Isabel May wore a sleeveless black pleated midi dress and pointed slingback heels for the Scream 7 x Meta Creator event in February 2026.
At the Scream 7 x Meta Creator Event in Los Angeles on February 3, 2026, Isabel May kept it sharp, simple, and maybe even a little sly. No fuss. No trend chase. Just black fabric, clever tailoring, and a quiet stage presence that did more than the clothes needed to.
She sat solo on a director’s chair—legs crossed, mic in hand, leaning into the moment instead of posturing above it. Her look? A sleeveless black midi dress , pleated slightly through the skirt, belted in structure if not in hardware. The neckline plunged into a light V, framed by slim straps and a button placket down the front. Not flashy. Not underdone.
Pointed black slingback heels grounded the outfit—no embellishment, no drama, just enough curve to match her walk and posture. Her hair fell loose over her shoulders, styled in faint waves that skimmed polished but stayed just this side of relaxed. Makeup? Neutral—maybe a touch of highlight at the tops of the cheeks, but nothing that shouted over the lighting.
There’s something to be said about restraint at industry panels. About showing up dressed to speak, not just be seen. May didn’t try to outperform the room—she owned her seat, steady and unbothered, like someone who knows how to wear silence.
Kristen Stewart’s Architectural Digest March 2026 shoot moves between beige trim, edgy tie layers, and pink suit grit.
The March 2026 issue of Architectural Digest opens with Kristen Stewart walking past a vintage ticket booth. Beige coat with black trim, crop top white, shorts black, socks pulled, heels two-toned. The booth number above her, lights faint. It feels cinematic but casual, like a pause in a city night.
Another frame shifts tone. She’s seated in a worn building, paint peeling, wood floors cracked. Outfit layered oddly — white shirt, black tie, bra visible, tights sheer, socks white, sneakers plain. One leg raised, posture relaxed but sharp. The background carries faded symbols, old theater seats to the side. The mix is messy, almost stubborn.
Then a softer but still blunt look. Pink suit jacket and trousers, black top underneath, chain necklace. Wall behind distressed, paint uneven, plaster exposed. Outfit polished, backdrop rough. The clash is deliberate, grit against polish.
Together, the spread doesn’t chase glamour. It leans into contrasts — coat, tie, suit. Each outfit feels like a different note, stitched into one restless editorial rhythm.
Margot Robbie wore a Maison Margiela Fall 2025 couture look featuring textured feather-like layers and white boots ahead of her Quotidien appearance.
Standing on a narrow Paris balcony, rooftops layered behind her like stacked storyboards, Margot Robbie looked less like a talk show guest and more like she slipped out of some surrealist daydream. The look? Couture, yes. But weird around the edges. Lightly unhinged in a way only Maison Margiela lets be beautiful.
The piece she’s wrapped in comes from Maison Margiela Fall 2025 Couture —recognizable for its unruly, sculptural layering. The top is fitted, almost tense, in a sheer mesh blotted with deep reds and smoke tones, resembling brushstroke or ash. Sleeves long, fingertip-length. The skirt spills out from there in what looks like dragged feathers, scorched gauze, or decayed chiffon. Fraying, twisting, chaotic at the hem. Controlled ruin.
On her feet: white embroidered boots , stiff in contrast to the melting edges above. No jewelry. No flashy bag or sunglass moment. Hair left long and center-parted, so it moves a little but doesn’t fight for attention. Her face—soft-focused. Clean lid, cold lip, nothing overcooked.
It’s not red carpet poised. Not press-appearance practical. The entire look feels like it was pulled from the wreckage of a haunted opera costume trunk, and that’s why it works.
