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Hunter Schafer is having an art-filled week. In Sunday’s episode of Euphoria, her character, Jules, recreated Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte, turning the neo-impressionism masterpiece into a ghoulish scene too explicit for poor Lexie (Maude Apatow) or network television.
But on Monday, on a Met Gala red carpet filled with sheer and barely-there dresses, Schafer was one of the few attendees who opted for a more demure look. She also took the evening’s theme seriously, dressing like a figure straight out of art history.
Schafer arrived to the 2026 Met Gala in a custom Prada look inspired by Gustav Klimt’s 1912/1913 painting Mäda Primavesi. The portrait depicts the nine-year-old girl in a confident stance amid a colorful background, wearing a white dress by Klimt’s friend, couture designer Emilie Flöge, decorated with flowers. Appropriately, the painting is part of the museum’s permanent collection.
Like Primavesi, Schafer wore an empire-waist gown with a line of rosettes just under the bust. While Primavesi’s dress ended just under the knee in layers of ruffles, however, Schafer’s reached the floor. Holes and tears along the waist and skirt made the dress look almost as if it were falling apart. Underneath the linen fabric emerged a floral silk chiffon fabric that continued into a long train behind the actor that draped the steps as she ascended. Schafer finished the look with a bow in her hair just like Primavesi, and a simple face of makeup—pink cheeks and blue eyeshadow—that matched the nine-year-old's own pre-war glam.
The result is Schafer as Primavesi all grown up. Or, like the actor discovered the old Emilie Flöge dress tucked away in an attic, filled with holes after years of gathering dust, and brought it to Prada to refurbish.
The theme on Monday night was Costume Art, and many attendees opened up their old art history textbooks to find references for the evening. Schafer wasn’t the only attendee to dress like a figure who stepped right off a canvas. Artist Amy Sherald tasked Thom Browne to dress her like the young woman from her 2014 painting, Miss Everything (Unsuppressed Deliverance). While others, like Rosie Huntington-Whiteley, embodied the infamous John Singer Sargent subject, Madame X. As a result, the evening is truly an art nerd’s dream. Surely, Jules would have enjoyed the festivities greatly.
Playing Leonardo DiCaprio’s teenage daughter in One Battle After Another brought Chase Infiniti to stardom, but last night at the Gotham Television Awards she not only picked up her first major award for a lead role but also entered her leading lady era on the red carpet.
On the red carpet, Infiniti—who won the evening’s Outstanding Lead Performance in a Drama Series trophy for her performance in Hulu’s The Testaments—posed in a light pink Louis Vuitton dress. Her custom style featured a sleeveless silhouette with a smoothly draped train, complemented by a boa crafted from tufts of fabric in the same hue. Stylist duo Wayman Bannerman and Micah McDonald finished her look with a gleaming gold Mejuri collar necklace, featuring a deep green rectangular stone and sparkling diamonds for a dash of geometric sparkle.
The dress’s classic silhouette and updated take on the boar instantly brought to mind old Hollywood glamour, while also continuing Infiniti’s streak as something of a style shape shifter. From mirrored corsetry to three-dimensional florals, the actor’s become known for making elegant, architectural style statements on the red carpet—a rare “chameleon” effect that’s only been seen in stars like Zendaya, Rihanna, and Teyana Taylor.
Infiniti’s pretty pink moment was her latest fashionable outing in recent months. During a busy awards season promoting Paul Thomas Anderson’s One Battle After Another, Infiniti cemented her status as an artisanal red carpet dresser with architectural and sweeping dresses by Vuitton, Rabanne, and Oscar de la Renta. At this year’s Met Gala, her fashion ties were affirmed with a primary-hued Thom Browne gown embellished with over a million sequins, heralded online as one of the event’s best looks. As summer begins—alongside the possiblity of an Emmy Awards nomination—there’s sure to be more fashionable moments on the horizon for the young star.
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Since her breakout turn as Carolyn Bessette-Kennedy in FX’s Love Story, Sarah Pidgeon has been leaning into a minimalist look adjacent to the fashionable figure’s own iconic wardrobe. However, in recent weeks, that stark aesthetic has incorporated more unique and subtly artisanal details on the red carpet—particularly as Love Story petitions for Emmy Awards consideration. At a FYC screening event for the show, Pidgeon took a more referential approach to CBK’s minimalism while embracing one of her all-time favorite designers: Yohji Yamamoto.
For the aforementioned Love Story screening, Pidgeon stepped out in a lightweight black Yamamoto dress. However, this was far from your average LBD. Her flowing piece featured a squared neckline with one long, ruffled sleeve gathered at the sides. Meanwhile, the other featured a flounced, off-the-shoulder shape with a long slit, creating an asymmetrical appearance.
To further the piece’s minimalism, Pidgeon’s look was only worn with a dark pedicure and thin black slingback sandals, drawing further focus to the dress’s textures and technique. A wavy, undone hairstyle—much like her hair as Bessette-Kennedy on Love Story, which has been a frequent topic of discussion since the shoe premiered—further enhanced her nod to the late style icon.
Decades ago, Bessette-Kennedy frequently wore Yamamoto’s pieces for their structural forms and subtly simple silhouettes. One of her most iconic was from a Whitney benefit event, featuring a white shirt from the Japanese designer’s menswear collection tucked into a black skirt from his women’s line. Other styles, including a ruffled opera coat and structural suiting, similarly struck a chord between classic elegance and avant-garde flair. Yamamoto’s designs both continued Bessette-Kennedy’s own intricate minimalism while progressing her look during her marriage to John F. Kennedy Jr. from 1996 to 1999, where she was documented nearly exclusively wearing his pieces.
With her own Yamamoto ensemble, Pidgeon took an approach to method dressing as Bessette-Kennedy that was more referential than literal. By nodding to the late figure’s style and the beloved designer that was a constant in her wardrobe, the actor’s approach was formally appropriate while showing a take on Bessette-Kennedy’s look that we haven’t seen before. Plus, given Yamamoto’s artisanal techniques and commitment to form, this is one CBK-inspired look the West Village girls can’t replicate overnight.
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.
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.
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After the steps have been ascended, the dinner picked at, and the photos taken, you might consider the Met Gala to be done. But for the attendees of fashion’s biggest night, their departure from the Metropolitan Museum of Art is just the beginning. Because after that glamorous evening in the Temple of Dendur, it’s time for the after-parties. There, away from (as many) cameras and prying eyes, the celebrities can finally let loose. This year, just like any, there were a number of events pulling stars across the city. Of course, Beyoncé and Jay-Z hosted a little something, which Rihanna called the “only” after party, but there was also Zoé Kravitz’s fête with Saint Luarent creative director Anthony Vaccarello at People’s and an evening at The Standard’s Boom with Grace Gummer and Gabriela Hearst. Each one brought with it a host of star-studded attendees, all of whom pulled out a second look for which to party into the late night (Or, should we say, early into the morning?). For some of the best after-party looks, keep scrolling.
In Saint Laurent.
In Dilara Findikoglu with Jessica McCormack jewelry.
In Saint Laurent.
In GapStudio by Zac Posen.
In Saint Laurent.
In Tacori jewelry.
In David Koma and Intimissimi.
In Steve O. Smith.
In Versace.
In Chanel.
In Saint Laurent.
In Ray-Ban sunglasses.
In ERL.
In Loewe.
In Chanel with Briony Raymond x Pavē Niteō jewelry and Rayban sunglasses.
In Delphine with Bulgari jewelry.
In Contessa Mills.
In Ludovic de Saint Sernin with Gentle Monster sunglasses.
In Dior.
In Luis de Javier and Fleur du Mal.
In Valentino couture.
In Dilara Findikoglu.
In Viktor Gichev.
In Saint Laurent.
In Marlo Laz jewelry.
Sui Wonders is in McQueen.
In Saint Laurent.
In Saint Laurent.
Ceretti is in Mugler.
In Saint Laurent.
In Frank Darling jewelry.
In Gaurav Gupta couture.
In Campillo.
In Loewe.
In Quine Li.
In Gabriela Hearst with Briony Raymond jewelry.
Edgar-Jones is in McQueen.
In Thom Browne.
In Ludovic de Saint Sernin.
Graham is in vintage Jean Paul Gaultier.
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Over the years, Kristen Stewart has brought a rebellious streak to the Cannes Film Festival. She’s toed the line of the event’s strict dress codes, whether she’s kicking off her heels to walk up the Palais des Festivals steps or ditching formal eveningwear in favor of a short suit. This year, however, has proven an especially rule-breaking one for Stewart—who’s already defied two different dress codes set by the festival. And, like previous festivals, she did so in Chanel.
On Saturday, Stewart stepped out for the Cannes photo-call for Full Phil in a sheer gray Chanel look. The matching spring 2026 haute couture set featured a transparent tweed-effect knee-length skirt and matching polo shirt, each rebelling against the festival’s non-nudity ruling—which prohibits “nudity” within “any area of the festival” for “decency reasons.”
Each piece was complete with frayed trim and organic pearl charms, bringing it a soft edge compared to the brand’s more traditional skirt suits. Though Stewart did wear skin-toned undergarments as a base layer, her ensemble technically still pushed the boundaries of the festival’s dress code. Her two-toned white and black sneakers also veered on the casual side—which, though not breaking photo-call rules, foreshadowed her next dress code defiance.
At the Full Phil gala screening that evening, Stewart stepped out in another Chanel creation: a red and black crocheted dress from the brand’s fall 2026 collection. Her gown—another riff on the brand’s signature tweed—featured a cap-sleeve silhouette and sweeping floor-length hem. Though more formal, Stewart’s second look included a pair of black high-top Chanel sneakers, which also broke the festival’s “no sneakers” rule on the red carpet.
Despite her dress code violations, Stewart was still permitted to attend her Cannes-related events—which sparks the question of how strictly the dress codes are actually enforced. Regardless, both of her dynamic outfits continued her longstanding streak of marching to the beat of her own drum on the press tour circuit.
Indeed, Stewart has been a hallmark of Chanel since the late Karl Lagerfeld named her as one of its global brand ambassadors in 2013. In the decade-plus since, Stewart has worn a myriad of designs by Lagerfeld and former creative director Virginie Viard on red carpets around the world. She’s no stranger to making a red carpet statement in the brand’s pieces either, whether outfitted in a sequined jumpsuit, contrasting tweed separates, or sheer and slouchy skirt sets.
However, until last winter, we’d only seen Stewart in two neutral looks from Matthieu Blazy’s spring 2026 collection for Chanel: a gray skirt suit at the Gotham Awards and a smooth black vest-and-trouser set for its métiers d’art show in New York City. With these latest entries in her Chanel repertoire, it’s clear the actor’s rule-breaking streak is stronger than ever. Plus, with Blazy already having designed five viral collections for the brand, with themes spanning the subway, the beach, and whimsical birds and fungi, there’s no shortage of Chanel statements for Stewart to wear in the future.
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