Mckenna Grace wore a cream Dior vest and midi skirt with black pumps and a Dior Small Bow Bag to the Dior Addict Sweet Shop Party 2026.
At the Dior Addict Sweet Shop Party on February 4, 2026, Mckenna Grace stepped into a pastel wonderland dressed like the only adult in the room—young, yes, but quietly in charge. Surrounded by melted vinyl chairs and candy-coated surfaces, her look didn’t blink. It held its own.
She wore a cream Dior vest , sharply tailored, halter-cut, and low at the neckline—structured but soft, like something borrowed from an old-school tux but left undone on purpose. Brass-tone buttons. Slight curve at the hem. Paired with a mid-length A-line skirt , same tone, no embellishment, cut to float more than flare. Her shoes? Simple— pointed black heels , matte rather than mirror.
In hand: the Dior Small Bow Bag in black leather. Minimal, slouched in the middle, curved just right to balance the outfit’s architectural top. Jewelry was close to nothing: just a bracelet tag looping her wrist—a trace of function in a designed space. Hair down. Blunt bangs, sleek finish. Makeup sat still.
This wasn’t the look trying to be loud in a pink room—it was the reply. Grace styled herself like punctuation, not frosting. And in a branded playground, that’s the mature move.
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.
Anya Taylor-Joy wore a Dior custom ivory strapless dress with metallic trim and custom pointed pumps at the Dior Addict Sweet Shop in 2026.
At the Dior Addict Sweet Shop party in Los Angeles on February 3, 2026, Anya Taylor-Joy showed up looking like she’d been carved out of pearl—cool, soft, and just barely glowing. No bold statement, no flashing trend, no high-concept layering. Just precise restraint turned into presence.
She wore a Dior custom dress , strapless and ivory-toned with a milk-skin chill. Not quite a gown, not languid enough to be called floaty—this sat somewhere between structure and ease, its softly pleated bodice cinched by a delicate tie belt. The skirt fell mid-calf in gentle folds, and at the hem: a whisper of sparkle. Icy silver shimmer stitched along the edges in uneven strokes, like frost curling at the edge of old glass.
Finished with pointed Dior custom pumps , tonal to the dress and barely peeking out beneath the hem. Her hair? Long, center-parted, and pinned behind the shoulders—sleek and quiet. A single bracelet circled her wrist. Makeup didn’t try to lead; eyes softly lined, lips matte and pale rose. Everything dialed low.
In the hyper-pink backdrop of teacup curves and glazed vinyl props, hers was a look that knew better than to compete with the room. Stillness over noise. Clean over clever. Taylor-Joy’s look speaks to a rare discipline in event dressing: removing everything unnecessary until elegance is the only thing left.
