Margot has not generally been done right by Chanel, so I’m happy to see that she snagged one of the simpler back-to-basics designs from its most recent runway show (the first under Virginie Viard’s stewardship). I like it better in the blue, theoretically speaking — the design stands out more — but Margot is selling the white, for sure. It’s floaty and vintage-feeling, and has a sort of innocence to it that makes it a very poignant choice for a movie in which she plays a young pregnant woman famous for being brutally murdered. (Not that the movie itself seems particularly poignant. I don’t have a lot of patience for Tarantino, so you’ll have to let me know whether his take on the story was worthy.) And she styled it with that gorgeous purse, and risky eye-makeup:
Generally, I think smearing a lot of red around the eyes is a cosmetic mountain too daunting for anyone to scale. It almost always results in the person looking puffy, or evil, or exhausted, or like the Heat Miser, or generally distractingly wacky. I’m surprised and pleased to note that Margot Robbie here does NOT look puffy, nor evil, nor exhausted. Her lids might partially evoke the Heat Miser, but look, even he deserves a soulmate. So it comes down to: Does she still look distractingly wacky? I would argue… no. I think this is the best I’ve ever seen anyone deploy this particular look, and that she looks as good as anyone possibly can when their eyelids are on fire; while it’s still not an aesthetic I would volunteer for, she gets a ton of points for technical difficulty, and we all know the judges are biased in favor of that. I’m pretty sure well see her in the Kiss & Cry looking pleased with her scores.