The Butterfly Effect | Issue 12
And the Grammy Goes To…
The Grammys—always a stage for eclectic fashion and cultural moments—served up both this year. Justin Bieber arrived in a relaxed, oversized Balenciaga suit—a silhouette more slouch than armor, perfectly complementing the evening’s mix of ease and expression.
Hailey Bieber delivered a standout moment in a sleek black Pieter Mulier–designed Alaïa gown with sheer side panels that felt confidently modern—the pinnacle of sheer, done right. Both accessorized with prominent “Ice Out” pins.
Bad Bunny made his mark in a classic custom Schiaparelli tuxedo by Daniel Roseberry—an elegant, well-tailored statement that delivered one of the night’s most refined silhouettes.
Other strong looks included Addison Rae in Alaïa, Lady Gaga in Matières Fécales, Tate McRae in Balenciaga, and Tyla in Dsquared2. Fashion, done well. Take a well-deserved bow.
Chanel-ing Catherine
Matthieu Blazy is having a moment—though it’s increasingly clear this will be more than a moment, more like a movement. He can seemingly do no wrong, and his custom Chanel for Paris’ Wuthering Heights premiere did not disappoint.
Margot Robbie wore a bespoke Blazy gown featuring a deep-red fitted velvet corset, cinched at the waist before flaring and draping to reveal an ivory silk faille underskirt. The rich velvet trailed behind her, bustled and adorned with feathers and silk petals. Perfection.
The brilliant Andrew Mukamal—Robbie’s longtime stylist and the architect behind the Barbie tour—finished the look with a velvet-set diamond choker. As always, Pati Dubroff’s makeup was the ideal counterpoint: rosy, sculpted cheeks with a Chanel-crafted blush and a softly coordinated lip that felt romantic rather than referential.
In an era of forgettable press dressing, Robbie’s Wuthering Heights tour feels singular—controlled, character-driven, and impossible to scroll past. If ever there were a pairing as inevitable as Catherine and Heathcliff, it’s Blazy and Robbie.
Netting Medusa
As predicted by Lauren Sherman at Puck and noted by The Butterfly Effect in December, Pieter Mulier will be departing Alaïa this spring.
Mulier, who joined the house in 2021 following the death of founder Azzedine Alaïa, will present his final collection for the maison in March 2026, concluding a five-year tenure that reshaped Alaïa for a modern audience.
During his time at the house, Mulier brought renewed precision and sensuality to Alaïa’s codes—most notably introducing the now-signature mesh ballet flat, a CBC favorite that became emblematic of his disciplined, body-aware approach.
Mulier now trades fishnets for snakes. It has been confirmed that he is moving to Versace—a shift that feels less like a departure and more like a recalibration of power, glamour, and scale. And we can’t wait to see what Medusa is setting her gaze on next.