Three- some looks

Margaret Qualley in Chanel. ’25.

Chanel, here, gives fluid femininity.

The way that dress falls from the shoulders into a gathered silk, both at the hem, and, unforgettably right on the breast; all tousled Camelia fastened, to house code by black ribbon.

It’s as though the dress, sinewy, graceful, laden with boaty, floral brand references drapes seamlessly into couture.

Pure femininity- soft in both fluidity and beloved Chanel.

Cate Blanchett in Louis Vuitton. ’25.

Cate Blanchett believes in avant garde, so long as it’s sleek.

And despite its overt boxiness, this look, flounces fixed to a streamline dress, is chic.

Could she manage the dress if it wasn’t black? Probably not, for the Cape almost overpowers, falling from  shoulder hem to the hip: it’s abrupt finality celebrated in a waves of Guipere lace.

The look- tremendously theatrical. The consummate, elegant performer.

Kirsten Stewart in Brandon Maxwell. ’22.

Brandon Maxwell is known for simple. Probably why Kirsten likes it- she’s pure tearaway, requiring room to run, if not to move freely.

No overthought here, what with thrown on eclectic patterns and an asymmetric; that baby yellow inviting cordiality rather than challenging perception.

All-in-all, easy, with something extra: wedding-cum-domesticity.

That is, the bodice fashioned into ballroom gown is trad wife, and the cascade of natural, almost stock, embroidery, gives warm tablecloth.

A meta view? Viva gay marriage and Kirsten’s independence.