2000s. Outside of art, Moss has held a longtime bond with the Freuds, first walking for the artist’s daughter Bella Freud’s runway show in 1994 and appearing on her “Fashion Neurosis” social media series in 2025. Indeed, friendship and fashion—as proven by this film’s context and Bamber’s press appearances—possess a strong bond that never goes out of style.

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.

The Cannes Film Festival’s red carpet is the perfect occasion for a bold fashion statement. From eye-catching high jewelry to extravagant couture, there’s no lack of dramatic style during the cinematic occasion—just ask Sandra Hüller. The actor just delivered a master class in dressing for the festival in a feathered couture look.

For the premiere of her new film Fatherland, Hüller stepped out in an elegant Chanel haute couture dress designed by Matthieu Blazy. The piece included a crisp floor-length skirt with a smoothly draped train, accentuated by a long, flowing white bow. A custom jacket covered in frothy white feathers with black tips brought an explosion of texture to her ensemble. A version of the look was recently worn by Rihanna on the cover of W.

Hüller’s dramatic jacket, inspired by a look from Chanel’s spring 2026 couture collection, provided just the right amount of flair for the festival’s red carpet. Her look’s dynamic textures and clean color palette were distinctly appropriate for the event, while still remaining unique and avant-garde. To keep focus on the intricate ensemble, Hüller’s formalwear was subtly accessorized with low-heeled black pumps and gleaming diamond Chanel High Jewelry earrings.

With her latest Cannes outing, Hüller proved that a neutral black and white color palette doesn’t have to be basic or boring. The star’s use of texture and intricate details ensured that her ensemble retained depth and flair for the occasion, while remaining within the carpet’s strict dress codes. Her attire also smoothly aligned with her own penchant for artistic fashion statements, a streak that’s included futuristic suiting, feminine aprons, and richly embellished gowns.

As this year’s Cannes Film Festival continues, Hüller’s the latest star to bring formal glamour to the red carpet. So far, the event’s seen Demi Moore, Ruth Negga, Kelly Rutherford, and more stars delivering glitzy back-to-back looks across its various premieres and photo-calls. With the festival officially concluding on May 24, there’s plenty of stylish statements in store in the coming days.

The third runaway press tour of the year for Zendaya has arrived—and it’s already primed to be a whirlwind. After standout style moments premiering A24’s The Drama and Euphoria season 3, the actor’s back on the red carpet to begin promoting Spider-Man: Brand New Day, the fourth Spider-Man film she stars in alongside fiancé Tom Holland. Naturally, she did so in style—and with a subtle nod to the hero’s signature spiderwebs.

For her first tour stop in Madrid, Zendaya hit the red carpet in a swishing black Christian Cowan dress. Hailing from the designer’s fall 2026 collection, the strapless piece featured a corseted bodice with a subtly pointed neckline and asymmetric skirt. The piece was trimmed in smooth black silk tied in a bow to create a thigh-high slit, which was dramatically finished with swinging black fringe.

Stylist Law Roach finished the star’s look with a gleaming two-toned Rolex watch, with a bejeweled complement from dangling blue and white diamond Stefere earrings. A coordinating pair of Christian Louboutin’s black leather So Kate pumps—a longtime staple of Zendaya’s on the red carpet, including her first Spider-Man premiere in 2017— completed her ensemble.

On the red carpet, the actor also posed for photos with Holland. With his black Prada jacket, trousers, and leather Chelsea boots, Holland created a rare coordinating moment for the pair. From her look’s silky textures and delicate, swinging details, Zendaya also fashionably nodded to Spider-Man’s webs. It’s a theme her and Roach have previously played with at Spider-Man premieres over the years, with ensembles from web-covered suiting to a sequined web-covered gown—and marks her latest press tour imbued with themed “method dressing” fashion.

In the weeks ahead, Zendaya’s summer is shaping up to be a busy one. The release of Spider-Man: Brand New Day and Christopher Nolan’s The Odyssey are just under weeks apart, which means she’ll be balancing themed wardrobes for two international blockbuster press tours at once. However, as Anne Hathaway proved earlier this spring from her joint tours for The Devil Wears Prada 2 and Mother Mary, it can be done. And if anyone can effortlessly master double duty in style, it’s certainly Zendaya.

You can always trust Bella Hadid to bring her vision of classic glamour to the Cannes Film Festival, but she’s not afraid to bring a little something different to town either. This morning, she traded out red carpet romance for something a little edgier.

While walking down the Palais des Festival steps with a friend, Hadid was sharply outfitted in a jet-black jumpsuit from Tom Ford’s fall 2026 collection. Her silky ensemble prominently featured a triangular side cutout across its waistline, spliced by a thin buckled belt attached to its flowing trouser base. The sultry moment was accentuated by a high-necked bodice with cuffed long sleeves and a dangling silver key charm, creating a futuristic fashion moment.

While her look wouldn’t have been out of place in either The Matrix or Berlin’s finest warehouses, Hadid kept the ensemble grounded in the present with an array of chic accessories. Black patent leather d’Orsay pumps continued the one-piece outfit’s cutout theme while bringing it a distinct polish. The star’s look was complete with dark oblong sunglasses and diamond stud earrings, as well as a glistening rectangular watch.

The night before, at the Chopard Miracle Gala, the model was aglitter in a beige gown with a sweeping hem and shimmering gold sequin embroidery. Naturally, as a Chopard ambassador, Bella completed her look with an orbiting diamond necklace and earrings from the fine jewelry brand. Mom Yolanda Hadid was her date, so the moment marked Hadid’s latest Cannes family affair; she attended the festival’s Garance screening with younger brother Anwar Hadid over the weekend.

With her latest whirlwind quick change, Hadid continued her reigning streak as Cannes’s ultimate fashion chameleon. Her looks in the South of France have already transitioned from bohemian to futuristic to vintage aesthetics, all while leaving room for the formal glamour that is the signature of the festival’s red carpet. As the bustling occasion continues, all eyes are undeniably on what she—among a stylish group of Cannes visitors including Demi Moore, Ruth Negga, and more—will wear next.

Nobody commits to a theme—or a body-conscious statement—on the Met Gala’s red carpet quite like Kim Kardashian. This year, the star took the “Fashion is Art” dress code quite literally, opting to work with two actual artists to form a wearable sculpture. Let’s dive in, shall we?

While working with photographer and frequent collaborator Nadia Lee Cohen, Kardashian’s chief inspiration for her orange, chrome-effect bodysuit came from British pop artist Allen Jones. Jones, 88, is best known for his colorful and often controversial fetish-informed sculptured and paintings. Have you ever seen those fiberglass scultpures of women’s bodies reimagined as furniture? Yes, those are Jones works and they’ve been both heavily referenced throughout pop culture and heavily protested (at times they’ve been attacked by stink bombs and defaced while on display).

Earlier in the day, Kardashian’s signaled her inspiration by posting the controversial poster for the explicit 1975 film Maîtresse to her Instagram stories. Jones was commissioned to paint the film’s posters by Barbet Schroeder, and the French film courted controversy for its frank and unflinching depiction of BDSM (in another fashion footnote, Karl Lagerfeld designed the film’s costumes). Fitting portraits with Jones also made the rounds from Kardashian’s Instagram post of her references.

However, there was another Pop Art duo that also worked on Kardashian’s look. Whitaker Malem founders Patrick Whitaker and Keir Malem were responsible for making Kardashian’s breastplate and leather skirt. The pair are known for their leatherwork pieces and sculptures inspired by the human body, which they’ve created for over 30 years. With art collaborations with Christian Louboutin, Burberry, and Givenchy under their belts, the pair were certainly up for the task of creating Kardashian’s attire for fashion’s biggest night.

With its literal embodiment of art and clear nods to the human figure, Kardashian’s chrome-esque orange piece fit within the night’s aforementioned dress code—and the exhibit’s “Costume Art” theme. It also has a direct fashion precedent. Back in 2013, Jones worked with Kate Moss to refashion her into one of his famed sculptures.

Of course, Kardashian also found a way to weave in her own signature bombshell glamour. The star slipped on a pair of nude Christian Louboutin pumps, complemented by tousled blond waves, which neutrally framed her high-shine body armor. Though her look was entirely original, Kardashian was one of several guests to embrace sculptural attire at the Met Gala. Breastplates were also seen on sisters Kendall and Kylie Jenner, as well as close family friend Hailey Bieber—proving that great minds, indeed, think alike.

In New York City, it’s a given that everyone needs a reliable default summer outfit that’s just right—not too stuffy, not too casual, and can hold its own in sizzling warmer months. As a native New Yorker, Gwyneth Paltrow is all too familiar with this formula, as seen in her latest photo dump on Instagram. However, against the typically neutral pairings seen on the street, as well as her own minimalist style, the star underscored the New Yorker summer uniform—a sophisticated top, comfortable pair of jeans, and a walkable-yet-stylish shoe—in vibrant color.

In her latest outfit snapshot, Paltrow posed in a pair of wide-leg blue jeans. The causal bottoms were instantly elevated by a bright blue tweed top from Christopher John Rogers’ fall 2026 collection, featuring a draped neckline and red, yellow, and black plaid pattern. Paltrow coordinated the statement piece with a pair of glossy, low-heeled red pumps, creating a streamlined appearance. Her only accessory was a set of thin gold hoop earrings, allowing the outfit’s colors to take center stage.

Indeed, the look was a sharp departure from Paltrow’s typical attire. The Goop founder is often known to wear minimalist labels like Khaite, Altuzarra, Toteme, and her own GWYN brand, with shades of navy, gray, white, and black making frequent appearances. However, this particular ensemble did tap into her whimsical streak. After all, with an ensemble as iconic as her pink Ralph Lauren Oscars gown from 1999, there’s clearly a colorful side to Paltrow’s style that occasionally comes out to play. Take the color-blocked Tory Burch outfit she wore to daughter Apple Martin’s college graduation this spring, for example, or her previous outings in bubblegum pink Calvin Klein Collection silks and punchy yellow Olivia von Halle pajamas. Even amongst the most minimalist dressers, an adventurous sense of maximalism breaks out every now and then.

It’s certainly clear that Paltrow’s colorful outfit easily fit into her busy trip on the East Coast, as well. While checking on Manhattan’s first location of her health-focused Goop Kitchen eatery, Paltrow made time to enjoy a Bruce Springsteen concert, visit restaurants including Hatsuhana Sushi and Marcel, and stop by Neptune Oyster in Boston. For those wondering what else was in her two Goyard carry-ons for the bustling trip? It’s anyone’s guess—though a hotel room snapshot revealed a roomy canvas tote packed with a light jacket and white Manolo Blahnik sandals, alongside a tailored blazer still in its dry-cleaning bag.

To know Bella Hadid’s street style is to know it contains multitudes. The model’s off-duty looks vary between grunge, prep, punk, and sporty aesthetics, often with an influx of on-trend accessories. While touching down at the Cannes Film Festival, she delved into the latter, courtesy of a retrofuturistic ’90s Prada set.

Hadid’s minimalist attire hailed from Prada’s spring 1999 collection, featuring a sleeveless zip-up top and matching capri pants. Her set was accented by the contrasting red Prada Sport label, bringing the pair a mod touch. Hadid elevated her vintage look with a dash of glamour from thin gold bracelets and rings as well as a gold watch and round diamond earrings.

A pair of Puma’s metallic silver-and-black-trimmed Speedcat sneakers —a narrowed style that’s core to the ongoing hybrid “sneakerina” shoe trend—brought a whimsical flash to Hadid’s monochrome outfit. She finished her ensemble with angular silver-framed sunglasses as well as a chic, minimal black leather tote stuffed with a thick binder and corded headphones. The overall effect was sporty, sharp, and streamlined while still retaining plenty of ’90s nostalgia. Long before athleisure took over, designer Miuccia Prada was very much thinking about the nexus of sport and technology for her spring ’99 collection. Many of the garments were constructed in a synthetic material dubbed “techno-paper.”

Hadid has been a mainstay at the Cannes Film Festival over the years, complete with viral looks ranging from a gold-lung-topped Schiaparelli gown to a barely there Saint Laurent dress. With this year’s guests including Dua Lipa, Isabelle Huppert, and recently named Chanel ambassador Sandra Hüller, plus a jury that includes Demi Moore and Ruth Negga, Cannes’s 2026 red carpet has been a particularly fashionable affair. In the meantime, we’ll be on the lookout for Hadid’s next surefire viral look on the Palais des Festivals steps.

We wouldn’t call the all-black set Kaia Gerber wore to the Disney Upfronts in New York City method dressing per se. Though the subtly sensual black outfit and her “just back from vacation” glam certainly fits the mood of an ’80s Los Angeles–set horror series. A perfect little style amuse bouche for the project she was there to promote: FX’s hotly anticipated series adaptation of Bret Easton Ellis’s novel The Shards.

Appearing with costars Homer Gere (yes, the son of Richard Gere) and Igby Rigney, Gerber wore a matte black ensemble from Jacquemus. Her look consisted of a two-toned pencil skirt and long-sleeved crop top with a low-cut, squared neckline. A closer look proved the set was actually paneled with black velvet, creating a shadowy effect.

It hailed from the label’s fall 2026 “Le Palmier” collection, inspired by creative director Simon Porte Jaquemus’s early career days in Paris, 1990s’ sex appeal, and 1950s’ couture designs. With its dark color, skin-baring design, and smooth texture, the set fully embodied all of these references on the red carpet. To finish her look, Gerber slipped on a pair of smooth black mules, accentuated by a lightly tousled hairstyle and glossy, dusky pink lip gloss.

In The Shards, Ellis took an autofiction approach to reimagine his days as a high school senior in 1981 Los Angeles as a serial killer horror story. Originally published in 2023, it was acknowledged by fans and critics to be the American Psycho author’s best work in years. Hollywood quickly became interested in an adaptation, with Ryan Murphy eventually winning the rights. The series finished production in March, and it’s all but officially confirmed to air sometime this fall on FX.

Gerber has largely reinvented herself as an actress with roles in Palm Royale and Mother Mary. Though her exact role in the series is still unknown, it’s believed to be a major part.