Dakota Johnson and Jennifer Lawrence's Friendship Is The Row's Best Campaign
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For co-creative directors Mary Kate and Ashley Olsen, establishing The Row's roster of It girls was easy. I mean, who didn't want to dress like the Olsen twins in the early 2010s? Sienna Miller, Zoë Kravitz, Jennifer Lawrence, and Dakota Johnson were some of the first stars to give the brand's minimalist catalog a chance. And now, nearly two decades post-launch, they're still riding The Row's wave.
Lawrence and Johnson secured their loyalty to the brand back in 2017: the former with drawstring trousers, the latter with a fur-embellished coat. On today's street style scene, these A-listers frequently source the Olsens' label for oversized outerwear, timeless basics, and innovative handbags. Sometimes, if we're lucky, the two maximize their joint The Row access with an evening out—like this past weekend, when Lawrence joined Johnson for dinner in New York, complete with multiple The Row pieces in tow.
The Materialists star, for one, sourced the New York label's Round '90s bag. While she loves a neutral tote, this time, Johnson carried only the essentials in a neon orange tubular style. From there, she returned to her regular color palette with an oversized brown blazer. A black tank top peeked out from underneath. On the bottom, Johnson chose flowy light gray trousers. Then, she tapped into the Hailey Bieber-led loafers renaissance with a leather pair from Saint Laurent. A bolo tie-inspired necklace by Ophelia Eve finished her GNO get-up.
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Lawrence followed Johnson closely in a casual yet elevated ensemble, starting with a black ankle-length coat. She layered it over a matching viscose slip dress from Lemaire. The Hunger Games alum dressed her LBD down with slip-on flats, courtesy of—you guessed it—The Row.
It seems Lawrence coordinated with Johnson via text beforehand, because her bag also hailed from their favorite atelier. She chose her go-to Lady Bag in a shiny, burgundy alligator finish, which retails for approximately $33,000 per Vogue. Similar to other Lawrence-approved pieces, it's sold out everywhere and in every color.
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Both Lawrence and Johnson are gearing up for a busy summer. Lawrence is promoting Die, My Love and Johnson is on the Materialists press tour. Clearly, the friends are fitting in as many meet-ups as they can before their schedules get too swamped. Johnson also grabbed dinner with Taylor Swift this weekend, so who knows? Maybe the Grammy winner will join them in her own head-to-toe The Row look soon.
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Elle
an hour ago
- Elle
Everyone Wants To Dress Like Dakota Johnson In 'Materialists' – How To Style Her Style
When a woman's job involves the business of love, what does her wardrobe look like? That was the question Katina Danabassis was tasked with answering as the costume designer of Materialists, the new film from writer-director Celine Song. Danabassis previously worked with Song on Past Lives, her critically acclaimed directorial debut. Now, two years later, she is dressing a new, and very different, leading lady. Unlike Past Lives' Nora (Greta Lee), who decidedly doesn't care much about her apparel, Materialists' Lucy (Dakota Johnson) pays more attention to her clothing choices. She is, after all, a professional matchmaker. She's acutely aware of the role that personal style plays in how someone is perceived by the outside world, particularly when trying to attract potential suitors. Even so, nothing about Lucy's leading lady wardrobe seems the least bit forced or frivolous. Danabassis cites the '90s minimalism of the late Carolyn Bessette-Kennedy and 'a touch of French sensibility' as essential ingredients in crafting Lucy's fashion taste. 'We aim to achieve naturalism in the character's wardrobe,' Danabassis tells ELLE. 'It is paramount to the story to not distract when thinking about the wardrobe. If it's feeling loud, that's where it gets a little hard for me.' While Lucy might not shy away from bickering with her boyfriend on a busy New York City street, her outfit choices are noticeably quieter, softer, and more subdued. And some are certainly influenced by iconic onscreen looks from the celebrated romantic comedies of yesteryear. Let's take, for instance, the bar scene when Lucy, John (Chris Evans), and Harry (Pedro Pascal) go out for drinks after watching John's play. She's wearing a long, black leather coat over a white top and light-wash denim – a combination that calls to mind one of the most quintessential leading lady looks of all time. 'That leather jacket and the white underneath, that's not not a nod to Notting Hill and the epic beret outfit,' Danabassis says. 'I am not oblivious to the fact that this is going to exist in the greater canon of rom-coms and rom-drams. It's all part of the fun.' Below, Danabassis dissects some of Lucy's sartorial sensibilities. At the beginning of the movie, Lucy is introduced to viewers as she power-struts her way through the city. She's a woman on a mission, and it's hard not to root for her when she's stomping around in tall black leather boots paired with the sleekest skirt suit and a super-silky, cream-colored blouse. The look was partly inspired by Johnson's mother, Melanie Griffith, and her role as the suited receptionist in the 1988 film Working Girl, and by a stylish stranger Danabassis encountered one day. 'I saw a girl crossing Bowery in a skirt suit wearing thigh high boots, carrying a trench coat over her shoulder with her finger, and I was just like, that is memorable as hell,' she says. 'The knee-high boots, to me, that's part of the friction in the outfit that makes it so badass. If she was wearing a pump, it's kind of predictable.' While there are two wedding scenes in Materialists, it's the one in the beginning of the film that sets up the rest of the story. At her client's black tie reception, Lucy is quite literally confronted with her past and (potential) future when she meets Harry and reconnects with her ex, John. For this impossibly messy-yet-enviable entanglement, she's wearing a strapless, floor-length gown by Proenza Schouler in a stunning cerulean hue. 'On the rack, that dress looks like nothing, but Dakota gravitated toward it, put it on, and it just worked,' Danabassis recalls. 'I also really liked the city vibe to it; I liked that it wasn't super romantic. I liked that it was communicating business without being too sexy, and the back is so beautiful.' Lucy's penchant for silver accoutrements shines throughout the film. From the heels, choker, and ring she wears with the blue dress to the myriad of other heart-shaped accessories she dons elsewhere, her go-to choice of metal is clear. But it's not just about personal style; the hardware is also symbolic of the class hierarchy Lucy experiences. 'Celine was like, 'This is a silver movie. Lucy's a silver girl,'' Danabassis says. 'Another little differentiating point is that [Harry's] a gold man. The [engagement] ring she sees is gold – she's down here and he's up here, and she's having to navigate those differences.' The billowy button-up might as well have its own podium in the Rom-Com Fashion Hall of Fame. Lucy's spotted in a couple of these staples, including an oversized blue striped top the morning after she first stays the night at Harry's. Then, in the third act, she's in a classic white version styled with worn-in denim when she embarks on the road trip upstate with John. 'The casual looks are really simple basics that are in everyone's closet,' she says. 'It's nothing crazy, it's just this tissuey, billowy, cotton top that's beautiful and looks so good. We're not reinventing the wheel; we're just riffing.' Theoretically, the buttercream dress dripping in ruffles and florals was an item Lucy had packed for her trip to Iceland with Harry. When those plans fall through, she inadvertently gets another chance to let the ultra-romantic gown have a moment in the spotlight. 'It's like she was trying to get in touch with the lover in her,' Danabassis says of Lucy wearing florals. 'That's why you see it so much with John and not so much with Harry. One gets these clean lines, business, transactional talk, pragmatic stuff. And then the other one gets more leading with the heart. One is mind, one is heart.' Mekita Rivas is a freelance journalist based in Washington, D.C. She has covered culture, style, and politics through the lens of gender, race, and ethnicity since 2016. Previously an editor at Cosmopolitan, senior contributing fashion editor at PopSugar, and senior fashion writer at Bustle, her writing has been published in the New York Times, Vogue, Harper's Bazaar, InStyle, Architectural Digest, and Refinery29.


Vogue
2 hours ago
- Vogue
The Row Spring 2026 Ready-to-Wear Collection
The pleasant scent wafting through the Parisian salons of The Row, and the ikebana floral arrangements staged throughout, proved such sensory distractions that it took a moment to realize something was missing. This season, there were no mannequins. Usually, for these non-runway visits, they are stationed like studied compositions that attest to either The Row's stylistic wizardry, or how a loosely tailored blazer attains a kind of Platonic ideal. In their place: a sculptural clothing rack designed by Julian Schnabel, where three hangers presented Look 24—a vintage silk shantung pajama ensemble and a cashmere sweater vest—with a pair of low pumps underneath (they go by the name Liisa and will look good with just about anything including white socks). It was as though the clothes had become part of an art piece, open to interpretation. Yet there were noteworthy items all around: a jaunty yellow cape as sturdy as a Mackintosh, and a cashmere coat with the ease of a robe; a men's trench with removable flannel lining; the structured Georgia bag in natural linen canvas and compact Amber in tightly woven leather. They can all be found in this photo series by Mark Kean, who translated the season's 'lived in' narrative with the arty tinge of an old magazine editorial. If a mostly black-and-white lookbook misses subtle tones like a shirt that glowed light pink, it draws attention to the men's and women's white underpinnings (in jersey with the slub texture of many washes) as everyday clothes. These also appear as visible layers, like outside and inside clothes as a single outfit, just dressed up with heels. When the weight of the world feels intractably heavy, light, comfortable and uncomplicated dressing is most welcome. But at a certain point, one wonders whether we are seeing Veblen's leisure class theory coded into clothes that look more and more inconspicuous. Of course, the lounge-y, more intimate feel follows the ultra-discreet preview during Milan Design Week of a homewares collection that shifts The Row into lifestyle territory. The brand marks its 20th anniversary in 2026, and let's not forget that Mary-Kate and Ashley Olsen started The Row in pursuit of the perfect T-shirt. Everything they do still reflects this superlative simplicity, only on a grander scale. Maybe, after all this time, what's missing is a closer connection to them.


Vogue
2 hours ago
- Vogue
The Row Spring 2026 Menswear Collection
The pleasant scent wafting through the Parisian salons of The Row, and the ikebana floral arrangements staged throughout, proved such sensory distractions that it took a moment to realize something was missing. This season, there were no mannequins. Usually, for these non-runway visits, they are stationed like studied compositions that attest to either The Row's stylistic wizardry, or how a loosely tailored blazer attains a kind of Platonic ideal. In their place: a sculptural clothing rack designed by Julian Schnabel, where three hangers presented Look 24—a vintage silk shantung pajama ensemble and a cashmere sweater vest—with a pair of low pumps underneath (they go by the name Liisa and will look good with just about anything including white socks). It was as though the clothes had become part of an art piece, open to interpretation. Yet there were noteworthy items all around: a jaunty yellow cape as sturdy as a Mackintosh, and a cashmere coat with the ease of a robe; a men's trench with removable flannel lining; the structured Georgia bag in natural linen canvas and compact Amber in tightly woven leather. They can all be found in this photo series by Mark Kean, who translated the season's 'lived in' narrative with the arty tinge of an old magazine editorial. If a mostly black-and-white lookbook misses subtle tones like a shirt that glowed light pink, it draws attention to the men's and women's white underpinnings (in jersey with the slub texture of many washes) as everyday clothes. These also appear as visible layers, like outside and inside clothes as a single outfit, just dressed up with heels. When the weight of the world feels intractably heavy, light, comfortable and uncomplicated dressing is most welcome. But at a certain point, one wonders whether we are seeing Veblen's leisure class theory coded into clothes that look more and more inconspicuous. Of course, the lounge-y, more intimate feel follows the ultra-discreet preview during Milan Design Week of a homewares collection that shifts The Row into lifestyle territory. The brand marks its 20th anniversary in 2026, and let's not forget that Mary-Kate and Ashley Olsen started The Row in pursuit of the perfect T-shirt. Everything they do still reflects this superlative simplicity, only on a grander scale. Maybe, after all this time, what's missing is a closer connection to them.