Ana Beatriz Barros for Revolve’s 2013 Hollywood Anniversary Lookbook

In 2013 Revolve Clothing marked ten years online with a lookbook that treated Los Angeles like a runway with traffic. Brazilian model Ana Beatriz Barros was photographed around Hollywood by Mike Karanikolas and Michael Mente—the company’s co-founders—in pieces from labels such as Dolce Vita, Rebecca Minkoff, and Current/Elliot. The brief was anniversary swagger: short hemlines, statement gold, lace against dirt lots, and neon souvenir windows behind white mini-dresses.

What survives here is a slice of that book—street rain near Madame Tussauds Hollywood, hillside pink against the Hollywood sign, corrugated-wall lace looks, gift-shop neon, leopard under leather, cobalt on wet asphalt. Early-2010s Revolve style in one casting: celebrity-adjacent polish, California locations, clothes meant to look as good on a phone feed as on a rack.

Black plunge, studded cutoffs, city rain

Barros faces camera hands-in-pockets, long-sleeve black plunge to mid-torso, high-waisted black cutoffs dense with geometric metal studs in gold, red, and blue. Chunky gold chain and wide cuff read as 2013 Revolve defaults. Rain streaks and reflective asphalt soften a busy Boulevard blur—Madame Tussauds red, a red sedan, a red umbrella, a Don’t Walk hand. Nightlife energy without night: overcast glamour, tourist-strip as set.

Hot pink by the Hollywood sign

Sun replaces drizzle. A sleeveless neon magenta mini with scalloped hem pops against brushy hills while the white Hollywood letters sit in the upper left. Spiked gold necklace and stacked black-and-gold cuffs keep hardware loud. Barros looks off-frame, wind in honey hair—anniversary lookbook as postcard, landmark doing unpaid brand work.

Lace bodice, ruffle skirt, studded boots

Full-length against vertical white corrugated metal on reddish dirt. Black lace long sleeves over nude lining, center decorative stitch, high-waisted short skirt with flared ruffle, gold-studded black stiletto ankle boots, stacked gold bracelets. Hard sun throws a sharp shadow. Industrial lot meets party lace—the Revolve mix of rough ground and night-out fabric.

White mesh dress, souvenir neon

Fitted white long-sleeve mini with deep V and vertical mesh panel stands before SOUVENIRS / GIFT SHOP neon, postcard racks, mini Oscars, clapperboards, a wooden HOLLYWOOD prop, Mickey kitsch, red storefront paint. Black strappy heels with gold toe-chain; layered fine gold at neck and wrists. Polished model versus tourist clutter is the joke and the strategy—Hollywood as both myth and junk drawer.

Leopard mini, leather jacket, rain bokeh

Animal-print mini under unzipped black biker leather, heavy gold chain, mixed metal bangles, smoky eye, pale lip, wide stance. Rain needles and pedestrian blur turn the street into nightlife even in daylight. Animal print plus leather was early-2010s catalog shorthand for “edge”; Barros’s casting made the shorthand look expensive.

Lace and curb-chain close-up

Head-and-torso against corrugated white: floral black lace, multi-layer gold curb collar, tousled waves, smoky lids, nude matte mouth. Beauty frame for e-comm crops and blog headers. Jewelry is not afterthought—it is half the outfit story Revolve sold in 2013.

Over-shoulder at Madame Tussauds

Back-three-quarter on wet asphalt: black high-neck long sleeve tucked into frayed black denim cutoffs, studded ankle boots with gold stiletto heels, thin bracelet, moon-and-star ankle tattoo. Madame Tussauds script glows red behind soft traffic blur. Utility pole slices the right edge. Movement implied without a full stride—lookbook as street still.

Cobalt A-line mid-stride

Electric blue sleeveless A-line, jewel neck, gold curb at collar, stacked bangles, black heels with gold toe chain. She walks wet pavement, glances over the shoulder; white van, silver car, palm silhouettes. Saturated color against grey city is classic catalog problem-solving: the dress must win the scroll.

Blue cutout romper at the pole

Same blue family, different cut: crossover halter with triangular midriff window, short flared bottom, studded black booties, chunky gold, one animal-print bangle. Shoulder to metal pole, hand in hair, valet sign and plaza blur behind. Night-out romper energy in daylight—Revolve’s preferred fantasy of California after-dark sold at lunch hour.

Black lace mini, dirt lot, hard sun

Sleeveless black lace mini with sheer shoulder and midriff panels, eyelash hem, layered gold chains, strappy embellished sandals. Low angle against corrugated white, reddish dirt, rocky hillside, scrap of blue sky. Head tipped back—statue energy for a tenth-anniversary closer. Lace returns from the earlier wall look, now fully dress-length, still paired with hardware that refuses to whisper.

Why this 2013 book mattered for Revolve

By 2013 Revolve had spent a decade translating boutique brands into a single glossy e-commerce language. A founder-shot anniversary lookbook with Ana Beatriz Barros announced scale: not only SKUs, but casting power and location ambition. Naming Dolce Vita, Rebecca Minkoff, and Current/Elliot in the original caption sketched the multi-brand shelf—shoes and bags beside denim and dresses—without needing a full credit scroll on every frame.

Hollywood was the right myth. The sign, the gift-shop neon, Madame Tussauds, palm-lined wet streets: visitors’ Los Angeles and industry Los Angeles overlapping. Barros, already a known Brazilian face from international campaigns and runway seasons, gave the anniversary a supermodel silhouette while the clothes stayed web-shop wearable—minis, cutoffs, rompers, lace that photographed cleanly on early Instagram feeds.

Styling habits repeat across the set. Gold is chunky. Hemlines are short. Black lace and animal print supply “edge.” Neon pink and cobalt blue supply feed-stopping color. Studded boots bridge soft dresses and harder street. Rain is welcomed for reflection, not avoided. Corrugated metal and dirt lots replace seamless cycloramas so the clothes feel “found” in California rather than built in a rental studio alone.

Reading Barros in the frame

Her performance stays consistent: direct or near-direct gaze, controlled mouth, hair with volume and wind. She sells confidence more than comedy. That composure lets loud accessories and tourist backdrops stay legible. Without a steady center, Madame Tussauds and Oscar souvenirs would swallow the dress; with Barros centered, the chaos becomes texture.

The over-shoulder cuts and mid-stride cobalt frame borrow street-style grammar popular in the early 2010s—candid motion, shallow focus—while remaining obviously directed. Lookbooks of that moment wanted both: editorial cool and product clarity. You can still name the colorway and the jewelry category from a phone-sized crop.

A tenth year, held in stills

Anniversary campaigns are arguments about survival. Revolve’s 2013 argument, through Ana Beatriz Barros and Hollywood pavement, was that online fashion could look as intentional as print and as immediate as a Boulevard crossing. Mike Karanikolas and Michael Mente’s photographs keep that argument visible: Brazilian casting, multi-brand wardrobe, California landmarks, rain and hard sun alike.

Scroll the set once for color—pink hillside, white neon shop, cobalt street. Scroll again for hardware—curb chains, studded hems, gold cuffs. The clothes were meant to move units; the pictures were meant to move the brand’s tenth-year story. Both jobs still read in the files: Barros mid-Hollywood, Revolve mid-ascent, 2013 caught between wet asphalt and corrugated white light.