This is the second season for Mila Kunis as the face of Miss Dior — and this time she's tapping right into Old Hollywood. The actress traded her cool-girl aesthetic for a more retro-glam-inspired vibe, complete with a black bow-adorned bouffant and, of course, a chain-strapped ladylike Dior bag in every frame as she exits her limo, waves to her fans, and poses for the paparazzi. Click on to see a smoky-eyed Miss Kunis work the lens for Mario Sorrenti in Dior's Fall '12 campaign.
Blake Lively reported to the NYC set of Gossip Girl wearing this blue Marc by Marc Jacobs tie-waist silk dress ($398). Pops of bright accessories included green and pink drop earrings, bright coral cutout Christian Dior sandals, and a floral-printed shoulder bag. To get Serena's onscreen look in your city, shop her exact dress, this New York & Co. sleeveless blue wrap dress ($50) or this Donna Morgan pleated blue halter dress ($158) if you prefer a longer hemline. Match your pick with bold accoutrements like Blake did on set, and you'll get the Gossip Girl look minus the drama.
While Miranda Kerr always looks great in jeans, her Summer style has taken a girlier turn with deep-V maxi dresses. During the first NYC spotting, Miranda wore a yellow printed plunging midi dress with a black structured bag, Stella McCartney printed round sunglasses ($225), and nude t-strap sandals. Then on another day, the model mom sported a mint-colored wrap maxi dress with Prada cat-eye sunglasses ($245), flat jeweled sandals, and a colorful bag. Miranda has it all right, exuding ladylike glamour in her breezy dresses, still keeping a hint of sexy via the plunging necklines, then finishing off with statement sunglasses. Get in on Miranda's Summer style by shopping similar plunging dresses below to pair with your favorite shades.
Over a million flowers covered the mansion in Paris where Raf Simons staged his couture debut for Christian Dior this month, and the process took several days — plus a team of florists, truck drivers, and set designers — to pull off. Workers started cutting and packaging the flowers three days before the show, then began a two-day installation process that took all weekend. By the time Diane von Furstenberg, Marc Jacobs, and Azzedine Alaia arrived for the show on Monday, July 2, five rooms had been covered with delphinium, orchids, zinnia, golden rods, Queen Anne's lace, and roses in a variety of colors. A look at how the walls of flowers were built in the video below.
The ESPY Awards may be all about sports, but Jessica Biel's white full-skirt Christian Dior dress and neon colorblock Nicholas Kirkwood ankle-strap pumps injected major femininity to the masculine red carpet. The newly engaged star kept her look crisp and clean, opting for a no-fuss ponytail, au natural makeup, and minimal gold accessories. Unfortunately, Jessica's exact pumps are no longer available online, but snag her exact pair in orange and gray ($442, originally $884) to work with a scoop-neck white tank and full textured skirt to re-create this darling look.
Welcome to our latest edition of CelebStyle's top stars of the week. This week's best expressed their personal styles through sophisticated twists on classic pieces and swoon-worthy Parisian-chic pairings. Our standouts were Joan Smalls in a pair of posh printed pants, Diane Kruger in a polished and quirky denim look, Olivia Palermo in a ladylike yet edgy leather peplum top, and a couple more including Poppy Delevingne and Jessica Alba. Take a break from your workday and cruise through to see all of our top trendsetters, why we chose them, and how you can channel their looks for this weekend and beyond.
Paris Haute Couture Week kicked off on Monday, and the beauty looks were as extravagant as the clothes that inspired them. Bright duotone pops of lipstick, tight braids, and polished top knots were some of the week's top looks. See some of the best in today's Beauty Beat, and for even more couture, browse 10 top haute couture looks from the week.
Raf Simons says the focus of his first collection for Christian Dior was to "change the psychology of people who are interested in couture."
Simons may have accomplished that goal: the reviews of the show have been universally positive, and many noted that Simons's work might cause a shift in the way couture is viewed. Cathy Horyn said Simons "gets the most and the best out of couture," while Tim Blanks observed that the designer "can't help himself; he will bring a heart-on-his-sleeve human dimension to this remote and rarefied world."
As Simons later explained to Blanks, he's doing that by re-imagining the possibilities and limits of the couture customer.
"I want to make it more dynamic, appeal to a person who has a different energy," he said. "A younger person, in mind, not necessarily in age. And I think couture is very much about curating something unique for women. Fashion is so mass-produced now; I hope there will come a refocus on how people see couture. And I would also hope for a new focus on the craft. . . . It's mind-blowing when you start investigating what is done here. But I want to approach it with a new energy. I'm interested to see how people will pick up on it."
Raf Simons set the scene for his Couture collection with wall-to-wall flowers in a private home on the Avenue d’Iena in Paris — lovely as they were, they still played second fiddle to the craftsmanship of his Dior debut. In perfect balance, Raf celebrated both the fashion legacy at Dior, while staking out a claim for his own. He married the history of the house's '40s aesthetic with re-creations of Dior's archival patterns sewn into the backs of his ornately embroidered dresses, but the skillful tailoring told a much more contemporary story. Slim trousers, topped with fit-and-flare dresses and peplum trim were part of Raf's own modern narrative, as were the full, voluminous gowns topped with sheer, t-shirt like tops. Right down to the pointed-toe pumps, red lips, and pearls, Raf honed in on our favorite parts of ladylike dressing without building caricatures, thanks to proportions, functionality in evening wear, and trends that play to today's woman and her point of view. For Raf, vintage Dior was the jumping off point — but it wasn't the full story.
- Trends: Menswear, peplum, cinched waists, outerwear as evening wear, dresses over pants
- Colors: White, navy, black, petal pink; a splash of canary yellow, red, and fuchsia
- Key piece: Ladylike coats, cinched at the waist and worn as dresses; fit-and-flare dresses over slim-cut pants
- Accessories: Classic, pointed-toe pumps, wide metallic belts, pearl-encrusted chokers and cuffs; ladylike gloves
- Who would wear it: Demure, classic beauties like Natalie Portman and Michelle Williams; we'd love to see Diane Kruger in the full-skirted, blue-floral print gown.
Designers, editors, socialites, and royalty were among those who watched Raf Simons's debut couture show for Christian Dior at a flower-filled Paris mansion Monday. The high turnout seems almost as significant as the garments themselves: Cathy Horyn noted that having such a large number of fellow designers in attendance — the group included legends Pierre Cardin, Azzedine Alaia, Diane von Furstenberg, Alber Elbaz, Riccardo Tisci, Donatella Versace, Marc Jacobs, and Simons's Dior Homme counterpart Kris Van Assche — was "surely a first in fashion."
Anna Wintour and Hamish Bowles were also at the show — Wendi Murdoch sat between them — and so were fellow editors Grace Coddington, Glenda Bailey, Alexandra Shulman, Stefano Tonchi, and Edward Enninful. Emanuelle Alt said she hadn't "been this excited to see a show in a long time. Today I'm going to see something I've never seen before." When Derek Blasberg saw Marion Cotillard, Stella Tennant, and Charlotte Rampling arrive at the show, he observed, "Raf is one popular boy!"
Popular indeed. Bernard Arnault, who owns Christian Dior, attended the show with his daughter Delphine — sat next to Princess Charlene of Monaco — his son Antoine, and Antoine's girlfriend Natalia Vodianova.
Despite favorable reviews and warm accolades in general, the applause at the end of the show was described by some as "lackluster." Simons himself may not have noticed — the designer "only waved for a second and left."