Miley Cyrus Is Writing Her Own Rock Opera in Alaïa, Mugler, and The Row’s Most Elusive It-Bag

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As Miley Cyrus ushers in her Something Beautiful era—a glam-laced, genre-bending fever dream she’s calling a “pop opera”—she’s not just redefining the boundaries of music and film, but the language of modern-day celebrity style. It’s not merely a new album. It’s an aesthetic thesis, part Alan Parker surrealism, part Bob Mackie spectacle, all stitched together with leather, fringe, and the kind of understated luxury that only a true fashion savant could wield.

Over the past month, Cyrus has been seen in a rotation of unapologetically decadent looks: shaggy Alaïa shearling coats, razor-sharp Thierry Mugler tailoring, and Ludovic de Saint Sernin bodycon silhouettes that call to mind the muscle of glam rock and the mystery of Studio 54. But for all the theatricality, there’s a quieter narrative threaded through her wardrobe: an allegiance to refined, whisper-luxury accessories—namely, from Mary-Kate and Ashley Olsen’s cult-favorite label, The Row.

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This weekend in New York, the “Flowers” singer stepped out in a corseted Jean Paul Gaultier suit, clutching The Row’s Marlo tote in her hand like it was an extension of her poise. While many still covet the now near-mythical Margaux bag (discontinued in 2024 to preserve its elusive status), Cyrus has clearly graduated to the next iteration of Olsen-anointed minimalism. The Marlo, soft yet structured, logo-free yet instantly recognizable to those in the know, was the perfect counterbalance to her high-glam look.

But Cyrus doesn’t linger in any one fashion register for long. Later that evening, she changed tempo entirely at her Something Beautiful Ball—a surprise Brooklyn soirée that turned into a full-blown love letter to queer culture. Held at the 3 Dollar Bill Club, the pop icon emerged like a dominatrix at Studio 54, clad in a long-sleeved black leather Mugler minidress, sheer tights, razor-sharp stilettos, and pointed leather gloves shaped into sculptural cones. A silver zipper raced down the front of the dress, punctuated by a low-slung belt flashing a bold “M” buckle—less logo, more manifesto.

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XNY/Star Max

With wet-look hair, midnight shades, and the kind of magnetism only a Cyrus can conjure, she took to the stage and the DJ booth, giving fans a preview of tracks like “Easy Lover” and “Every Girl You’ve Ever Loved.” But beyond the performance, she offered something deeper. “You’re more than an audience,” she told the crowd. “To me, you are a deep inspiration. There would be no genre for me if there was no gay culture.”

It’s a declaration—and a mirror of her larger ethos. Something Beautiful isn’t just an album or even just a film. It’s a living, breathing moodboard of eras past and futures imagined, pinned together by someone who understands that pop stars today must be part oracle, part archivist, part atelier muse.

And in Cyrus’s world, one moment you’re in Mugler leather at a queer ball, the next you’re gliding down a Manhattan sidewalk in pinstriped tailoring that could’ve walked straight off a 1990s Helmut Lang runway—deep V, wide leg, one hook keeping it all delicately fastened. All while toting the next It-bag that the rest of us haven’t even realized we need yet.

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