Kim Kardashian Is Tearing Through Her Hollywood Moment

Kim Kardashian blending in with the working actresses of Hollywood is a funny sight, if only because it's like those pictures of royalty when they try and socialize with normal people. Not that future Oscar winner Teyana Taylor and frequent Oscar nominee Glenn Close are normal in any way, but there is a stated difference between the sort of fame Kardashian brings to the table, and the rest of these women combined.

Try as she might — she is just different. I somewhat enjoy the tension in this context, because the drama of this Schiaparelli gown only heightens the visual in my mind of Elizabeth Taylor shopping eating at a McDonald's. (Ryan Murphy is the McDonald's to be clear, and Audrey Hepburn and Shirley MacLaine are just out of frame in the drive-through.) The sculptural elements are signature Daniel Roseberry, from the sheer black tulle to the nude satin rippling across her abdomen.

It's also interesting that Sarah Paulson went semi-viral on this particular red carpet, owing to the fresh-off-the-runway Bottega Veneta that caused quite the stir online. Most are still undecided if they like the collection at all, but that's not really of concern here. (I was unimpressed.) More than anything, I wonder if others on the cast were given assistance or direction by Kim's styling team on how to put themselves together. Paulson and Taylor and Close and Niecy Nash and Naomi Watts are no strangers to glamour. But there is a synchronicity between them that reads of planned cohesion.

I'm not sure I'd like to see that for just about any television premiere, but it does work where Ryan Murphy is concerned. The man is far less interested in telling stories, and far more concerned with building cinematic worlds.

Just days later, the gang popped up in Paris for the first of a few overseas premieres. The gown this time was a pale blue vintage Dior wonder, designed by John Galliano 25 years ago for the Spring/Summer 2000 collection. Like most things, it hugged her every curve, and like most appearances, she kept the glam slick and neutral.

I like the dress decidedly less than her Schiaparelli appearance, but the use of archival fashions generally wears thin on me these days. It is not a bad dress! I just tire of this particular shade of Dior blue.

The date of the premiere was coincidentally her birthday, which is likely why they are posed with her like that int he first picture. I like to imagine though that they're celebrating her big Hollywood moment, if only because I live in a world where famous women generally like and get along with each other. It could be a birthday pose, it could be a "Look, Kim Kardashian is here and we think she's a real actress" pose. I'll relish the mystery.

This last look is of greatest interest, seeing as it was from the recent collection of Dilara Findikoglu, who's been the nexus of a self-made scandal online for weeks now. The story failed to breach the fashion press proper, but it does seem like the designer's team is chugging along with high profile red carpet spots, like Kim here. On a narrative level, it's the perfect dress, completely devoid of any context about its designer's alleged beliefs. It fits her beautifully, is just shocking enough and generally elevates the shawl trend that's dominated red carpets and runways alike.

But very like Kim, controversy follows her most places — especially her big Hollywood debut. It's a scandalous dress by a scandalous designer worn by a scandalous reality television star on the third red carpet of her first proper television series premiere; I couldn't muster up a more modern string of words if I tried.