Disclosure Day Press Day

There is something about Josh O’Connor’s soft grey Calvin Klein Collection Fall 2026 tailoring that immediately reminded me of the understated menswear worn by leading men in 1990s independent cinema. The proportions are relaxed without feeling sloppy, while the band-collar shirt keeps the look clean and uncluttered.

Rosalind O’Connor/NBC via Getty Images

The Tonight Show Starring Jimmy Fallon

Josh O’Connor’s current fascination with wing-collar shirts continues, but this time in butter yellow. I don’t think I have seen him in a colour quite so bright. His Dior accessories – the Medaillon loafers and coordinating belt – have quietly become recurring characters not just throughout his Dior press tour wardrobe, but Dior menswear in general.

Styled by Jason Bolden.

Newport Beach TV Fest

Paul Anthony Kelly, who received the Breakout Artist Award at the Newport Beach TV Fest, wore Louis Vuitton. I love that he continues embraces summer tailoring, but I’m not at all surprised, as Paul shares a stylist with the man who has largely set the tone this season, Matt Bomer. The beige suit with the pink-and-white striped shirt feels incredibly fresh, while the brown suede LV Jazz loafers are the perfect finishing touch. The entire look strikes that difficult balance between relaxed and refined.

Styled by Warren Alfie Baker.

Roland Garros 2026

For someone whose wardrobe has often revolved around black tailoring, this felt like a refreshing departure for Rami Malek. The mint-green Saint Laurent shirt softened the overall look while maintaining the sharpness we typically associate with his style. The lighter palette gave the look an ease that felt particularly appropriate for Roland Garros.

Styled by Ilaria Urbinati.

2026 Tony Awards

While this is classic Saint Laurent territory, it feels slightly new for Adrien Brody in terms of silhouette, particularly because of the elongated jacket. The proportions were impeccable, and the trio of stripes – suit, shirt and tie – created more visual interest than a classic white shirt and bow-tie. It was sleek, elegant and subtly different from what we have come to expect from him.

Instead of a traditional black tuxedo, Luke Evans ensured he stood out in a crisp white Balenciaga suit. While this was one of the standout moments on the red carpet, I do wish the trousers were fully double-layered rather than stopping at the knee. Even so, the sharp tailoring and monochromatic presentation made a strong impression. The bow tie was saved by the shoes, and vice versa.

Styled by Chris Brown.

The cut of Leslie Odom Jr.’s Public School Fall 2026 suit was perfect, but the vivid red bomber jacket was unquestionably the moment.

Styled by Avo Yermagyan.

Darren Criss bringing a touch of flair and flamboyance to the Tony Awards red carpet is to be expected, and he didn’t disappoint in this Pal Zileri silver jacquard tuxedo jacket. The textured fabric and satin shawl lapels added plenty of character, ensuring the look balanced formality with personality.

Styled by Ashley P. Weston.

The seven-time world champion has spent years turning driver arrivals into an unofficial runway. Long before luxury brands recognised the commercial value of Formula 1, Lewis was using the paddock as a platform to spotlight emerging designers and bring fashion week looks to an audience far beyond the sport’s usual reach.

While he tends to wear his Ferrari team kit more often than I would like these days, with his new girlfriend in attendance and Monaco serving as Formula 1’s most glamorous stop, Lewis was always going to show up and show out.

Practice Session

For the practice session, he wore a shimmering sequinned sheer top from the Niccolò Pasqualetti Spring 2026 collection.

This is exactly the sort of look that has made him such a singular figure within the sport. The sparkling knit paired with soft blush trousers felt perfectly suited to Monaco, where excess is practically written into the city’s DNA.

Lewis has always favoured heavy footwear, so the chunky black shoes, as disappointing as they were, came as no surprise.

Race Day

We got a two-for-one on Sunday as Lewis arrived wearing an Issey Miyake Fall 2026 look both with and without the sweeping runway violet coat.

The soft pink tailoring already carried plenty of impact on its own, and I was already hooked by the unique detailing on the jacket, along with the asymmetrical drape of the trousers, but adding the dramatic violet overcoat elevated the look further, creating a striking colour combination. If only he had followed the runway’s lead on the footwear.

Most drivers arrive focused solely on the weekend ahead. Lewis arrives knowing that what he wears will become part of the conversation too.

Stylist: Eric McNeal.

Scholarly Chic

What I love about Ayo Edebiri in this Chanel Fall 2026 look is how naturally it fits within the intellectual, bookish space she occupies so well. She brought enough personality to make the look feel distinctly her own. That said, I do think she could have carried off the runway styling with the blue shirt and cardigan just as convincingly. Even so, the two-tone shoes work well here.

Chanel, With Swag

Trust Teyana Taylor to make a Chanel bouclé jacket feel fresh. The success of this look lies in the layering. Between the textured jacket, lace shirt, embellished skirt and angular sunglasses, there is a lot happening, yet it all works because she commits fully to the concept. Few people can take pieces so traditionally associated with the house and make them feel entirely their own.

Familiar Territory

Camila Morrone in a semi-sheer black Chanel dress offered exactly what I expected. At this point, this sleek, body-skimming silhouette has become something of a uniform for her. There is no surprise factor, but there is also no denying how comfortable she looks operating within this lane.

Styling Saved It

Grace Gummer’s black Chanel Spring 2026 dress could easily have faded into the background had it not been for the styling choices. The starburst necklace injected personality, while the mint-tipped pumps added an unexpected twist. Without those elements, I suspect this look would have passed largely unnoticed.

Effortless Ease

Katie Holmes stayed true to the relaxed sensibility that has long defined her style. The Chanel sleeveless knit top, tailored trousers and understated accessories felt unfussy and approachable. Not every Chanel appearance needs to announce itself from across the room, and this was a reminder of that.

Dog Days

While Keke Palmer certainly has the personality to carry off a dog-print Chanel Pre-Fall 2026 suit, my first reaction was that the look skewed older than I would typically associate with her style. She wore it confidently, however.

Courtside Energy

Molly Gordon clearly had basketball on her mind. As an Arsenal supporter, I can appreciate loyalty to your team, and the oversized Knicks jacket immediately became the focal point of this look. It was casual, unexpected and completely at odds with the rest of the evening’s Chanel-heavy dress code, but the heart wants what the heart wants.

Better The Second Time

Paloma Elsesser wore the same Chanel Pre-Fall 2026 look previously seen on Dua Lipa. What made the difference here was the fit. The tailoring created a cleaner, closer-fitting silhouette that sharpened the overall effect. For me, this version had the edge.

Understated Mode

I wasn’t particularly surprised by Sarah Pidgeon’s minimalist approach. Since the Love Story press tour, her style has settled into a much more understated rhythm, despite the more animated Chanel look she wore to the New York premiere. My only reservation here is the fit, which prevented the leather dress from looking quite as sharp as it could have.

Welcome Back

It’s been a while since we’ve seen Whitney Peak on the red carpet, so it was good to have her back in the Chanel fold. The oversized checked blazer layered over a striped shirt, tank top and jeans delivered an easy, off-duty feel that felt refreshingly low-key amid a room full of statement pieces.

The actress wore a Proenza Schouler Fall 2026 wool jacket and skirt ensemble that admittedly skews more October-November than June, yet I found myself charmed by it nonetheless because it feels so indicative of Elle’s style language.

There is something appealing about the simplicity of the silhouette. The curved seaming running through the skirt and the neat proportions of the cropped jacket ensured that the look never felt flat or overly plain. The contrasting dark collar also gave the ensemble just enough definition.

I was less convinced by the blocky pumps, however. The chunky shape felt slightly heavy. Even so, the overall look felt unmistakably Elle, and there is something to be said for knowing exactly who you are sartorially.

Stylist: Samantha McMillen.

The singer’s style has always occupied a quirkier corner of the fashion landscape, often mirroring the playful, larger-than-life quality of her music. So while this Lanvin Spring 1987 dress might read as an elegant white gown on someone else, on Katy it takes on a completely different character.

The gathered detailing radiating from the neckline and waist, punctuated by those sculptural circular accents, gives the design an almost futuristic quality. Looking at the runway image alone, you can appreciate the construction, but once Katy steps into the dress, those details suddenly feel more pronounced, as if they belong to the same visual universe as many of her stage personas.

That reaction is partly because we know her style history. Katy has spent years embracing fashion that is playful, unconventional and occasionally eccentric, so it is difficult to separate the dress from the person wearing it. Had this appeared on a different red carpet, I might simply see a beautifully draped archival gown. On Katy, my mind immediately goes somewhere more imaginative.

All that being said, it is refreshing about seeing a piece from 1987 that still feels relevant nearly four decades later.

The entrepreneur wore one of her favourite labels, Alaïa, stepping out in a fitted velvet dress from Pieter Mulier’s Fall 2026 collection.

What immediately struck me was the colour story. The rich tobacco-toned velvet dress, camel leather coat and coordinating Manolo Blahnik Prishipla sandals created a seamless tonal look.

The dress itself is deceptively simple. On the runway, it was presented without distractions, allowing the sculpted silhouette and tactile fabric to take centre stage.

Rihanna took a different approach, layering on Briony Raymond jewellery and adding sunglasses, while her signature confidence did the rest.

For someone with access to virtually every brand in fashion, it says a lot that Rihanna continues to return to Alaïa. Pieter Mulier understood how to create clothes that celebrated the body without feeling restrictive, and that philosophy clearly resonates with her.

It will be interesting to see how the label evolves under the direction of the internal design studio following Mulier’s swansong collection.

For the occasion, the actress wore a Dior Spring 2026 Haute Couture technical knit ensemble.

The look centred on a sculptural bodice that Dior described as a twisted bubble mounted on a hand-crafted structure, paired with an asymmetrical draped skirt embroidered with red-and-white velvet flowers. While the runway styling leaned further into couture fantasy, Greta wisely allowed the dress to do the talking, letting its unusual shape and intricate craftsmanship remain the focal point.

Considering that Greta voices Lilypad, there was something fitting about the soft pink-and-white palette. The rounded volume of the bodice and floral embroidery subtly echoed the bloom of a water lily, creating a connection to her character without feeling overly literal or costume-like.

Where the look falls apart for me is at the waist. The placement of the central seam disrupts the visual flow between the sculptural upper section and the draped skirt. My eye keeps returning to that line, when ideally it should move seamlessly through the silhouette. And from some angles, the top half just looked awkward.

Still, I appreciate that Greta took a risk, as this felt distinctive and appropriately whimsical for a Pixar event.

Gianvito Rossi Ribbon silver sandals, Jean Schlumberger by Tiffany & Co. earrings, a Bird on a Rock by Tiffany & Co. Wings bangle and a ring completed her look.

Stylist: Danielle Goldberg.

The singer wore a Calvin Klein Collection Spring 2026 white laser-cut leather dress.

Drop-waist silhouettes can be tricky, but by tying the integrated belt at waist height, Solange subtly redefined the proportions. The resulting drapery created a cascading effect through the skirt, echoing the sweeping volume of the oversized sleeves and giving the look a sense of fluidity that might otherwise have been lost had the dress sat lower and dragged on the floor.

What I appreciate most is that she resisted the urge to over-style it. The white pumps maintained the clean monochromatic line established by the dress.

For someone whose fashion choices have always felt thoughtful and distinctive, this was a very successful continuation.

The singer’s red carpet style is constantly up for debate, with many feeling that her fashion is stuck in a time warp. And with Erdem’s Fall 2026 collection delivering its third celebrity outing in as many days, I’m sure you will have a lot to say about this.

Personally, I’m charmed by it.

The corseted bodice, embellished with crystal floral motifs and oversized bow details, gave the dress a storybook charm that felt entirely appropriate for a film set in the Toy Story universe. Meanwhile, the skirt’s patchwork construction, mixing tapestry florals, lace panels and textured fabric inserts, looked as though it had been assembled from treasured fragments, each panel contributing to the dress’s distinctive character.

I’m also relieved that the runway’s conversation-label patch was removed. The dress is stronger without that distraction.

Some will inevitably call the look too sweet or too whimsical, but I think that sense of play works in its favour here. Not every premiere calls for sleek glamour or high drama. An animated family film leaves room for something a little more imaginative.

If I were placing this within Taylor’s musical catalogue, it feels closest to the Folklore and Evermore chapters of her career. The storytelling, the romanticism and the handcrafted feel all echo that visual world.

Bronze Alevì Milano sandals, Le Vian earrings, a Miraki bracelet and a Selim Mouzannar ring completed the look.

Stylist: Joseph Cassell Falconer. Makeup Artist: Lorrie Turk. Hair Stylist: Jemma Muradian.

Scarlet Statement

For her arrival, Jodie wore a croc-embossed red suit from The New Arrivals, proving that her love of bold colour remains firmly intact, and we love her for it.

The sharply tailored jacket and matching pencil skirt already carried plenty of impact thanks to the high-shine finish and vivid scarlet hue, but Jodie wasn’t content to stop there. Her voluminous natural hair brought even more presence to the look, while the white pumps provided a crisp contrast.

Most people would struggle to pull off this much high-shine before breakfast, but Jodie wore it with complete conviction. It was confident, unapologetic and exactly the sort of fashion moment we have come to expect from her. J’adore.

Quiet Luxury? Not Quite

For her departure, Jodie switched gears in a Marc Jacobs Spring 2026 suit. On paper, the checked tailoring was considerably more restrained than the fiery red look that preceded it, but she still found ways to make it feel unmistakably her own.

The textured fabric provided the foundation, while the cobalt-blue pumps, burgundy scarf and matching narrow sunglasses injected personality into the ensemble. Once again, her beautifully styled natural hair became part of the conversation.

No doubt we will see plenty more from Jodie throughout this press tour, but this double serving of tailoring already has me full.

Stylist: Law Roach.

Winging It

Josh O’Connor was his usual charming self in Dior. The actor wore a cream double-breasted jacket styled with a wing-collar shirt, which traditionally would be paired with a bow tie rather than a necktie.

Yet this is exactly the kind of subtle styling twist we have come to expect from Jonathan Anderson’s Dior, and from Josh himself. The tie softened the formality of the shirt, giving the look a slightly offbeat quality that felt entirely in character. Styled with a Tiffany & Co. Archives brooch, Tiffany Eternity watch and Dior Medaillon loafers, it was another reminder that Josh rarely follows the conventional menswear playbook, and why it always works.

Styled by Jason Bolden.

Never Misses The Mark

Some of you might look at Colman Domingo in this navy checked suit and polka-dot tie and feel a little disappointed, saying it’s too formal or too corporate. Where is the Maison Valentino sparkle? The English heritage-inspired dunhill tailoring? The dramatic overcoats? The fashion moments that usually dominate the conversation?

For me, I am, and always will be, in awe of three things: his range, his consistency and the impeccable fit. Colman understands that great style isn’t always about delivering the loudest look in the room. Sometimes it is about wearing a beautifully tailored suit with the same conviction he brings to a more adventurous ensemble. The fit is flawless, the proportions are spot on, and the vibrant blue tie gives the look just enough personality.

Boucheron jewels completed his look.

Stylists: Wayman Bannerman and Micah McDonald.

Playing By Different Rules

Emma D’Arcy once again arrived looking entirely uninterested in traditional red carpet dressing, which is exactly why their appearances remain so compelling. The Bottega Veneta ensemble traded formality for ease, with the oversized proportions and lace-up Gino shoes giving the look an effortless confidence. Tiffany & Co. jewels completed the look.

Styled by Rose Forde.

Dark Side of Tailoring

It’s not often that we see Matt Smith embrace a tonal look, but Prada delivered a welcome change of pace. The charcoal double-breasted suit layered over a black shirt, tie and waistcoat almost merged into one, creating a darker mood that felt entirely fitting for an actor whose character rarely brings much lightness to Westeros. It was understated, but still effective.

Styled by Rose Forde.

Archival Gucci Wins Again

We don’t often see Tom Glynn-Carney on the red carpet, but he continues to be one of my favourites, and this archival Gucci suit is a perfect example of why. The velvet tailoring, subtle embellishment and ivory silk shirt and tie struck that sweet spot between classic and flamboyant. Plenty of actors could wear this suit, but Tom has a way of making fashion-forward choices feel completely natural. The sunglasses only added to the rock-star attitude.

Styled by Luke Jefferson Day.

Feathers In Formation

Gayle Rankin wore the FFORME Hana feather dress. The sheer foundation contrasted beautifully with the sculptural placement of the feather detailing. While many feathered looks can feel excessive, here the texture makes an impact without overwhelming the silhouette.

Styled by Bailey Moon.

A Study In Simplicity

There were more black dresses to be had, with Bethany Antonia wearing a Tuuli Turunen dress. The asymmetric neckline and fluid silhouette gave the look an understated elegance that felt perfectly aligned with the mood of the premiere. TASAKI jewels completed the look.

Styled by Farrah O’Connor.

Signature Style Statement

Harry Collett wore Steve O. Smith, delivering one of the evening’s most distinctive menswear looks. The designer’s signature black-and-white motif immediately commanded attention and was unquestionably the strongest element of the outfit. Combined with the dramatic proportions, the look had the kind of theatrical presence that felt entirely at home at a fantasy premiere.

Galliano Goes To Westeros

Annie Shapero wore a Fall 1998 Christian Dior by John Galliano suit from Lovers Lane. Some might feel that the structured jacket with its exaggerated off-the-shoulder neckline and pencil skirt with a fur-trimmed hem is a little too formal for a premiere. However, there is something about Galliano’s heightened sense of drama that feels perfectly suited to the world of House of the Dragon, where extravagance, and power are woven into the fabric of the story itself.

Styled by Holly Eva White.

The Irish actress wore an Erdem Fall 2026 embellished pink dress from the same collection that gave us Sarah Paulson’s Tony Awards look. Many of you weren’t convinced by the pieced-together feel of that design, and I have a feeling the reaction here will be much the same.

My biggest issue is the fit, and the way the look reads as though an apron has been layered over a dress. The proportions feel awkward, and the different elements never quite come together as a cohesive whole.

What felt quirky and characterful on Sarah comes across as confusing on Eve. The patch label detail, which we have seen incorporated into Erdem’s tailoring throughout many collections, makes less sense here and feels disconnected from the rest of the design.

It’s rare – almost unheard of – for me to dislike an Erdem look, but there is a first time for everything.

Stylist: Karla Welch.

For the occasion, she wore a Roland Mouret bouclé midi dress.

What stood out most was the sense of balance. The soft beige hue, wide-brimmed Jane Taylor London hat and feminine silhouette delivered a look that was unmistakably Catherine: elegant, appropriate and in keeping with the formality of the event.

Catherine rarely leaves a colour story unfinished, so it was no surprise to see the Roland Mouret dress, Gianvito Rossi pumps and Forever New clutch all rendered in the same soft neutral palette.

There was also something reassuringly familiar about the look. We have seen Catherine favour similar silhouettes and soft neutral tones in designs from Self-Portrait, Catherine Walker and other labels. Rather than feeling repetitive, it reinforced a signature approach that continues to serve her well.

Whether Kim follows the paddock to Spain remains to be seen, but for now, this Gucci Fall 2026 look gave her Monaco trip a memorable final chapter.

The reality star wore the black seamless Gucci Primavera dress, first seen on Kate Moss during the Fall 2026 runway presentation. While the front offers a sleek, body-skimming silhouette covered in subtle sparkle, it is the back that tells the real story.

Kim made sure the paparazzi got a clear view of the open-back design, where the look is anchored by the unmistakable Double G hardware framing a visible black thong detail. It was one of the most talked-about elements of the runway show and, unsurprisingly, Kim embraced it completely.

What makes the detail particularly interesting is its fashion history. The hardware thong is a direct reference to one of Gucci’s most famous Tom Ford-era signatures, recalling the provocative G-string moment that first appeared in 1997.

It’s also the kind of look that makes perfect sense on Kim. Few celebrities have built their public image around body-conscious dressing as consistently as she has, so a dress centred on a dramatic open back and archival Gucci sex appeal was always going to find a natural home in her wardrobe.

Stylist: Dani Levi.

The actress has clearly developed a fondness for peplums of late, and this Tamara Ralph Spring 2026 Couture look continued that theme with a very different attitude.

There is nothing simple about that mother-of-pearl and crystal spike corset. It is the entire conversation. The radiating embellishment creates a sunburst effect across the bodice, drawing the eye straight to the construction before extending into the sculptural peplum at the waist.

What keeps the look from becoming too much is the off-white silk double satin skirt. Its clean line gives the corset room to breathe, while the fluid fabric softens the sharper edge of the bodice.

Compared to the runway styling, removing the embroidered cape was absolutely the right decision. Emily didn’t need the extra volume. The corset already had more than enough impact, and this cleaner styling allowed the craftsmanship to lead.

Mikimoto jewels completed her look. 

Stylist: Jessica Paster.

Her style throughout the Monaco Grand Prix weekend reflected that ease.

Polka Dots On Pole Position

For Saturday’s qualifying session, Alexandra wore a Posse Romeo polka-dot linen maxi dress, with the red-and-white colour palette subtly echoing the colours of the Monaco flag. It also felt like a fitting choice as her husband Charles Leclerc prepared to race on home soil.

There is something timeless about a polka-dot dress in Monaco. Between the yacht-lined harbour, Riviera backdrop and Mediterranean sunshine, the look felt perfectly at home.

Roger Vivier’s Efflorescence crochet clutch and Aquazzura Bisous mules completed the look, alongside Messika jewels.

Flowers, Fringe And Formula 1

For race day, Alexandra shifted gears.

Coincidentally matching Kim Kardashian’s ivory palette, Alexandra wore a look from the Oscar de la Renta Spring 2026 collection featuring the house’s porcelain flower lattice embroidery and sweeping fringe detailing.

The fringe ensured this look was impossible to miss as it moved through the paddock. While some might compare the embroidered latticework to a grandmother’s treasured tablecloth, that comparison actually highlights part of its charm. The craftsmanship, intricate detailing and delicate floral motifs give the look a sense of nostalgia that feels considered rather than old-fashioned.

The result was elegant, feminine and unmistakably Oscar de la Renta.

An Oscar de la Renta The Mini Poppy bag, For Art’s Sake Mesa sunglasses, Jimmy Choo sandals and Messika jewels completed her race-day ensemble.

Of the two looks, I was drawn more to the playful simplicity of the polka-dot dress.

Stylist: Carlotta Constant.

The central themes of this series are power, succession, betrayal and war, so it would have been easy to lean into that mood with something dark, dramatic and expected.

But this is also a summer premiere.

Despite the unpredictable British weather doing its best to convince us otherwise, I am glad Olivia resisted the temptation to go down the obvious route. Instead, she wore a Thom Browne strapless white gown that still speaks to the scale of House of the Dragon while bringing a sense of freshness to the occasion.

What I love most is the scale. The sharply structured corseted bodice gives way to an expansive ball skirt that immediately commands attention. I also can’t stop thinking about the fact that this skirt is made from corduroy. It’s such an unexpected choice for a premiere gown, but the fabric gives the silhouette a richness and architectural quality that elevates the entire look.

There is also something fitting about Olivia wearing a look that feels regal without becoming costume-adjacent. The volume delivers the drama expected of a leading lady at a major franchise premiere, while the clean white fabric keeps the overall effect modern and elegant.

This is the kind of red carpet moment that reminds you why simplicity can be so effective when the silhouette is this strong.

For me, this is pure leading-lady dressing. The gown has presence, confidence and exactly the right amount of drama for a House of the Dragon premiere, while still feeling entirely suited to a summer evening in London.

Moussaieff Jewels completed her look.

Stylist: Aimée Croysdill. Hair Stylist: Neil Moodie. Makeup Artist: Brooke Turnbull.

Colman Domingo was spotted arriving at ABC Studios in New York on Monday as he continued promotions for Disclosure Day, the upcoming film co-starring Emily Blunt and Josh O’Connor.

When I saw the actor in this dunhill Spring 2026 look, I genuinely swooned.

Colman has delivered countless Best Dressed of the Week and Best Dressed of the Year contenders over the years, but I can’t remember the last time I was quite this enamoured. A large part of that comes down to his style charisma. Look at how completely he inhabits this outfit. Rather than simply wearing what came off the runway, he absorbs it into his own fashion language and gives it a different life.

Then there is the question of seasonality. Why are so many men reluctant to dress for the weather in front of them? Lightweight tailoring, breathable fabrics and softer colour palettes exist for a reason. Colman consistently embraces them, and the result always feels fresh.

The shades of blue alone would have been enough to hold my attention, but then we get the pattern play. Gingham, vertical stripes and asymmetrical stripes shouldn’t necessarily coexist this comfortably, yet somehow they do. The look feels layered and considered without ever appearing busy.

Then come the dandy touches. The striped tie worn as a belt. The silk scarf tucked neatly into the open-collar shirt. The pocket square adding another point of interest. These details are exactly why Colman remains one of the most exciting dressers working today. He understands that style often lives in the finishing touches.

And finally, the accessories. The white loafers deserve their own round of applause. They lighten the entire look and reinforce the relaxed summer mood. Add in the Boucheron jewellery and Robert Marc sunglasses, which have become something of a signature for him lately, and the styling feels complete.

The runway look was already strong. Colman Domingo made it unforgettable.

Stylists: Wayman Bannerman and Micah McDonald.

While Joey’s Miu Miu gown referenced the work of artists such as Alphonse Mucha and Aubrey Beardsley, Allan translated that same mood into the beauty direction through luminous skin, flushed cheeks, softly stained lips, and wide, doll-like eyes. The objective wasn’t dramatic contouring or heavy glamour. Instead, the focus was on creating a complexion that looked fresh, even, and radiant from every angle.

As Allan explained, “I was really inspired by the Art Nouveau movement and created a look that emphasized clean, fresh glowing skin, flushed cheeks and lips, and a doll-like gaze. Skin prep was the MVP of this look, and the Neutrogena Evenly Clear Acne Cleanser, Clarifying Spray and Acne Gel Moisturizer delivered the perfect canvas for makeup.”

The skincare preparation began with Neutrogena’s Evenly Clear Acne Cleanser. Formulated with 2% salicylic acid and 2% PHA exfoliant, the cleanser works to clear breakouts, remove excess oil, and help improve the appearance of post-acne marks while leaving the skin feeling smooth and refreshed.

Next came the Evenly Clear Clarifying Spray, which Allan used in place of a traditional toner. Applied generously across Joey’s face and neck, the fragrance-free formula contains hypochlorous acid to help purify and refresh acne-prone skin. Allowing the spray to fully absorb before moving to the next step ensured the skin remained balanced and hydrated.

The final stage before makeup application was the Evenly Clear Acne Gel Moisturizer. Lightweight and fast-absorbing, the formula delivers lasting hydration without leaving behind residue, making it particularly well-suited for red carpet makeup. Rather than creating a heavy layer between skincare and foundation, it sinks into the skin quickly, leaving behind a smooth surface ready for makeup application.

What stands out most about this routine is its simplicity. Three straightforward steps created the foundation for a beauty look that relied on healthy-looking skin rather than layers of product. In a beauty landscape often focused on elaborate routines, Joey King’s Met Gala prep is a reminder that a well-prepared complexion remains the starting point for every great makeup look.

Winter Coat, Summer Premiere

Seeing Hannah Einbinder in this Valentino Pre-Fall 2026 faux-fur coat, you would think she was in Utah attending the Sundance Film Festival rather than on a pink carpet in London in June.

Granted, it rained for much of the weekend, but it was still light-coat weather at most. The oversized chevron-patterned coat completely dominated the look, to the point where I found myself more curious about what was underneath than the outerwear itself. The look book image reveals a sequinned dress with feather-trimmed hems, which would have been the most interesting part of the outfit, yet it was largely hidden from view.

For me, the coat crosses into comical territory. It feels more suited to a deep-winter photocall than a summer film premiere. Valentino Cuffie enamelled flower sandals completed the look.

Quiet Confidence

Standing alongside her co-star, Gillian Anderson only amplified how out of place that coat felt.

Her Huishan Zhang Resort 2027 sleeveless black dress was endlessly elegant, with a scarf-like neckline detail and delicate floral embroidery at the waist.

What I appreciated most was how effortless it appeared. It was simply a beautifully executed dress worn with complete ease.

Are you missing Gillian’s Cannes curls, or does this swept-up hairstyle work perfectly well here?

This isn’t Kim’s first experience of life adjacent to sport. She previously dated Reggie Bush, Miles Austin and Kris Humphries, after all. But her first outing as a Formula One WAG just happened to take place in Monaco, one of the most glamorous destinations on the calendar, so naturally the expectations were high.

We all know about Kim’s long-standing relationship with Demna, so don’t be surprised that her F1 WAG debut came courtesy of Gucci.

Paddock Uniform

I was a little disappointed by the first Gucci Core look: a black lace bodysuit styled with Horsebit-detail denim, black leather pumps and Gucci GG2174S 001 sunglasses for Saturday’s practice sessions. Monaco calls for a certain level of glamour, and I was hoping for something fresher than an outfit that could just as easily have been worn on a shopping trip in Los Angeles.

On this occasion, I was actually more enamoured with Khloé Kardashian’s look. Mostly because I have finally succumbed to the capri-pants trend, and I love seeing how they work on fellow taller girls. Consider me a convert.

After Dark

By nightfall, Kim had changed into a Gucci Generation black leather jacket and matching trousers. The look instantly reminded me of the matching Gucci leather outfits David and Victoria Beckham wore in 1999, which feels oddly appropriate as Kim steps into a new WAG chapter.

Gucci sunglasses, black leather pumps and a Gucci Lunetta shoulder bag completed the look. As cheesy as it might have been, I almost wish she had worn this outfit during the day. It had the feel of an F1 race suit stripped of its sponsor patches.

Monaco Glamour

Things softened considerably for race day, when Kim wore a custom Gucci Core cream jersey dress inspired by the Resort 2027 collection.

The black leather pumps were a head-scratcher, but the draped silhouette delivered the kind of glamour that feels much more aligned with Monaco. It was sultry, unmistakably Kim, and far closer to what I had expected from her first Grand Prix weekend appearance.

I also suspect there was a conscious decision not to wear the original red runway look. Considering she was there as a guest of Ferrari, wearing red might have felt a little too on the nose. The softer cream shade gave the look a more daytime feel.

Gucci GG2276S 005 sunglasses completed the look.

Stylist: Dani Levi.

Chanel’s Unofficial ambassador

Maya Rudolph wore Chanel Fall 2026 dress. There may be a feeling of familiarity about this look, as the Cannes Film Festival saw Tilda Swinton wearing a similar silhouette, while Bárbara Lennie wore the same statement necklace. Yet this felt entirely in keeping with Maya’s recent relationship with Chanel, offering a subtle update to her preferred silhouette. The oversized amber-toned necklace brought warmth and personality to the fluid black gown, making the look feel distinctive despite the déjà vu factor.

Styled by Rebecca Grice.

Maternity Style

Aubrey Plaza’s latest maternity look included this striped dress from Chanel.

Styled by Jessica Paster.

Fringe Benefits

Ayesha Curry added some much-needed colour and flair to this line-up in a red Monse Resort 2027 fringed dress. The movement created by the ombré fringe gave the look plenty of life, while the vivid shade stood out against a carpet dominated by black gowns.

Styled by Jason Bolden.

The Nun Question

My first thought when I saw Carrie Coon in this Altuzarra Fall 2026 dress was a nun’s habit, summer edition. The sleeveless, high-neck contrast panel and structured silhouette immediately took me there, and once that idea entered my head, I couldn’t unsee it. MYKITA glasses completed her look.

Styled by Alicia Lombardini.

A Marchesa Throwback

I’m sure you guessed that Christiani Pitts was wearing Marchesa because this gown from the Resort 2023 collection is so indicative of the dresses the label was sending down red carpets during the early-to-mid 2000s. The layered organza, dramatic volume and romantic colour palette all felt unmistakably Marchesa. Personally, I loved the effect of the navy tones melting into pale pink.

Styled by Tsigie White.

Silver Screen Glamour

Danielle Brooks wore a silver Wiederhoeft Spring 2026 dress. She looks fantastic, and the fit is excellent, but I would have adored this gown in a brighter colour. Even so, the shimmering fabric and off-the-shoulder neckline delivered classic red carpet glamour.

Styled by Daniel Hawkins.

Tailoring With Caveats

Drew Barrymore loves a tailored moment, so I wasn’t surprised to see her in this Balenciaga Spring 2026 look. We all know those gloves are practically a prerequisite for the house these days, and while they continue to test my patience, switching to white softens their impact considerably.

Styled by Lee Harris.

Corsetry Done Right

Julia Louis-Dreyfus wore Wiederhoeft Spring 2026, with the sculpted corset detailing giving the gown both structure and shape.

Styled by Kevin Michael Ericson.

Back To Basics

Kristin Chenoweth wore a sleek black Alex Perry column gown that played directly to the designer’s strengths: a clean silhouette and impeccable fit.

Fringe In Motion

Lily Rabe wore Bode. While the previous two black looks stood out on account of their detailing, this elongated black fringe gown faded somewhat into the background. However, the result felt elegant with a subtle vintage influence.

Styled by Leith Clark.

Betsey Being Betsey

Melissa Barrera wore vintage Betsey Johnson, with the tiered ruffles giving this olive-green dress a playful personality. Betsey Johnson always has a recognisable charm, and Melissa carried it well. Logan Hollowell jewelry completed her look.

Hostess With The Mostest

Pink was the hostess with the mostest in this Jean Louis Sabaji Fall 2024 Couture gown. The black sequined column dress was already striking, but the dramatic feathered train elevated the entire look into something worthy of a host.

Prada Precision

Rose Byrne wore custom Prada. The white beaded column gown framed by black embellished trim delivered the kind of clean graphic contrast that Prada does so well. The silhouette was straightforward, but the texture did all the work.

Floral Embellishment

Stephanie Hsu wore Monique Lhuillier Spring 2026. The pink base covered in metallic floral embroidery felt joyful and celebratory, making it one of the night’s prettiest looks. Buccellati jewelry completed her look.

Anna Wintour’s presence at the Tony Awards is never unusual. As one of Broadway’s most loyal supporters, she is a familiar face at opening nights and theatre’s biggest celebrations, often accompanied by her daughter, Bee Carrozzini.

What I loved most here was how their looks appeared to be in conversation with one another.

Connected By Bloom

Anna Wintour wore a Dior dress featuring the Bloom Tapestry motif, with delicate floral appliqués amplifying the botanical print throughout the design. We know Anna rarely deviates from her preferred accessories, but with the sculptural folded detail sweeping across the bodice, this was one occasion when I felt the necklace could have stayed at home. The dress already had plenty to say on its own.

Bloom In Red

Bee Carrozzini wore an Erdem Pre-Fall 2026 gown, proving that florals don’t always need to arrive in the form of a print. The sleek scarlet design was accented with a gold-tone flower detail inspired by traditional lost-wax casting, the same motif featured on the label’s Bloom bag.

Both called Bloom. One look embraced florals through print, the other through embellishment, creating a subtle thread between mother and daughter. Whether intentional or coincidental, the connection was impossible to miss.

The Queen, as always, delivered drama.

She wore a Naeem Khan Fall 2017 feathered cape, proving that some red carpet signatures never lose their appeal. While the designer is often associated with his intricate beadwork and sequined embellishment, this time I was blown away by the extraordinary feather treatment that made this piece so captivating.

The dark iridescent feathers caught the light, revealing flashes of deep green throughout. From a distance, it read as elegant and mysterious; up close, the craftsmanship became even more impressive.

Layered over a simple black dress, the cape was allowed to take centre stage exactly as it should.

I was also pleased that Queen Latifah resisted the temptation to pile on additional accessories. The cape was the statement, the focal point, and the reason this look worked so well. Anything more would have felt unnecessary and would have been overkill.

Stylists: Wayman Bannerman and Micah McDonald.

The British actress has enjoyed a long-standing relationship with Loewe. From that unforgettable sculptural look at the 2024 BAFTAs, to the 2025 Olivier Awards where she won Best Actress for Oedipus, and throughout the Queer press tour where she wore the label exclusively. It’s a relationship that has continued seamlessly into the Jack McCollough and Lazaro Hernandez era.

On his occasion, Lesley wore an orange sequinned off-the-shoulder gown paired with matching Comic slingback pumps.

I have to say, I absolutely love this dress.

The vivid orange instantly stood out against a carpet dominated by darker hues, while the generous draping across the neckline and sleeves gave the silhouette a sense of occasion without being overly dramatic. There is a celebratory quality to the colour and sparkle that felt exactly right for a winner’s moment.

If I were to nitpick, I wish the neckline sat just a touch higher across the shoulders. That said, considering the amount of fabric and all-over sequins involved, I suspect the gown carried a fair amount of weight. It’s a minor point in what was otherwise a joyful and memorable moment.

Stylist: Stephanie Wilson.

From Best Featured Actress winners to some of the theatre world’s most recognisable names, Siriano’s roster showcased the breadth of his design vocabulary, ranging from understated glamour to full theatrical dressing.

Sequins After Dark

Laurie Metcalf, winner of Best Featured Actress in a Play for Death of a Salesman, wore a custom Christian Siriano ombré sequin gown that transitioned from gold to bronze and black. It felt elegant, celebratory and perfectly suited to the occasion.

Not Sold

Hannah Cruz, nominated for Best Featured Actress in a Musical for Chess, wore a Christian Siriano Fall 2026 crystal mesh crinoline gown.

I have a feeling the soft blush tone, visible corsetry and sculpted fishtail hem won’t go down well with the majority, and I have to admit that I struggled with this one too. The exposed structure and sheer detailing felt at odds with the romantic silhouette, leaving the look caught between two ideas rather than fully committing to either.

Petals And Drama

Shoshana Bean, winner of Best Featured Actress in a Musical for The Lost Boys, wore a custom Christian Siriano gown with oversized floral appliqués creating a striking visual effect across the sheer tulle base.

Rocky Horror Spirit

Sam Pinkleton, nominated for Best Director of a Musical for The Rocky Horror Show, wore a Christian Siriano Pre-Fall 2026 lace top and velvet trousers.

Menswear can often become predictable during awards season, but never at the Tony Awards. Between the sheer lace top, dramatic silhouette and smoky eye makeup, this felt entirely in keeping with the spirit of The Rocky Horror Show. The look embraced the same sense of theatricality, irreverence and self-expression that has made the musical an enduring cult favourite.

Polka-Dot Showstopper

Amber Ruffin, co-writer and producer of the Off-Broadway musical Bigfoot!, wore a Christian Siriano Spring 2025 polka-dot mermaid gown.

Previously worn by Halle Bailey, this dress found a completely different personality on Amber. Between the dramatic fishtail silhouette, exaggerated neckline and oversized polka dots, the look matched her vibrant presence perfectly.

Chocolate Delight

Alex Newell, who recently starred in Chicago, wore a custom Christian Siriano chocolate sequin gown.

The rich brown tone immediately distinguished this look from the sea of black gowns on the carpet. Combined with the sculptural neckline and all-over shimmer, it delivered glamour.

Red Carpet Drama

Dylan Mulvaney wore a Christian Siriano red metallic mesh gown.

The sparkling crimson skirt, sheer corseted bodice and sweeping train ensured that this was one of the evening’s most theatrical looks. Dylan fully committed to the drama of the design, and that confidence is what made it work.

Designer And Muse

Bronwyn Newport attended with Christian Siriano wearing his Spring 2025 black-and-seafoam corseted tulle ballgown.

The contrast between the dark tulle and seafoam embroidery gave the gown a striking fairytale quality. Bronwyn has become one of Siriano’s most reliable red carpet supporters, and this look continued that partnership beautifully.

A Quiet Approach

Rachel Dratch, nominated for Best Featured Actress in a Play for The Rocky Horror Show, wore a custom Christian Siriano zigzag velvet one-shoulder gown.

As expected, he didn’t disappoint.

At this point, Jordan’s arrivals are less about fashion in the traditional sense and more about storytelling. While many attendees use the red carpet to showcase a designer, Jordan uses it as a stage, turning each appearance into a narrative that invites interpretation.

This year’s Maison Margiela Artisanal 2025 look felt particularly suited to that approach. The dress, printed with fragments of 17th-century Dutch still-life paintings and overlaid with delicate wing-like formations, carried an almost ghostly quality. It looked as though the artwork was disintegrating, and shedding feathers.

What makes the look successful is that the mask doesn’t feel like an accessory added for shock value. Instead, it completes the story. The veil of tulle obscuring part of the face creates a sense of mystery and transformation, blurring the line between the wearer and the artwork itself. Remove it, and the look becomes an interesting couture dress. Keep it, and the narrative becomes far more compelling.

That is often the difference with Jordan’s red carpet appearances. He rarely wears clothes for the sake of being seen. There is usually a character, a mood or an idea at the centre of the look, and he commits to it completely.

The Maison Margiela Artisanal collection explored themes of decay, memory and illusion, and Jordan understood that assignment better than most. Rather than simply wearing the garment, he became part of its story.

Canvas Tabi Claw boots hand-painted in trompe-l’œil and set on Perspex wedges completed the look.

Stylist: Michael Philouze. Makeup Artist: Sil Bruinsma. Hair Stylist: Brent Lawler.

The actress wore a Fforme Nyx sleeveless dress from the Pre-Fall 2026 collection in a rich evergreen shade, featuring the label’s signature central seam that runs cleanly through the silhouette.

This look continued the understated theme we also saw from Rachel Zegler and Lea Michele throughout the evening. I have a feeling some were expecting more from the theatre crowd, but considering Ariana was also not nominated, I appreciate that she wasn’t trying to compete with or overshadow those who were.

The beauty of this look lies in its simplicity. The saturated colour does much of the heavy lifting, while the fluid shape and subtle drop-waist construction keep the gown from feeling overly straightforward.  But the real win here, is that it is crease free.

Fred Leighton and Kwiat jewels completed her look.