At The Today Show in New York City, Elle Fanning stepped into a Rabanne dress with layered collars, pocket flaps, and chunky Tod's leather pumps — a construction story worth breaking down.
Notice how Elle Fanning is almost swallowed by detail, but it still feels intentional on The Today Show set in New York City this April. The whole thing is a quiet Rabanne construction flex, more about cut and layering than about color.
She’s in a cream Rabanne midi dress scattered with tiny multicolor dots, falling in a soft A‑line from shoulder to mid‑calf. Over a matching buttoned shirt base, the outer layer has short sleeves with cut‑out panels and little tabs that sit away from the arm, so you get this subtle, sculpted shape instead of a flat sleeve. The neckline is wrapped in a wide off‑white yoke with big circular hardware at the shoulders, almost like a built‑in cape that’s been flattened — very archive‑Rabanne energy.
Down the skirt, two oversized patch pockets sit low on the hips with crescent flaps and round button details that mirror the hardware up top. They break up the volume and give the dress a bit of utility flavor without going full cargo. There’s a slim belt at the waist (tucked under all that structure) that gently pulls everything in so the silhouette doesn’t drift into shapeless territory.
On her feet, she’s grounding it with deep navy Tod’s Leather Pumps — closed‑toe, block‑heeled, and solid. The heavier heel balances the floaty fabric and keeps the whole look from tipping too sweet. You can see a slim watch on her wrist, which matches the info we’ve got: the Cartier Baignoire Watch, plus a Cartier Les Berlingots De Cartier Ring catching light whenever she folds her hands. None of it shouts, but the pieces quietly underline that this is still big‑league styling.
Hair is pulled back into a simple updo with a side part, and her makeup sits in that neutral TV zone: defined eye, soft rose lip, enough definition to stand up to studio lighting without fighting the dress. And because the dress is doing so much texturally, staying minimal above the neck is a smart move.
My take: this isn’t an easy look. It could’ve gone costume on someone else, but Elle has a knack for slightly quirky, period‑adjacent silhouettes that feel right on her. The dress leans almost pre‑athleisure 1930s with those pockets and that cape‑like yoke, which is exactly the sort of thing you keep seeing in more directional celebrity photos this year. Who else goes on morning TV in a piece that intricate and still looks relaxed?
So if you’re into detail‑heavy dresses, this is a nice reminder that construction can be the statement, not just print or color.
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