Dakota Johnson Wears a Completely transparent Skirt Set for a Late-Night Appearance in NYC
Dakota Johnson turned heads in New York City yesterday, wearing a transparent two-piece look while en route to Late Night with Seth Meyers. The actress was photographed leaving the Greenwich Hotel in Tribeca in a black tulle top and matching midi skirt by Albanian designer Nensi Dojaka, layered over a brown strapless bodysuit. She styled the look with pointed black slingback pumps, gold hoop earrings, and black angular sunglasses. Her Gucci Jackie 1961 shoulder bag in brown complemented the neutral tones of the ensemble.
The outfit, styled by Kate Young, was one of several transparent looks Johnson has worn this week while promoting her upcoming film Materialists, directed by Past Lives filmmaker Celine Song.
On May 30, the actress was spotted wearing a transparent black bodysuit by Commando, paired with a suede Khaite jacket and gold-framed oval sunglasses.
This is just the latest in Johnson's standout press tour style streak. At Cannes last month, she wore a series of outstanding looks, including a semi-sheer Saint Laurent slip dress and a bubble-gum-pink fringe Gucci gown.
She also made headlines earlier this week for wearing a plunging blazer minidress during her appearance on The Tonight Show Starring Jimmy Fallon—which she jokingly covered up with tissues mid-interview.
The Madame Web star's appearance came just one day after reports surfaced that she and longtime partner Chris Martin had ended their relationship.
The breakup news followed a public shout-out from Martin, who told a Coldplay concert crowd on June 1, 'Don't forget to go see Materialists,' in a fan's clip shared on social media. The film, which stars Johnson alongside Pedro Pascal and Chris Evans, is set to be released June 13.
Neither Johnson nor Martin has commented publicly on the split, though sources told People that it 'feels final this time.'
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(L-R) Dakota Johnson Credit: Atsushi Nishijima Materialists toys plenty with the theory, leaning on the matchmaking profession for its humor instead of the rom-com genre's usual contrivances and conceits. We watch as Lucy has brilliantly absurd intake meetings with clients who have crafted rigid profiles of their perfect partner: from a closeted conservative woman seeking an openly gay conservative woman, to a mid-40s man who defines older women as 28. 'I'm trying to settle!' Sophie (Zoe Winters) exclaims after another failed date. (Sophie's match chastised Lucy for failing to find him a 'high-quality woman.') The matchmakers' language reinforces how this ostensibly human art can be boiled down to cool sciences. 'She's not competitive in the market,' Lucy laments to a coworker about Sophie, exasperatedly laying out her ordinariness. It's funny because you simultaneously believe that Lucy means well and doesn't take Sophie seriously; her world is molded by casual, lukewarm cynicism. 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(L-R) Dakota Johnson, Pedro Pascal Credit: Atsushi Nishijima The core of Lucy's question is Materialists' driving force: the role of self-worth in informing one's romantic possibilities. Song deepens the classic love triangle set-up of head versus heart and passion versus practicalities by grounding it there. Lucy, Harry, and John are all keenly aware of the value they bring to their respective relationships. Lucy sees herself as unremarkable compared to who Harry could theoretically date, while doubting she can support John through his financial troubles. Lucy's doubt of her self-worth further contextualizes her professional reliance on rote practicalities. Harry's breezy but genuine pursuit of Lucy comes from his belief in his 'unicorn' status and that he and Lucy are compatriots in a utilitarian approach to love. Meanwhile, John is on the sidelines, deeply wounded by his inability to give Lucy what Harry can easily offer. These nuances build upon Song's remarkable ability to subvert, but not diminish, the genre's most enduring tropes. 'Snow White' (2025) Review - Where Has The Magic Gone? Also remarkable and refreshing is the lack of misdirects and mixed signals. Song elevates honest (or honest enough) communication between the trio, manifesting in some of the most mature exchanges in the history of the rom-com genre. At its best, the honesty is blissfully romantic in its own right, thanks to Song's remarkable script and tender lens. Her framing of Lucy and Harry's date before their first time, where Harry tells her she has value, is a fascinating blend of romance and negotiation, with gorgeous low-light and medium shots that position them as Harry sees them: equals. John and Lucy's dance at a barnyard wedding is startlingly intimate, even at a distance, with the camera circling and cutting closer as the gravity of their connection becomes undeniable. 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Even with that gut punch, Song keeps a staggering command of tone and script, maintaining the graceful romance, blistering honesty, and even levity. She connects that searing narrative beat to the central insight about love and worth, evolving it into a beautifully sophisticated statement about love not defining one's value. Song pulls similarly sophisticated, nuanced performances from her strong cast. Lucy is an excellent vessel for Dakota Johnson to channel her cool unflappability through, undercutting it with a slight veneer of artifice through her dry delivery. Her best work comes when an external force, specifically John or Sophie, shreds Lucy's disaffection, leaving Johnson to convey the raw insecurity undergirding her cynicism. Pedro Pascal wears Harry's charming elegance very well, practically floating across the screen without slipping into off-putting arrogance. After years of leading action films, Chris Evans's rom-com return yields his best-ever performance and possibly one of the all-time great performances in the genre. As the frustrated, yearning John, he reveals stunning new depths of vulnerability and grace, his eyes and voice expertly balancing palpable ache, teasing cynicism, and heartrending warmth. Zoe Winters, of Succession fame, is a revelation as Sophie, shaping her comedic and dramatic moments into scene-stealing showcases with deeply affecting energy. ChatGPT hasn't put the matchmaker out of business because, as Materialists shows us, love can't be automated. Love is an achingly human, imperfect art, subject to all the blissful and painful nuances that make it all worth it. Lucy tends to boil love down to snackable lines that win clients over, but the film reveals that the complexities hidden beneath those simplicities are what we're ultimately responding to so strongly. In what seems like a slow death march, aided by algorithms encroaching on everything that makes us, Materialists is a salve that reminds us that we can't be replaced, not our jobs or our capacities to love ourselves and others. It's apropos that Celine Song, who has proven to be an essential voice in romance cinema, is the harbinger of such a vital, life-affirming message. Materialists will debut exclusively in theaters on June 13, 2025, courtesy of A24.
