Dixie D’Amelio wore floral tights, satin mules, and a tapestry bag in a textured studio look posted to Instagram on January 27, 2026.
From inside the open door of a black SUV — not quite stepping out, not quite staying in — Dixie D’Amelio offered a quiet, off-guard moment that doubled as a perfectly framed photoshoot . It wasn’t red carpet. It wasn’t runway. But every piece on her was working like it had been styled for both. Blue satin blouse, vintage-seeming, with gold embroidered brooch-like details shining just under the collarbones. The sleeves were long, puffed slightly, cuffed with silver trim stitched across like piping on old dinner jackets.
Below that: Valentino floral tights , delicately patterned and semi-sheer, a whisper of botanic lace climbing up the leg. The tone-on-tone white against her skin gave the look a softness that undercut the drama of the blouse — yet held its own just fine. Underneath peeks out a pair of white eyelet shorts. Not fussy. Just barely there.
Her Valentino Yolande satin mules , sharp and sculpted with exaggerated black bows and pencil-thin stiletto heels, were the only piece suggesting she had somewhere formal to be. But the real punctuation was her arm candy: a Valentino Devain small shoulder bag , in Voyage Imaginaire jacquard fabric — lush, tapestry-like, almost antique on first glance. The florals pulled every texture together like a stitched-up love note.
No heavy makeup. Straight fall of dusty-auburn hair. Tiny neon green manicure, deliberate yet weirdly charming. This shot didn’t need airbrushing — it’s already the cover of her own in-between moment.
Dixie D’Amelio wore a floral Valentino waistcoat and denim mini skirt in a tapestry-inspired Instagram shoot dated January 27, 2026.
Under crisp daylight and next to a curbside newsstand, Dixie D’Amelio stood unmoving, wrapped in a look that felt more vintage estate upholstery than modern editorial — but somehow, that was the point. This wasn’t studio polish or flash-heavy perfection. Just defiant texture and fierce arms-crossed stance under a very living, very un-staged sky.
She wore a Valentino Gobelin Apres L’Hiver Fiorellini waistcoat , thick and brocade-heavy with a crowded floral pattern—roses, clover-like leaves, blurred pink blossoms spilling across a backdrop of sage and gold. It’s padded, nearly sculptural. Trimmed with faux fur at the sleeves to give it even more heft. It looks like it weighs something. It probably does.
Below it, a structured Valentino short denim skirt , triangle-stitched panels with raw hem edges and dark jewel-toned embroidery inset at the seams. Decorative? Yes. But it holds shape like armor. The skirt doesn’t swing—it plants.
Slouching off her shoulder like a miniature tapestry was the Valentino Devain small shoulder bag in Voyage Imaginaire jacquard fabric . The pattern echoed the vest — slightly different flowers, more swirl, less restraint. Still, an intentional match. On foot? Not clearly visible here, though the edge of fuzzy boots peeks from the frame—the suggestion of excess at ground level.
She wore no jewelry, no glossed lip, no drama eyeliner. Hair was undone in that “done two hours ago” way. Chill. Dry ends, but powerful part. The attitude was what carried it. This wasn’t a look you ease into. It was one you declare.
Margot Robbie wore a red Roberto Cavalli Fall 2004 dress and gold sandals to the Wuthering Heights afterparty in Los Angeles.
At the Wuthering Heights premiere afterparty in Los Angeles, Margot Robbie looked like she’d stepped out of a 19th-century oil painting, then torn the canvas on her way to the bar. The dress — unmistakably vintage Roberto Cavalli Fall 2004 — was all tattered romance and raw edges. Shimmering red base, tangled with ornate gold embroidery. Sleeves barely there. The neckline, open-hearted. The hem, chaotic. Nothing symmetrical, nothing safe.
You can almost feel the scratch of the fabric — old-world jacquard turned rebellious in its new context. It’s dramatic, yes. But also weirdly… fun. There’s movement in the piece. Ghostly ruffles. Fractured florals. That kind of texture that catches amber light and holds it.
In her hand, a tiny Manolo Blahnik fabric-embroidered handle bag , the kind of micro handbag that feels more like an heirloom than an accessory. Her Fred Leighton ruby and diamond ring — visible, barely — flashed once during a cocktail toast. Jewelry wasn’t the focus, but it didn’t need to be. Her Roberto Cavalli gold sandals , delicate with jeweled buckles, did enough work at floor level.
Her hair was twisted low, loose. One lock escaping across the cheek, possibly on purpose, possibly not. The face? Clean. A bit flushed. She looked like she was already mid-story when the photo was taken, mid-laugh. No posing. No pretense.
