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.
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.
Margot Robbie wore a John Galliano Spring 1992 coat with feathered trim and red thigh-high stockings for a Wuthering Heights photoshoot in 2026.
For a promotional photoshoot tied to Wuthering Heights , shot by Bryce Scarlett in February 2026, Margot Robbie posed inside what looks like a baroque fairytale, softened slightly by filtered daylight. But her look is not soft. It’s haunted, extravagant, and precise.
She wears a John Galliano Spring 1992 piece—part coat, part relic. A mossy brocade duster lined in floral tapestry tones and finished in theatrical feathered trim at the cuffs and shoulders. The hem nearly grazes the ground. The coat isn’t worn open so much as it’s held—the kind of posture that signals both drama and defense.
Underneath: minimal. A cropped black miniskirt anchors the excess above. No blouse. No bodysuit. Bare midriff, casual defiance. Her legs are wrapped in deep red satin thigh-high stockings , peaked with fine pink ribbons at the top—visually delicate but deliberately styled to punch through the heritage-heavy backdrop. Tacked on top: Manolo Blahnik Custom Carolyne slingback pumps , angular and nude, barely visible beneath the visual weight of the scene.
Accessories are present but subtle, woven into the close-up detail: Jessica McCormack Diamond & Pearl Cut-Down Hoop Earrings catch the soft light without yanking it. A bespoke ruby and diamond Chubby Daisy Ring (also McCormack) flickers only if you’re looking. The sunglasses listed in [[VAR_CONTENT]]— Jacques Marie Mage the Burn —aren’t visible. Omitted from the final look, or just unused in this frame.
Hair is undone without collapsing. Pieces tucked, others pulling free. Clean face, nude-pink lip. The whole thing leans romantic but never naive. This isn’t gothic nostalgia. It’s tailored madness—structured ruin done with archival memory and a bit of bite.
