Taylor Swift wore a plaid strapless outfit, a pink lace gown, and tour costumes in Taylor: Style & Substance magazine’s 2025 collector’s edition.
The collector’s edition of Taylor: Style & Substance opens with Swift in a strapless plaid ensemble accented with black detailing and metallic arm accessories. Her long, wavy blonde hair frames the look, while the black backdrop and glittering gold typography amplify the sense of spectacle. The styling recalls her ability to merge Americana motifs with high-fashion codes, turning a familiar pattern into a statement of reinvention.
This cover succeeds by transforming plaid — often coded as casual — into a couture-inflected gesture. The metallic accessories sharpen the look, ensuring it reads as editorial rather than nostalgic.
The accompanying editorial text frames Swift as a “shape-shifter,” revamping her sound and look with every album — from Nashville sundresses and cowboy boots to glamorous gowns and Louboutins. After nearly two years on the road with the Eras Tour , spanning 17 countries and 152 shows, she is described as the most powerful celebrity in the world. The magazine emphasizes her dual role as both storyteller and business mogul, noting her influence over tour design, fashion choices, and even the economics of her brand.
This narrative situates her fashion not as ornament but as strategy: each look is a coded message to fans, a visual extension of her evolving artistry. The sharp insight here is that Swift’s editorial presence demonstrates how modern celebrity fashion functions as both autobiography and myth-making — garments become chapters in a story that is equal parts personal and cultural. It is a refined presentation, one that underscores her mastery of reinvention.
Natalie Portman wore a red ribbed cardigan, a lace-trim black skirt, and Dior Muse Dior Heeled Sandals at the Lumière Film Festival in October 2025.
On October 13, 2025, Natalie Portman attended the screening of Arco during the Lumière Film Festival in Lyon, stepping into the spotlight with a look that balanced elegance and approachability. She wore a fitted red ribbed button-up cardigan paired with a high-waisted black skirt, accented by delicate white lace trim at both the waistband and hem. The ensemble was completed with Dior Muse Dior Heeled Sandals, a choice that grounded the outfit in the house’s heritage of understated sophistication. Her black platform heels elongated the silhouette, while the cardigan’s vibrant hue provided a striking contrast against the dimly lit auditorium setting.
This appearance situates Portman within the ongoing conversation about how actresses navigate film festival fashion. Unlike the Cannes red carpet, which often demands couture spectacle, the Lumière Festival emphasizes cinema’s history and artistry. Portman’s choice of a cardigan-and-skirt pairing reflects this ethos: it is polished without being ostentatious, signaling respect for the occasion while maintaining her reputation for intellectual restraint in style. The lace trim introduces a note of softness, while the Dior sandals connect her look to a brand with which she has long been associated, reinforcing her role as both actress and fashion ambassador.
This ensemble succeeds by leaning into contrasts: the cardigan’s casual ribbing against the skirt’s delicate lace, the bold red against the monochrome black-and-white palette. The Dior Muse Dior Heeled Sandals provide a subtle anchor, ensuring the look remains cohesive rather than fragmented. If there is a critique, it is that the proportions feel slightly conservative — the cardigan’s buttoned structure limits fluidity — but this restraint is also what makes the look effective for a film festival setting.
The sharp insight here is that Portman’s appearance demonstrates how festival fashion can function as a dialogue between cinema and style: her outfit is not about spectacle but about narrative, embodying the balance between intellect and glamour. It is a refined presentation, one that underscores her ability to command attention without resorting to excess.
Margot Robbie wore a beaded, embellished gown with a sleek updo on the cover of la Repubblica Velvet – The Fashion Edition in October 2025.
On October 14, 2025, Margot Robbie appeared on the cover of la Repubblica Velvet – The Fashion Edition , embodying the magazine’s theme of fashion as freedom of expression. Photographed in profile against a stark black background, Robbie wore a glamorous gown adorned with intricate beadwork and embellishments. The dress shimmered with detail, its craftsmanship highlighted by the simplicity of the composition. Her blonde hair was styled in a sleek updo, emphasizing her neckline and the ornate textures of the garment. The overall effect was one of sculptural elegance, where the interplay of light and embellishment turned the cover into a study of modern glamour.
The editorial text accompanying the feature frames Robbie as an actress who has made transformation her art. From roles like Harley Quinn to her recent turn as Barbie, she has consistently reinvented herself, and now, as a producer, she seeks to tell stories that leave a lasting mark. This narrative of reinvention aligns seamlessly with the cover styling: the embellished gown becomes more than attire — it is a metaphor for her ability to embody multiple identities while maintaining a core of authenticity. The magazine’s declaration, “La moda è libertà d’espressione” (“Fashion is freedom of expression”), situates Robbie not just as a Hollywood star but as a cultural figure whose style choices echo her professional ethos.
This cover succeeds by balancing restraint with opulence. The gown’s beadwork could have overwhelmed in a busier composition, but the stark black background and profile pose ensured clarity. The sleek updo was a deliberate styling choice, preventing distraction and allowing the garment’s embellishment to dominate the frame.
The sharp insight here is that Robbie’s appearance demonstrates how fashion editorials can function as visual manifestos: the gown is not just decorative but declarative, embodying the magazine’s thesis that clothing is a language of identity and freedom. It is a refined presentation — one that situates Robbie at the intersection of cinema, culture, and couture.
