It feels like 90 percent of the time we flip the Fug or Fab coin, it’s because of something Cate Blanchett has worn — which is one major reason we love her; the woman is never boring, nor is she afraid of anything. Not even our fictional Fug or Fab coin. Which, if it existed, would probably have either Intern George or a pair of Louboutins on one side, and leggings or a picture of Sienna Miller’s closet on the other. Maybe there are two coins. Maybe we flip one of them to decide what goes on the other. Or maybe I need to climb out of this wormhole before it gives me insomnia.
Anyway: Cate. She’s crazy. Or is she? Yes, she is. Unless she isn’t.
Gorgeous face. Love the blowout. She glows. And you can’t deny that dress has major drama, even if it does leave an odd amount of room for her to have a full pelvic cast tucked away under there, or perhaps a pony keg. But the bodice scares the bejeesus out of me. It feels a tiny bit like Lil’ Kim gone couture, as if one of Cate’s breasts MIGHT pop out with a pasty on it that’s patterned after an Elizabethan ruff.
It is a rare day indeed when Cate Blanchett and Lil’ Kim get to appear in the same post, but now that we’re here, maybe we should take it a step further and arrange a rollicking tea party so that they can discuss the acquisition and application of matching high-fashion nipple covers, the appropriate length for a slit up your leg, and the underlying thematic similarities of She’s All That and Elizabeth. You know — Queen Liz the First got a makeunder and became one of the greatest monarchs England has known; Laney Boggs took off her glasses and bought high-heels and became… a really sort of marginally better-than-awful artist with nice cleavage. They’re practically the same story.