Fashion

Golden Globes red carpet sees return of the classic black suit

Timothée Chalamet was the final clue. As he arrived in good time on the Golden Globes red carpet, the star of Marty Supreme put pay to speculation as to whether the chromatic marketing of the film’s ping pong balls would have him wearing orange. Instead, he wore a black T-shirt; vest, jacket and Timberland boots with silver buttons by Chrome Hearts, souped up with a five-figure Cartier necklace. Kylie Jenner, his partner and sartorial foil, was nowhere to be seen.

Styled by Taylor McNeill, who was also responsible for Chalamet’s wildly amusing if chaotic red carpet campaign for the film, the look was bad boy Bond. It also set the tone for an evening of subdued tones. If we thought the penguin suit had gone extinct, we were wrong. The performative male is over – welcome to the return of the staid suit.

The Guardian

Black is the new orange: Timothée Chalamet on the red carpet. Photograph: Sthanlee Mirador/PA

The Globes are about the movies and winners, but its red carpet is a dry run for the Oscars, and traditionally an opportunity for celebrities and their all powerful stylists to choreograph something inventive.

There were exceptions, but they were not among the men. Bella Ramsey wore a Prada suit tied with a pink bow that was positively shocking. At her very first Golden Globes, Chalamet’s co-star Odessa A’zion went for a monochromatic trouser suit of sorts with a froufrou vintage Dolce & Gabbana jacket and satin gloves. A nice bit of era-dressing came from Sinners star Miles Caton’s chestnut pinstripe suit by Amiri. Still, the usual flies in the ointment – Jacob Elordi, Colman Domingo and Jeremy Allen White – towed the line in contemporary twists on ye olde tux by Bottega Veneta, Valentino and Louis Vuitton respectively. Between them, Globes newbie Dwayne Johnson and red carpet veteran Leonardo DiCaprio did little to temper the black tie stuffiness.

The KPop Demon Hunters team with their two Golden Globe awards. Photograph: Amy Sussman/Getty Images

Perhaps colour was the problem as black reigned supreme among women, too. Aimee Lou Wood in demure Vivienne Westwood looked straight from the Gilded Age. Best supporting actor winner Teyana Taylor opted for a cut out Schiaparelli dress flashing numerous body parts, albeit in inky black. Ayo Edebiri’s gorgeous black velvet panelled off-the-shoulder gown by new Chanel under Matthieu Blazy pushed classicism forward, but still felt alarmingly safe. Even the KPop Demon Hunters team, who won a for a song called Golden, wore all black.

To that end, moments of colour – when they happened – were all the more precious. There was a welcome flash of metallic from Elle Fanning, whose sparkly, embroidered Gucci gown looked very silver screen glamourpuss. Emily Blunt wore a perkily white asymmetric, one sleeve gown by Louis Vuitton, while Amanda Seyfried was a modern day Venus de Milo in white Versace.

The standout look was perhaps Wunmi Mosaku, the British Nigerian star of Sinners, one of two stars to reveal her pregnancy on the red carpet (the other being her Sinners co-star Hailee Steinfeld). The canary yellow of her bespoke gown and sheer veil by Matthew Reisman was a colour steeped in meaning. “In Yoruba, we say Iya ni Wúrà which means ‘mother is golden’,” she wrote in Vogue.

Mother is golden: Wunmi Mosaku on the red carpet. Photograph: Corine Solberg/PA

Historically, the red carpet is as much a venue for self expression as it is for showcasing the great fashion-celebrity industrial complex. But it’s also a peek at the trends of tomorrow. To that end, newly minted designers. Jessie Buckley trialled Jonathan Anderson’s Dior in an ice blue asymmetric gown; Tessa Thompson wore a custom sequined column from Balenciaga by Pierpaolo Piccioli and Rose Byrne wore emerald green Chanel by Matthieu Blazy.

Jessie Buckley strikes a pose. Photograph: Christopher Polk/2026GG/Penske Media/Getty Images

The reaction to Chalamet’s look was generous, and broadly uncritical. If the peanut gallery were disappointed by the lack of peacocking, the insiders were not. Esquire UK’s style director Zak Maoui told the Guardian: “I believe the industry has made a slight shift back to nice regular clothing for men on red carpets. Men are starting to see power again in a well-executed and expertly-cut suit.

“It might reflect a wider sentiment in menswear, whereby the catwalks aren’t as flash or hype-y, and brands are presenting more subdued, wearable clothing.”

Mark Ruffalo’s ‘BE GOOD’ pin. Photograph: Jordan Strauss/Invision/AP

The devil – and the brand deals – were as ever in the details. Several “ICE OUT” and “BE GOOD” pins were worn by attendees, including Mark Ruffalo. In a world in which wearing a watch as part of your deal has become a foregone conclusion, it was a moment of political reprieve from a largely staid sartorial circus.

This article was amended on 12 January 2026. An earlier version suggested Bella Ramsey identified as a woman; they are non-binary. This has been corrected, and details of Timothée Chalamet’s stylist, Taylor McNeill, have also been added.

A new year’s resolution you can actually keep

These days I only have one rule when it comes to new year resolutions: do not, under any circumstances, write them down. Don’t put them on social media, or on a Post-it note stuck to your bathroom mirror, or in the notes section of your phone. Chances are high you won’t keep your resolutions, but as long as you don’t write them down chances are equally high you’ll have no memory of making them by next December.

I’ve learned there is simply no point in negotiating with future you – this person who no longer shares your goal to write a play, or to read 50 books in a year. Don’t let their failure be your failure. Besides: if you only manage to read nine books in 2026, you’ll still be nine books less stupid than you were in 2025.

In the meantime here’s something you can do right now to override future-you’s lack of commitment: support the Guardian’s work in 2026. You’ll be supporting independent journalism at a time when it’s more desperately needed than ever, and I promise that we will never send you an email reminding you to practise your Italian.

the Guardian

Entertainment

Taylor Swift’s fashion evolution

Her popularity has reached such a level that it feels like we know everything about her. Yet, since 2006 and the release of her self-titled debut album, Taylor Swift , the American singer has never ceased to surprise. Whether it’s through her extravagant tours, like her “Eras Tour” (2022-2024) which (truly) caused a sensation, her pro-Democrat political stances that broke the internet, or, more recently, the announcement of her engagement to football player Travis Kelce . The same goes for her fashion choices: in the space of twenty years, Taylor Swift’s appearances have more than once astonished us.

It must be said that today, the singer of “Anti-Hero” cultivates a style a world away from the one she sported in the 2000s. This is due to the cyclical nature of trends, which have reinvented themselves countless times in two decades, certainly, but also to her distancing herself from country music, a shift that began in 2014 following the release of 1989 , her first pop album and a massive hit. The images speak for themselves: between 2006 and 2009, Taylor Swift embraced a “girl next door” image built around cowboy boots, flowing bohemian dresses, a curly blonde blowout, and an acoustic guitar never far away. Like a new generation Dolly Parton , polished in every way.

Asserting oneself through clothing

This demure, almost intellectual image would stick with her for a long time. Even more so during the 2010s, a time when the female music industry was dominated by the colorful and eccentric worlds of Katy Perry, Lady Gaga , and Nicki Minaj. But Taylor Swift dared to be different and took advantage of the situation to impose her new artistic direction. More politically engaged, and deliberately sexier, her style traded her Stetson for sequins, took risks, and also helped her assert herself as a powerful woman. “I would describe my own style as something constantly changing, but rooted in a very feminine vibe,” she explained in a 2015 interview with Extra . She continued, “I think it’s important to experiment with different things. You know, I never would have thought I’d wear a crop top three years ago, but it seems like that’s all I wear now.”

Her look at the 2015 MTV Video Music Awards is the ultimate proof, a ceremony during which she got her revenge on Kanye West (the singer had humiliated her on stage six years earlier at the same event ) . On stage, Taylor Swift sported a houndstooth sequined ensemble, featuring a long-sleeved crop top, matching jogging pants, and gold strappy heels. It was reminiscent of ” Bad Blood ,” the song whose music video in 2014 transformed the singer and several of her celebrity friends (Selena Gomez, Gigi Hadid, etc.) into femme fatales.

Ten years after that event, Taylor Swift’s life has changed considerably, and her wardrobe has changed once again. Now a billionaire , with her discography recently expanded with a twelfth studio album titled * The Life of a Showgirl* , and about to marry an American football star, her personal wardrobe has acquired some luxury pieces. These include Gucci platform heels spotted on her feet during a recent outing in New York with Sabrina Carpenter , and a Miu Miu plaid jacket worth over €3,600 that she wore on December 7th at a football game in Kansas City. Could this be the start of a new era?

Story by Madame Figaro

Fashion

“I absolutely want it”: why is this Chanel jacket causing a social media frenzy?

After the rain comes the beautiful… garment. On November 3rd, British influencer Amelia Liana, with half a million followers, posted a photo carousel of her latest look. Photographed on a London street, she poses in a short , beige trench coat that is almost entirely wet. On the damp patches of the fabric, several interlocking “C”s—the iconic Chanel logo — appear to magically emerge. “After the rain comes the Chanel CCs {the logos appear when wet},” the content creator captioned the post, which received over 11,000 likes.

This caused quite a stir among her followers: “I’m obsessed with this jacket,” “It’s so cool,” “Everything I was waiting for, amazing,” “I don’t need it, and yet I absolutely want it,” several users posted in the comments section. But it was especially on the influencer’s TikTok account , where she has over 690,000 followers, that the garment was the biggest hit.

Underneath a “test” video, we learn that the content creator actually had fun wetting her jacket with a friend using a water bottle . This caused the Chanel logos to appear in seconds, sending her followers into a frenzy: “Where can I buy it? What should I look for? Oh my God,” “Okay, now I want one,” “I absolutely need this jacket,” “I have to admit, it’s really amazing.”

A jacket that’s more scientific than magical. Taken from Chanel’s Coco Neige 2025-2026 collection —these sophisticated and technical collections unveiled annually since 2018 and entirely dedicated to winter sports—this short trench coat, crafted from cotton and silk faille, was created using a “hydrophobic” printing system, meaning it reacts to water. When the garment gets wet, the double C motif of the House of Chanel on Rue Cambon is revealed.

The garment is a prime example of Chanel’s commitment to innovative fashion. After experimenting with 3D printing in haute couture for its Fall/Winter 2015-2016 collection, the brand founded by Gabrielle Chanel is now exploring technical clothing. “While the collection incorporates Chanel’s iconic codes and emphasizes functionality, it also reveals an unexpected sense of freedom. What appeals to me is that it transcends stereotypes: it adapts just as naturally to the ski slopes as it does to the city,” explained Nana Komatsu, the face of the Coco Neige 2025-2026 collection, in a press release. This quality quickly went viral on social media, making it the must-have jacket of the winter.

MADAME FIGARO

Fashion

Can technology fix fashion’s sizing crisis?

A pair of jeans could easily be a size 10 by one brand and a size 14 in another, leaving customers confused and disheartened.

It has led to a global deluge of returns, costing fashion retailers an estimated £190bn a year as would-be shoppers wonder what size they’re meant to buy from which store.

I didn’t have to look far to find people experiencing the problem.

“I don’t trust high-street sizing,” one person tells me, as she browses one of London’s popular shopping streets. “To be honest, I buy by how it looks rather than the actual size.”

She’s one of many women who often orders multiple versions of the same item to find one that fits, before sending the rest back, fuelling a culture of mass returns.

A new generation of sizing tech

A growing cluster of tech companies are now attempting to fix the problem.

Tools such as 3DLook, True Fit and EasySize focus on helping customers choose the right size at checkout, using body scans via smartphone photos to suggest the most accurate fit.

Meanwhile, virtual fitting-room platforms including Google’s virtual try-on, Doji, Alta, Novus, DRESSX Agent and WEARFITS allow shoppers to create digital avatars and preview how items might look. These systems aim to increase confidence when buying online.

More recently, AI-powered shopping agents have begun entering the market too. Daydream, allows users to describe what they are looking for and then recommends options.

OneOff pulls together looks from celebrities to find similar items, while Phia scans tens of thousands of websites to compare prices and surface early “size insights.”

While these tools work at the e-commerce stage, a new UK start-up, Fit Collective, is taking a different approach: trying to prevent the problem earlier in the production process.

Founder Phoebe Gormley argues AI can potentially fix the sizing before clothes reach the stores.

The 31-year-old – who is no data scientist, rather a tailor – previously launched Savile Row’s first female tailors, making made-to-measure garments for a range of women.

“They would all come in and say, ‘high-street sizing is so bad’,” she tells me.

She says fashion’s current model is a “downward spiral” where brands make cheaper garments to offset huge return rates, which leads to unhappy customers and more waste.

Since launching last year, Fit Collective has raised £3 million in pre-seed funding, reportedly the largest amount ever secured by a solo female founder in the UK.

“As far as we know, we are the first solution comparing all the manufacturing data and the commercial data,” she says.

Phoebe’s new venture uses machine learning to analyse a range of data – including returns, sales figures and customer emails – to really understand why something didn’t fit.

It then turns this into clear advice for design and production teams, who can adjust patterns, sizing and materials before manufacturing begins.

Her system may tell a firm, for example, to take a few centimetres off the length of an item of clothing to reduce the number of returns overall. This saves money for the company and time for the consumer.

While many in the industry welcome such tools, some warn technology alone won’t fix fashion’s sizing problem.

“People aren’t mannequins, they’re unique, and so are their fit preferences,” says Paul Alger, Director of International Business at the UK Fashion and Textile Association.

He warns sizing can be nuanced, with body measurements rarely aligning with a number on a label.

“It’s very difficult, it’s very subjective,” he says.

“Most of us are a different shape and size – around the world people have different body shapes.”

And then there’s the issue of vanity sizing – or “emotional sizing” according to Mr Alger – where a brand will deliberately choose to create a more generous fit in the knowledge that a consumer, especially in women’s wear, will prefer to shop there.

“Once these sizing norms are established in a collection, brands will usually refer back to them each season so they are effectively creating their own brand sizing,” he says.

Sophie De Salis, sustainability policy adviser at the British Retail Consortium, says retailers are increasingly aware of the issue, from a cost-saving and sustainability perspective.

“Smarter sizing tech and AI-driven solutions are key to reducing returns and supporting the industry’s sustainability goals. BRC members are working with innovative tech providers to help their customers buy the most suitable size and reduce returns,” she says.

With returns now a board room issue and sustainability pressures mounting, more fashion houses may well consider data-driven design.

While no single solution is likely to solve inconsistent sizing completely, the emergence of tools like Fit Collective, alongside a growing ecosystem of virtual try-ons and size-prediction platforms, suggests the industry is beginning to shift.

CNN