Lili Reinhart wore a textured faux-croc coat with fur collar, boot cut jeans, and gloves while walking in Paris, February 2026.
Margot Robbie wore a custom red velvet Chanel gown with white underlayers at the Wuthering Heights Paris Premiere on February 2, 2026.
At the Wuthering Heights Paris photocall on February 2, 2026, Margot Robbie leaned deep into romantic pageantry, draped in a theatrical construction that whispered operatic echoes of the novel itself. She wore a custom Chanel gown , built like 19th-century memory work—velvet, corsetry, and weight.
The top half: a sculpted oxblood red velvet bodice , tight to the torso with a sharp courtepoint -inspired silhouette. No sleeves. Delicate shoulder straps held the structure in place while skimming the collarbones. The neckline? Low and square, but not lewd—more Regency flirtation than Hollywood bravado. Around her neck sat a velvet choker , matching the gown’s hue, adorned with a Lorraine Schwartz custom diamond brooch placed front-and-center like punctuation.
The skirt was where it got formally interesting. A voluminous overskirt in the same crimson velvet wrapped diagonally across a white silk underlayer , which descended in a smooth, architectural drop toward the floor. The train pooled behind her in thick folds—lush, dramatic, and purposeful. Think modern-day Catherine Earnshaw reimagined through couture.
Accessories stayed minimal, on purpose. She completed the look with glossy Vivienne Westwood black patent leather court pumps , sharply pointed and barely peeking from under the hem. Hair left long, parted in the middle, softly waved—none of the Barbie gloss, all of the literary tension. Lips muted but structured. No excess. Just careful contrast.
The fashion verdict ? Lush, deliberate, and loaded. A mise en scène look that wrapped costume in couture and let the fabric mourn out loud.
Madison Beer wore a sculpted black gown with velvet trim for a fashion photoshoot in February 2026, captured in studio light.
In a subdued studio space, Madison Beer takes the idea of a gown and strips it down to contour, shadow, and curve. No backdrop trickery. No breeze machine. Just atmosphere, fabric, and presence.
She wears a body-hugging black floor-length gown , precise to the centimeter. The cut is sculptural, almost statuesque— thick straps , a wide open bust framed with a velvet trim that draws soft attention inward, and that plunging neckline that walks the line between soft and sharp. Her waist, pinched but not snatched. Her hands loose at her side. She’s not “posing,” she’s just there—and it works.
The gown flows into a slight train behind her, pooled casually on the studio floor. No slit. No slashes. Just fabric that stretches and falls like it knows exactly when to pull back.
Her hair is styled in loose, voluminous waves—believably glamorous without begging for attention. Earrings glint just at the lobe—simple dangle drops—and her mani is classic: long, oval, nude-pink. Same goes for her makeup: glowy skin, softly smoked eyes, lips in a balanced rose. Controlled, but not constructed.
It’s the kind of look that lets the dress do what it’s built for—sculpt and suggest. No chaos. Just symmetry, softness, and stillness pressed into matte light.
The fashion verdict ? A slow burn. The styling whispers, the silhouette knows, and Madison doesn’t need to move an inch to own the frame.
