Lemonade Looks

I have to say I loved Beyoncé's looks in Lemonade, especially this one which owes thanks to Yeezy! The braids bring a tough edge, the body contouring top & leggings are urban and sexy, and the fur harness brings a strong yet luxe look.

Hood by Air fur harness & top and leggings by Yeezy

The project was styled by Marni Senofonte, who started out as Norma Kamali’s assistant &began styling 19 years ago for celebrities like Mary J. Blige, Jay Z, Kim Kardashian & Lauryn Hill. She started working with Beyoncé in 2007.

Instagram: @marnixmarni

"As soon as I saw the harness [of the Hood By Air fur], I loved it. I think the swag that she had in “Don’t Hurt Yourself” was perfect for that fur. And when she put it on, it came alive, with her braids and the Yeezy look—those pieces were workout clothes in a way. It’s this angry, crazy song and you’re letting it out, but there is a masculine element to it as well. Kind of like, “I’m this strong feminine woman, but I’m a pimp!” Like, “Who you think you are?! I’m the pimp! I’m the one who runs this!” and that was the energy that I felt. And she embodied that, because she kind of is that. She’s a sweet girl, but she really is a boss." Marni Senofonte, Vogue.com

Dress by Roberto Cavalli by Peter Dundas with Saint Laurent “Candy” sandals

Love the bold mustard yellow Cavalli dress which opens the film. This swirling & undulating pretty feminine flurry of ruffles is the perfect antidote to the baseball bat hurling renegade that is a woman scorned as Queen Bey marches defiantly down the street, a malevolent force to be reckoned with. A leopard print bra peeps out to complete the look add a sexy swagger.

Stylist Marni Senofonte says "going back and forth from New Orleans and L.A. That was the vibe of this project: the antebellum-slash-Victorian-slash-modern-day." Vogue.com

Swarovski-encrusted Nicolas Jebran gown

Lace bodysuit by Marni Senofonte 

"My favorite look of the whole film was when we were in the burning house. I made that white lace bodysuit dress with the big pouf on her shoulders she’s coming down the walkway in. Before that, she was in a burning house and she had a light she kept twirling around, it was a chartreuse Nicolas Jebran gown. I had all of her women in these futuristic Victorian costumes." 

Marni Senofonte, Vogue.com
"We were thinking about being on those plantations at the time of her ancestors and what they would have worn. At the time, there was slavery, so it wasn't about that. It was about looking at these beautiful women that came from Africa and accentuating this beautiful culture and beautiful people." Marni Senofonte, Harper's Bazaar