Kate Walsh Wears Revealing Paris Fashion Week Dress
The Grey's Anatomy star stepped out in a white dress that featured a plunging cutout, revealing part of her chest, stomach, and pelvis.
Sharing a bunch of photos of the risqué look on Instagram, Kate, 57, wrote, 'Paris, mon cher… u bring the fashion, I'll bring the #Catwalk baby.'
Some people were SO here for it:
But others, not so much — especially after seeing a video of Kate seemingly trying to prevent a wardrobe malfunction in the daring dress.
In a TikTok shared by @gala.fr, Kate could be seen walking up a few steps before posing in front of several photographers. Throughout the clip, she clutches onto her dress in an apparent effort to stop any unwanted slips.
'She is uncomfortable and I am uncomfortable watching her being uncomfortable,' one comment read, while someone else wrote, 'I don't think she thought this through or had a test run beforehand.'
What do you think of Kate's dress? Let me know in the comments!
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The first session, for 'Diet Pepsi,' we were in the city in this little s—ty place. The vibes weren't there, but that made us have to create our own. Rae: Personally, I kind of thrive in a space where there's no vibe because then everything naturally doesn't sound as appealing. And then when you get something really special, it's obvious. I think when you're in a place or a space that's too great of a vibe, almost anything could sound good. 'Diet Pepsi' came out in August 2024, and did not arrive for almost another year. Why such a large gap? Rae: As much as I would have loved for there to be a confirmed album date before I started putting music out, it just didn't happen that way. When 'Diet Pepsi' came out, we only had three songs done. Just before writing and recording 'Diet Pepsi,' you recorded the 'Von Dutch' remix with Charli xcx. What did you learn from Charli or from watching the phenomenon of play out, and how did it inspire you in making your own music? Rae: Charli really gave me the confidence as a writer, honestly. That's why I felt so sure going into our sessions [for Addison, which happened soon after brat came out]. Most of the sessions I had done before I did the 'Von Dutch' remix session with Charli, I had a lot of writers in the room, and I was feeling like I was leaning on writers a lot. Charli really leaned on me and gave me so much confidence, and that's really when a big shift happened for me as far as being a songwriter. It's rare to see a pop album that only has three people in the liner notes — and even more rare to see liner notes that only list women. How do you think this affected the songs you three made? Rae: I think the perspective of having a room of only females was just a really different energy than what we're all used to. 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The ego should be left at the door. Just worry about the song. Those guys still show up worried about what song they're going to make today, and that's it. It's a beautiful example to have every day because it's really about the love for the music. It sounds cheesy, but I think their success speaks for themselves — they've really led with their love for the craft more than anything. Luka, you're from Studio City, Calif., but you often work alongside Swedish talent, including Elvira. Why do you think Swedish pop producers have been so prominent over the past few decades? Kloser: Oftentimes, people feel like there's this mathematical approach to pop songwriting. That's not completely wrong. There's definitely a toolbox that is there, but I think what sets Scandinavian people apart is that they have free music education. Also, when I hear Swedish people talk, I find it to be very melodic. I just think music is so deep rooted there. 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Rae: I initially struggled with the idea of not having the album done before 'Diet Pepsi' came out. There was so much unknown before 'Diet Pepsi' came out. We didn't really know what people would think, nor did we really care, which I thought was so nice. And then, people really loved it, which was really nice and so gratifying. But I think it definitely added a layer of pressure initially. It was a lot to follow up. Anderfjärd: We talked about that a lot around that time because all of us felt that pressure, but then we said, 'Let's just not feel the pressure of making another 'Diet Pepsi' because why would we do that? It already exists.' I think once we settled into that mindset we just thrived. Addison, your career has been very public from the beginning. How did the weight of public opinion affect you as a young musician who was still learning? Rae: Initially, I was pretty let down by myself in a lot of ways because I had such high expectations. And then over time, I just completely let that go and released it. I know the way that music makes me feel, and I know that I trust my taste and my instincts. And even though I took a kind of break over time to figure out what that meant to me, I think it was so necessary, and that led me to exactly where I needed to be, which is right here with Luka and Elvira. What other moments when making the album felt like you really coming into yourself as an artist? Rae: 'High Fashion' is probably the one for me because I remember we were struggling at that time. We didn't know where else to go creatively, maybe because of the success of 'Diet Pepsi' around that time, and then 'High Fashion' happened. That was one where I was like, 'OK, I fully trust myself, I fully trust Luka and Elvira, and I fully trust this room we have.' Initially, [making music together] was so naive. Everything we were making was for us and private. Once everything was being received in real time and we were still making the album, it felt different. And then 'High Fashion' brought us back to that same feeling. I had a phase where I was sitting in the studio for days and I had nothing. It was a struggle. It can be hard, communicating with people about your feelings and where you are in life, especially when you're going through a lot. When I was really struggling, there was a lot of weight being put on [Luka's and Elvira's] backs because I was unable to offer up my energy in those moments. I think those times are necessary, though, where you just sit and play and nothing happens or comes out of it. Anderfjärd: It's those moments where either you can sit and do nothing with that and go home or you can sit and talk about it and become closer. A lot of those moments are what created the groundwork of making a song because we became close enough to talk about everything. 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