Sequins, Sunglasses, And Signature Confidence

Meryl Streep wore a Richard Quinn Fall 2023 coat styled with Emmanuelle Khanh Cherry cat-eye sunglasses. The coat does all the talking here once again, fully encrusted in deep navy sequins with a cocoon-like silhouette that leans into drama without needing anything extra.

The sunglasses only reinforce the message. She is an icon. She is a legend. She is the moment. What a beautiful closing look.

Styled by Micaela Erlanger.

Emily Blunt Meets Emily Charlton

Emily Blunt wore a Dior Spring 2026 Haute Couture structured jacket dress with a flared horsehair peplum, overlaid with five different types of net to create a black tweed-like effect. Styled with Wolford tights and Jimmy Choo Kove platforms, this is Dior Haute Couture at its most intricate.

The fabric story is rich, almost deceptively so, and the playfulness of it all feels like a nod to her character, Emily Charlton.

Styled by Jessica Paster.

Archival Versace

Simone Ashley opted for her second archival look of the night, wearing a Versace Spring 2016 mini dress styled with Siixteen Stone by Tiffany jewels, along with Bird on a Rock by Tiffany Wings earrings. This is a confident switch-up from the expected gala gown. Lined from the runway, the olive-green base sits on the neon embellishment that brings a hit of attitude, while the shorter length keeps things very on brand for Ashley, because those incredible legs have to be seen. It feels youthful, a little daring, and exactly the kind of contrast this lineup needed.

Styled by Rebecca Corbin-Murray

I have a feeling that some of you will say that it looks like the ladies were all going to different events, with Anne being the only one who appeared to get the gala memo, but there’s something refreshing about that mix. Each look holds its own point of view, giving the lineup a sense of individuality rather than a uniform dress code.

Well. I have some bad news for you.

The blazer was back. Charlize couldn’t quite commit to a press tour without it, and deep down, we all knew it would return. I just didn’t expect to see it at a premiere, which took place in New York at The Paris Theatre.

Because a black blazer with matching trousers is so closely tied to her signature style, and can feel a little flat for a premiere, the actress needed something to push this Dior Fall 2026 look into more interesting territory – and that came in the form of the white pleated collar… and nothing else. No shirt, camisole, or bralette – just the collar, worn against bare skin, styled with Dior Fine Jewelry.

And you know what? I have to say, I absolutely love this.

It’s the attitude, the confidence, and the sense of ease she brings to it that makes it land. What could have felt predictable instead comes across as sharp, modern, and just subversive enough to hold your attention.

It’s familiar, but with a clever twist. Consider me won over.

Stylist: Leslie Fremar.

The event was billed as a gala, and Anne Hathaway brought the gala energy in a custom Louis Vuitton grey-and-black silk-satin bustier column gown with a voluminous overskirt.

I love what this gown represents: a clear nod to classic couture dressing, where drama is delivered through silhouette and fabrication. That said, my overall feeling is that it leans a little old-fashioned. I’m hoping this is a purposeful ode to Old Hollywood glamour – think Audrey Hepburn, Grace Kelly, and perhaps a touch of Rita Hayworth. If that was the brief, she and Louis Vuitton delivered.

This look relies heavily on that reference point or context, but as many of you often say to me, a story shouldn’t have to sell a look. I also found myself wishing for stronger structure through the bodice, skirt and overskirt to sharpen the overall finish.

A Bvlgari High Jewelry, including the Serpenti necklace, completed her look.

The Devil Wears Prada 2 London Premiere

Stanley Tucci, being in London, naturally wore one of our most revered menswear labels in Paul Smith, delivering exactly what you would expect from him: a sharply cut pinstripe suit that just oozes authority. The look was elevated with his signature finishing touches – sleek sunglasses, a neatly folded pocket square, and polished shoes that reinforced his effortless precision.

Michael LA Premiere

Kelvin Harrison Jr., forever aligned with Prada, offered a subtle shift from classic black in this rich brown suit. I’m still not team brown suit with black lapels and tie in principle, but the look is refined and modern.

Styled by Michael Fisher.

A satin suit is a very hard sell, but Larenz Tate keeping this suit relatively crease-free deserves praise alone. The actor certainly has the personality to pull this look off. Those lapels might just be the widest I have ever seen.

Kendrick Sampson had his moment in the spotlight wearing a Sergio Hudson Spring 2026 teal suit. The designer’s tailoring is impeccable, as we know, but his use of colour is always the highlight, along with that silk shirt.

Styled by Bryon Javar.

Laureus World Sports Awards 2026

Gucci brand ambassador Jannik Sinner wore a custom Gucci single-breasted tuxedo that was sleek, minimal, and focused on fit and classic tailoring codes.

Lorenzo Musetti wore Bottega Veneta, also representing his brand with a look that leaned into the house’s understated tailoring, but I am starting to see that the trouser-length issue we saw countless times on Jacob Elordi might not be an isolated problem.

The Devil Wears Prada 2 New York Premiere

Velvet for Spring? Apparently it’s en vogue, but we are not complaining when Stanley Tucci wore another impeccably tailored suit to the New York premiere, proving once again that consistency is his strongest style asset.

John Krasinski wore a dunhill dark-brown velvet Bourdon double-breasted tuxedo, styled with a Bvlgari brooch, Bvlgari Octo Roma timepiece, and Stuart Weitzman Callum Derby shoes. The richness of the velvet is hard not to admire, and I love how he complemented his wife, Emily Blunt, in her Schiaparelli Haute Couture gown.

Styled by Ilaria Urbinati.

Patrick Brammall kept things classic in a tuxedo, yet relaxed, opting out of wearing a tie. Instead, he accented his look with a Jean Schlumberger by Tiffany & Co. Nest brooch. It’s a subtle addition, but one that adds personality.

Kenneth Branagh wore a Brioni sky-blue Iride suit, offering a welcome shift from the sea of darker tailoring. The softer tone feels fresh. I just wish he had travelled like Anne Hathaway to the venue by bus instead of a car.

Justin Theroux wore Prada, and, honestly, I am kind of lost for words. Prada’s menswear tailoring never fails, but I find this so unflattering on him.

Calum Harper wore AMIRI, bringing a younger, more fashion-forward energy to the lineup. The soft ivory pinstripe suit reads fresh against the sea of darker tailoring, but it’s the styling that really shifts the tone. That blush-pink shirt adds a playful contrast, while the feather-embellished tie feels like a deliberate curveball – textural and a little eccentric. The look lands on the right side of fashion risk.

Styled by Adam Ballheim.

Brad Goreski wore Saint Laurent, fully leaning into the house’s Spring 2026 high-gloss aesthetic, right down to the tie tucked into the placket. Brad is usually Mr Classic Tailoring, so this was a confident shift. You may remember that Gwendoline Christie wore the same trench coat, but she broke up the runway look to make it her own.

She arrived in a head-to-toe Prada look – her second Prada outing of the tour – which has me asking: is this Meryl, or Miranda?

The answer sits firmly in that middle ground – a happy medium. The relaxed silhouette, the easy drape of the coat, and the almost nonchalant way it’s worn lean unmistakably Meryl Streep. But then come the details, and that’s where Miranda Priestly steps in.

The Prada cat-eye sunglasses sharpen the entire look, nodding to Anna Wintour. The pointed red pumps echo the film’s devil-red motif, and then there’s the clutch: a custom Prada Runway piece, designed to resemble The Book – the sacred, unfinished mock-up Miranda reviews nightly. It’s the kind of insider reference that some might not catch, but it lands perfectly for those who do.

Styled with narrative and wit, the look is completed with Fred Leighton jewels.

This is a smart intersection where character and actor blur, and fashion becomes storytelling.

Stylist: Micaela Erlanger.

I think many of us have been waiting for an Atelier Versace moment, and at the start of this press tour, some of you were practically calling for Donatella to be brought in. As we know, no one does a corseted silhouette quite like the house of Versace.

With Pieter Mulier not set to present his first collection for Versace until February 2027, this design comes from the in-house team. And even with Donatella stepping back, this strapless gown feels unmistakably tied to her point of view. I wouldn’t be surprised if she had some level of involvement, even if it was simply giving the final sign-off.

This is Versace at its most recognisable: sultry but still refined. The midnight-blue velvet reads almost black from a distance, but up close, the depth of the colour becomes far more apparent. The corseted bodice, sculpted to enhance the hourglass shape, is paired with sheer side panels that bring that signature edge – executed far better than Laura Harrier’s Jean Paul Gaultier look. Seeing this corset really puts into perspective just how flawed that JPG design was.

If I could change one thing, it would be the satin lapels on the bodice. I understand the tuxedo reference, but they interrupt the fluidity of the neckline and pull focus slightly away from the sculpted shape that is doing most of the work here.

Still, this feels like the Versace moment many were waiting for – and it lands exactly where it needed to.

Bvlgari jewels completed her look.

Stylist: Erin Walsh.

The actress wore a custom Balenciaga look that immediately commands attention.

The strapless bodice, with its sculpted, architectural shape, recalls the direction set during Pierpaolo Piccioli’s Spring 2026 debut; clean lines with a strong focus on form.

The tailoring through the trousers is sharp, elongating her frame, while the extended train brings a sense of occasion, lifting this beyond a standard red carpet tailored look.

The look was, of course, styled with Balenciaga Duchesse pumps, instantly recognisable by that deep V-cut vamp, and I have to say this is the first time they have truly worked for me – perhaps it’s the impact of the red.

And to top it off, we have another Mikimoto necklace. The last one sparked debate, but this Sunburst necklace, featuring White South Sea cultured pearls feels like it will be a lot less controversial.

I also really loved her hairstyle. We so often see her in a bun, but this softly waved, shoulder-length style offers a welcome shift.

Stylist: Jessica Paster.

The British actress opted for an archive Thierry Mugler Resort 1984 dress, sourced from Era London, and the impact was immediate. The hot pink satin – likely a silk-satin or silk-taffeta blend, both signatures of Mugler at the time – delivers a high-shine finish that feels bold and unapologetic. The sharp neckline, and sculpted, draped skirt, feed into that unmistakable Mugler silhouette.

What stands out most is how fresh this feels, not in a modern sense, more in the of way the colour and vibrancy.

Despite the dress dating back to the mid-’80s, it reads vintage, but not dated. The structure, the colour, the attitude; it all lands, proving once again why Mugler’s archive continues to resonate on today’s red carpets.

The slightly creased, crushed texture of the fabric is noticeable, but it feels in keeping with the material itself. Whether that’s down to the nature of the silk or simply how these fabrics wear over time, it doesn’t take away from the overall effect.

Matching pink pumps and TASAKI Jewellery completed her look.

Minor quibbles aside, I much prefer this over her Prada look for the world premiere. This feels worthy of the occasion.

Stylist: Rebecca Corbin-Murray.

Dressed in Gucci’s La Famiglia shearling coat, cinched with a chain belt featuring the house’s unmistakable double G detail and finished with square-frame sunglasses, this look made an immediate statement.

While the film’s DNA is rooted in Anna Wintour’s world, this doesn’t feel particularly “Anna.” The tiger-patterned shearling and overtly branded belt sit far outside her famously uniform aesthetic. But that’s precisely why it works. This isn’t Anna Wintour, it’s Miranda Priestly.

Miranda has always been about authority through presence. Where Anna edits, Miranda commands. This coat, with its bold texture and strong visual impact, does exactly that.

It’s often said that one statement piece is enough, but Meryl ignores that entirely. The coat is the headline, then there’s the red clutch, a recurring colour story throughout her press tour. Red has become her through-line, tying each look back to the character.

If this coat is giving you déjà vu, that’s because Kim Kardashian wore the white, grey, and silver version, which leaned into a far more muted, icy palette. Where Kim’s iteration felt pared back, Meryl’s is far more assertive.

We all know this isn’t Meryl’s natural lane, but I love how she has turned a street-style moment into something undeniably cinematic.

With the actress wearing red at the New York premiere, what direction will she take for The Devil Wears Prada 2 London premiere this evening?

Does she continue the story, or pivot entirely? Either way, I am, patiently waiting.

Stylist: Micaela Erlanger.

After a minimalist moment at the premiere, the actress returned to her signature bohemian-leaning style, adding that relaxed, effortless flair she does so well, with a dazzling Giorgio Armani jacket layered over a beaded top from the Spring 2026 collection. The rich texture and embellishment lean into that free-spirited glamour we love to see from her.

For a daytime setting, the wide-leg jeans ground the look and bring in an easy, off-duty feel, but did they need to be quite so long? The pooling at the hem feels a touch heavy and takes away from what is otherwise a strong styling direction.

Do you feel the same?

Jessica McCormack earrings completed her look.

Stylists: Rob Zangardi & Mariel Haenn.

Two press tours for Charlize Theron in 2026 – the fashion gods are truly smiling on us.

And she kicked things off with two strong looks that move away from the expected Givenchy, McQueen or Dior rotation.

The Today Show

Charlize Theron in Alaïa? My heart is full. With her statuesque frame, she is a natural fit for Pieter Mulier’s designs, which makes it all the more surprising that we haven’t seen this pairing sooner, though we all know why.

The ribbed, high-neck top works beautifully on her, elongating her frame, while the skirt with the ruffled asymmetric hem adds just the right amount of edge to an otherwise sleek silhouette. Ankle-strap mesh pumps, Anita Ko earrings, and Jessica McCormack rings completed her look.

The View

Charlize’s next stop was The View, where the mood shifted and felt a lot more relaxed in Bottega Veneta Fall 2026. The matte sequinned top paired with the textured fringed mini skirt delivered a fresh, spring-ready feel, even as the sudden downpour failed to match the mood and intention of the look.

The Bottega Veneta Veneta brown bag works well here; perhaps helped by the grey, rain-soaked backdrop.  But let’s give a quick nod to the man with the umbrella, whose well-timed assist ensured this look stayed untouched by the weather.

The Eternal Aura fragrance, which blends airy florals with warm amber tones, marks the brand’s first fragrance launch in eight years, setting the tone for a soft, feminine debut.

With the season and step-and-repeat in mind, the actress wore a pink Markarian Amina sequined midi dress from the Pre-Fall 2025 collection, its floral embellishment neatly aligning with the fragrance’s airy floral notes and the soft blush tones of the backdrop.

This sits comfortably within her style wheelhouse, pretty without veering into saccharine.

The look was styled with strappy gold metallic Manolo Blahnik sandals, which pick up the shimmer of the embellishment.

Do you love the springtime energy coming from this dress, or does the ombré hair pull your focus?

After switching things up for the Breakthrough Prize Ceremony, the actress returned to familiar territory in Saint Laurent, wearing a lace dress from Anthony Vaccarello’s Fall 2026 collection. The only thing that would have made this the most typical Zoe Saldana red carpet look is if it had been black.

Instead, she opted for gold, echoing the rich tones seen throughout the collection, with intricate lace adding depth against the solid base, its scalloped edges lending a sensual, almost lingerie-adjacent feel.

I would have preferred the styling to feel lighter, as the tights feel too dense here; a softer, more delicate finish would have worked better, along with a shoe that didn’t feel quite so weighty.

As it stands, this leans into her usual formula, which might have landed better with her go-to LBD.

Cartier jewels completed her look.

Stylist: Petra Flannery.

Spotted leaving the venue with her husband, a dunhill-clad John Krasinski, Emily wore a Balmain Fall 2026 look by Antonin Tron that slipped seamlessly into her expected style repertoire. This is where she thrives: cool and sexy, with just enough edge to keep things interesting.

The black high-neck knit with its sculpted shoulders leans into ’80s power dressing, while the gold brocade wrap skirt introduces fluidity, and the sheer polka-dot tights bring an after-dark edge.

The Juju Vera Nani earrings were the perfect finishing touch, their gold tone echoing the richness of the skirt.

After a run of looks that didn’t quite land, this feels like Emily returning to top form.

I wish we had seen more of her during this press tour, but I’m looking forward to the London premiere tonight.

Stylist: Jessica Paster.

We’re used to a high-glamour, heavily thematic Margot, in looks ranging from sleek gowns to historical silhouettes that nod to her characters, with styling that leans into a polished, classic Hollywood finish.

Here, she pivots to Armani tailoring in this charcoal suit, worn with a knit layered top and printed high-neck blouse, bringing in a more androgynous, relaxed mood. The proportions do a lot of the work: broad shoulders, a softened waist, and those slouchy trousers that sit low on the hips, reinforcing the ease of the silhouette.

It looks like the styling was lifted directly from the runway: the red belt, burgundy shoes, and brooch are all small details, which some might say feel more styled than owned. But considering this is a new direction for Margot, perhaps there was some hesitation to make it her own. Plus, we know that brands love a full runway look. I suspect many of you would have preferred a slight tweak here to give it more of her personality.

And then there’s the hair. The wet-look finish, worn in a tousled, slightly undone bob, strips away her usual glossy waves, which helps reframe her entirely, giving the tailoring a sharper, more modern finish.

Do you like this borrowed-from-the-boys direction on Margot? Is she selling it to you, or do you prefer her in full glamour mode?

I love the unexpected nature of this look. She’s selling a cooler, more relaxed direction that steps away from traditional red carpet codes to me, but I have a feeling most won’t be convinced.

Stylist: Andrew Mukamal. 

The actor wore a Saint Laurent tuxedo, styled shirtless and free of embellishment, save for his Legacy Vintage diamond spray brooch – a cascade of pavé-set rounds and marquise-cut stones.

No white socks, no direct references to the eras that defined Michael’s decades-spanning career, and no rhinestone embellished loafers. The story has already been told through the press tour, and this reads as a closing note ahead of the April 24 release.

This look was pared back and confident, with nothing left to add, just the final image before the spotlight shifts to the film itself, as Jaafar Jackson steps forward on his own terms, not in imitation but as his own man.

Stylist: Ilaria Urbinati.

Considering she’s here alongside Adam Shulman, Grace Gummer, and Mark Ronson, this this 60s-inspired shift dress appears far easier to navigate a crowded room

While we loved the drama of the red gown on the red carpet, I can imagine just how hard it is to move around in real life.

I know many of you are having a case of déjà vu, and that’s because we first saw this dress on Yerin Ha, who wore it to the Bridgerton Season 4 London screening back in February.

I was not a fan of this dress with the boots, as Louis Vuitton-coded as that look was, so I am glad that was not considered for Anne.

I feel like pre-world premiere Anne would have opted for the boots when she was navigating an experimental persona, but the tights, Bvlgari jewels, and Le Silla Uma pumps feel very Annie.

Stylist: Erin Walsh.

The dress code called for sparkle and glamour, and she delivered on both fronts with this Pamella Roland Fall 2024 silver embroidered tulle gown. The embellishment is particularly striking, intricately layered, light-catching, and precisely placed to sculpt the figure, giving the column silhouette a sleek, elongated finish.

Usually, I’m not team contrasting train, but this black piece completely elevates the look. The embellished gown rises to the occasion, but the train adds scale and presence, and I prefer Nia’s placement of the train over how it was presented as a cape on the runway.

At this point, I need Nia Long and Gabrielle Union to sit us down and share with us whatever they’re doing, because the fact that they haven’t aged in over 20 years needs to be studied.

Diamond jewels and a striking red lip completed her look, which I’m officially adding to her hall of fame.

Stylists: The Reismans.

Archive Authority

Anna Wintour, who is fully embracing the second instalment of this film with great humour, of course wore Prada to the world premiere, dressed in a striped Prada Spring 2016 dress from her own archive. I would honestly love to see an exhibition, or even a coffee-table book of all her looks that have been reworked to her own specifications, with a blurb about the modifications, because no one makes a runway look their own quite like Anna. Bee Shaffer was dressed in Valentino Resort 2026.

Boudoir Meets Tailoring

Claire Sullivan’s signature boudoir aesthetic was on full display once again with Ashley Graham, but the pairing with oversized pinstripe trousers elevated it for me, despite the top feeling intimate, while the trousers pull it into a more sophisticated space. However, some might feel that the two ideas don’t fully connect.

Retail Tie-In, Front And Centre

Barbara Palvin and Dylan Sprouse were a walking billboard, both dressed in The Devil Wears Prada Scoop Collection, which is exclusively available at Walmart – and it reads exactly as you would expect from a retail tie-in.

Commitment, But At What Cost?

I love Coco Rocha, I really do, and I appreciate that she committed to this Christian Siriano Spring 2026 gown, for a second time, which is giving 101 Dalmatians – ironically another Disney film – but these poses on the red carpet are exhausting. The theatrics start to overshadow the look itself, and seeing the video of her on the red carpet only amplified that.

Styled by Ilya Vanzato.

Project Runway

Heidi Klum shared on Instagram that this dress was designed by one of the contestants on Season 22 of Project Runway, and, erm, it’s better than most of the diabolical things she wears on the red carpet. I’m at a point now where I’m convinced that if Heidi were more selective about which events she attends, she might have time to refine what actually works for her, or finally define a style – because the potential is there, it’s just never realised.

Stylists: Rob Zangardi and Mariel Haenn.

Clean And Precise

Jasmine Tookes in Marmar Halim delivered one of the more disciplined looks of the night. Nothing feels forced here. Just strong lines, a confident fit, and a stunning colour.

Styled by Cary Robinson.

The Wrong Focal Point

When it comes to Lucy Liu in this Georges Hobeika Fall 2026 beaded sheer dress, I wish that her underwear wasn’t the first thing I saw, because this is a beautifully detailed piece.

Styled by Lee Harris.

Soft Romance

Madelaine Petsch in Georges Hobeika Spring 2026 leaned into a softer, more romantic direction that works for her.

Styled by Alexandra Mandelkorn.

Archive Misfire

Nara Smith stepped out with Lucky Blue Smith, dressed in an archival Prada Spring 2011 grey striped suit, styled with the same wide-brim hat seen on the runway. The colour felt a bit too drab for me here. There were many stronger options in that archive I wish she had considered, if available, of course.

Styled by Thomas Christos Kikis.

Switching It Up

Sofia Carson, who we all know as the ball-gown girl, opted for menswear-inspired tailoring in Francesco Scognamiglio Fall 2025 Couture, which was a refreshing shift, leaning into drama in a completely different and refreshing way. David Webb floral brooch completed her look.

Stylists: Rob Zangardi and Mariel Haenn.

High Impact Finish

Winnie Harlow in Stéphane Rolland Fall 2025 Couture delivered one of the more striking moments of the night. The proportions, the structure, the attitude, perfect for a world premiere.

We all know designers have their favourites, and those favourites often become the face of the house, as Colman has for Valentino.

And you need not question why when you see the actor in this custom-made Valentino tuxedo designed by Creative Director Alessandro Michele, because a muse will always bring out the best in a designer.

Naturally, this red carpet calls for a touch of sparkle, but on this occasion I’m not talking about his Boucheron jewels. The nod to the King of Pop was seen in the V-neckline embellished knit top adding a subtle glint beneath the tailoring.

The tuxedo itself is an ode to classic codes, from the clean lines to the precise cut, yet it feels entirely contemporary in its outlook.

And then we have the bow tie, slightly oversized and perfectly placed, which brings everything together elegantly.

Stylist: Wayman Bannerman and Micah McDonald.

Grace herself was not slacking in the fashion department, wearing a look that is instantly recognisable as Bottega Veneta on account of the Intrecciato leather.

I am so obsessed with this look. Aside from the cast, it was one of my favourites from this red carpet, because it strikes that rare balance between statement texture and easy wearability. The Intrecciato leather brings richness and recognisability, and it reads modern, unfussy, and confident as the kind of look that doesn’t try too hard yet still stands out.

It feels perfectly pitched for a supporting role on a red carpet and would look just as good for post-premiere drinks with her husband, Mark Ronson, at Pebble Bar.

Mostly because the full set just looks so effortlessly cool, and while white and off-white isn’t a combination I’m usually drawn to in tailoring, I like the contrast with the off-white Bottega Veneta Canalazzo pumps, as they prevent the palette from feeling too clinical.

This gets the Best Supporting Actress nod from me, without hesitation.

Stylist: Nicky Campbell.

The actress is known for her love of LBDs, so I was pleased to see her give us something fresh for this event in a Jean Paul Gaultier Fall 2026 jumpsuit designed by Duran Lantink.

The look is built around a sharply defined, corseted bodice in a nude tone, sculpting the torso before giving way to fluid black sueded trousers. The contrast between the structured upper half and the softer, elongated leg creates a striking line.

And then, of course, there’s the Jean Paul Gaultier signature front and centre: the iconic conical bra. First introduced by the house’s founder and immortalised through decades of fashion and pop culture, it remains one of the most recognisable design codes in modern fashion. Under Duran Lantink, that legacy is not diluted but reframed, reworked for a new generation while staying true to its provocative roots.

This is a rare, more provocative outing for Laura, and while I appreciate the shift, the look spoke for itself, so the pronounced back arch in every photo felt a bit unnecessary.

Stylist: Danielle Goldberg.

Known for turning red carpets into performance art, this time she opted for something quieter, sharper, and arguably more impactful: a sculptural black gown from the Saint Laurent Fall 2016 archives.

The strapless mermaid gown, with its clean lines and dramatic flare at the hem, required no embellishment. It didn’t need it. The structure did the talking, and Gaga let it.

This wasn’t the avant-garde provocateur stepping onto the carpet in head-to-toe drama. This was movie star Gaga – Stefani Joanne Angelina Germanotta if you will – arriving with confidence, with her cinematic identity standing apart from her Lady Gaga pop star persona.

Her involvement in The Devil Wears Prada 2 has already generated significant anticipation, not just for the Runway song on the soundtrack, but also the rumour that she appears in the film.

What I love overall is that, instead of overshadowing the film with theatrics, she aligned herself with its legacy; polished and unapologetically sophisticated.

Her beauty choices were immaculate: fresh, luminous skin paired with softly defined eyes and a neutral lip. The finishing touch came in the form of dazzling Tiffany & Co. jewels.

While I don’t hate Ciara’s decision to wear this Romeo Hunte Fall 2026 denim look – after all, this wasn’t her premiere, so I wasn’t expecting her to bring the same energy as the starring cast – but the execution lets it down.

The denim coat is even bigger on her than it is on the model, which swallows her frame, and the decision to layer it over a denim jacket only adds unnecessary bulk. The proportions are off, and nothing quite lands as intended.

Then we get to the denim cut-off shorts. On a red carpet? Really?

Every time I feel like we are taking a step forward with Ciara, she takes two steps back. Here, it feels like she took those two steps and tripled them to six.

The sad thing is, this could have been good. Lose one of the denim layers, refine the proportions, and swap the shorts for a sharper base, and there was a strong look waiting to happen.

Stylist: Maeve Reilly.

This time, she opted for a leather cape from Sarah Burton’s Givenchy Fall 2026 collection, delivering a silhouette that immediately calls to mind André Leon Talley. The sunglasses, while practical for the sun-drenched red carpet, also feel like a knowing nod to Anna Wintour, the real-world reference point behind the character.

Meryl has been the unexpected style standout of this press tour. I love the simplicity of the execution; the high neckline with the tied scarf, and the absence of added detail letting the silhouette do all the work. It also aligns with her character: direct and uncompromising.

Leather gloves usually aren’t my favourite, but they work here because they extend the line of the cape, adding to the theatricality of the look.

Stylist: Micaela Erlanger.

I think we all knew that the moment we’d been waiting for from Anne Hathaway would come at the world premiere of The Devil Wears Prada 2, and thankfully, she delivered.

I was expecting Valentino and quietly dreading Prada, especially after seeing Simone Ashley’s look, so I was delighted to see Nicolas Ghesquière apply his sculptural approach to this custom red strapless Louis Vuitton silk bustier gown, with 3D pleated cones amplifying the skirt.

This is the Anne we know and love: classic, yet modern; romantic, yet sharpened by an architectural finish that keeps the sweetness in check. And red has always been her colour, so the impact here was immediate.

The construction is what sells the look. The corseted bodice is clean and precise, allowing the exaggerated volume of the skirt to take focus. Those pleated cone structures, sculpted into an almost graphic shape, give the look a fresher take on the traditional ballgown. It feels distinctly Ghesquière, which we’ve seen repeatedly throughout this awards season.

Then there’s the subtle nod to the film’s iconography. The red satin Louis Vuitton sandals echo the infamous red shoe motif, tying the look back to the film in a way that feels smart rather than literal.

Bvlgari jewels complete the look, which marks a confident return to form.

Stylist: Erin Walsh.

The actress, who has long been drawn to Daniel Roseberry’s designs, wore a look from his Schiaparelli Spring 2026 Haute Couture collection.

If you’re anything like me, you likely had a clear idea of what Emily would wear for this premiere, and it probably leaned towards a column silhouette. Instead, she surprised us with a strapless gown built around a tiered tulle skirt, where different shades and layers are stacked to create a sculptural, high-impact volume that fully delivers on the scale expected for a world premiere.

That said, my first feeling was that this look would have benefitted from a single focal point at the neckline. Either the silk-thread, feathered bodice needed editing, removing the circular appliqué detail to simplify the upper half, or the Mikimoto pearl choker should have been left out.

Jeanne Cadieu, who wore this gown on the runway, benefits from a longer neck, which gives the detail more space to breathe. But in this close-up of Emily, my feeling changed, as the choker almost feels like part of the bodice, as if it were designed as a halter extension rather than an added layer.

In that sense, the necklace ends up working in her favour, anchoring the look and bringing cohesion to the neckline rather than competing with it.

Stylist: Jessica Paster.

The British actress, who plays Amari, a new assistant to Miranda Priestly, wore a custom green Prada high-low dress for the occasion.

Does she look good? Yes, any dress that showcases her best asset, her legs, is halfway there, but this isn’t giving me world premiere.

The colour is striking against her skin tone, but the execution falls short for a custom design for an event of this magnitude. There are visible pulls in the fabric, the is very lumpy, the hemline feels uneven, and the pockets feel totally unnecessary.

I think this one should have been saved for the after-party, rather than opening the red carpet for a major premiere.

A gold Garatti choker and metallic Prada pumps completed her look.

Stylist: Rebecca Corbin-Murray.

The actor wore a custom midnight-blue Dolce & Gabbana double-breasted tuxedo embroidered with dégradé crystals, and once again, his tailoring instincts prove to be consistently sharp, with a strong shoulder line and clean proportions anchoring the look, while the crystal work is handled with precision, catching the light in a way that enhances the silhouette of the suit.

There is also, unmistakably, another nod to his uncle. It’s subtle in the tailoring, but clearer in the styling choices – the shoes – that reference his uncle’s signature stage wardrobe and performance era.

If you’re anything like me, the shoes were the first thing you noticed.

Michael Jackson famously performed the moonwalk in black leather loafers in 1983, but by the late 1980s and into the 1990s Bad and HIStory tours, he introduced crystal-covered loafers designed to catch the stage lights. Jaafar’s embellished pair draws directly from that era, linking past and present in a way that once again feels intentional and deeply personal.

It’s this balance, between homage and individuality, that continues to define his red carpet style, and why each appearance feels like a step forward rather than a repeat.

Stylist: Ilaria Urbinati.

There’s something about this combination of a khaki utility jacket, faded blue jeans, and cognac knee-high leather boots that takes you straight back to the early 00s, when the supermodel made this kind of effortless dressing her signature. It’s not trying to reinvent anything, and it doesn’t need to. The proportions, the layering, even the slightly undone feel of the look all tap into that era when her street style set the tone for a generation.

What makes this land so well is its wearability. This isn’t a look built for a moment; it’s built for real life. The jacket has that lived-in ease, and the boots ground the look with a practical, city-ready finish. It’s the kind of outfit that works because it doesn’t feel overthought.

And that’s the key here, it reads like it’s been pulled straight from her own wardrobe rather than assembled by a stylist. There’s an instinctive quality to how it all comes together, from the scarf for added contrast to the oversized sunglasses that bring just the right amount of cool and attitude.

The Loewe Amazona 180 bag is the “something new” here, fitting seamlessly into the overall mood. It’s a subtle upgrade that keeps the outfit current without losing that nostalgic thread.

Often, even street style looks lean towards being overly styled, this is a reminder of why Kate Moss’s approach still resonates. It’s simple, and familiar.