8 times Lily Collins channelled Audrey Hepburn on and off the red carpet

At the Venice photocall for Emily in Paris season five, Lily Collins arrived in a pearl-grey Schiaparelli SS25 Haute Couture gown designed by Daniel Roseberry. Twisted duchess satin ribbons sculpted the torso, while glycerine-bathed ostrich feathers lent an otherworldly, dewy luminosity. Her sleek precision bob, tucked cleanly behind the ears, drew the eye directly to her iconic brows—a Hepburn silhouette, dazzlingly reborn for 2026.

There is something cinematic and intentional about this Saint Laurent look. Lily Collins stepped onto a Paris train platform in a delicate nude lace-trimmed romper, layered beneath an oversized caramel trench coat, sheer black tights and sharp dark heels. It’s all the romance of Charade-era Hepburn distilled into a single frame: feminine, quietly daring and impossibly chic even in transit.

For the New York press circuit, Lily Collins stepped out in a Karl Lagerfeld-designed Fendi Fall/Winter 1997 slip dress: sheer, body-conscious and laced with bold geometric black panelling. A vintage red Fendi Baguette swung from one hand; a dramatic black feather coat swept from her shoulders. The razor-sharp bob gave the whole look a gamine severity that Audrey Hepburn herself would have appreciated.

 Don’t miss: 2026 Oscars beauty roundup: fresh faces, statement nails and prosthetic teeth

Lily Collins wore a floor-length transparent Alessandra Rich lace gown with a dramatic hip-bow detail—sheer, romantic and breathtaking. Rather than overwhelming the gown with accessories, she let the lace speak entirely for itself. Feminine without being fussy, sensual without trying—this is Hepburn’s 1960s star energy, transported into 2026.

Leave it to Lily Collins to make a polka dot feel like a manifesto. This Patou mini—a ruched, structured white bodice scattered with abstract black dots, paired with a full bubble skirt in bold, graphic circles—is pure mod-era gamine: the kind of look that would have turned heads on the Via Veneto alongside Audrey Hepburn in Roman Holiday. A vivid red lip and sheer black tights keep it sharp and thoroughly intentional. Playful on the surface, precise in every detail.

Not every Audrey Hepburn moment is a quiet one. For Good Morning America, Lily Collins pulled out this iconic Roberto Cavalli Spring 2006 giraffe-print trench—cult archival maximalism worn as a dress, cinched at the waist and accessorised with a purple Fendi Baguette and oversized amber-tinted sunglasses. It’s a reminder that Hepburn herself was never afraid of a statement—and neither is Collins.

Amid the couture and archival rarities, Lily Collins offered a rare and disarming glimpse of unguarded personal style: a relaxed tan Patou knit featuring the beloved Moomin character Little My, layered over a white turtleneck. No stylist credit needed—this one is pure Lily. It’s a reminder that the woman assembling one of fashion’s most sophisticated identities is also someone who’ll cheerfully pull on a cartoon sweater on a day off. That balance of self-awareness and joy is very Hepburn of her.

NOW READ

Billkin Putthipong’s growing brand portfolio, from Gucci to Skintific

Inside Bright Vachirawit’s 2026 brand partnerships, from Burberry to Calvin Klein

Jennie in Chanel: a look at the Blackpink star’s journey with the fashion house