Three- some looks

Charlotte Gainsbourg in Balenciaga.’09.

If you haven’t watched Antichrist- don’t. Commentary on perversion is so outdated.

However, fashion commentary isn’t, which is why we begin: zebra print at Antichrist’s premiere.

Animal print is weird- simultaneously outdated + on-trend: trust our Charlotte to contradict in glam.

Her general look, topped by hardened bedroom eyes, brings sexy anonymity- a casual glam rock artist in borderline camp print. Finally, some fun on the carpet.

Bonus: animal print, cool or not, suits any woman. And, as Charlotte proves, anybody.

Charlotte contorts her body, highlighting her frail chest in ironed-on top-half, before,by  ruche effect, swooshing the dress’ base upwards, playing with traditional female silhouettes.

By extension, we can too- even in bold zebra.

Andre 3000 at the MET. ’08.

Andre 3000 does what no-one else has-  that is, make the suit everyday. He embodies suiting formality, here, by wicked fit and trad tailoring, but also emotes Everyman through two distinct features.

1) The hat, rich Fedora, is sublimely orchestrated as a working man’s straw cap. 2) Adding to the working class conscious, is a touch of whimsy, that golden birdy brooch, suggesting dress-up, a younger man’s dreams.

Perfection.

Meghann Fahy in Prouenza Schouler. ’25. 

Proenza Schoeler deconstructs elegance, almost ripping the trad ball gown to bits here.

That shredded skirt plays on a cohesive red carpet look, even drowning studs, a habitually top-heavy feature, in floor-length panels.

Meanwhile that plain top ties the look in, wrapping around the actress’ bodice, as a singular supporting fabric.

Overall, the look seems oddly in reverse and manipulated to modern body-con standard;  the final impression of submerged, slightly drowned prettiness.