Three- some looks

Cate Blanchett in Armani Prive. ’24.

Cate Blanchett swoons in CEO style. The angular chest, perched chicly on a pants suit, gives woman-boss. The Harlequin patterned waist-tie: a bit of red carpet madness.

After all, how to embellish a perfectly tailored brand but in classic print, sequins optional.

Cate’s glittering harlequin motif wraps effortlessly around form fitted suit, suggesting transient play, a self-aware irony, in dress-up.

The dress, in on the joke, thus makes the ultimate power move.

Lou Dillon in Chanel. ’10.

Tweed isn’t usually associated with alternative. But rock-chick Lou Dillon manages.

She proves the key’s in loungey layering, and a mini skirt. Here, flirting with a micro and simple chain necklaces, is your Chanel jacket, criss-crossed in slightly anarchistic red.

Add an easy-fit beige top, which by virtue of colour, challenges the alternative vibe, and you’ve French girl cohesion.

An introverted uniqueness- bold but falling into aesthetic and traditional lines.

Jane Birkin.’69.

Jane Birkin, namesake of the Birkin bag.

Maybe Hermes saw fit to replace Jane’s boho basket, in effort to elevate, and therefore, capitalise on her style.

For all Jane required for ultime fashionista status, was to rubbish the wicker basket. Liberation through arts and craft is indeed possible in its absence, as evidenced here.

Birkin wears the crochet backward, in fuck-you flair, fastening the back-to-front glamour with a black crucifix. The look is incredibly vampirish, given the sexy lace cut outs, boldly emblazoned by an obsidian cross.

But, also, incredibly crafts, in lieu of the knitted, DIY vibe- by extension, Birkin plays on freedom, expressing buried themes, think sex, death, all the shadow-work in innocent poise.

It was the 60s after all.