Tilda Swinton’s androgynous, eclectic style makes her a malleable on-screen presence. Whether playing a high-powered general counsel in Michael Clayton, a literal witch in The Lion, the Witch, and the Wardrobe, or a satire of Hollywood gossip columnist Hedda Hopper in Hail, Caesar!, she’s able to fully inhabit a role precisely because she isn’t quite like any of them. Or, maybe, even of this world. Though she’s been described as chameleon-like, even that isn’t quite accurate; Swinton never blends into the background. In Luca Guadagnino’s A Bigger Splash, for example, Swinton remains silent throughout. And in Suspiria, she brought chills down our spines with her two mysterious roles. Throughout Swinton’s illustrious career, she has come to find comfort in specific directors, like Wes Anderson or Bong Joon-ho, just as she has gravitated toward specific designers. While years ago, Swinton was fairly loyal to Lanvin, these days, she’s constantly supporting her good friend Haider Ackermann on red carpets, wearing his designs for her many Cannes appearances. When she’s not in Ackermann, though, a betting woman would put her in Chanel or Schiaparelli. At this point, Swinton knows her style and knows what works, and in honor of her