The Wintour-esque Chic of True Crime: Unraveling the Threads of "Only Murders in the Building"

There’s a certain allure to true crime, isn’t there? A voyeuristic thrill. We peek into meticulously curated lives, often beautiful, always flawed, inevitably shattered. And yet, we can’t look away. It’s this very tension, this friction between the glossy surface and the darkness beneath, that “Only Murders in the Building” understands so well.

The Arconia, with its grand facade and gossiping residents, becomes a character itself. A stand-in for the Upper West Side, for New York, for a certain kind of aspirational life. Remember that Donna Karan show, years ago? The one staged in a grand old New York apartment, models moving through rooms filled with the ghosts of dinner parties past? The Arconia has that same energy, a sense of history whispering from the walls.

And then, there’s the clothes. Because, of course, there are always clothes.

Selena Gomez, as Mabel Mora, is a revelation. Gone is the Disney sweetness, replaced by a knowing coolness. Her wardrobe, a mix of vintage finds and modern silhouettes, feels authentic, lived-in. Like that oversized camel coat she practically lives in. Or the chunky boots paired with patterned tights. It’s a look that’s both stylish and subversive, a deliberate middle finger to the perfectly polished Upper East Side princesses we’re used to seeing on screen.

Steve Martin and Martin Short, as Charles and Oliver, are pitch-perfect in their slightly rumpled elegance. Charles, the former TV star, clings to a faded kind of glamour. Think well-worn turtlenecks, tailored overcoats, a hint of melancholy in the way he wears a scarf. Oliver, the perpetually optimistic theater director, is all about flamboyant scarves and velvet vests. Their clothes, like their personalities, are a study in contrasts, but somehow, it works. They’re a reminder that style, true style, has nothing to do with age and everything to do with attitude.

The show’s costume designer, Dana Covarrubias, deserves every award. She’s managed to create a visual language that’s both specific and universal. We see ourselves in these characters, in their anxieties and their desires. And we covet their clothes, because they represent a kind of freedom, a willingness to embrace individuality. It’s not about following trends; it’s about telling a story. Your story.

And that’s what makes “Only Murders in the Building” so compelling. It’s not just about the mystery, although the twists and turns are undeniably addictive. It’s about the characters, their relationships, the way they navigate the world. It’s about finding beauty in unexpected places, about the enduring power of connection in a city that can feel isolating. And yes, it’s about the clothes. Because clothes, like it or not, are a language. And in the hands of a skilled storyteller, they can speak volumes.

Remember that scene in “The Devil Wears Prada” where Meryl, as Miranda Priestly, eviscerates Anne Hathaway’s character for her cluelessness about the fashion industry? It’s a brutal takedown, but it’s also a masterclass in understanding the power of what we choose to wear. “Only Murders in the Building” gets that. It understands that fashion is about more than just clothes. It’s about identity, about aspiration, about the masks we wear and the stories we tell ourselves. It’s about life, in all its messy, glamorous, heartbreaking glory.

Shop the must-have Taylor Swift outfits-https://www.cusuti.com/category/taylor-swift

Taylor Swift 3D Floral Dress, Embroidered Mesh Dress, Celebrity Inspired Outfits

Buy Now