American Eagle Outfits Diane Keaton Fashion

Vanity Fair's Hollywood Consequence cover is, among many other things, a major fashion event. But Diane Keaton, in the kind of perfectly tailored coat, hat, and swatches of polka dots that exemplify why a Cult of Keaton has sprouted around the star, seems to take inspired item enthusiasm. When we released the cover before on Monday afternoon, fans wasted no time zeroing in on the icon's defiantly personal style, which is at one time completely outside the rulebook of archetype Hollywood glamour (read: a big poofy gown), and notwithstanding totally of a piece with Annie Leibovitz'south commemoration of female power.

According to fashion and fashion managing director Jessica Diehl, Keaton'southward choice to vesture her own ensemble was two parts her atypical brand of Keaton spunkiness, and one part her collaborative spirit. Diehl spent 45 minutes on the phone with Keaton before the shoot, during which the ii struck on the idea of a tuxedo—a familiar arrow in Keaton'due south fashion quiver. But so Keaton suggested something else: "'Or I could wear something similar my favorite person, Paul Harnden, but that's probably non dressed upward enough,'" Diehl recalls her maxim. "And I was like, 'Yes, maybe not, but wear information technology and when you get here, nosotros can e'er see.'"

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When Keaton arrived—chipper and ready for her close-upward at 7:45 A.G., in her Harnden morn glaze, leggings, and studded engineering boots—she began looking through the natty, menswear-inspired pieces Diehl and her team had pulled. "And she's like, 'Oh, I dearest this, I love this,' and then Annie said, 'Yes, I love that too, but y'all kind of already look great!'"

Harnden, a British designer, is a favorite of John Galliano'due south, who described him in 2010 as "doing that rough kind of tweed and stuff" only "very Greta Garbo" in his accessibility. Keaton's polka-dot scarf and pocket square are Ralph Lauren–designed, and her lid is by Baron Hats, the milliner of choice for many costume designers (they created Sylvester Stallone's fedora in Creed and Samuel Fifty. Jackson's gaucho-style lid in The Mean Eight).

"It worked out because she took the time, like a proper collaborator, to spend 45 minutes on the phone trying to figure out what nosotros're doing as a bigger picture, and how she could fit in at that place," Diehl says.

And in the end, information technology was the sense of wonder Keaton's personal mode inspires that makes her cover appearance then memorable. "Sometimes, when you get somebody like that, who has taken so much time to strop her personal style, you're virtually an idiot to try and meliorate upon that in five and a one-half minutes."

Photos: From Jennifer Lawrence to Lupita Nyong'o: Hollywood'south Fiercest Women Photographed past Annie Leibovitz

Photograph by Annie Leibovitz; Styled past Jessica Diehl.

JENNIFER LAWRENCE 18 films, including Joy and The Hunger Games: Mockingjay—Part 2 (2015); one University Award, one BAFTA.

With almost more life strength than ought to be allowed, Jennifer Lawrence has seized the forefront as a dragonslayer with a goofy streak, a female Lancelot with a playful glint, capable of getting upward to no good. It is this champagne tickle beneath her oval surface that has enabled her to scale from the rawboned resilience of Winter's Bone—the film that first put her in the firmament—to the rallying disobedience of the Hunger Games series and mutant agonistes of the Ten-Men franchise without becoming an ennobled drag. Every emotion shines through her fresh and untinted. The creative threesome with writer-manager David O. Russell and the never demure Bradley Cooper—Silvery Linings Playbook, American Hustle (her tutorial on the dangers of the "science oven" belongs to the ages), and Joy, where she mops upward her fourth Oscar nomination at the infernally young age of 25—gave her room to carom and showcased the irrepressible side of her that makes her every red-carpet appearance and awards ceremony a potential Happening, especially if Amy Schumer is in on the caper.