Ali Larter wore a sleeveless black gown with deep neckline and high slit at the 31st Annual Critics Choice Awards in Santa Monica 2026.
Santa Monica, January 4th. The carpet lined with logos — FIJI, milagro, Critics Choice Awards stamped across the backdrop. Ali Larter walked into that frame in a gown stripped down to essentials.
Black, sleeveless, long. A deep V‑neckline cutting sharp down the front. The slit high, front‑center, breaking the line of fabric with a blunt gesture. Shoes barely visible, but the stance suggested pointed heels. Jewelry wasn’t obvious, no heavy sparkle. The look leaned on silhouette, not decoration.
It felt direct. No fuss, no extra layers. Just fabric, cut, and confidence. The gown’s simplicity carried its own kind of edge — not bombastic, not overworked. A reminder that restraint can be louder than embellishment.
The critic’s note: Larter’s choice was pared down but effective. A dress that didn’t chase trends, instead relying on shape and presence.
Olivia Rodrigo applied Lancome Lash Idole Curl Goddess Mascara while wearing a black leather jacket in the January 2026 campaign.
January 2026. A plain white background, no distractions. Olivia Rodrigo, head tilted slightly upward, mascara wand in hand. The rose‑gold tube marked “sweetener” catches the eye before the lashes do.
Her hair long, dark, falling straight past the shoulders. A black leather jacket with ribbed sleeves frames the gesture, adding weight to what is otherwise a delicate act. Silver earrings, rings — small details, but they glint enough to remind you this is a beauty look, not just a casual moment.
Barbara Palvin wore a sheer patterned Paris Georgia Vera dress while Dylan Sprouse chose a white suit at their Los Angeles New Year’s Eve party.
Los Angeles, December 31st. A lounge dressed in retro prints and tiger‑stripe benches. Drinks in hand, laughter spilling. Barbara Palvin and Dylan Sprouse staged their own kind of New Year’s Eve — not polished, not stiff, but lived‑in.
Palvin stood in a sheer patterned dress, Paris Georgia’s Vera , fabric catching light in fragments. The look felt celebratory without being overworked. Transparent layers, subtle patterning, the kind of garment that moves with the body rather than against it.
Sprouse sat beside her, white suit sharp against the tiger‑print bench. A drink raised, posture relaxed, more casual host than formal figure. The pairing — sheer against solid, patterned against plain — made sense in the room’s eclectic chaos.
