Dakota Johnson's Backless Gucci Gown, Horsebit Bag, and Diamond Earrings All Scream Romance
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Dakota Johnson looked like the ultimate rom-com heroine at the New York premiere of Materialists on June 7. In a floor-length, asymmetrical, backless satin gown and strappy sandals, Johnson joined actor Chris Evans and director Celine Song on the red carpet. With some seriously loud luxury, rich-girl accessories, the Fifty Shades of Grey star proved she's ready for romance.
The actress—who is styled by Kate Young—recently frosted her Ferragamo little black dress with a $25,500 Roberto Coin ring. For the premiere of her new romantic comedy Materialists, Johnson accessorized her Gucci gown with Messika jewelry, Oliver Peoples x Khaite sunglasses, and a celeb-beloved Gucci Horsebit 1955 bag.
Johnson's floor-length, asymmetrical Gucci black satin dress hails from the fashion house's Cruise 2026 collection. The stunning gown features an asymmetrical, halter neckline with an open back and a scarf detail, which cascades into a long, thin train.
Leaving her hotel ahead of the premiere, Johnson was seen carrying a Gucci Mini Horsebit 1955 Asymmetric Shoulder Bag, and wearing a pair of Oliver Peoples x Khaite 1951C Sunglasses, which retail for $590.
Johnson's asymmetrical Gucci Horsebit bag—which is among the best Gucci bags to invest in—was a perfect fit for her outfit, which she completed with a pair of strappy black sandals.
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When she isn't working, Johnson can often be found wearing sneakers, and clearly has an extensive collection of enviable footwear. From chunky Nike V2Ks to cow-print Adidas Taekwondo sneakers, Johnson is a regular source of shoe inspiration.
Johnson co-stars with actors Chris Evans and Pedro Pascal in Materialists. The actress plays a matchmaker who finds herself stuck between two romantic prospects—a wealthy bachelor who is her "perfect match" on paper, and her flawed ex-boyfriend.
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Vogue
2 hours ago
- Vogue
Ferragamo Resort 2026 Collection
Maximilian Davis is busy chasing his muse—the elusive blend of sprezzatura and sartorial sleight of hand known as Italian elegance. It's the art of looking effortlessly put-together, even when every fold, cuff, and color combination has been meticulously perfected in front of the mirror for hours. In essence, it's a kind of deceptive nonchalance, an attitude perhaps best embodied by a stylish Florentine flair, of which the Ferragamo archives offer abundant examples. For resort, Davis time-traveled from the roaring '20s to the bold '80s, riffing on the idea of garments passed down through generations. The Ferragamos are more dynasty than family, so it's no surprise that he's drawn to the mythos of heirlooms, classic pieces he reworked through his signature sleek, minimalist lens. Slightly eclectic while keeping its polish, the collection set out to explore 'what defines a person's character,' as Davis put it. To that end, he looked to photographer Karen Knorr, whose portraits of women in private interiors—spaces layered with discordant styles—say as much about identity as they do about taste. A zebra-print throw glimpsed in one of Knorr's photos sparked the collection's animalier thread—an unexpected jolt of wildness against the muted palette of waxed canvas, sun-faded linen, and rich, buttery-soft leather, crafted into lean city coats and relaxed, androgynous tailoring. A standout was a cocoa-and-black zebra-print dress with a pleated bodice and flounced skirt, worn with a shearling shrug that dialed up the '80s attitude. The animalier motif continued in a flowy caftan printed with what could be described as the 'faded memory' of crocodile skin. Another highlight was a series of slinky crepe de chine dresses in barely-there nude tones, each threaded with delicate lace inserts that nodded to the 1920s. Think lingerie reimagined as minimalist eveningwear, sensual but sharp, with fluid but intentional silhouettes. Menswear took a quietly expressive turn, trading overt statements for nuance and precision. Black was swapped out for a deep, inky blue—Davis's nod to the understated sophistication of the Italian way of dressing. 'Navy is such a classic color I've discovered in Italy,' he noted; here, it grounded a soft jersey three-piece suit with a slouchy, relaxed feel, that blurred the line between tailoring and loungewear. The vibe was pajama dressing with purpose: unfussy and stripped of rigidity.


Time Magazine
3 hours ago
- Time Magazine
Materialists Exposes the Inhumanity of Modern Dating
Matchmaking has been an unpaid cultural practice all over the world for millennia, but over time it has become a booming industry. More and more of my dating clients either inquire about my opinion about matchmaking or share that they have used a matchmaking service in the past. One client even had a matchmaker solicit her on LinkedIn with promises of her 'perfect match.' This increased interest in an explosion of matchmaking is due in part to the popularity of shows like Million Dollar Matchmaker, Jewish Matchmaking, Indian Matchmaking, and Muslim Matchmaker. These shows highlight the culturally specific ways that matchmakers can help daters find long-lasting love and the benefits of trusting someone else with the process. That's why Celine Song's new film, Materialists, has come out at such an interesting moment. As people consider their relationships with matchmakers and dating in general, the movie exposes the underbelly of the matchmaking industry. (Spoilers are ahead!) Materialists deftly uses matchmaking to show us just how much modern dating has become an inhumane and often unfair playground that benefits the rich. Throughout the movie, we witness hopeful clients disclosing their unfiltered ageist, classist, racist, and fatphobic requests for partners, all while their matchmaker Lucy, played by Dakota Johnson, listens intently and empathetically. That is, until her career is upended by the revelation that one of her clients, Sophie, has been sexually assaulted by a man who Lucy matched her with—a man whose credentials all turned out to be lies. While attending the wedding of one of her clients, Lucy explains to a potential love interest and brother of the groom, Harry (Pedro Pascal), that being a matchmaker is like being a mortician or insurance claim adjuster because of the job's focus on stats like height, weight, race, and income. She reduces her matchmaking process down to 'math' and even extends this to her own dating life. Harry, who courts Lucy aggressively, is tall, successful, and incredibly rich. Lucy discloses that she makes $80,000 and that he can do better than her. He responds that he has plenty of material assets and is more interested in her intangible assets. The longing for romantic and financial security is ever present throughout the film, making it a tense watch at times. But, as I was leaving the theatre, I heard a group of women say that the movie was 'so cute,' Taken at face value, the plot is pretty simple romance. Girl meets rich boy, but also reconnects with broke ex-boyfriend, John (Chris Evans), and through a series of events, girl decides that love is more important than money. But so much of the film mirrors the horrors of contemporary dating, from discussions of someone's value in the dating market to explicitly stating what makes certain daters more desirable. For men, that means making over $100,000 (the more the better) and being at least six feet tall. For women, that means being young, thin, and beautiful. It seems that all parties want someone 'fit,' and the clientele represented in the movie skews heavily white and heterosexual. This depiction of outlandish dealbreakers, while often raw and horrifying, does not stray too far from the realities of the current dating cultural climate. Song, a former matchmaker herself, does an excellent job of showing the complexities of dating and being the one responsible for facilitating near impossible matches. Lucy is cold and exacting, debating her clients' viability in mainstream or niche markets. This is the kind of calculation I see my clients doing as they try to determine their odds on various dating apps. It's a process that can feel demoralizing unless you become desensitized to it over time. All of this math, these stats, and the quest for the best value completely obviate the search for real love. In fact, for a movie about love, the term is used sparingly. Instead the viewer is privy to the myriad reasons why people partner instead of love: to make one's sister jealous, to have or bear children, to make one's parents happy. Lucy sells her service by talking about how people should be looking for a nursing home buddy, but that's just the hook. Once her clients are on the hook and paying top dollar, they want a product worth their investment. Materialists doesn't have a traditional happy ending, though it does conclude with a wedding. Just because Lucy has chosen John, and all of the financial uncertainty that comes with that choice, perhaps Song wanted us to feel that she has not fully settled. As the couple awaits their turn at a bustling City Hall Wedding Bureau during the final credits, there's an anxiety about whether they will make it. Lucy's materialism is what drove the two apart before. Throughout the movie, Lucy states that marriage is a business agreement, and it always has been. Are we to believe that she's decided to make a bad business decision? We are also left hanging when it comes to whether or not Lucy will accept a promotion at the matchmaking agency or leave the industry completely. All of this ambivalence—of Lucy's moral stance, her standards, her belief in love—is what viewers must contend with. And it's similar to the position of everyone trying to find what they're looking for in dating in this economy. Even in the best of business deals, the numbers don't make sense.


Forbes
19 hours ago
- Forbes
Philipp Plein Unveils The 2026 Cruise Fashion Collection At Cannes
MILAN, ITALY - APRIL 11: Philipp Plein attends the launch of the Philipp Plein FW2025 Watches and ... More Jewels collection during Salone del Mobile on April 11, 2025 in Milan, Italy. (Photo by Pietro S. D'Aprano/Getty Images for Philipp Plein) Set against the glossy star-studded red carpet of the Cannes Film Festival, the Carlton Beach Club sparkled with different kinds of stars: crystal embroidery, slick leather, and a sharp dose of high-octane glamour. The occasion? Philipp Plein's Cruise 2026 fashion collection, Noir Summer Dream, an aptly titled fashion show from the fashion industry's maximalist provocateur. Philipp Plein presents the Cruise 2026 Collection, 'Noir Summer Dream', over Cannes Film Festival Though Cannes is known for its sunshine, the forecast called for another bout of what locals call the 'Cannes Curse,' the unexpected downpours that seem to arrive right on cue each festival season. Sure enough, the skies opened, forcing Philipp Plein to relocate his annual resort show from his lush private villa to the storied Carlton Beach Club. It marked the first venue change in a decade for the designer. Still, the location change felt serendipitous. With its panoramic sea views and storied glamour, the Beach Club proved an ideal runway, or as Plein himself put it, 'the place to be, especially at the beginning of the summer season.' Philipp Plein presents the Cruise 2026 Collection, 'Noir Summer Dream', over Cannes Film Festival Plein's premiere Cruise collection featured 16 looks of models, clad in sculptural black halter gowns and jewel-studded minidresses, that moved through a scene somewhere between Studio 54 and a midnight séance, with a hint of French Riviera maximalism. It all felt like a stylized fever dream with a bit of a cinematic flair, perhaps as a nod to the film festival next door. There was no subtlety present, but then again subtlety has never been Plein's aesthetic point, quite the contrary, in his universe more is more. Plein's debut Cruise collection can be a study in opulence and contrasts: darkness and sparkle, strength and seduction. The collection is a precise ode to cocktail and evening-wear, one of the niche markets that Plein committed to unapologetically since the invention of the brand. Nearly every look was rendered in black, from leather suiting with sharply contoured shoulders to sheer gowns and crystal embellished dresses. The eye did wonder as Plein's silhouettes continue to retain the bravado of his early years. But there was a shift on the runway, his love for excess has been clearly distilled, think of it as less spectacle, and more statement. Philipp Plein presents the Cruise 2026 Collection, 'Noir Summer Dream', over Cannes Film Festival 'I'm not trying to sell basics,' Plein once quipped backstage at the Milan Fashion Week, where he infamously punctuated a 2015 show with a full-scale roller coaster and a declaration that he aimed to 'f*** your mind tonight.' A decade later, the tone may be more refined, but the intention remains provocatively clear. Take for example the little black dress, which Plein showcased with a crystalized, matelassé technique, revealing both Plein's love of embellishment and as well as his evolving command of construction. It was a winner. Guests travelled as far away as Cyprus and Monaco to see the show. 'Like Cannes, Cyprus has this deep appreciation for opulence and luxury, so Plein's dark glamour really resonated with me. Philipp Plein doesn't follow trends, he creates his own universe,' said Natalia Ellinas, CEO, Fashion Forum in Cyprus. Philipp Plein presents the Cruise 2026 Collection, 'Noir Summer Dream', over Cannes Film Festival What Plein cannot avoid is the drama on the runway, in fact, it is ever-present. Think of it as the old Hollywood filtered through Plein's over-the-top moodboard. It reminded me of Plein's recent presentation of his bespoke timepieces at Watches and Wonders 2025 in Geneva, where he unveiled three new watches — the King Phantom, Crypto King, and Diamond Queen — which, unsurprisingly, do not whisper the time so much as pronounce it. Crafted from sapphire crystal and industrial-grade steel, the watches attempt to marry famous Swiss precision with Plein's signature flair. The King Phantom's exposed mechanics mirror the architectural cuts of a leather trench shown in Cannes. The Diamond Queen watch, an over-the-top glittering, gem-encrusted beast of a timepiece, seems tailor-made for the same woman wearing crystal mesh at the Cruise Runway show in Cannes. In both collections, the message from Plein is consistent: luxury should be loud, unapologetic, and with a strong slice of Plein's DNA. 'I am drawn to and inspired by the Plein aesthetic because of how strong his looks are,' said Yasya Minochkina, Monaco-based fashion designer. Philipp Plein presents the Cruise 2026 Collection, 'Noir Summer Dream', over Cannes Film Festival Originally trained in law and launching his design career with crystal-studded luxury dog beds, Plein founded his namesake label 25 years ago, a testament to the entrepreneur he is. Philipp Plein is a ringmaster in the circus of opulence, and, arguably, a character of his own creation. With tattooed arms, and a taste for skulls and superyachts, he has cultivated a persona that merges business and bravado. Being a "luxury rebel" as he calls himself, Plein challenges the traditional, understated luxury market trends. To critics, he's a showman but to his fans, and there are many, he has built a universe where opulence is not looked down upon but celebrated. 'If you want to be boring, there's enough of that in fashion,' said Plein. Philipp Plein presents the Cruise 2026 Collection, 'Noir Summer Dream', over Cannes Film Festival His business model backs that up. Headquartered in Lugano, Switzerland, the self-financed label operates over 110 boutiques across the globe. It remains one of the few large independent luxury brands in an increasingly conglomerate-driven industry. Back at Cannes, Plein's ethos was on full display. Although Noir Summer Dream wasn't about resort utility per se, it was a confident reminder of Plein's manifesto: that fashion, at its most unrestrained can be a thrilling celebration of individuality. Yes it's over the top, but in a world increasingly obsessed with 'quiet luxury' and 'stealth wealth,' Plein's loud confidence feels excitingly convincing.