Alexandra Leclerc's Fashion Statement at the Spanish Grand Prix
On a sun‑splashed afternoon at the Spanish Grand Prix, the most arresting sight wasn’t on the tarmac. It was on the arm of Charles Leclerc.
Alexandra Leclerc turned the paddock into a fashion time capsule, stepping out in Christian Dior’s now-iconic newspaper dress, the John Galliano design that first hit the runway in the Fall/Winter 2000 collection and later became a pop-culture artifact thanks to Sex and the City.
The dress, immortalized by Sarah Jessica Parker’s Carrie Bradshaw in season 3 of the series and revisited in Sex and the City 2, suddenly belonged to a new arena: Formula 1. At 26, pregnant with the couple’s first child and fresh from her February 28 wedding to the Ferrari star, Alexandra chose a piece that carried as much history as it did headline print.
She didn’t treat it like museum stock, either. Photos from Madrid show her owning the look: the vintage mini hugging her frame, a coordinating purse tucked under her arm, black open-toe heels elongating the silhouette, sunglasses sharpening the edge. Leo, her much-photographed dog, trotted alongside, as much a part of the scene as the car garages and hospitality suites behind them.
The dress has lived many lives. After its controversial debut in Galliano’s “Hobo” collection — a line CNN noted was inspired by displaced people he saw while jogging and by the 1920s–30s “Tramp Ball” trend, where the wealthy dressed as the homeless for glamorous parties — the piece gradually shifted from provocation to cult classic. Television did the rest. Once Carrie Bradshaw wore it, the dress stopped being just fashion and became shorthand for a certain kind of New York drama.
By 2025, a new generation had claimed it. Jenna Ortega walked the Hurry Up Tomorrow premiere in the same unmistakable print, dragging the design from archive status back onto the red carpet. Now Alexandra has taken it somewhere different again: into the ultra-controlled, hyper-branded world of F1, where every image is content and every outfit a statement.
This isn’t a one-off. With the F1 season gathering pace, Alexandra has been treating each race weekend like a rolling fashion calendar, building a case for high-impact maternity style.
At free practice on Friday, September 4, she arrived at Autodromo Nazionale Monza in northern Italy in a black keyhole cutout dress, the white polka dots playing off a bow-tie halter top. The styling was sharp and unfussy: her trademark small-framed black sunglasses and hair slicked back into a tight bun, the kind of clean look that photographs well from any angle.
She switched gears the next day. An all-black, knee-length dress with a plunging halter neckline, paired with black kitten heels and tiny black sunglasses, delivered a more minimal, almost architectural feel. No loud colors, no gimmicks — just line, cut and confidence.
That eye for detail has not gone unnoticed outside the paddock. Alexandra’s viral fashion choices caught the attention of Hailey Bieber, whose beauty brand Rhode named her its first “muse-ambassador,” as reported by Vogue. The partnership grew into a full collaboration and gave Alexandra another platform to define her aesthetic.
“I really am all about makeup that looks and feels like skin,” she told the outlet, summing up a philosophy that mirrors her clothing choices: polished, camera-ready, but never mask-like.
Now she’s applying that same sensibility to the high-octane backdrop of Formula 1. While Charles chases tenths of a second on track, Alexandra is quietly building a different kind of momentum — one outfit, one race weekend, one headline-making dress at a time.
