I can't think of a single time when Ayo Edebiri attended a red carpet event and didn't understand the assignment with her glam. Case in point, she attended the 2026 Met Gala (the theme of which is "Fashion Is Art") for the third year in a row and I audibly gasped at the sight of her chic, messy braid.

The After the Hunt star showed up tonight looking extra ethereal in a sheer, white Chanel dress that was draped over one shoulder and featured a wraparound design. She had two feathers attached to both of her shoulders and a thigh-high leg slit on the dress's left side, but her ensemble isn't the only part of her look that was giving goddess energy. Over the last several months, Edebiri has mostly been spotted out wearing her hair in different variations of the blunt bob, but for tonight, she swapped out her short hair for a little more length, courtesy of hairstylist Jacob Dillon, who styled her for the occasion using a few hair products from Dae. She wore honey brown curls that were slightly lightened at the ends, and they were pulled back into a long, messy braid with a few loose pieces left out to frame both sides of her face.

In an interview, Dillon told Marie Claire that he wanted to create a look that felt "beautiful but not overly 'done.'" "We were going for something soft, romantic, and slightly undone," he said. "There’s a timelessness to a braid, but I wanted to reinterpret it in a way that felt modern and effortless."

He went on to say that he settled on the messy braided look to give the hair a dreamy, romantic vibe. "The inspiration came from that idea of quiet elegance— almost like a lived-in, romantic texture you’d see in old portraits or film, but translated in a way that feels current," he said. "We felt it captured a certain mood that was soft, had movement, as well as a bit of ease."

The rest of Edebiri's glam also deserves a bit of commotion. She wore soft makeup complete with dewy foundation, brown eyeshadow, lengthening mascara, and a hint of color on her lips and cheeks. To seal it all together, the actress wore a short, milky white manicure that appeared to have a hint of shimmer to really add to the daintiness of the whole look.

To create a similar braided look at home, shop a few of the products Dillon used on Edebiri ahead.

My fiancé and I share joint custody of his white button-downs. I blame Carrie Bradshaw in Season 3 of Sex and the City, when she wears the Oxford better than Big. Now, thanks to Ayo Edebiri, I might just purchase my own. On April 28, she styled a white button-down as a dress on Late Night With Seth Meyers, complete with features I've only found in the men's section.

I gasped when Studio 8G's loft-like doors revealed the guest of honor, in all her Chanel girl glory. The brand ambassador supported creative director Matthieu Blazy—and his first Cruise fashion show from afar—in one of his standout Spring 2026 styles. Stylist Danielle Goldberg dressed her in a perfectly-oversize button-down from Chanel's recent collaboration with French shirtmaker Charvet. The tuxedo shirt was crisp in every sense of the word, especially its razor-sharp collar, pronounced placket, and thigh-grazing hem. Blink and you'll miss "Chanel" in red, cursive embroidery centimeters beneath her bust.

Blazy stacked the runway Oxford over a black, high-low maxi skirt. Edebiri, however, left it in the garment bag. Simply put, she didn't need it. Blazy's intentional, 1920s-inspired design ensured the hemline reached mini dress lengths. The Bear star went pantsless in nothing but black tights and patent pumps from Gianvito Rossi—a classic yet sultry move worthy of Carrie Bradshaw's applause.

It's worth noting the extra-long shirt looks luxe with jeans, too. Last October, Nicole Kidman attended the Chanel spring show in the same button-down and straight-leg denim. A few months later, Jessie Buckley wore it just as Blazy intended: over a twill maxi skirt and cap-toe pumps.

To finish, Edebiri embraced its blank canvas charm by draping a tomato-red boa around her elbows. Eagle-eyed fashion girls will recognize its voluminous feathers (and the Spring 2026 color trend they embraced) from the Métiers d'Art Spring 2026 show. It added dimension to a leather matching set, which Edebiri wore boa-free on The TODAY Show last Friday.

White button-downs like Edebiri's are no longer just an outfit's base layer. This spring, they're the main character, according to Katie Holmes, Zendaya, Zoë Kravitz, and more. Hopefully more VIPs will realize their full shirt-to-dress potential soon. I know I have.

Shop White Button-Down Dresses Inspired by Ayo Edebiri

There's nothing like an excellent drama movie—one that transports you into a captivating narrative and challenges your point of view. While the best dramas of 2025 are currently the subject of awards season celebrations, it's time to start looking forward to the films heading to theaters in 2026.

This year, several of Hollywood's biggest directors are set to release new films, from Christopher Nolan's take on The Odyssey to Steven Spielberg's latest alien invasion to David Lowery's highly anticipated Mother Mary. Below, we're tracking the genre-bending romances, blockbuster epics, and indie darlings that are sure to be among the best drama movies of 2026. (If you still need to catch up on last year's award winners, check out our list of the best drama movies of 2025.)

The Best Drama Movies Coming in Winter 2026

'Wuthering Heights'

Release date: February 13

Starring: Margot Robbie, Jacob Elordi, Hong Chau, Shazad Latif, Alison Oliver, Martin Clunes, Ewan Mitchell, and Owen Cooper

Why it’s worth seeing: Emerald Fennell's take on the classic Emily Brontë novel may be divisive with book purists, but based on early reviews, the "messy" and "yearning romance" will be perfect Valentine's Day viewing.

WATCH THE TRAILER

The Best Drama Movies Coming in Spring 2026

'The Drama'

Release date: April 3

Starring: Zendaya, Robert Pattinson, Mamoudou Athie, Alana Haim, Hailey Gates, and Zoë Winters

Why it’s worth seeing: What happens when you learn a horrifying secret about your spouse just days before the wedding? If you're in an A24 dramedy, things get harrowing.

WATCH THE TRAILER

'Mother Mary'

Release date: April 17

Starring: Anne Hathaway, Michaela Coel, Hunter Schafer, Atheena Frizzell, Kaia Gerber, Jessica Brown Findlay, Isaura Barbé-Brown, Alba Baptista, Sian Clifford, and FKA twigs

Why it’s worth seeing: David Lowery's new film finally hits theaters this year. It stars Anne Hathaway and Michaela Coel as an iconic pop star and her estranged costume designer, who reunite ahead of the singer's comeback.

WATCH THE TRAILER

'Michael'

Release date: April 24

Starring: Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, Miles Teller, and Colman Domingo

Why it’s worth seeing: Michael Jackson is the latest pop icon to get his own biopic, with the King of Pop's real-life nephew bringing the film to life.

WATCH THE TRAILER

The Best Drama Movies Coming in Summer 2026

'Disclosure Day'

Release date: June 12

Starring: Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, and Colman Domingo

Why it’s worth seeing: The plot for Steven Spielberg's latest sci-fi epic is mostly under wraps, except for this ominous tease: "If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people. We are coming close to…Disclosure Day."

WATCH THE TEASER

'The Odyssey'

Release date: July 17

Starring: Matt Damon, Tom Holland, Robert Pattinson, Zendaya, Elliot Page, Mia Goth, Anne Hathaway, Jon Bernthal, and Lupita Nyong'o

Why it’s worth seeing: For his follow-up to Oppenheimer, Christopher Nolan has gathered a new star-studded cast for his adaptation of Homer's epic poem.

WATCH THE TRAILER

The Best Drama Movies Coming in Fall 2026

'The Social Reckoning'

Release date: October 9

Starring: Jeremy Strong, Mikey Madison, Jeremy Allen White, and Bill Burr

Why it’s worth seeing: In this "companion piece" to The Social Network, Kendall Roy himself takes on the role of Facebook founder Mark Zuckerberg. Per Variety, the film "tells the true story of how Frances Haugen (Mikey Madison), a young Facebook engineer, enlists the help of Jeff Horwitz (Jeremy Allen White), a Wall Street Journal reporter, to go on a dangerous journey that ends up blowing the whistle on the social network’s most guarded secrets."

'Narnia'

Release date: November (exact date TBA)

Starring: Emma Mackey, Daniel Craig, Carey Mulligan, David McKenna, Beatrice Campbell, and Denise Gough

Why it’s worth seeing: Greta Gerwig's upcoming take on C.S. Lewis's The Chronicles of Narnia series is the most secretive film of 2026, but two things are guaranteed: It will be released in theaters (in IMAX no less!) and, based on the Barbie director's track record, it'll be unmissable.

The Best Drama Movies Coming Soon in 2026

'Clarissa'

Release date: TBA

Starring: Sophie Okonedo, David Oyelowo, India Amarteifio, Ayo Edebiri, Toheeb Jimoh, and Nikki Amuka-Bird

Why it’s worth seeing: Acclaimed filmmakers Arie and Chuko Esiri are behind this modern reimaging of Virginia Woolf's novel Mrs. Dalloway, which will follow the titular socialite (Sophie Okonedo) as she "prepares to host a party at her home in Lagos, Nigeria, where she will unexpectedly encounter once-intimate friends from her youth," per Deadline.

'Here Comes the Flood'

Release date: TBA

Starring: Denzel Washington, Robert Pattinson, Daisy Edgar-Jones, Danai Gurira, Sean Harris, Moisés Arias, and Justin Kirk

Why it’s worth seeing: TBH, all we needed to hear was "Denzel Washington and Robert Pattinson starring" to add this Netflix thriller-drama to our watchlists. For anyone who needs the synopsis: "Here Comes the Flood is an unconventional heist movie about a bank guard, a teller, and a master thief in a deadly game of cons and double crosses."

'The Invite'

Release date: TBA

Starring: Olivia Wilde, Seth Rogen, Penélope Cruz, and Edward Norton

Why it’s worth seeing: The buzziest movie of Sundance is already headed to a wide release, thanks to A24. Wilde directs and stars in the ensemble dramedy, following a "dinner party between a couple who are going through a rough patch and their upstairs neighbors, who turn out to be swingers," per Variety.

'Josephine'

Release date: TBA

Starring: Gemma Chan, Channing Tatum, Philip Ettinger, Syra McCarthy, Michael Angelo Covino, and Mason Reeves

Why it’s worth seeing: This Sundance darling is already getting Oscar buzz. "After 8-year-old Josephine (Reeves) accidentally witnesses a crime in Golden Gate Park, she acts out in search of a way to regain control of her safety while adults are helpless to console her," reads the Sundance logline.

The 2026 Golden Globes best-dressed list sure knew how to make an impression.

From the moment the 83rd Annual Globes red carpet began on Sunday, Jan. 11 until host Nikki Glaser walked onstage for her opening monologue, guests paraded into the Beverly Hilton ready for the cameras. Last weekend's Critics Choice Awards kicked off the year's awards circuit, but the Golden Globe Awards are where we really see celebrities embrace all-out glamour. (Academy Awards voting opens the following morning, after all—nominees know wearing a memorable look can make their case for a nomination.)

At Hollywood's Biggest Party, first-time nominees like Eva Victor and Amy Madigan set out to cement their style legacies in Loewe and Thom Browne, respectively. Debut presenters Hudson Williams and Connor Storrie, of Heated Rivalry fame, turned up the temperature in Giorgio Armani and Saint Laurent. Chanel notched its first Golden Globes under Matthieu Blazy's leadership and landed two looks on this list, for Ayo Edebiri and Selena Gomez. And the night's first winner, Teyana Taylor, made Globes history in the sort of Schiaparelli dress the stage definitely hasn't seen before.

Ahead, see all the best red carpet looks from the 2026 Golden Globes. Then, start making your Actor Awards (formerly SAGs), BAFTA, and Academy Award best-dressed ballots. Chances are, we'll see these stars, stylists, and designers make the list again in a few weeks.

Ayo Edebiri wearing Chanel

Interim style director Ana Colón correctly predicted the 2026 Golden Globes would be a big night for Matthieu Blazy's Chanel. No one on the Marie Claire team was ready, though, for the way we collectively sighed over Ayo Edebiri's dress from Métiers de Art collection, styled by Danielle Goldberg.

Like us, Edebiri told E! she was blown away by the collection. Unlike us, she got to take the velvet, off-the-shoulder gown off the runway and on to athe red carpet. "It was the most beautiful, cinematic show," she said. "Me and my stylist saw this gown and we were like, 'That's the one.'"

Hudson Williams wearing Giorgio Armani

One-half of everyone's favorite (fictional) hockey rivalry arrived at the 2026 Golden Globes early—and made editors grateful they tuned in before the main broadcast.

Heated Rivalry took over pop culture so quickly, star Hudson Williams likely had his pick of designers for his big night. He and stylist Anastasia Walker landed on a slick Giorgio Armani tuxedo jacket (open over a matching cummerbund and shirt, natch) and black trousers. His unbuttoned shirt gave a sneak-peek at his Bvlgari necklace, a sign of the many megawatt fashion partnerships to come for the rising actor.

Eva Victor wearing Loewe

Sorry, Baby writer and actor Eva Victor used their first Golden Globes nomination to share the debut spotlight with Loewe's newly-minted creative directors, Jack McCollough and Lazaro Hernandez. It's hard to pull off red on a red carpet, but, styled by Danielle Goldberg, the chili pepper tone was bright enough to stand out amid a sea of black dresses.

Tessa Thompson wearing Balenciaga

Tessa Thompson's brand of method dressing is more subtle than her Hollywood peers'. To the naked eye, this looks like a second-skin Balenciaga gown comprised of miles of sequins. But according to Thompson, it was her homage to Hedda, the character who earned her a nomination tonight.

"My character, she slinks around throughout the film in a green dress," she told E!. Live and in person, Thompson (and stylist, Karla Welch) let the dress shine underneath beachy waves.

Amy Madigan wearing Thom Browne

Amy Madigan and stylist Andrew Gelwicks are on a custom suiting tear. Last week at the Critics Choice Awards, she took home the Best Supporting Actress trophy in an intricately embroidered Dior suit. Seven days later, she's running it back in a dapper Thom Browne coat (with tails!). Maybe it's too early in the night to say, but it seems to me she's manifesting around win with this all-out tailoring moment. Or, to quote Colón: "She's taking it!"

Connor Storrie wearing Saint Laurent

As promised: your second helping of Heated Rivalry excellence. Connor Storrie isn't here just because, as one team member noted, "his jawline is made for the red carpet." Storrie and stylist James Yardley secured Saint Laurent by Anthony Vaccarello for his debut Golden Globes. In fashion circles, that's nearly as impressive as scoring a hat-trick in the NHL.

Selena Gomez wearing Chanel

Several Marie Claire editors were typing the same Slack message when Selena Gomez arrived on the 2026 Golden Globes red carpet. Specifically, they were typing the same word: "Feathers!" 323 hours of work in Chanel's atelier resulted in this custom gown set with "200 embroidered elements," according to the brand.

A black column silhouette is a red carpet classic, seen at ceremony after ceremony. Topped with those rows of feathers—and Gomez's still-dazzling engagement ring—it's something completely new, thanks to Erin Walsh's styling.

Teyana Taylor wearing Schiaparelli

Before Best Supporting Actress winner (and former Marie Claire cover star) Teyana Taylor collected her trophy, she had to call-out her custom Schiaparelli Haute Couture dress. "Wait—the party in the back!" she said, turned around to show the Beverly Hilton ballroom the centerpiece detail: a "silver-rhinestone bijou thong" peeking out from a cut-out at the back of her gown.

Earlier, on the red carpet, Taylor said the Wayman and Micah-styled ensemble looked "expensive." Contrasting the sculpted bodice and long, black train of her gown, her description is right on the money.

Chase Sui Wonders wearing Balenciaga

When she stopped by Marie Claire's Close-Up column beforeThe Studio's official premiere, Chase Sui Wonders told us how much she loves to shop vintage. She and stylist Thomas Carter Phillips didn't go the secondhand route for the 2026 Golden Globes, but they did work in her affinity for style eras past in this stunning Balenciaga gown.

While her day-to-day style can lean '90s-inspired, she harkened back to Old Hollywood in a jewel-tone green strapless number. New creative director Pierpaolo Piccioli has spent the start of his tenure diving back into Cristóbal Balenciaga's archives for heritage silhouettes and tones. The move is a perfect match for Wonders's old-is-new-again approach to the red carpet.

Rhea Seehorn wearing Louis Vuitton

Pluribus star Rhea Seehorn earned her Best Actress in a TV Series – Drama nomination fronting a series where her enemies all think, act, and dress the same. (That is, without any personal style.) On the show and on the 2026 Golden Globes red carpet, the actor prized individuality. She told me this Louis Vuitton dress—crafted from gold brocade in the label's Paris atelier, with tailoring by stylist Jessica Paster—made her feel like a "superhero." She'll share more details in our upcoming edition of The Close-Up. For now, I have to agree that this one looks like it could channel a Golden Globes trophy...or save the world.

Olandria Carthen wearing Christian Siriano

The end of Love Island USA season 7 was the start of Olandria Carthen's ascent in fashion. Styling duo the Reismans followed up their star client's recent tour through Golden Globes weekend parties with the main event: a corseted Christian Siriano trumpet gown.

Commentators online have been asking if Carthen is "fashion's next It girl," and this look says an emphatic "yes." From the sculpted tailoring to the eye-popping shade of green and rows of Anabela Chan diamonds, it's the sort of red carpet moment that reads like an arrival.

Winter is one of the best times of year to wear a protective style to protect the ends of your hair from drying out due to cold weather, and while styles like braids are often unfairly characterized as being "boring," leave it to Ayo Edebiri to prove that protective styles are some of the most versatile hairstyles out there.

The After the Hunt star attended Chanel's Métiers d’Art Show in New York City on Dec. 2, where she showed up wearing an all-black, tweed skirt suit featuring a wraparound skirt with a slit on one side and a blazer made with an oversized bow on one shoulder and buttons that spelled out "Chanel" in the front. She paired the suit with a pair of vintage white heels with black caps on the toes and a black bowler hat. Under the hat, Edebiri wore her hair in micro braids that were half-braided and styled in curls that flowed just past her shoulders.

Micro braids are one of my all-time favorite protective styles. As evidenced by the name, these are super-thin braids that are meant to mimic individual strands of hair. Micro braids were super-popular in the early 2000s but have had a resurgence over the last few years after falling out of the trend cycle for a while. These require about the same amount of care as traditional and knotless box braids, but if they've been on your hair vision board for a while and you need some care tips, read ahead for some products that might come in handy.

This story contains references to sexual assault, which may be distressing to some readers. If you or someone you know has been affected, you can call the National Sexual Assault Hotline at 800-656-4673 or visit rainn.org for confidential support.

This story contains spoilers about the entirety of After the Hunt. About a decade ago, it seemed as if conversations around college campus sexual assault had reached a fever pitch. In 2014, the White House published the first report of its kind, “Not Alone,” which included action items and statistics surrounding sexual violence at American universities. In the following months, high-profile cases, like the University of Virginia scandal and the Brock Turner trial at Stanford, received widespread media attention.

#MeToo unfolded just a few years later, bringing more attention to power imbalances. Luca Guadagnino’s latest film, After the Hunt, is set in the wake of these moments, examining how they did or didn’t affect different generations and the shifting currents of power. Written by first-time screenwriter Nora Garrett, the knotty, ‘90s-thriller-esque drama focuses on how Yale epistemological thought professor Alma (Julia Roberts) contends with allegations made by her star PhD student Maggie (Ayo Edebiri) against Hank (Andrew Garfield), her longtime friend and colleague (and competition for tenure).

Garrett, who studied acting and writing at NYU’s Tisch School of the Arts and graduated in 2013, explains to Marie Claire over Zoom that no one real-life or personal incident was the blueprint for After the Hunt, but the cases that unfolded after she left higher education stuck with her. “Those cases very much impacted me—I think in a way that was difficult to quantify at the time,” she says. “Watching them meet the justice system in some way—and the failures of justice that were carried out occasionally—was pretty seismic.”

After struggling to launch an entertainment career, working as a personal assistant to A-listers, and briefly at Meta, Garrett—driven by thoughts of hierarchies, mentors, and success—wrote After the Hunt, which sold in 2022 and attracted Guadagnino in 2023. Setting the story at an Ivy League institution felt all but inevitable, she says, because of the power structures they cast. “There’s a slippery understanding of how much people in power can get away with because there is that worshipful student-professor relationship. I was interested in those multi-layered microcosms that both draw their prestige from an ancient endowment, literally and figuratively, and don't always live up to that.”

And setting it in the ethics department was meant to be both tongue-in-cheek and honed in on one of the film’s central conceits: “They might teach something—the ideas are beautiful—but when it comes to your own life, you might not be able to actually subscribe to those ideas that are so easy to tell other people to subscribe to.”

Ahead of After the Hunt’s October 17 nationwide theatrical debut, Garrett answered all of our lingering questions about the film, from how Guadagnino’s vision changed about the story to why survivor stories matter.

Marie Claire: Why did you set the movie two years after the #MeToo movement? And what do you think that moment failed to address for both people of Alma’s generation and Maggie’s?

Nora Garrett: The choice to set it in [2019] was more based on wanting to keep the story pre-COVID. But these things—Brock Turner and UVA and the #MeToo movement—all really started occurring when I was in my mid- to late-20s. I had experiences prior that probably would've been very different, had I been able to have the understanding, reckoning, and language that #MeToo really supplied us with, and the horrible and wonderful trove of women’s stories that came out because of that movement. I say wonderful only in the sense that it emboldened a lot of other women to look at each other and feel, There's actually solidarity here, power, and movement here. Before, it felt so isolating and siloed.

We live in a culture in which extremity is preferred, and I think that when these moments occur, there's obviously a lot of attention, but they’re still playing out. And I think that that reckoning will probably have to happen again, but in a different form. I hope that it's given younger generations more language, more understanding, more resources than I certainly had in my early 20s—but I think the idea of total parity still has not been solved.

MC: All of the characters are imperfect. Why did that feel essential?

NG: What was very important was nuance. I have felt personally very frustrated by—and I think a lot of people share this sentiment with the insane pressure and political machinations foisted upon women who do come forward—this idea that there has to be a perfect blueprint for someone who's allowed to have their experience.

Right now, I think we have a really hard time holding two truths in our heads at the same time. We have a really hard time with gray area and nuance, and it's really difficult for us to say or to reckon with:This person was my really good friend and so wonderful to me, and how is it possible that they did this thing to this person? And this person had a completely different experience of them? How do I make those two things make sense?

I’ve received some feedback where people have told me, “I am sure Maggie lied because she lied about plagiarism.” My question to them is always, “Why does that make a one-to-one?” I understand that we're all trying to line up each other's character based on past behavior, but two things can be true even if they seem contradictory.

MC: The characters are all powerful in their own way—whether they’re wielding power, coming into it, or losing it. What about that interested you?

NG: I got really fascinated with, What happens to people in power? How do they particularly get that type of power? What about them in particular? It'd be hard to say that we societally are not obsessed with power, and specifically, in capitalism, obsessed with the type of power that comes with a certain type of salary and visibility. It feels like, Once I get that, my identity will be shored up.

That was really where Alma began the narrative: She was waiting for tenure, and once she got that, she'd be unassailable and on the other side of something. It was interesting to have something happen to her that kept her from that.

MC: When you were originally writing the film, were you certain in your belief of what really happened to these characters?

NG: I was—in the same way that Andrew had a very clear narrative for what happened, and Ayo [Edebiri] had a very clear narrative for what happened. I don't know if all of our narratives agree, and I think that's the beauty of how this film was constructed under Luca [Guadagino]'s leadership.

MC: When the script was picked up and Luca Guadagnino came on board, a lot was added. How did working with him help shape the final direction of the story?

NG: Luca expanded every metaphorical element of the script and definitely pulled out more of the tension between the characters—different identity markers—and within each character, wanted to expand how many dichotomies they had, how many different power structures they were maybe operating within or felt as if they were operating without.

In my original script, Maggie was not of any particular race. When Ayo came on board, it was integral to making the text feel like something relevant and honest to having her voice in combination with Luca's on her character. And then my original ending was much more black and white. You had much more of a sense of who did what in the original draft and had much more of a sense of a very clear moral arc. Luca was more interested in the ambiguity of what happened that night, extending all the way through to the end of the film.

MC: I understand Luca wanted to emphasize the generational differences between Alma and Maggie, but I’m curious if Alma’s affair was always in the screenplay?

NG: That was always part of the story. The affair, to me, was important because it felt like Alma and Frederick's relationship was one of such patient, true love. And Alma is the type of character that could not live without testing that—not maybe on a conscious, manipulative level, but just in a sense of feeling, I don't deserve that. There's a kinship with them because of their similarities in the way that they turn over thought and the way that they exist in the life of the mind and in the sort of competitive jockeying atmosphere of higher education. I wanted that affection to be real and complicated because I think that if it's not real, then hearing what he did or didn't do doesn't have the same amount of potency and necessity for introspection.

In terms of the generational differences, that was something Luca was very passionate about. He was really wary of this notion that we were going to come down very hard on one generation versus the other. He wanted the very humane, compassionate perspective that everyone is a product of their particular social moment and that it's really difficult to divorce your identity from everything you were taught and used to navigate.

MC: Was there a particular scene that was difficult to write, either structurally or emotionally?

NG: The moment of Maggie's confession was really, really difficult to write, and that was something where I both wanted to be very protective of that experience and wanted to be very faithful to as much as I could in this imagined experience for Maggie. Those are moments as a writer where you hope that the empathetic experience is one of understanding, as opposed to a feeling of, That was not translated correctly.

MC: Was it just as difficult to write the moment about Alma’s confession to Frederick in the hospital, given all of the nuances there?

NG: Something that made the hospital conversation slightly easier was writing from Frederick's perspective. This was a scene that took a lot of shaping with Luca's involvement. It was very important that even if Alma, at the end of the film, is still caught in this feeling of self-denial, Frederick is there very lovingly holding out a different option and a different narrative that could be possible for her that he potentially sees as what really happened.

MC: There have been a lot of reactions from people interpreting Maggie and Alma as opposing one another, but what did you intend their different ideologies and experiences—especially one of maybe self-acceptance and self-denial—to represent?

NG: It was never my intention to have them feel like opposing figures. I mean, obviously, they are characters in conflict with one another; there were expectations that were horribly disappointed on Maggie's end, and Alma, in that initial moment, was caught in her self-denial. The thing about self-denial is that when someone else is in front of you, saying the thing that would cause you to look at that denialism and reevaluate it, it can be incredibly difficult to be in that present moment with them because of how it hits you and because of what that would mean for the life and narrative that you've constructed for 50-some-odd years.

It's not about pitting women against each other. I don't think that that is something that I feel confident or comfortable saying is part of the narrative. My hope is that the film helps the audience members understand why these two women would feel the way they do about each other because of their own intrinsic makeup and emotional foibles and imperfections.

MC: It’s not such a one-to-one of progress because everyone is coming to something with different experiences.

NG: Some of the responses in Venice, I remember feeling that feeling as an artist, where you feel like, Oh gosh, no, that's not what I meant at all. But of course, if you want people to bring their opinions to it and to spark conversation, you don't get to pick and choose what those opinions are. People are allowed to have their responses, and it's necessary.

But, to me, depicting someone—a woman responding imperfectly to another woman or a woman perhaps providing imperfect leadership—feels like something that does happen. It's something that I know anecdotally and from other people's experiences that there can be a real loneliness to feeling left as a young woman by someone you wanted to be or a mentor, who is also a woman. That does sometimes come from the generational divide and the scarcity mindset that one generation grew up with. But again, it is not about saying, “how bad of a woman she was.” It's about what complicated internal struggle perhaps hampered Alma from being the type of person she perhaps really wanted to be in that moment.

MC: You mentioned that Luca wanted the ending to be more ambiguous. Did the two of you work together on the epilogue? Was it his vision to have it play out sort of dream-like?

NG: When Luca was starting to think about how he wanted the visual language of the film to sort of ride parallel against the messaging of the film and the themes of the film, he was focused on a lot of films that had a prologue-epilogue structure. My original draft always had a coda. It just wasn't as many years in the future. He wanted a sense of, How can we speak to the reality of sometimes in culture, these really seismic things happen, in which perhaps it feels like one person's life is over? And then you realize that there's this smoothing out that occurs because of time and power, and how difficult the shadow of power is to remove once given. He wanted to see both characters settled into themselves.

MC: After the Hunt isn’t the only movie about the fallout of a campus assault that’s come out this year. Sorry, Baby is about a similar story. Why do you think we still need these stories, and how are the narratives surrounding them continuing to change?

NG: I did see Sorry, Baby, and I loved it. Eva Victor is a really fantastic voice and storyteller and performer. They had a really beautiful quote that I remember reading where they said something like, “You put these stories out there and you kind of hope no one will resonate with them, because obviously nobody wants these experiences for other people, but then people do resonate with them.” There's a relief in the resonance of, I'm not alone in this, and there's also a deep grieving for the fact that you're not alone in this.

My favorite books, films, plays, television are always about, Oh, I'm not alone in this, or helping me feel something that perhaps I hadn't given myself permission to feel. I think that as long as we need to keep having those resonant experiences, we'll keep talking about stories like this, because I feel like there can be such isolation and shame and anger and bevy of really internal facing emotions and in stories like this that I think when faced with recognition and understanding and compassion have the opportunity for the beginnings of a certain type of healing. That’s necessary, even as you hope that eventually these types of stories don't occur. Saying something like that feels a little bit naïve, but perhaps it's nice to be a little bit naïve, if it means also being hopeful.

For anyone who thinks the bob isn't a versatile haircut that can be styled a multitude of ways, Ayo Edebiri is here to prove you wrong. She's currently in the middle of a press run to promote her upcoming film, After the Hunt, and I'm living for all the different ways she's styled her bob for a string of different appearances over the last few days. Her looks to date have included a curly bob and a wavy bob, and she just added another big upgrade to the style this week: bangs.

Edebiri made an appearance on Late Night with Seth Meyers on Oct. 2, wearing a flowy, multi-color printed dress with strappy black heels. A few days ago, she was spotted out in New York City with her hair cut into a curly lob, but for this appearance, she decided to switch things up, opting for an even shorter cut that fell just above her chin along with wispy bangs. She also added a retro flip to the ends of her hair to tie the whole look together.

The flipped bob is a nod to the '60s, the era in which it was popularized, but it's been slowly making its way to the top of this year's major hair trends. Keira Knightley popped out at an event in London last week wearing one, while Tyla wore the style to a New York Fashion Week event earlier this month. It's also been worn by other stars like Zendaya and Selena Gomez, proof that it's the perfect way to customize and add some shape to a blunt cut.

Read ahead to shop some flippy bob essentials.

2025's bob takeover taught me that there are so many more ways to wear a bob than the simple blunt cut. For example, Sofia Richie reminded me that French bobs exist, while other celebrities like Tyla and Keira Knightley made the flipped bob cool again. Now, Ayo Edebiri is serving curly bob inspiration up on a silver platter, proving that bobs are one of the most effortlessly chic haircuts of them all.

The actress has spent the last few days in New York City promoting her upcoming film After the Hunt. Over the weekend, she was photographed running errands while wearing a long-sleeved, oversized white T-shirt with a sweatshirt draped over her shoulders, paired with navy blue athletic shorts. She wore black sunglasses and completed the chic, just-got-out-of-bed look by wearing her brown ringlets in a shoulder-length bob haircut.

Edebiri attended the After the Hunt red carpet at the New York Film Festival the night before, and during that event, her hair was slightly blown-out with a few natural waves, but it looks like she decided to go all in with more springy curls the following day.

Curly bobs are a great way to wear thicker textured hair when the weather is warm, but they can also give the illusion of more volume. They're also pretty easy to maintain at home. If you just added Ayo Edebiri's springy bob to your fall hair inspiration lookbook, read ahead for a few products and tools that may come in handy when styling one.

After being cast in Hulu's hit show The Bear, Ayo Edebiri has become one of the Emmy red carpet's stars to watch. At almost every award show, the actor shows up ready to claim her award and coincidentally serves the best look of the night—pretty much without even trying.

At last year's show, for example, she churned out three different Emmys night looks. Edebiri started off in a whimsical Bottega Veneta gown, which she wore on the red carpet pre-show. She arrived in a custom column dress which was covered in black and orange sequins.

To claim her award for Supporting Actress in a Comedy Series, Edebiri pivoted to a luxe leather number. The strapless design—a Louis Vuitton creation—featured a bubble-like skirt and a strapless bodice. For those keeping score, it's likely one of the most stunning looks she's ever worn.

Later that night, Edebiri changed into another Bottega Veneta design for the after-party. This time, she chose a mini dress with a gold detail at the shoulder, reminiscent of the brand's iconic Sardine Bag.

At tonight's show however, Edebiri's look was an unusual zero out of 10, because the star was nowhere to be found. It's likely that a scheduling conflict is to blame for her absence, given that she's rumored to be filming for her latest project, Prodigies. Even so, the star is nominated for both Directing for a Comedy Series and Lead Actress in a Comedy Series.

Truth be told, Ayo Edebiri never needed to walk the 2025 Met Gala red carpet to prove she could embody this year’s theme, “Tailored for You.” The burgeoning actress has already established herself as a style icon who knows her way around a suit. So, it comes as no surprise that tonight, as one of the event’s esteemed host committee members, she soared to the top of the best-dressed list, with equally stunning makeup and hair to match.

Edebiri arrived at the Metropolitan Museum of Art in an elegant Ferragamo outfit designed by Maximilian Davis. Her tailored look was defined by a white collared dress decorated with vibrant red beads. Stylist Danielle Goldberg brought Edebiri’s symbolic ensemble to life with a broach-adorned leather suit jacket that swept the floor. She topped off the refined uniform with sheer gloves that delivered a dose of drama.

"This is inspired by my dad, my grandfather, and tailoring,” said Edebiri during an interview on the red carpet.

As for glam, makeup artist Dee Carrion for Dior created a haute editorial look for the actor. "We wanted to create a look that was a little bit different from Ayo’s usual glam," she tells Marie Claire exclusively. "We opted for a thin brow and and long skinny outer eye lash to create an editorial feel." She adds that Edebiri came to her with the idea for the thin brow, which felt particularly fresh and exciting. "When I saw the outfit i knew that I wanted to keep the glam somewhat simplistic but effective," she says. "I wanted the dress to really shine and be the moment."

As for hero products used in the look, Carrion utilized the Dior Forever Glow Luminizer to create a beautiful luminous glow on the actor's cheekbones, as well as the Dior Addict Lip Glow Oil in Mahogany to add a glossy finish to her lip.

As for her hair, stylist Jacob Aaron utilized OGX products to sculpt Edebiri's glossy updo. "For the day of, we chose a sleek, sculpted look that felt regal and refined—something that complemented the structure of her gown while also nodding to her Nigerian heritage," Aaron states in a press release from the brand. "It was important to us that the hair felt intentional and rooted in identity, while still delivering that Met Gala polish and red-carpet presence.” The OGX Touchable Hold Gel was the star of the show here to keep flyaways at bay and to hold the rope-like bun in place throughout the night.

This isn’t Edebiri’s first Met Gala rodeo. The actress made her unforgettable debut last year while wearing a blossoming Loewe halter neck gown. Plastered with hand-painted floral lace and vibrant 3D appliqué flowers, the star’s ethereal column dress championed intricate craftsmanship. Goldberg decorated Edebiri’s look with shimmering Boucheron jewels, including a pair of pendant earrings and an embellished ring.

Makeup artist Dana Delaney created a fresh and dewy look with radiant pink blush and glistening eye shadow to match. Meanwhile, hair stylist Miles Jeffries kept things simple with a slicked back updo that exuded an undeniably polished feel.

Edebiri’s impressive Met Gala outfits are just two of many looks that have placed the actress in Hollywood’s stylish It-girl category. Several months ago, at the NAACP Image Awards, she stole the spotlight in an archival halter neck Versace gown cut from silver sequined fabric. Goldberg turned Edebiri’s ruched chainmail dress up a notch with dazzling silver heels and sparkly diamond studs.

If there’s one thing for certain, it’s that Edebiri is carving out a name for herself in the fashion world.

I pledge allegiance to the flag—sorry, I meant Ayo Edebiri.

The actor has been on a red carpet marathon the last few weeks, churning out look after stunning look in promotion of her latest film, After the Hunt. Though she's become a fashion darling in her own right, Edebiri has predominantly bucked current trends—for lack of a better word.

Despite the season, spring pastels and frilly dresses have been virtually nonexistent in the Opus star's wardrobe. Instead, stylist Danielle Goldberg has steered her client toward hyper-minimalist silhouettes, androgynous workwear, and bold primary colors. And Edebiri's latest look played right into this theme.

On April 7, she attended a New York City gala wearing a tiered creation by emerging designer Lii. The piece combined menswear-inspired cuts (a design trick the label is known for) with the vibrant colors of Americana. During a time when patriotic motifs can elicit mixed reactions, this take on the star spangled banner is one I absolutely stand for.

Edebiri's red, white, and blue gown has yet to hit stores, but the pumps she accessorized with are shoppable now. She chose a pair of glossy naked sandals from Gianvito Rossi, which cost $895 at retail.

Beyond her luxe footwear, the only other addition to the look was Edebiri's red-tinted power bob—which matched her 'fit perfectly, I might add.

Edebiri often keeps her red carpet beauty low-key in service of spotlighting emerging designers. She's also promoted indie labels like Commission and Colleen Allen at A-list events, both newcomers to the New York Fashion Week schedule in recent seasons alongside Zane Li of Lii. When she isn't going the indie brand route, her lineup is stacked with archival Prada and off-the-runway pieces by The Row.

No matter the label, this star takes the freedom to express herself seriously.

Shop Pieces Inspired by Ayo Edebiri

Every morning, I scroll through Instagram and Google, desperately searching for an exciting celebrity outfit to report on. And every morning, I'm met with more trench coats, more plain black totes, and more leather loafers. I am literally starving for style. Thankfully, Ayo Edebiri is serving up fashion with a capital F, on a silver platter.

On April 2, the Opus actor made an appearance at CinemaCon 2025 in Las Vegas—and, dear reader, she came to serve. Edebiri treated the film convention like fashion week, walking the red carpet in the chicest 'fit I've seen in days.

She wore a minimalist tunic made of black nylon fabric, which had zip-up details on the sleeves and bodice. Beneath it, she layered a semi-sheer skirt in frosted white organza. The maxi was equipped with a similar zipper, which Edebiri left undone for a DIY thigh-slit moment.

Though her look was simplistic as they come, the set felt elevated and decidedly high-fashion, thanks to a few well-chosen accessories. She wore Prada's Rete Nylon Mesh Slingback Pumps in white. The naked shoe boasts a pointed toe and the brand's signature inverted triangle logo. One one of Prada's buzziest modern designs, they cost a cool $1,170.

Edebiri's sheer shoes were so strong, she needed very little else to make the outfit feel like a look. The only other detail she—or her stylist Danielle Goldberg, more likely—added was a pair of thick silver hoops.

Celebrities tend to go similarly low-key when they bare their pedicures in the naked shoe trend. Jennifer Lopez often pairs her PVC pumps with denim and a fresh coat of burgundy polish; Zendaya and Jennifer Lawrence dress down their favorite mesh flats with T-shirts and slouchy pants.

It really just goes to show: With the right accessories (and a power bob), even the most low-key look can feel runway.

Is it a coincidence that Charles Manson, one of the most notorious cult leaders in history, aspired to be a rock star? As Mark Anthony Green’s Opus sees it, it’s not.

The A24 horror film, released in theaters in March, follows budding journalist Ariel Ecton (Ayo Edebiri) as she’s invited, alongside a group of other media professionals, to the estate of Alfred Moretti (John Malkovich), a legendary pop star who disappeared from the public eye 30 years ago. They are led under the guise that they’ll be listening to Moretti’s comeback album, Caesar’s Revenge, but the group quickly learns not everything is as it seems on the remote Utah commune where he’s been hiding.

The directorial debut from Green, a.k.a. MAG, explores the cult of celebrity. The fictional Moretti, therefore, needed to rival musical icons like David Bowie and Elton John in style and charisma but have a compound that fell somewhere between Waco and Prince’s Paisley Park. MAG tapped stylist/costume designer Shirley Kurata (Everything Everywhere All At Once) to help craft the looks for the singer and his followers, known as the Levelists,, while production designer Robert Pyzocha (Joker, The Whale) was tasked with building out Moretti’s mysterious community.

Pyzocha sought out La Mesita Ranch Estate in Santa Fe, New Mexico as the primary filming location, seeing how it resembled the sites he researched and how it housed different buildings that would meet a group’s “belief rituals, meditation practice, and isolation needs.”

Kurata, meanwhile, looked for inspiration in both real cults as well as celebrities and their fandoms. Above all, though, she was thrilled to collaborate with MAG, who worked in fashion as a GQ editor for 13 years before transitioning to film. “I love it when I get a script where I can play with fashion,” Kurata tells Marie Claire over Zoom.

Here, Kurata and Pyzocha explain how they tackled fame, artistry, and a messiah complex in the highly stylized film.

Marie Claire: It seemed you were inspired by icons like David Bowie, Elton John, and Prince, but what elements from their style were you looking at to craft the wardrobe?

Costume Designer Shirley Kurata: They all love something ostentatious, a little bit garish, or very showy. So I knew I had to add some element in his wardrobe, but I didn't want it to reflect too much of any specific musician. In an ideal world, we would've custom-made all of [Moretti’s] outfits, but I didn't have the time or the money. I did for a good amount, but I had to take shortcuts, so some of my shortcuts were buying existing suits and then adding panels, fabrics, and appliques, or tweaking the collar. I thought that was a cool way to create this new silhouette, but then add these elements that showed that he was a peacock.

When you study [someone like] Michael Jackson in the earlier days to his later years, their style evolves, and so that evolution was important to show. But there is always that element of something that looks custom-made. I know sometimes Elton John works with designers, but I think a lot of them—Prince, Michael Jackson—had a personal tailor, but they weren't famous clothing designers. I thought that was something that Moretti would do too. At this point, there’s probably someone on the compound making the clothes for him.

MC: Almost all of his suits have silver applique and matching gloves. Why were those the throughlines you landed on?

SK: [The applique is] influenced by Liberace. He always had these amazing costumes with appliques, so I thought that was a cool touch to his wardrobe. The gloves served a couple of purposes. It was really cold when we were shooting, so it was helpful for John to stay warm. But also, it gives the outfit much more of an element of wealth. Usually, people who wear gloves are not doing physical labor, so it sets his status as the leader. I thought it was a cool touch to his style because then he would wear the rings on top of his gloves.

MC: What specifically was on your mood board? Were there any memorable looks you were referencing?

SK: I really loved Brian Eno's costume during his glam rock phase when he was performing with Bowie. He had some amazing costumes. Bowie, hands down had some of the most amazing costumes—the Ziggy Stardust looks, anything that was a little bit futuristic, the ones that were the crazy shapes that he wore. Brian Eno wore this one that had this crazy collar and it had feathers coming out, which I loved.

In the first few fittings with John, we experimented because there were some costumes that we felt didn't reflect the present Moretti. They reflected the younger Moretti. So we were like, Okay, let's use these instead for flashbacks, and we had to figure out what the present Moretti would be like in terms of silhouette and what he would wear.

MC: Was John Malkovich always game to wear the platform heels?

SK: We always wanted to put him in platform boots and John was totally down to do that. I had asked him, ‘Are you sure you can do this? Can you walk in it?’ And he said that, back in the day, he would wear platform boots as a kid, so he was fine with it. I found those crazy Rick Owens platform boots and he's wearing them in one of the dinner scenes when he’s on the floor talking to everyone. We also had him in a classic black platform boot.

One of the things that John personally suggested was experimenting with pants. He mentioned, ‘Well, what if I'm wearing a sarong?’ to MAG. I thought that was a great idea to add that element to his blazers with all the embellishments on it, so for a couple of scenes, I had some custom-made sarongs. They're a combination of trousers with a skirt panel over. I thought that was a great idea: a little bit culty, but also very fashionable and had that spiritual aspect of a cult leader.

MC: Why did the estate in New Mexico feel like the right aesthetic for the place where Moretti would have set up and lived with his cult?

Production Designer Robert Pyzocha: La Mesita Ranch Estate is located in the Pojoaque Pueblo, about 40 minutes north of Santa Fe. The property is owned and operated by the Pojoaque Pueblo. MAG and I toured the 144-acre estate and immediately felt that it had the right level of grandeur and decadence to embody Moretti’s vision of an earthly paradise for his devoted followers. The architecture on the site is a fusion of Southwestern Spanish colonial architecture mixed with a Pueblo revival style. The austere simplicity of the Pueblo adobe interiors worked beautifully for the cult’s ascetic life of making art and practicing the tenets of Level.

MC: Did you research cults and their compounds while designing the Levelist’s community?

RP: I researched a range of radical organizations and quasi-religious sects that exhibited extreme cultish behavior. One of the groups that I found fascinating and endlessly intriguing is the Aum Shinrikyo cult from Saitama, Japan. I found many similarities between Moretti and the founder, Shoko Asahara. Shoko was an accomplished musician who often wore lilac-colored tunics along with his devoted followers during meditations at communal concerts. There are many pictures of him magically levitating above the stage during shows. He was the ultimate doomsday showman with the liner notes to back it up.

Shoko was also very similar to Charles Manson, another stealthily gifted guitarist with raw talent and a festering messiah complex. He, like Moretti, also had an entourage of radical groupies willing to execute orders upon command. These three men came out of a period during the ‘60s, ‘70s, ‘80s when the boundaries between counterculture, madness, and violence became dangerously blurred.

I was highly inspired by Shoko’s use of the color lilac, and I really wanted to paint all of the Moretti compound buildings a lilac color. MAG loved the idea of the compound having a distinct identity, but this particular color had too many associations with Paisley Park, Prince’s home and studio. Turns out that Elton John also had a thing for the lilac color, as did the cult members of Warren Jeff’s the church of Jesus Christ of Latter-day Saints. MAG was highly conscious of Moretti living in his own reality and did not want to make any direct allusions to other well-known celebrity musicians.

I also studied the Rajneesh Movement at Big Muddy Ranch in Oregon; this cult also aimed to create a utopia in the desert. It was here that the aesthetic of hand-dying everyday work garments orange, red, maroon, and pink clothes became a distinct uniform for the faithful followers of the Bagwan.

MC: How did you decide what the Levelists should be wearing?

SK: That was an initial conversation with MAG because he had it scripted that they were all in robes, but he told me, ‘That's just a marker. They don't have to be in literal robes or all matching. We can do what we think is right, but I think it would probably be best to have it all be one color, but they're in their own outfits.’ I thought that was a better way to approach it too because you could also see the different characters within the world.

MC: How much dye did you use?

SK: We hired an ager/dyer, [Colleen Fox], and I don't know how many bottles of dye she went through, but there was a lot. It is multiple dips, multiple washings, so it was weeks of over-dying. We tried to find some things that were already in blue, but a lot had to get over-dyed. It’s interesting because when you deal with indigo, there are so many different shades. You have to match the right shade of a shirt with pants, but sometimes they don't work together, and you have to play around with the shades.

Indigo was originally in the script and I think that color is great because it reflected the dedication that the Levelists had to the craft. Indigo dye is the same thing. It's a craft. It felt like that was a great element in what the Levelists wore and their tenets of being connected to the arts, but also dedication and commitment.

RP: The production design utilized the same indigo consistently. Upon arrival to Moretti’s compound, all the guests are given blue ceramic ceremonial vases to mark their welcome to the compound, which ultimately become symbolic death vessels. We created a functioning ceramic studio with indigo blue aprons for the young Levelists ceramic workshops. The marionette puppet stage is also painted an indigo blue color with gold oyster shells along the proscenium arch. This design feature is also maintained in the listening room where the speaker stacks are indigo blue to match the intricate indigo blue calligraphy itineraries on baby lamb skins. I asked my long-time collaborator Chisato Uno to create special itineraries with floating oyster pearls adorning the baby lamb skins. In Moretti’s world, there is no limit to creative potential, however destructive they might become.

MC: Did you do any research into what cult members wear?

SK: Yes, I did. I watched documentaries, and, for the most part, aside from a few fringe ones, they wore their own clothes. In Wild Wild Country, [the documentary about the Rajneeshes], it was more color-coded and I thought that was a good reference. You still could identify them as a cult, but they're all wearing their own clothes.

It felt like if you put them in some sort of robe, it removed you from the whole story to take it into more of a sci-fi thing. It seemed more human to have them dressed in regular clothes.

MC: How were you thinking about the aesthetics of celebrity homes or famous estates like Graceland and the Neverland Ranch, or how we often perceive them?

RP: This was a once-in-a-lifetime chance to be next to Moretti to hear and witness his 13th studio album Caesar’s Request. It had to feel real. From a production design standpoint, I could have amped up the interiors with excessive decorative appointments to scream ‘celebrity,’ but, I didn’t want it to feel like Mariah Carey’s dressing room.

I decided on an adobe modern minimalist aesthetic for each of the guest rooms. All the guest rooms were painted Moretti orange, except for Ariel’s, which is light blue. She has been selected to write the history of the Level faith, so I used the color blue to align her with the Indigo blue of the Levelists wardrobe colorway. It’s a subtle hint that goes unnoticed, but it’s a strategic color choice to allude to what’s coming.

I removed all the existing furniture from the premises and we purchased low modern couches for all the guest rooms. Animal skins were on the beds, floor, and furniture. In the film, we later find out that there is a black slaughter shed on site where the animal skins were processed, along with Moretti’s invited guest, Bill Lotto [played by Mark Sivertsen]. So it gets a bit creepy if you start to make all the animal skin connections.

MC: What was it like toeing between designing a wardrobe for a pop icon and a cult leader, or did you find that those things weren’t all that different?

SK: In theory, it is really not that different because they're both usually people who like to be center stage, who like all the attention and the adoration. So, it makes sense that that's the path that would be created for him or that he would create. But, in terms of costume design, it was pretty challenging to figure out that balance of, What is realistic and what seems natural and not too forced.

For his performance, I wanted him to wear something a little bit more modern and not like, Okay, this looks like a costume that he wore in 1988. So I thought it would be cool to have something [with] a little bit of sci-fi influence. Prior to this, I was a big fan of the fashion designers threeASFOUR and reached out to them to see if they would be interested in collaborating, and they were totally down. They're the ones that made the custom silver look for him.

MC: How was the space for the listening party conceived? Was it at all intended to look like a music video?

JP: Moretti’s listening session was conceived as a circular space. However, we later chose to do it in the riding stable at La Mesita. I designed a 60’ by 60’ stage for the center of the stable and painted it bright orange. In each of the four corners, I had indigo speaker stacks as if it were a massive EDM sound system installation. John requested pivoting chairs for his choreographed vignettes with the guests, so I sourced some modern high-back lounge chairs from the local community college. It was always conceived to be staged in a circular arrangement and shot in a circular format. However, the height and size of the riding stable made the volume of the playing space feel like it was floating in a much larger arena.

MC: There are a lot of eerie yet fun details, like the blue lobster in the dinner party scene, the oysters the Levelists shuck, Moretti’s wax figure at his museum. Did you have a favorite?

RP: My favorite set was the orange yurt where the levelists pined for pearls in the deserted landscape. We cast about 450 plaster oyster shells in rubber molds. That wasn’t nearly enough, so my art director Jurasama Arunchai, my production assistant, and I went out in the snow and brought hundreds of rocks into the yurt to fill in the purple garbage cans, so it appeared that were thousands of shells.

My second favorite set was the puppet show. We created a rat-pack media scrum with marionettes inside the children’s activity room. MAG and I had some downtime while we waited for a production waiver to fall into place during the actors strike, so I banged out some quick rat sketches. MAG said, ‘Cool, do it,’ so I just went for it. I made a rat head out of clay and then used tracing paper dipped in aqua resin for each of the puppets. For the facial warts on the rat heads, I used black pepper. My friend Misha Sturtevant runs a Broadway costume shop in Manhattan and volunteered to fabricate the puppet outfits. Then, the rat parts were shipped out to Albuquerque where they were fuzzed up and strung for performance. The puppet show happened somehow, but the whole time, I think the producers had it on the chopping block due primarily to the tight shooting schedule. So at least one positive thing came out of the actors's strike: We were graced with a bit of time to make rats.

MC: Moretti’s childhood home has been turned into a museum, The Rhinestone Chalet, on the compound and it’s a stark contrast from the main building in many ways. What did you hope to convey about who he is in that scene?

RP: The Rhinestone Chalet was shot in downtown Albuquerque. Visual effects 3D-scanned the entire house and digitally inserted the Rhinestone chalet into the Moretti Compound at La Mesita Ranch. We selected this two-story Victorian home in Albuquerque to construct a narrative of Moretti being from the Midwest and growing up in a conservative, middle-income neighborhood. He kept his house as his own reliquary of artifacts from his childhood and the wild touring years on the road.

I painted the exterior of the Rhinestone Chalet some really awful, putrid color combinations, thinking it would feel awful and old. Much to my surprise, the actual homeowners loved the color combinations and kept it! I created an exterior plaque to identify the house and found a painted wood reindeer at a thrift store for just $7 that I couldn’t pass, so the deer guarded the entrance to the Rhinestone Chalet. I added a climbable steel trellis on the side of the house to the attic for the stunt fight in the attic where Ariel is hiding in the bathroom. But the bathroom was built as a stage set in a maintenance shed at La Mesita Ranch north of Santa Fe.

MC: What was it like as a costume designer working on a project helmed by someone so connected to the fashion world?

SK: It was really helpful because having such a short prep time, once we got casting, I would be like, ‘Okay, so how do you see this character dress?’ Most directors would be like, ‘Okay, I see him in a leather jacket,’ but MAG would be like, ‘I see him in a Belstaff leather jacket.’ He knew his brands and it was so helpful being able to understand his vision of the character.

Also, he had a lot of connections. We were shooting in New Mexico, and there are hardly any higher-end boutiques there. We had to reach out to designers to see if they would loan or lend some pieces, and he was good friends with John Elliott and Todd Snyder, so they were able to give us some pieces. Then my styling background, I reached out to many different brands. [Because of] my connection with Kate and Laura Mulleavy of Rodarte, I was able to reach out to them to have them loan a dress for Juliette Lewis. And then Prada, of course, who dressed Ayo [Edebiri]. Later on, when Ayo is getting interviewed as a writer, Phillip Lim loaned some looks, The Frankie Shop, she’s also wearing Coach. It was really helpful to have these connections and reach out to them because my budget was really limited and it really allowed for the movie to look the way I wanted it to.

MC: Ayo Edebiri has become a fashion It Girl. What was it like working with her?

SK: Amazing. She has a great sense of style, but she also knows how to build a character with what she's wearing. Initially, we wanted to go with more of a Black Ivy style. So she's wearing a Bode sweater vest, and we see her at her house in a Spelman College sweatshirt—a little bit preppy, bookish. That way it would be a big contrast to the makeover: There she iis elegant and in Prada. Then, in the final scene, she's definitely still put together, but it's much more expensive and polished. It was a great way to tell the story, like the three parts: right before the compound, during, and then after.

Ayo Edebiri was nowhere to be found on the 2025 SAG Awards red carpet, despite having received two nominations for her role in The Bear including Outstanding Performance by an Ensemble in a Comedy Series and Outstanding Performance by a Female Actor in a Comedy Series.

Her absence was notable not only for the hole it left in the evening's impressive fashion, where stars from Selena Gomez to Anna Sawai brought out their best custom pieces. Just a few days ago at the 2025 NAACP Image Awards, Edebiri arrived in a jaw-dropping archival Versace gown. Aside from making a statement with dazzling silver sequins, her dress also turned heads with a flattering halter neckline and a ruched construction. She enhanced her shimmering ensemble with matching silver heels and kept her jewelry fairly pared down with subtle diamond studs.

As for makeup, she decided to take a bold route with striking metallic eyeshadow, sun-kissed bronzer, and a swipe of berry-toned lipstick. Edebiri finished off her glam by opting for free-flowing curtain bangs.

If you’re familiar with Edebiri's coveted wardrobe, you likely know that experimenting with playful gowns is definitely in her wheelhouse—which is why she was so missed at the SAG Awards. Just a few weeks ago at the 77th Annual Directors Guild of America Awards, Edebiri wore a Khaite Pre-Fall 2025 satin midi dress styled by Danielle Goldberg. At first glance this burgundy piece might seem fairly straightforward, but a closer look will reveal a draped bodice, a drop-waist silhouette, and gathered fabric along the sides.

Although we’re mentioning her latest looks, Edebiri’s 2024 SAG Awards gown deserves just as much praise. Last year, the star accepted her well-deserved SAG trophies in a plaid dress pulled straight from Luar’s Fall 2023 Ready-to-Wear collection. Edebiri’s black-and-white number took up space with billowing sleeves and a train stitched around the hip. The gown’s off-the-shoulder neckline and cinched waist offered a delicate shape. Goldberg anchored Edebiri’s look with Gianvito Rossi heels and Tabayer jewelry.

While this year’s awards season is swiftly slowing down, Edebiri’s climb toward the top of Hollywood’s best dressed list is just getting underway. Just ask any style expert who's the It girl of the moment, and they’ll excitedly shout her name in response. The star’s willingness to explore whimsical designs has undoubtedly developed her personal style and set her apart from the rest. So yes, of course, she’s the girl we'll miss when she skips a carpet.

Before awards season officially kicks off with the 2025 Golden Globes, the Hollywood elite had a pre-awards season celebration on Golden Globes eve.

The party going into this year's awards season was the 2025 W Magazine Best Performances Party, which was held at the Chateau Marmont in Los Angeles on Saturday, Jan. 4, the night before the Golden Globes. The official purpose of the party was to honor some of the year’s most incredible acting talents, but unofficially, it was a place for some of the best dressed in Hollywood to set the tone for fashion in 2025.

Take Kaia Gerber, for instance, who channeled her supermodel mother, Cindy Crawford's, iconic 80s era fashion in a Valentino look by Creative Director Alessandro Michele from the Pre-Fall 2025 collection. The strapless gown mixed polka dot prints—with a bodice made of white fabric with black polka dots and a skirt made of black fabric with white polka dots—and featured a sweetheart neckline and high leg slit and a pop of color in the form of a bright turquoise bow at the hip.

Between the strapless silhouette and the bold polka dot pattern, the dress visually harkened back to one of Crawford's early iconic runway shows in the 80s, when the model wore a strapless black dress with an all-over white polka dot pattern in the Adrienne Vittadini Resort 1986-1987 Fashion Show in New York in August 1986.

This isn't the first time Gerber has opted for a strapless polka dot gown for an event. The model wore custom couture Celine that mixed the two design elements at the 3rd Annual Academy Museum Gala at Academy Museum of Motion Pictures on December 2023 in Los Angeles, California.

Gerber's fashion choice for the pre-Golden Globes celebration might have paid homage to the past, but the model was fully in the present at the W Magazine party, where she was snapped hanging out with Sabrina Carpenter, Rachel Sennott, and Ayo Edebiri.

Of course, after the party, Gerber was probably relieved to be able to strip off the gown in favor something more casual. The self-described "tomboy" says she gravitates toward simple pieces in her off hours.

"I would say I’m a tomboy, but I’ve always been very influenced by the French 'cool girls' like Jane Birkin and Françoise Hardy," Gerber told W Magazine in 2023. "I like simple, comfortable pieces—trousers, sneakers, and blazers."

It must be exhausting for Ayo Edebiri to have Loewe and Bottega Veneta fighting over her. Luckily, stylist Danielle Goldberg seems to have worked out some kind of shared custody agreement on her behalf, because the two designers have been patiently taking turns dressing The Bear star for the red carpet. Loewe got to shower her with 3D floral appliqués for her first-ever Met Gala in May, for instance. Then, Bottega got to craft her strapless sequin column dress for the 2024 Emmys in September. Frankly, in a red carpet economy where exclusive ambassador contracts tend to prevent top talent from experimenting with different designers, it's low-key thrilling to see Edebiri retain her autonomy and nurture relationships with multiple designers.

At this year’s Business of Fashion 500 Gala, though, Edebiri did her big one and borrowed a gown that debuted on Loewe’s Spring 2025 runway only two days prior during Paris Fashion Week. The black silk georgette maxi dress features a white and green floral print stretched over a flared hoop skirt for a modern take on a centuries-old silhouette. In a slight deviation from the look's original runway styling, Edebiri accented her hoop skirt with leather thong sandals and a black pedicure instead of holographic loafers. It was her way of nodding to the fashion zeitgeist: Flip flops trended heavily over the summer with the likes of Zoë Kravitz and Ashley Olsen donning elevated leather versions from The Row.

Edebiri contrasted her black pedicure with a trendy naked manicure similar to those seen on Kendall Jenner and Gigi Hadid throughout fashion month. Her pared-back glam mirrored her nude nails with beachy, brushed-out waves and dewy, clean girl-coded makeup. Makeup artist Dana Delaney, who previously spoke to Marie Claire about creating the Emmy winner's Met Gala glam, says skincare is the key to achieving Edebiri's glow.

"When your skin is nice and hydrated, you naturally have highlights on your face," Delaney explained. "So if you're dry, your skin's going to be quite flat— almost like you have powder on already. But if you want to bring a little bit of dimension, your skin is going to catch light on the cheekbones, the nose, and the forehead, and it's going to look like you have a natural highlight, so long as you hydrate."

Of course, the real magic of Edibiri's hot-off-the-runway look can only be seen when the dress is in motion. After showing several takes on the hoop skirt gown during Paris Fashion Week, Loewe creative director Jonathan Anderson told WWD the hems are weighed down with delicate chains to create movement.

“The fabric is like floating off the garment. So you have the structure, but then you have this idea that something is in movement,” he explained to the outlet during the post-show scrum. “So you get this body moving, or the body looking like it’s hovering somehow.”

Thankfully, the gown's domed, cage-like infrastructure didn't stop Edebiri from cozying up to actor Hari Nef and fellow Loewe muse Greta Lee inside the party.

FX's The Bear was shown a lot of love at the Emmys, with Jeremy Allen White making a heartfelt tribute to his cast mates from the stage.

Puerto Rican actress Liza Colón-Zayas, who portrays Tina on the show, won the award for Outstanding Supporting Actress in a Comedy Series. Colón-Zayas also made history by being the first ever Latina actress to win in her Emmy category. Meanwhile, Colón-Zayas' costars, Jeremy Allen White and Ebon Moss-Bachrach, took home the Outstanding Actor and Outstanding Supporting Actor in a Comedy Series, respectively.

When Allen took to the stage to collect his award for playing Carmen "Carmy" Berzatto in The Bear, he appeared to be overcome with emotion. "My heart is just beating right out of its chest," he explained (via The Independent). "Thank you for choosing me. I am so, so, so lucky. I’m so grateful. Thank you."

He then made sure to speak directly to his The Bear costars, saying, "My beautiful cast, I love you forever. I love to work with you, and I want us to be in each other’s lives forever. I love you so dearly."

The Bear also triumphed in the guest star categories at the Emmys, with Jamie Lee Curtis and Jon Bernthal scoring Outstanding Guest Star in a Comedy Series trophies.

Curtis, who plays the family matriarch Donna Berzatto on the series, said in her speech (via People), "You know there’s a saying, 'Hurt people, hurt people,' but I also think you can add to that and say, 'Helped people help people,' and I think that’s the story of The Bear."

She continued, "It's astonishing that I got this opportunity at this point in my life... this beautiful, beautiful, beautiful piece of television... that I'm privileged to be in."

Each luxury fashion house has a single product it's most known for. Loewe has the Puzzle bag, Chanel makes the Mini Flap, and for Hermès it's the Birkin. Bottega Veneta, on the other hand, is famous for its gold-handle Sardine Bag.

The design has become Bottega's bread and butter, having been worn by virtually every celeb in the business. Hailey Bieber, Dakota Johnson, Kylie Jenner, Dua Lipa, and Selena Gomez have all carried the Sardine in various colors and it was even the accessory of choice for Kendall Jenner's viral no-pants 'fit in 2022 (IYKYK).

The latest to take on the iconic Bottega look is none other than The Bear star and Emmys best-dressed contender Ayo Edebiri. She wore custom Bottega to the 2024 Emmys and, following the award show, changed into another design from the Italian label. Though she didn't actually carry the purse itself, Edebiri's mini dress tapped into the bag's most famous attribute: its gleaming gold, sardine-shaped handle.

While her red carpet look gave off an air of playfulness, Edebiri's post-show ensemble felt every bit posh and demure. For Walt Disney's after-party on Sept. 15, the actor wore an asymmetrical LBD covered in chic ruching, styled once again by Danielle Goldberg. Instead of your typical fabric strap, however, Bottega installed a metallic piece at the shoulder that mimicked their iconic Sardine handle.

Though the $3,400 bag was nowhere to be seen, Edebiri's chosen accessories did play up the statement hardware. She wore chunky gold hoops to match and a pair of knotted sandals, also from the brand.

This red carpet makes it official: We've got a new fashion darling on our hands.

Shop the Inspiration Behind Ayo Edebiri's Look

Ever since The Bear first hit Hulu in 2022, Ayo Edebiri has been a fixture on the Emmys red carpet. She first attended the award show that year and won supporting actress in a comedy series the following (2023). Her career has since progressed, with the actor nabbing the coveted lead actress nomination for the same role at the 2024 Emmys.

With each red carpet—Emmys or otherwise—Edebiri unleashes a new facet of her ever-changing style. She's known to switch up aesthetics on every red carpet, pivoting from androgynous suiting to girly to high-fashion without missing a beat.

For 2024's event, Edebiri brought yet another style dynamic to the carpet. She chose a strapless dress covered in black and orange sequins—a whimsical, custom design by Bottega Veneta. According to Edebiri, the unique print and color story were inspired by the work of Italian artist Gaetano Pesce, who passed away earlier this year.

Styled by Danielle Goldberg, the colorful look was paired with minimal accessories: only gold teardrop earrings and black, patent leather pumps from Gianvito Rossi.

Edebiri's look was the latest in her string of aesthetic experiments. At 2022's Emmy Awards, for example, she looked every bit the fairy princess, in pastel pink tulle. Her high-low dress was embellished with satin bows on each shoulder and silvery floral appliqués down the front.

The next year, Edebiri did a complete 180. For her second Emmys appearance (and resulting win) she chose a futuristic leather corset dress with a dramatic bubble skirt. The Louis Vuitton design was painfully chic, with just a little bit of edge.

All three of Edebiri's looks had one thing in common: simple, two-strap sandal heels.

Another year, another red carpet win—and, hopefully, another Emmy, as well.

You've heard of the "office siren" trend sweeping fashion TikTok: a summer work outfit movement including pencil skirts, Y2K rectangular glasses, and sexy, half-buttoned button-up shirts that would absolutely trigger a call from HR. Well, you can hang up your low-rise trousers, because there's a new not-so-business-casual style taking over celebrity's closets.

Enter: the shorts suit. It has all the trappings of your average suit, but the dress pants are cropped just below the knee, more like dress Bermuda shorts. Ayo Edebiri gave the look her endorsement in a shorts suit last night at the Los Angeles premiere of Pixar’s Inside Out 2, in which she will make her animated movie debut.

Styled by Danielle Goldberg, she wore a slightly oversized aquamarine blazer, matching shorts, and a coordinating pale blue-green silk button-up shirt. The short suit is a half-chopped, custom version of a suit from Bottega Veneta’s pre-fall 2024 lookbook. Edebiri paired the outfit with the brand's shiny black vinyl peep-toe "Cha-Cha" mules.

The actress and rising fashion icon is resurfacing a look that's been on the fringes of genuine trend status for a while now. (Who remembers Julia Roberts's short suit in Pretty Woman circa 1990?) We've seen celebrities pair shorts with blazers for years, and the style seemed to reach its peak in 2023.

Short suits hit the runways en masse for spring 2024. Brands like Brandon Maxwell and Ami styled cropped tuxedo jackets and double-breasted blazers with shorts of varying lengths. Celebrities like Gigi Hadid, J. Balvin, Jennifer Lawrence, and Suki Waterhouse all sported the unconventional pairing throughout the spring season. And the truest sign of a trend reaching mass market? Labels like Zara started carrying Bermuda shorts suits shortly after.

Edebiri's fashion star is rising as the Golden Globe- and Emmy-winner gets the chance to flaunt her style (and the work of her sought-after, cool-girl stylist) on red carpets and press tours. Many of her recent looks have leaned into old Hollywood and high glamour, from bright red Prada gowns to slinky black Loewe numbers. But she's also made a point to incorporate menswear in exaggerated leather neckties and suits from The Row.

For a New York Times profile of Goldberg back in February, Edebiri beamed about the stylist's impact on her career. "We have these conversations. Sometimes it will be, like, an ode to Whoopi. Then I can have that in my mind when I’m out there taking pictures, which is fun. It’s like an actor telling a story," Edebiri told the Times. “I get to be myself, but also have this armor of the clothes.”

Shop Shorts Suits Inspired by Ayo Edebiri

After Ayo Edebiri posted a cozy photo with Paul Mescal on St. Patrick's Day, fans of the Irish actor and the (honorary) Irish actress are wondering if the pair are more than friends. But fans hoping for a new celebrity couple to 'ship might be out of luck.

Sources close to the stars told TMZ the two are "just friends," despite the internet's hope something more could be blossoming. The stars are all smiles in the photo Edebiri posted, but there's nothing to suggest it's more than a platonic relationship. 

Plus, they weren't the only ones celebrating the luck of the Irish together. In other photos Slave Play playwright Jeremy O. Harris shared on Instagram Stories, he and director Oliver Hermanus joined the two actors.

Still, there's hope these two could be a couple at some point, if only a fictional one. In November, Mescal told AwardsWatch, "I think in the next five years I'm going to set myself a challenge to do maybe, like, a rom-com with Ayo [Edebiri], or something like that would be cool." Hollywood, make it happen!

Mescal isn't Edebiri's only new Hollywood bestie, either. Last Thursday, The Bear actress and her Bottoms co-star Kaia Gerber revealed they have matching tattoos, though they haven't shown off the new ink just yet.

Who would've thought that a podcast interview from four years ago would come back to haunt you? Not Ayo Edebiri, I'm guessing. (A lesson for us all: be mindful, for it, whatever "it" is, almost always comes back around.)

The award-winning actress from The Bear had an old clip of her resurface when it was announced she would be hosting Saturday Night Live with Jennifer Lopez as a musical guest.

In that clip from the "Scam Goddess" podcast, Edebiri spoke poorly of Lopez and her musical ability. Oops.

Host Laci Mosley claimed that Lopez’s “whole career” was “one long scam.”

Edebiri responded, “I think she thinks that she’s still good, even though she’s not singing for most of these songs. A lot of the write-ups of the songs will be like, ‘J.Lo didn’t have time to make it to the studio.’ Like, ‘J.Lo was busy.’ Doing what? Not singing, obviously.”

Many wondered if Lopez had seen this interview now that the video was trending and how she felt sharing a stage with Edebiri.

Well, it turns out Lopez knew all about it, and even received a personal apology from Edebiri.

"She was mortified and very sweet," Lopez told Variety, "She came to my dressing room and apologized with tears in her eyes, saying how terrible it was that she had said those things. She felt really badly and loved my performance because we had just done my soundcheck and she actually got to hear me perform. She was just like, ‘I’m so fucking sorry, it was so awful of me.’”

This infamous podcast interview also came up in one of Edebiri's sketches that night. In the sketch, Edebiri and other SNL actors are on a game show where they must confront things they've said online.

In a very meta moment, Edebiri addresses the camera and says, "It's wrong to leave mean comments or post mean comments just for clout, or run your mouth on a podcast and you don't consider the impact because you are 24 and stupid, but I think I speak for everyone when I say that from now on, we're gonna be a lot more thoughtful about what we post online."

Well said.

Whatever it takes to be a rising fashion star, Ayo Edebiri has it. In addition to being one of the funniest comedians on today's scene, she's swiftly cementing her status as a style icon. The 'Bottoms' actress has been dressed by top designers (from Prada to Loewe) and has reached the top of every best-dressed list she's crossed. And have you seen the comedienne's off-red carpet personal style? If not, may we suggest starting with her latest look: Edebiri in a leather necktie, baseball cap, and jeans?

Despite the funny girl gearing up to host Saturday Night Live on February 3 (as if we've recovered from Jacob Elordi's hosting gig a few weeks back!), she was kind enough to provide yet another fantastic street style moment—in head-to-toe Bottega Veneta no less!

While heading into NBC Studios, the actress was spotted wearing a grey cape-style trench coat with an oversized white button-down and light-wash blue jeans. For a practical footwear choice walking the streets of NYC, she opted for the Bottega Veneta Monsieur Loafers. She also added a splash of color to the neutral look, carrying the brand's small Andiamo bag and topped off the look with a baseball cap.

The focal point of her look was undoubtedly Edebiri's maroon leather necktie. Could this signal a new accessories trend to be on the lookout for? Well, the answer is yes. In addition to accessory being a consistent presence on the. runways in recent seasons (Valentino famously paid homage to the tie in its Fall/Winter 2023 collection), we're seeing more and more It Girl celebrities embrace the trend.

Billie Eilish recently adopted an iteration of the trend for her Golden Globes red carpet look, and Edebiri's fellow comedian bestie, Rachel Sennett, posted on Instagram trying out the trend in Thom Browne. Can these ladies get any cooler?

We often see Edebiri embrace more traditional feminine silhouettes when it comes to her red carpet style. However, the actress does play around with more boyish looks. To wit, she wore this all-white suited look from The Row while attending the Critics Choice Awards in January.

While Edebiri's awards season might be over (all that's left is the Oscars, where the actress has no nominated projects), we can still hope for more playful street style outfits to come. In the meantime, consider us seated for her SNL debut, as the jokes will be joking.

Ah, Ayo Edebiri. Though there's a bevy of new stars constantly rising Hollywood, there aren't that many up-and-coming celebrities who just have that "It" factor (you know what I'm talking about). When the 28-year-old first hit big with her role as Sydney, the anxious but determined chef in the hit Hulu series The Bear, it was only a matter of time before she skyrocketed to unreachable heights. Her down-to-earth persona and her infectious, hilarious nature have converted onlookers (me included) into die-hard fans. But aside from watching the actress on the big screen, we're constantly refreshing our feeds for the next best style moment from Edebiri.

From ethereal Prada gowns to Jackie O-inspired pairings off the red carpet, Edebiri is undeniably a fashion star on the rise. And she's showed off her strong sartorial muscles this past awards season, starting with the 2024 Golden Globes. (Credit can go to Danielle Goldberg, Edebiri's stylist.) Read on for the best red carpet moments Edebiri has had so far.

Edibiri took nonchalant minimalism for a spin at the British Vogue and Tiffany & Co BAFTA afterparty, which celebrated the ties between fashion and cinema. For the occasion, which took place at Annabel's, the actress slipped on Bottega Veneta's viral leather jeans—a $6,900 style crafted to look like blue denim—with a silky white collared shirt and silver Rocket wedges for a sharp statement. A chic finish came in the form of a silver link necklace and bracelet, each set with glossy blue stones.

Edebiri has had quite the awards season. She's fresh off of a Golden Globes win, scoring a trophy for Best Performance by an Actress in a Television Series Musical or Comedy. For the ceremony, she chose a ruby red Prada dress, with the strapless gown followed by a dreamy, elongated organza train.

She didn't let off the capital F-Fashion pedal just yet. While at the Governors Awards shortly after, she was captured rocking yet another strapless ensemble, this time a butter-yellow leather gown hailing from Proenza Schouler. She opted for a similar sleek sentiment in a roomy white suit from The Row at the Critics Choice Awards.

At the 2024 Emmys, she wore artfully sculpted custom Louis Vuitton—the ideal ensemble to wear when you win the Supporting Actress in a Comedy Series award.

Her off-red carpet fashion moments are noteworth, too. Edebiri was seen in Los Angeles heading inside the set for Jimmy Kimmel Live. Ahead of the shoot—where she talked about her big weekend and The Bear—she opted for a classic '50s-inspired look (Grace Kelly, is that you?), donning a sleek white maxi dress from Khaite. The Bottoms lead then layered lightly for the Cali winter breeze in a long camel trench coat. She kept the accessories simple yet impactful, opting for one of this year's rising handbag trends via a slouchy black leather bag, matching Gianvitto Rossi pointed pumps, and a très chic red-and-white scarf loosely falling over the shoulder. Not to mention her newly-debuted blunt-cut bob? Mwah!

Edebiri is a certified Prada girl, so of course, she showed up to the Italian luxury brand's SS24 collection looking as chic as ever. Her head-to-toe Prada look consisted of a satin scoop neck lavender top paired with a grey satin midi skirt and a pair of pointed-toe Prada heels.

Posing with her friend group of equally as funny girls, Edebiri opted for this whimsical, bright blue floral Marni dress and a pair of black heels.

Edebiri channeled effortless Old Hollywood glamour for the CFDA Fashion Awards, wearing a sleek black Loewe gown. Swooning!

One thing about Edebiri? She loves a bright pop of color. Cast in point: this orange satin Prada mini dress the rising star wore to the Glamour Women of the Year Awards. She styled the bold shade with a pair of black pointed-toe pumps and a singular diamond tennis bracelet.

Edebiri attended the AFI Awards Luncheon wearing an effortlessly cool white two-piece with a pair of coordinating white pointed-toe pumps.

The Bottoms star had a classic LBD moment at the BAFTA Tea Party, wearing an understated Versace mini dress with a pair of Manolo Blahnik heels. Her flipped bob added another level of chicness to the timeless look.

While attending the Proenza Schouler Spring 2024 Runway Show, Edebiri was the embodiment of cool girl energy, wearing a crisp white button-down buttoned only at the top, with a black blazer and a pair of black trouser pants. She finished off the look with a pair of black sunglasses because why not?

Considering we are right in the midst of awards season, and with our favorite must-watch stars kicking it off to a buzzy start (especially on the style front), it's only a matter of time before we see Edebiri once again lean even more into what we predict to be her biggest fashion year yet.

Ayo Edebiri would like people to stop asking her about her The Bear costar Jeremy Allen White's very sexy Calvin Klein underwear ad, please.

At the Golden Globes on Sunday, where Edebiri won the much-deserved award for Best Performance by an Actress in a Television Series – Musical or Comedy, an Access Hollywood reporter asked her, "What did you think, speaking of The Bear, when this came out?" before whipping out a still of White in his tighty-whities (pics over here if you would like to take a peek—frankly, I can't blame you).

Quinta Brunson, Edebiri's costar from Abbott Elementary who was standing next to her during the interview, quipped, "Jeremy, put that away!"

Meanwhile, Edebiri noticeably flinched upon being shown the picture, and answered, "I just—I'm happy for him. That's my boy, you know what I mean? I do feel like I want people to understand he's my coworker..."

I mean, points were made—that ad really is quite NSFW.

Commenters thought the whole interaction was really quite funny, with one person writing, "she's about to call HR."

"That was a big bro/lil sis reaction," observed someone else.

"He may be your coworker but he ain't mine!!!!" said one of the ad's biggest fans.

Other than being asked super awkward questions about her colleagues, Edebiri is smashing it right now.

Aside from her roles in The Bear and Abbott Elementary, she also recently starred in the movies Bottoms and Theater Camp, and has several other projects in the pipeline. Very stoked for all of this!