Three- some looks

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Uma Thurman in Prada. ’95.

Just goes to show simple works. The easy fit, lets the hue do the talking; a comfortable celebrity, easily centre-stage in a played-down dress.

And Prada, the home of ugly chic, usually plays down: the gown appears stiff, supported by a thick halterneck, and dressed in a billowing, white scarf with subtle sequin dustings throughout.

But it doesn’t age, it’s different elegance: streamlined, scarfed-up, but with a hard edge. In fact, it was this night that made Prada a household name. Even the jewellery is uncited, Prada stealing its thunder. Thankfully the bag will also go uncited.

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Natalie Portman in Dior. ’23.

It looks different though it’s been re-imagined so many times (including Zuhair Mihaid for Miley Cyrus). The original- The Junon Dress by Dior: fully flounced and dripping in Ancient Greece; Juno herself, a celebrated, cruel goddess (wife of Zeus).

The Junon dress’ (not a typo) embroidery reminds us of Juno’s tokenistic peacock… This version, however, draws on the domestic elements of Juno, downplaying the embellishments of the original, more ready-to-wear than extra expense.

The gusset also falls quicker to the floor; in that way its freer, easier to move in. And the plumed panels give watery, petered out snowflakes, glistening with crystals at the head. Rather than stiff Juno-ian plumage.

The look, overall: less vindictive wife, more celebrity caught in the snow.

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Andre Leon Talley at “Alexander McQueen: Savage Beauty.” ’11.

Andre Teon Talley are not just buzzwords. Andre made fashion his own, re-imagining everyday wear as celebratory. Here, Leon Talley wears a billowing smock, where its panels, giving structure, are lost in the fit.

The effect- a seamless transition from buttoned-up coat to immersive formal fabrics- calling to mind? Japanese kimonos. And Kimonos, traditionally worn by both genders and across classes recall Talley’s sense of the everyday elevated.