Three- some looks

Ashley Graham in Christopher John Rogers. ’19.

If you love fashion, however gaudy, it shows. Here, Ashely embraces retro, all spectral glow-in-the dark vibes, pure enjoyment. The vibe is clear nostalgia, a perfect but often unexplored vibe for pregnancy dressing.

It’s the kind of innocent fun you’d imagine a kid, however unborn, getting behind; further, the fashion fundamentals on display exaggerated complementary.

A ruched fit- universally flattering; an above the knee, mid-length column, plays easily into hip-heightened curves; a chic bob complements mid-length dress dressing chic; and summarily, a pump to streamline.

Ashley walks the depth of nostalgia, while keeping it fashion 100. 

Rosie Huntington-Whitely in Valentino. ’25.

Valentino. Nearly driven to bankruptcy due to his acute insistence on ostentation; our girl Rosie enveloping that same fine flamboyance here.

Her finery, read: those bad-ass black sequins, shimmer on every turn, in the reflective manner of dewy light on skin. Read: dressed-up nudity.  

Her bilateral cut-outs a modern offer of nude; the panels bled into Valentino’s old-world glamour by floor-skimming, gauzy draping around the neck. What’s left to say.

Danielle Deadwyler in Louis Vuitton. ’23.

Deadwyler again- this time in Louis Vuitton.

Obviously drawing from Dior’s class-act Junon, it stands its own. In the first, it’s entirely sequinned- adding a showgirl razmataz to classic form.

The train, less bustling, boosts practicality, grounding the showmanship. Indeed, Deadwyler explains her look as beauty born from hard water and melting hard earth, reflecting that ombre panel look; no-one can argue its resemblance to pooling water collecting sediment.

Overall, Deadwyler embodies the garment perfectly, stepping into the dress in pure glamour, but under the surface, authenticating everyday grit.