Beloved actress and style icon Cameron Diaz just welcomed her second child, son Cardinal with rocker husband Benji Madden, which they announced in an Instagram post on Friday. Notoriously private, the couple opted not to share any photos for their son's safety. They also have not shared mages of daughter Raddix, who waw born in December 2019.
Diaz, 51, also just announced her return to acting after 10 years out of the spotlight–she will star alongside Jamie Foxx in Netflix's Back In Action, an upcoming action comedy about two parents who are forced to revisit their past career as spies.
A screen siren during the late 90s and early 2000s, Diaz became a bonafide actress and "It" girl due to her roles in successful films like The Mask and Charlie's Angels. Not only have the films become cult classics, but Diaz's style remains iconic today–she was the queen of 90s minimalism.
Diaz began her career as a model, landing a campaign for Calvin Klein in 1989–perhaps this inspired her aesthetic of pared-down chicness, which undoubtedly references the brand's 90s collections.
On and offscreen, she favored slip dresses with spaghetti straps, modern silhouettes, and pristinely tailored pieces mainly in neutrals, cool tones, and black. She stuck to solid-colored pieces and incorporated the occasional pop of color ever-so-subtly in the form of strappy heels or a red lip.
Diaz is also known for going braless and embracing her figure when implants were trending in Hollywood, crafting an authentic girl-next-door image that reflected her tomboy roots. In 1998, she starred in There's Something About Mary as a Miami bombshell wooed by two men, in which she rocked a below-the-ear blonde bob and understated ensembles like plain tees and sweaters by Jil Sander and Agnes B.
"Cameron is extremely confident about her body," Something About Mary costume designer Mary Zophres told the LA Times in 1998. "I don't think it even occurs to her to wear a bra."
Her timeless, yet modern style continued well into the early 2000s, with a polished, yet sexy vibe. Diaz's Charlie's Angels character Natalie Cook kicked ass wearing chic crop tops, bodycon dresses, and pointed toe boots. In 2006 hit film The Holiday, Diaz's movie-trailor-producer alter-ego Amandasported some quietly luxurious yet cutting-edge looks while swapping homes with Kate Winslet's character for Christmas.
The actress' beauty resume is equally as impressive as her wardrobe. Her hairstyles were always effortlessly chic, whether she was sporting her signature bob or sleek shoulder-length hair with tonal blonde highlights. Not to mention, her locks always had a glossy finish.
Diaz also helped define the frosted beauty looks of yore. Nineties beauty was not about caked-on, picture-perfect makeup (a look that's come to define the late 2000s), but rather edgy, illuminating looks featuring pastel eye makeup and bold lips a la Gwen Stefani. Diaz's ice blue eye makeup became a staple, helping complement her all-black ensembles and barely there brows while showcasing her gorgeous blue eyes. She'd punctuate the look with a nude-toned or red lip, complete with contrasting lipliner–a "lip combo" trend that's made a recent comeback, often achieved with a nude lipstick paired with a dark lip liner and a glossy topcoat.
As Diaz keeps a low public profile today, her style follows suit. She maintains a minimalist luxury aesthetic that's decidedly more muted than her 90s looks but is still equal parts sleek and modern. For beauty, she's traded in her blue eyeshadow for lowkey makeup from buzzy clean beauty brand Merit, including the brand's Clean Lash Mascara and deep-raspberry-hued Flush Balm, a cream blush also favored by Hilary Duff, Hailey Bieber, and Gossip Girl actress Kelly Rutherford.
Wardrobe-wise, Diaz has kept her brand of understated, fuss-free elegance. Her go-to looks include a black blazer, a white t-shirt, and straight-leg jeans and monochromatic ensembles comprised of slouchy blouses and high-waisted trousers. Ultimately, she's a jeans-and-a-t-shirt kinda gal who's mastered effortless minimalism.
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