Chase Sui Wonders Debuts Whimsical Mini Dress

Chase Sui Wonders attends the Apple TV+ x Deadline event in Los Angeles, unveiling a playful, schoolgirl-inspired look that defies red carpet convention with charming ease.

The red carpet—or in this case, a scarlet-hued photo call backdrop—has a way of demanding a certain kind of gravitas. Gowns, trains, glittering finery; the expectation is often a dramatic spectacle. So when Chase Sui Wonders stepped onto the scene for the Apple TV+ x Deadline: “The Studio” panel, she offered a refreshing, almost whimsical counter-point to the usual fanfare. Her look was a delightful and unexpected sartorial choice, a playful nod to a kind of prep-school chic that felt both fresh and timeless.

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The dress itself is a study in texture and playful proportion. A sleeveless, charcoal grey mini-dress crafted from a structured, tweed-like fabric forms the core of the silhouette. What makes it a standout is the intricate detailing: a soft, delicate bow tied at the high, halter-style neckline introduces a touch of softness, while the pleated skirt flares out from a defined waistline. A whisper of white fabric peeks out from beneath the hem, adding a layered, almost petticoat-like dimension that gives the entire ensemble a buoyant, youthful energy. It’s an interesting juxtaposition of serious fabric and sweet, girlish design.

Wonders paired the dress with a starkly modern set of accessories. Her crisp, white pointed-toe heels were a sharp, clean contrast to the textured gray of the dress. The shoes felt intentional, a sleek architectural element that anchored the look. Her hair was styled in a chic, chin-length bob with a soft wave, and her makeup was kept dewy and natural, allowing her radiant complexion to take center stage. The styling was a perfect fusion of polished and unfussy, a narrative of quiet confidence. She wears a few delicate bracelets and what appears to be a statement ring, adding just a hint of sparkle without overpowering the clean lines of the outfit.

Selena Gomez revisits her signature style at the Only Murders in the Building event, pairing a streamlined black dress and a pristine white coat with an unexpected, off-duty accessory.

Selena Gomez has a knack for making even the most mundane outing feel like a meticulously styled moment. So when she stepped out for the Only Murders in the Building FYC event at Televerse ’25 in Los Angeles, her look was—as always—a testament to her polished, yet effortless aesthetic. The outfit she unveiled was a masterclass in monochrome layering, proving that the simplest palette can be the most impactful.

At the heart of the ensemble was a sleek, long-sleeved black dress with a high neckline and a gracefully draped, asymmetrical hem. It’s the kind of piece that’s both a wardrobe staple and a statement in its own right—a perfect canvas. The true visual pop came from her outerwear: a voluminous, crisp white coat that fell to a full-length silhouette, its wide lapels creating a striking, almost architectural contrast against the dark dress. This juxtaposition of black and white is a classic for a reason; it’s bold, clean, and endlessly chic.

But what truly captured the eye—and offered a touch of her signature quirky charm—were the accessories. Gomez carried her beloved Valentino Garavani Vain VLOGO Leather Top-Handle Bag, a piece she has been photographed with on numerous occasions, including just last week with her Cult Gaia red dress. This isn’t a one-and-done accessory; it’s a trusted companion, a sign of her consistent, considered personal style. The bag retails for $4,100, and its presence adds an air of quiet luxury to the entire look.

The ultimate surprise? Her footwear. In a bold move that firmly places her at the intersection of high fashion and street style, Gomez opted for a pair of black heeled flip-flops. As the provided article notes, heeled flip-flops have become one of Summer 2025’s key fashion trends, favored by celebrities like Hailey Bieber (who loves Toteme’s version) and Kylie Jenner (often seen in Amina Muaddi’s Juliette Patent Kitten Thong Sandals, which cost $800). Gomez’s choice to pair them with her polished coat and dress is a perfect example of her low-key, high-impact style. The final, perfectly off-kilter element came in the form of her statement-making red glasses, a vibrant splash of color that felt distinctly her own.

Catherine Zeta-Jones, an icon of effortless glamour, unveils her latest reinvention on the cover of The Sunday Times Style, trading fairytale gowns for a stunning, crimson-hued leather trench—a bold, visceral statement of sartorial power.

There’s a reason certain faces become synonymous with an era. For Catherine Zeta-Jones, it was the late ’90s, a period of cinematic opulence and sleek sophistication that she defined with a whisper-light touch of Old Hollywood magic. But the latest issue of The Sunday Times Style proves that nostalgia is not on her agenda. The cover is a visual jolt, a statement that says, “This is not your mother’s Catherine.”

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The image captures Zeta-Jones seated in an inviting, burnt-orange armchair, her posture a mix of relaxed confidence and undeniable allure. The main event? A jaw-dropping red leather trench coat that drapes over her frame like a second skin. Its color is a rich, almost blood-red—a far cry from the delicate florals or classic black she’s often seen in. This is a look of absolute authority, of a woman fully in command of her narrative. The silhouette is at once structured and flowing, with a sharp, tailored collar and a fluid skirt that pools around her. It’s a powerful, almost primal choice—a Velvet Rebellion indeed.

The full-length image on the cover (page 1) shows her legs crossed, revealing a high slit and a pair of equally striking, sheer brown-and-gold heels. The shoes, with their delicate straps and pointed toes, add a layer of feminine vulnerability to the otherwise formidable look. A quick glance at the article (page 11) confirms the outfit’s high fashion pedigree, with credits for the Chanel jacket, trousers, and accessories. Zeta-Jones, in the accompanying interview, talks about her fashion evolution, a process she describes as “just a feeling.”

Beyond the leather, the editorial’s fashion story extends to a series of archival images that place the star in different contexts—from her early career in “The Darling Buds of May” to her role in “The Mask of Zorro.” The text details her career trajectory and her life with Michael Douglas. The article (page 16) also touches on her family, including her children, Dylan and Carys, and her late father-in-law, Kirk Douglas, highlighting her deep connections to both her personal life and her career.

In the interview, Zeta-Jones references her character Morticia Addams in the Netflix series “Wednesday,” describing her as “very glamorous and very fashionable.” This role, she notes, offered a new kind of “rehabilitation” and a departure from her previous work. She also mentions her ongoing collaboration with director Tim Burton, a partnership that seems to have reignited her creative spark.

Styling credits, including photography by James D Kelly and styling by Marian Nachmia, ensure every detail feels intentional. The editorial is a masterclass in re-branding, using fashion as a tool to signal a new chapter. Zeta-Jones’s choice to embrace a bolder, more assertive aesthetic feels like a natural progression—a star no longer playing a part, but owning her own spotlight. The entire spread is a testament to her enduring appeal and her ability to adapt and reinvent her image without losing her core identity.