Adèle Exarchopoulos wore a cropped black blazer and slit skirt at the César Revelations 2026 photocall in Paris on January 19, 2026.
At the César – Révélations 2026 photocall in Paris, Adèle Exarchopoulos showed up looking like she’d rather be in a black box theater than on a red carpet. And somehow—that worked.
She’s wearing a sharply cropped black blazer. Shoulders boxy, sleeves intentionally long and cuffed with visible white shirt peeking from beneath, irregular by design. There’s no over-polish here. This isn’t “done.” It’s deliberate. Underneath, a whisper of something metallic and strappy flashes out from under the lapels—a top or bralette that glints but never fights for space.
The skirt, high-waisted, falls to mid-calf and climbs at the thigh with a clean, defiant slit. The button detail runs off-kilter down one side, not trying to be functional. Just sharp. Just punctuated. A subtle edge of beading traces the hem like a cigarette flick. It’s a two-piece look styled to feel fractured, almost undone, and that tension gives it life.
Classic black pointed heels—simple, no embellishment—anchor her in place. Hair scraped back. Skin raw. Almost no makeup. Just the bones of the look and her posture doing the talking.
Dakota Fanning wore an oversized blue shirt with wide-leg navy pants and The Row Margaux bag in Hollywood on January 28, 2026.
Spotted on the move in Hollywood on January 28, Dakota Fanning looked like someone who had five minutes to get dressed—and made every one of them count. The look isn’t styled. It’s inhabited. That fine line where sloppy becomes stylish? She walks it in flats.
She wears an oversized baby-blue button-down shirt—pinstriped, rumpled, unapologetically wrinkled. The collar pops crookedly, and the fabric blouses around her as if it hadn’t been ironed all week (probably hadn’t, looks great). The sleeves balloon out slightly, cuffs undone, half-swallowed by her hands. It’s a familiar shirt—could be vintage, could be borrowed, doesn’t matter. It feels instinctual.
On the bottom: navy wide-leg trousers, dragging slightly at the hem. The fabric moves soft—no press lines, no hard creases, just that casual, deep-drape weight that suggests comfort over photography. She carries a rich caramel-brown top-handle bag—visually confirmed as The Row’s Margaux —which adds the one note of structure in the whole look. And sunglasses: oversized, amber-gradient lenses with thick arms, thrown on with a subtle “don’t ask anything right now” energy.
Shoes are hard to see, but the vibe is flats or soft soles—something functional, something quiet. Hair hanging natural, no styling, no gloss. Just sun, shirt, and shadow.
Gal Gadot wore a Nordic-knit sweater, mini leather skirt, and knee-high boots on a casual dinner date in Los Angeles on January 27, 2026.
On January 27, out for a cozy dinner with her husband and friends in L.A., Gal Gadot served proof that you don’t need sequins or structure to own the sidewalk. Just good knitwear, solid boots, and zero pretense.
She wore a classic Nordic-pattern sweater in oatmeal beige, with navy and white diamond detailing running like repetition across the chest and sleeves. Slightly oversized. Ribbed collar, rolled just high enough to disappear into her jawline without looking suffocating. The knit gave melody—the rest gave edge. Gadot paired it with a short black leather skirt that caught streetlight flare just slightly. The hem floated mid-thigh in a way that balanced the bulk up top.
Her legs? Bare. No tights. Clearly a woman trained in on-screen resilience. She grounded the whole look with warm rust-toned suede knee-high boots , block heel silhouette, minimalist, worn-in just right. A classic trench coat —unworn, draped casually in one arm—added movement without requiring attention. She carried a clean, black patent leather bag—structured, medium-sized, no flash. Hair parted to the side and tucked behind one ear. Barefaced. Relaxed. Present.
