The 11 Best Fashion Moments From 2019’s Most Stylish Films

Costume is character. An underrated part of the magic of moviemaking is how clothing defines our heroes and villains, contextualizes the setting, pushes the narrative forward, and even fills in the backstory. This year’s pickings were anything but slim, with many of the best fashion films revisiting the style of a bygone era: whether the late ’60s vibes of Once Upon a Time in Hollywood, the ’70s flamboyance of Elton John in Rocketman, or even the late-aughts ensembles of Hustlers, in which we all vicariously crawled into J.Lo’s fur coat. In 2019 we also gained a new, unexpected fashion icon in Adam Sandler, whose status as style king is only rivaled by Matthew McConaughey in The Beach Bum. Here, the 11 movies this year with the very best fashion moments.

Uncut Gems (Josh and Benny Safdie)

It’s schmuck season, baby—and no one is doing it in flashier style than Adam Sandler. Ditching his usual loose basketball shorts for tailored slacks adorned with Ferragamo belts, Sandler quickly became a style god when set photos of the Safdie brothers’ Uncut Gems hit the internet. As a Diamond District jeweler with a penchant for gambling, Sandler’s Howie is all about polo shirts and leather jackets accessorized with buckles and pinky rings. His eyewear combines two painfully uncool things (rimless and transition) in a way that actually kind of works. Howie’s most memorable look, though, is the punch-drunk pink dress shirt he wears to the club: flamboyant and romantic, but surprisingly machismo—especially when it gets untucked after a brawl with The Weeknd.

Queen & Slim (Melina Matsoukas)

Director Melina Matsoukas was best known for helming music videos for Beyoncé and Rihanna (no big deal) before dropping her first feature film this year. Given her previous work with these fashion icons, it’s no wonder she carved out time for a makeover montage in her lovers-on-the-run drama, then, though in a way we’ve never seen before. With cops hot on their tails, Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) hop out of bed in the middle of the night, raid the closets of Queen’s uncle and his girlfriend closets, and transform into—surprise!—music video-ready looks, with Slim in a velvet tracksuit and Queen in a zebra-print slip and snakeskin boots. (How she manages to pull off mixing animal prints during a distressing situation is a particular point of envy.) A few more hat-tips go out to Queen’s pre-makeover outfit of chic white turtleneck and pants with a suede coat, and Queen’s uncle’s Gucci tracksuit.

Hustlers (Lorene Scafaria)

We’re swiftly approaching the 20th anniversary of the 2000s, which means aughts nostalgia will soon be in full swing. The true story-based Hustlers, about a band of grifting strippers, viscerally brought back memories of 2007, when we were collectively suffering from a financial and fashion crisis. Aside from the stripper staples—big hoop earrings and platform heels—the movie reminded us, for better or worse, of cropped denim jackets, velour tracksuits, fringed purses, and those thin elastic headbands hipsters wore across their foreheads (guilty). All those sartorial mistakes are forgiven because of J.Lo’s fur coat, which perfectly signifies her mama bear status from her first moments on screen. “Come on, climb in my fur,” she tells the newcomer Destiny (Constance Wu), in what has to be the most coveted invite of the year. But an even better fashion moment happened off-screen, right after Hustlers’ release: J.Lo closed Versace’s spring 2020 show with a reinvented reprisal of the iconic Grammys green dress, two decades later.

Ash Is Purest White (Jia Zhangke)

In this 16-year-spanning Chinese epic from Jia Zhangke, the director’s longtime collaborator (and real-life partner) Zhao Tao plays Qiao, a woman scorned by her gangster boyfriend. After saving his life, then taking the fall for him and spending five years in prison for it, she cons her way back to the boyfriend, who doesn’t want to be found, in this doomed, confrontational love story. But before the fantasy-shattering reality sets in, we get a glimpse of their whirlwind romance in the early days of the 21st century. It’s in both a euphoric club scene (where “YMCA” drops twice), and the film’s pivotal moment, that Qiao wears one of the most unforgettable costumes of the year: a black cocktail dress adorned with a large butterfly, and a sheer pink bedazzled blouse on top.

Once Upon a Time in Hollywood (Quentin Tarantino)

This past summer marked the 50th anniversary of the summer of 1969, the eventful season that brought about the moon landing, Woodstock, Stonewall, and the Manson murders. Tarantino’s newest feature is, as its title suggests, an ode to Hollywood that includes a revisionist take on the last item on that list. The film features the Manson family in hippie-dippie California garments, while Margot Robbie plays Sharon Tate as a beaming girl next door: bright smile, bouncy hair, and, of course, plenty of go-go boots. Robbie doesn’t have very many lines (a big point of contention during the Tarantino discourse this past summer), but she embodies California sunshine in a way that infiltrates the seedier crevices of this film. But judging from this year’s Halloween costumes, the most iconic sartorial number did not come from Sharon Tate but from Brad Pitt’s stuntman character: namely, the casual Champion shirt he wears under an open Hawaiian one. Arguably, the actual best fashion moment, however, is when Brad takes off both those shirts while fixing an antenna on the roof. He really didn’t have to do that, but he did...and we are eternally grateful.

Midsommar (Ari Aster)

My favorite part about Midsommar is that Florence Pugh becomes progressively more fashionable as the movie becomes more horrifying. American college student Dani (Pugh), shaken from her sister’s suicide, follows her shitty boyfriend to Sweden, unaware that her time there would be anything but relaxing. Though, to be fair, Dani doesn’t seem prepared for much; in her grief, she barely packs for a European getaway and initially wears a rotation of worn-out T-shirts and sweats in 50 shades of grey. (Booooring.) She eventually gets roped into the pagan rituals of the Swedes during their Midsommar festivities—bad news for her generally, but good news for her wardrobe. Dani starts leaning into the prairie-core trend of last year, culminating into that massive floral May Queen number that rivals even Balenciaga’s dramatic parachute gown from spring 2020.

Rocketman (Dexter Fletcher)

It’s more a credit to real-life Elton John’s sense of style than anyone involved in the film, but the singer’s show-stopping outfits brought this musical biopic to life. Some are tonally awkward—like the horned devil costume he sports when stomping into an AA meeting in the opening scene—but Elton certainly didn’t give a damn about dressing appropriately. There are few movies this year where the costumes are so superior to its other elements; it’s through them that we can fully understand what a natural-born, spotlight-stealing performer the singer born Reginald Dwight really is. Taron Egerton plays the rocket man and gets to don every iconic rhinestone and sequin-encrusted piece from Elton’s heyday, including the infamous Dodgers uniform, and the star-spangled garb he wore at a seminal performance at the Troubadour.

The Beach Bum (Harmony Korine)

What a great year for Hawaiian shirts. Harmony Korine’s The Beach Bum may rival Uncut Gems as the defining fashion film of the year; forgoing Diamond District “schmuck style” for something a bit more nomadic and hypebeast-y, the stoner poet Moondog (Matthew McConaughey) romps around the Florida Keys in tie-dyed, flame-printed, tropical motifs of all kinds, usually with a fanny pack strapped over his waist. Like Uncut Gems, The Beach Bum’s fashion was hyped by set photos of McConaughey in the most spectacularly wacky outfits (lest we forget Zac Efron with his panini-inspired facial hair). Moondog makes a case for beach Uggs, as well as the bong as an accessory on par with a purse. But his most carefree, ethereal ensemble is the pink marabou feather robe. There are many robes like it out there to emulate his, but McConaughey’s feathery, beachy hair and the brilliantly baked mind underneath it are inimitable.

The Hustle (Chris Addison)

Not to be confused with Hustlers, this far inferior film is a flopped remake of the 1988 buddy comedy Dirty Rotten Scoundrels, starring Steve Martin and Michael Caine. In the gender-flipped modern version, Anne Hathaway plays a glamorous British con artist named Josephine whose swindling streak is thrown off when she meets a brash Australian woman named Penny (Rebel Wilson), whose game is the same, but whose style is...a bit off-kilter. It’s ripe with bad jokes, but it’s not a complete eyesore thanks to the turned-out, elegant looks Josephine sports to carry out her hustles: high-slit black gowns and form-fitting white bondage dresses, and one white-suit-and-floppy-hat combo that screams leisurely con wealth. The cherry on top that becomes a repeat accessory? Her Marni sunglasses.

Long Day’s Journey Into Night (Bi Gan)

Good luck deciphering this mesmerizing, mysterious sophomore feature from the Chinese director Bi Gan, who takes the English title from Eugene O’Neill’s play, but not much else. This is film noir by way of Wong Kar-Wai, but with a ghostly search for a lover. It’s an atmosphere film steeped in memory—moody, smoky—that takes an even sharper turn into dream world in the second half, with an hour-long, single-take, 3-D segment. The elusive figure that appears in and out of the frame, perpetually haunting our lonely protagonist, is his former lover, always in a green dress, often asking for a light. This green dress flows and shimmers, emulating ripples in a pond, and becomes even more illuminating by cigarette light.

Glass (M. Night Shyamalan)

The biggest, most Shyamalan-esque plot twist of the year is the fact that a Shyamalan film is gracing a best fashion films list. It’s frankly unexpected, but I couldn’t not notice it either. The third in the horror director’s Unbreakable series, following 2017’s Split, brings together three superheroes/villains—Bruce Willis’s David Dunn, James McAvoy as Kevin Wendell Crumb, and Samuel L. Jackson’s Mr. Glass—in a mental institute. They are examined by a psychiatrist, Dr. Ellie Staple, who is convinced they all share delusions of grandeur instead of possessing actual supernatural abilities. Sarah Paulson plays Dr. Staple, who has no reason to dress so well but shows up in the most Grown-Ass Woman outfits anyway: cashmere sweaters, A-line skirts, and heels.

Ileana Makri’s Appointment at Reinstein Ross Brings Together Two of Jewelry’s Most Beloved Names

Jewelry designer Ileana Makri is joining Reinstein Ross as Creative Director, a new role at the fine jewelry brand.

Makri would seem an inspired choice for Reinstein Ross, whose work tends to be substantial and chunky. She thinks like a sculptor, and her pieces have a satisfying three-dimensionality that jibes with her new employer’s aesthetic. Just as important: Makri has a long list of bestsellers. Her colorful evil eye pendants and snake rings are grails for jewelry lovers, identifiably hers and more valuable for being so. The pieces she designed for The Row circa 2012 (Ashley Olsen is a Makri collector) instantly sold out.

In their ’90s heyday, designer Susan Reinstein and gem expert Brian Ross had hits of their own; they made pieces with a solidity and heft that matched the minimal clothes of the time, and their tiny shop on Prince Street was a popular destination. “It was the sort of jewelry to wear with a Jil Sander suit,” a Vogue editor who shopped the label recalls. “It said you were unfussy and interesting and had good taste.” Best of all it was artisanally and locally made. The house founders are no longer affiliated with the company.

Makri’s hire comes at a propitious time. For years, dainty, delicate jewelry has been trending; now, the pendulum seems to be swinging back towards bold, statement-making pieces of the sort that both Reinstein Ross and Makri specialize in. On the runways it’s a moment for “investment clothes”—and investment clothes call for investment jewels, even better if they’re handmade. Makri’s new pieces for Reinstein Ross, arriving in the brand’s two Manhattan stores and and its website in February 2020, certainly fit the description. “Everything comes from old traditions at Reinstein Ross… Indian, Etruscan, some Roman,” Makri explains, “so I thought of going into ancient Greek jewelry.” It’s a subject that she knows intimately; Greek born, she makes her home in Athens, and she takes much inspiration from historical jewels.

That said, Makri will be spending a fair bit more time stateside with the new appointment and maintaining the distinctions between her own collection and Reinstein Ross’s will be paramount. “Reinstein Ross is a brand that I feel has authenticity, heritage, and vision; this is something that motivates me.”

Jennifer Aniston Is Making Sleazy Sunglasses Chic

Sunglasses are an easy way to infuse an outfit with a little fun factor—just take last year’s super-tiny frames, inspired by The Matrix—and the right shades can transform a basic look into a lewk. The biggest eyewear trend this fall? It’s all about sleazy-chic styles: the kind of sunglasses you’d see on a Miami nightclub bro, or a raunchy star like Post Malone or J Balvin. Think the bigger the better, and with tinted lenses in bright, gauche colors. Stars such as Jennifer Lopez have already gotten on board with the 70s-inspired aesthetic—and now Jennifer Aniston is testing it out, too.

This morning, the actress arrived at Good Morning America in New York City, along with co-star Reese Witherspoon, to promote her new series, The Morning Show. Her look was simple enough: she wore a formfitting knit dress in white with a pleated skirt, underneath a long, tailored black coat. But it was Aniston's choice of sunglasses that took the outfit to the next level: She opted for a pair of oversized aviators with pink lenses. The shades were something her iconic Friends character Rachel Green might wear—if Rachel worked at Vetements, not Ralph Lauren. Her sky-high stilettos by Christian Louboutin, meanwhile, offset her kitschy accessory with much-needed polish—because this is an A-lister, after all.

Why Fiona Apple Is the Style Icon We Need Right Now

If there’s one trait that defines a Fiona Apple fan, it’s patience. A notorious perfectionist, the singer is happy to spend the better part of a decade fine-tuning an album; thankfully, the result is always worth the wait. Operating outside of the industry cycle, every one of her records offers a window into the world of a musician who keeps her personal life fiercely protected, only to return seemingly out of nowhere with music so bracingly candid that it more than fills in the gaps.

So, quite what she’s been up to since the release of her most recent record, 2012’s The Idler Wheel…has remained a mystery. That is, until she was thrust back into the pop-cultural consciousness this month, thanks to a Jennifer Lopez striptease sequence in the star’s latest (and heavily Oscar-tipped) film, Hustlers. J.Lo’s mesmerizing opening performance sees her spinning around a pole in a downtown Manhattan strip club, as sleazy Wall Street types chuck money at her—the most gloriously campy introduction to a character since Liza Minnelli stepped onstage wearing a bowler hat in Cabaret, or Gina Gershon performed her first dance in Showgirls.

And, in an inspired choice, soundtracking it all was Apple’s 1997 hit “Criminal,” released when the singer was 20. Like all of the music in Hustlers, it perfectly reflects the film’s faithfulness to its ‘00s zeitgeist—but the inclusion of “Criminal” in 2019 feels particularly apt, as Apple’s laid-back, irreverent style undergoes something of a renaissance among a new generation of female musicians. In predictably unpredictable form, Apple cold-emailed a journalist earlier this week who had tweeted about a controversial video that overlooked her donations of the royalties from Hustlers to a charity supporting refugees; the conversation ended up taking the form of an accidentally sprawling interview—her first in seven years—with plenty of Apple’s forthright sense of humor, and the news that a record is likely to arrive next year.

Thankfully, the time is ripe for a Fiona Apple style revival. The singer’s signatures aren’t defined by any specific item of clothing, but a don’t-give-a-fuck attitude that feels totally of the moment—an outlook best summarized by her divisive speech when accepting the award for Best New Artist in a Video at the 1997 VMAs for her single “Sleep to Dream,” where she memorably described the assembled members of the music industry’s world as “bullshit.” Her favored look at the time was a grunge-inspired ensemble of a cropped tank top and a pair of baggy trousers, or occasionally a silk slip dress, her hair left to curl up at the ends with pointedly minimal effort.

It’s an iconoclastic, easy-going spirit that has been adopted by many of Apple’s young acolytes working in the world of pop today: Just take Billie Eilish’s super-comfy tour wardrobe of tracksuits and oversize separates, or Charli XCX’s easy, breezy, ‘90s-inspired spaghetti-strap boob-tubes and miniskirts. Even King Princess, who can now boast Apple as a friend after locking her down for a collaborative cover of the 1999 track “I Know,” has channeled the singer’s chic androgyny with her casual take on menswear staples. There might have been precedents, but Apple’s insistence on putting her music ahead of crafting a fashion-adjacent image made her an accidental pioneer, and a new crop of pop musicians now understand clothing as one of many tools within their stable, rather than something that defines them.

But then—in keeping with her sprawling sartorial tastes—it isn’t any specific garment, or any particular look that makes Fiona Apple’s very casual style feel perfectly right for now. It’s the fact that clothes have always been a key device when telling her story, even if they were never the opening gambit; and with the low-key role they’ve played in her career, her humble take on fashion has been criminally (pun intended) overlooked. Apple’s return to music next year can’t come quickly enough—but while we’re at it, maybe it’s time to reassess the ongoing influence of her off-kilter style, too.

On the VMAs Stage, Missy Elliott Proved She's Still the Queen

The Video Music Awards were filled with exciting moments, but no one brought the house down quite like Missy Elliott. The recipient of this year’s Video Vanguard award celebrated the honor by revisiting two decades of groundbreaking visuals. Her spirited medley of hits like “The Rain,” “Pass That Dutch,” and “Get Ur Freak On” showcased her skills as a performer and the legacy of arresting imagery she and her collaborators have created. Few could pull off LED -laced jumpsuits, or double-dutch braids but Elliott did so with swagger and aplomb. If last week’s drop of her “Iconography” EP and the opening of the Museum of Missy popup in SoHo were the lead-up, tonight's set provided the cherry on top.

The special effects and cameos from collaborators like dancer Alyson Stoner and were memorable, and the singer's dazzling statement fashion took her performance to another level. Created by Elliott’s longtime stylist and costume designer, June Ambrose, tonight’s multiple outfit changes have been in the works for nearly a month. “From the moment MTV announced we’ve been plotting,” Ambrose said backstage at the Prudential Center in Newark. “It’s a high-impact, high energy show, it’s fast and has a lot of bodies on the stage. Missy wanted it to feel rich and full of life.”

Ambrose has been with Elliott since the days of Supa Dupa Fly and has had a hand in many of her most inventive looks. The billowing inflatable trash bag “dress” from “The Rain” video, the ice blue tracksuits of “Work It” and “Throw It Back”’s wealth of pastel tailoring are all a result of Ambrose and Elliott's years of collaboration. "The music is the DNA for me as a costume designer," Ambrose says. "I'm here to develop the character, articulate it, and evolve it."

Given the night’s retrospective theme, both felt that revisiting some of those much-loved looks was appropriate. “Missy didn’t want there to be too much of a departure [from the original videos] especially with the graphics,” says Ambrose, who strove to make the costumes merge seamlessly with the special effects. “She wanted to immerse the audience in the nostalgia and stay true to where we were initially as a reminder.”

The virtual reality–inspired experience, complete with a hologram of Elliott floating over the crowd and mirrored sets, called for amped-up versions of familiar favorites and a glitz take on the MTV “Moon Man.” “It’s like one of the moments from the 'Throw It Back' video, but I went for a different approach,” says Ambrose. “She’s landed on earth, so she’s in more of a hip-hop version of a spacesuit with an oversize parka and this beautiful crystal fabric and off-white sneakers so it’s low-key—or low-key for Missy.”

Ambrose dug into the archives but also modernized each look. “The Rain’s” sci-fi aliens received an update via backup dancers in glossy slickers and umbrella hats, while “Get Ur Freak On’s” miners were costumed in hand-weathered uniforms and spiked helmets for what Ambrose calls a “steampunk meets hip-hop vibe.” Even the scarecrows of “Pass That Dutch” received a sparkling treatment that popped against the darkened stage. “They’re a little bit blinged-out this time, a little flashy,” Ambrose says. “It was all about the drip, and for 'Lose Control” we took things further with custom-designed leather hoodies. In the video they were wearing blue hoodies and Dickies, but [now] everything is a little more luxurious.”

Since many of Elliott’s videos have become reference points for Gen-Z’s musicians, the imagery holds a special place in pop culture. While Ambrose is conscious of the esteem in which Elliott’s oeuvre is held, she wasn’t worried about trying to outdo her now iconic designs. “I’m very particular about references; sometimes you can use a reference so much that it starts to hinder you creatively,” she says. “You almost have to take the influence, walk away from it, and then reimagine it with your soul instead of the soul of the reference.”

Changes in technology impacted the looks too. “When I was working with LED lights 20 years ago, they were huge stick strips and nearly impossible to sew in,” says Ambrose who inlaid the spacesuit with flickering lights. “Now they’ve become so fine and can be used in so many different ways.” Those little details enhanced the immersive nature of the set. “It’s produced like a Vegas or Broadway performance,” Ambrose continues. “I wanted things with texture, to make you feel like you’re part of that music video experience.”

Tonight's looks—and those hanging at the Museum of Missy in SoHo—cement Elliott's icon status at the forefront of Afrofuturism, body positivity, and electronic production. “Seeing the work be celebrated this way is a dream come true," Ambrose says. “The reason why I have to didn’t stray too far from the originals is because when we were making those videos 20 years ago, we already were in 2020. The work was ahead of its time, and when you look at it now it’s going to feel just as forward and rich as it did then.”

Inside Riverdale Star Camila Mendes’s Ultra-Chic Comic-Con

Sure, you can attend Comic-Con International dressed as your favorite superhero, but Riverdale star Camila Mendes chose to spend her time in San Diego wearing stunning looks direct from the runways. On-screen as Veronica Lodge on the hit TV show, Mendes embodies the sophistication of a former Park Avenue princess, but her off-duty wardrobe is all about offbeat chic. On hand for a panel dedicated to the series’s upcoming fourth season, Mendes and her stylist Chris Horan pulled out statement pieces like Off-White T-shirts, metallic Sandro miniskirts, and ruffled silk tops from Markarian for a vibe Mendes describes as “effortless and cool.” Though she tends to avoid outfits that echo the style of her famous character, Mendes couldn’t resist going “vintage Veronica” in an Olivier Theyskens corset and plaid culottes by Silvia Tcherassi on the convention’s final night.

Of course, it wasn’t all outfit changes and photo-ops. The convention offered Mendes the time to chill with castmates Lili Reinhart and Madelaine Petsch—they enjoyed a girls night watching Friends—and connect with some of Riverdale’s most passionate viewers. “My favorite part of Comic-Con is the signing booth,” says Mendes. “We get to interact with fans and hear them talk about how much the show means to them.”

Kim Kardashian West Gets Real About Her Body-Sculpting Workout

"We’re back in the gym heavy!" wrote Kim Kardashian West alongside a picture of herself and her personal trainer Melissa Alcantara on Instagram today. Pausing their sweat session for a snap, the beauty mogul posted up against a piece of fitness equipment, leaning into a derriere-showcasing pose. The secret behind Kardashian West's sculpted backside? That would be weight training, as evidenced by her protective wrist straps.

"I would say every 6 months I take two weeks off from lifting," she continued in the caption. "Sometimes you just need a break to recharge and chill, but then I miss it so much and [it feels] so good to be back at it." Since enlisting Alcantara's help back in 2017, Kardashian West has been open about how incorporating weights has helped tone her muscles and define her famous frame. And while the Alcantara-curated routine is all-encompassing, including squats, deadlifts, and lunges, there's one weight-assisted move that stands above the rest for those who want to whip their booty into shape. "For anyone looking to get a serious butt workout in, it takes more than just one move," says Alcantara. "But if I had to choose, it would be weighted hip thrusts, which seriously work glutes and hamstring muscles."

And don't be fooled by how pristine Kardashian West's hair looks—her new sleek chop styled with a clean center and swooping ends—the posterior chain-targeting move is not for the faint of heart. But her curvaceous physique is proof enough: picking up the weights is well worth the burn.

Sarah Jessica Parker Is Serving Modern Carrie Bradshaw

The 21st anniversary of Sex and the City’s premiere may be right around the corner, but time hasn’t diminished the appeal of Sarah Jessica Parker’s iconic character, Carrie Bradshaw. She of the pink tutu and fearless outfits remains influential, even with the actress who portrayed her. In London last night to see a press night performance by husband Matthew Broderick during his West End debut in Kenneth Lonergan’s The Starry Messenger, Parker chose a look straight out of the Bradshaw playbook. Dressed in a black J. Mendel cocktail dress with a built in cape, she displayed her flair for drama and willingness to move beyond the basic eveningwear.

Reflective black lurex and a plunging neckline are tame compared to Carrie’s lace leggings and pastel furs. Still, real life isn’t an HBO dramedy. With her bold coral heels, playful bracelets by Saskia Diez, turquoise gems, and outré little black dress, Parker was modern and impossibly chic. No need to queue up old episodes of SATC, all the fashion inspiration you need is right here.

Baby, What’s Your Sign? This Label Is Channeling the Spirit of the Zodiac in Thoughtful New Ways

You could say the stars aligned when Rachel Borghard and Mia Kazovsky met as students at Pratt Institute five years ago. The two became fast friends and recently joined forces to launch Dooz, an astrology-inspired label, which debuts today. In lieu of the generic zodiac graphics you’ve seen everywhere else, Borghard and Kazovsky are thinking quite deeply about what the signs say about our style. Astrology is “assurance that the universe gets us,” they explain, and they believe each sign is “embodied within all of us”—even if it isn’t on your chart at all.

The first collection is launching with two items: a leather bag and a knit T-shirt, each in a celestial color to match the 12 signs. Driven by color, clean lines, and easy silhouettes, the designers even created their own symbols for the signs, which riff on the brand’s half-moon logo. They’re intentionally abstract, allowing you to experiment with different signs and colors; you aren’t limited to your sun sign (i.e., the one associated with your birthday). “On any given day, dressing for your sign can remind you of your strengths and help you fulfill your potential,” they explain. But sometimes you want to “borrow” the traits of another zodiac; maybe you’re a soft-spoken Pisces, but for your big work presentation, you want to channel the confidence of a Leo. Dooz isn’t just about wearing your sign on your sleeve; it’s about connecting with your inner self, being mindful of how you feel, and embracing the zodiac to express that through your clothes.

Borghard and Kazovsky say their own astrological charts have inspired their style and shopping habits. Kazovsky, for instance, is a Pisces sun, a Cancer rising, and a Scorpio moon and describes herself as compassionate, emotional, and with an active imagination. She tends to shop vintage because it allows her to be more creative with her style while also doing her part to reduce waste. According to her chart, there are elements of sentimentality, too, which Kazovksy connects to her penchant for previously loved clothes. When it comes to working on Dooz, she thrives in design and production. She says that working side by side with the people making Dooz’s pieces in their Los Angeles factory is “for sure my chart speaking!”

Borghard, on the other hand, is a Taurus sun and explains that being tactile is one of her key personality traits. That certainly comes in handy when she’s working on their knitwear. After selecting their fabrics and leathers from Italian mills and tanneries, Borghard found that the Taurus in her “thrives at sourcing materials.”

To start experimenting with your own signs, you can shop the collection on Dooz’s website today. Astrology newbies and experts alike should also bookmark the duo’s blog, “The Scope,” where London-based astrologer Madeleine Botet de Lacaze will contribute monthly horoscopes. Borghard and Kazovsky have also tapped a few of their influential friends to lend their astrological advice on the platform, including Paloma Elsesser, Olivia Perez, Gia Seo, and Niki Takesh. You can count on spotting them in Dooz’s colorful tees and bags later this summer. Pick yours up for $195 and $495, respectively, at dooznyc.com.

How Nollywood’s Rom-Com Queen Dresses to Impress

As one of Nigeria’s brightest stars, Adesua Etomi makes every outfit count. Nollywood, the nation’s thriving film community, is filled with well-dressed actresses, but Etomi leads a new generation of women who work locally but think globally. She is the rare leading lady who can move seamlessly between drama and comedy: Etomi trained in the theater, performing classics like The Crucible, before making the jump to the big screen with her breakthrough role in 2014’s Knocking on Heavens Door, which centered on an abusive relationship between a seemingly perfect couple.

Etomi’s dramatic work won her raves, but U.S. audiences know her best as Nollywood’s rom-com queen. Her uproariously funny global smash, The Wedding Party, satirized the tradition of fantasy nuptials down to the smallest detail and quickly became the nation’s highest grossing film of all time.

Though she stands at the center of the world’s second-largest film market (only India produces more), you don’t need to have be a cinéaste to keep up with her. On Instagram where she boasts over 2 million followers, Etomi’s presence looms large. She’s free to update fans about her latest projects, encourage them to vote in their local elections, and share a few sweetheart selfies with husband, musician Banky W., and she makes the most of her platform, especially where style is concerned.

Etomi is apt to share a picture of herself in ornate gowns from Lagos-based labels like Purple and Matopeda, or switch gears with a sharp Mai Atafo suit. She always makes a point to showcase the best in African design, keeping her outfits as varied as the roles she takes on.

Anita Hill Gave the Oscars After-Party Scene Its Most Meaningful Moment

Among the award winners and Hollywood legends mingling at last night’s Vanity Fair Oscar party, a special guest took center stage. Anita Hill, the groundbreaking activist, academic, and author made her Academy Awards debut. In a year when #MeToo, the fight for gender equality, and increased awareness about sexual harassment have changed the cultural conversation, Hill’s presence couldn’t have been more relevant. She arrived alongside Kerry Washington, who famously portrayed her in the HBO movie Confirmation and Barbra Streisand, adding gravitas to an event typically known for its glamour.

In a demure gown from Susie Cave’s label The Vampire’s Wife, Hill added to the night’s fashion quotient with a little help from stylist Karla Welch; the pair were introduced via former Glamour Editor-in-Chief Cindi Leive. “Cindi and I follow each other, so we obviously know what we both stand for—talk about the power of IG,” shared Welch who has never shied from political commentary on social media. “She felt like I’d be a good fit.”

Though they tried several pieces before settling on the final outfit, a long-sleeved black dress with lace embellished sleeves, Welch, who also styled fellow attendees including Amandla Stenberg and Sarah Paulson, went with her gut when it came time to decide. “We had [some] amazing looks. Man, Anita Hill looks great in everything!”she said. Understated with elegant detailing, the dress meshed with Hill’s personal style and capped off an evening Welch will never forget. “Honestly it was my honor,” she said. “Pinch me!”

Beyoncé Just Took the Ultimate Art-Selfie in This Luxury L.A. Concept Store

When Beyoncé and Blue Ivy go shopping, it’s bound to make headlines. And this week Just One Eye, the luxury boutique in Los Angeles, was the destination for their mommy-and-me adventures. Founded by former Maxfield artistic director Paola Russo, the store has gained cult status thanks to its unique mix of contemporary art and high fashion, and Beyoncé took full advantage of the space’s stunning collection of paintings. With Blue Ivy serving as photographer, she took the ultimate art-selfie in front of a work by Gary Lang. In Marques’Almeida’s striped jumper and matching pants, Beyoncé coordinated perfectly with the backdrop of reds and greens on Lang’s circular canvas.

Never one to skimp on accessories, Beyoncé added on a micro bag from Jacquemus and Oxydo eyewear’s circular sunglasses to complete her look. The end result was an eye-catching outfit immortalized with a multi-photo Instagram post that showed off each element, from the teensy purse to her outsize gemstone rings—each connecting back to the colors of Lang’s work. Designers often draw their inspiration from the gallery space, but it’s rare to see a celebrity do so. Whether her artsy take on dressing was the result of happenstance or careful planning, it made for a refreshing style moment.