Amanda Seyfried appears in Who Australia’s January 2026 issue, styled in bold fashion while reflecting on her career and creative peak.
The January 2026 issue of Who Australia places Amanda Seyfried in sharp focus. The spread opens with her in a black outfit punctuated by a striking red ruffle–confident pose, direct gaze, no excess. It feels immediate, lived-in, not theatrical.
Her career narrative folds into the editorial seamlessly. From her early inspiration watching Romeo + Juliet to her breakout in Mean Girls , Seyfried’s trajectory has been marked by versatility. She has moved through musicals like Mamma Mia! and Les Misérables , into darker roles such as The Dropout , where her portrayal of Elizabeth Holmes earned her an Emmy. More recently, The Treatment of Anne at Venice signaled her willingness to embrace freedom in performance, describing it as a space where “anything goes.”
The magazine also highlights her choices–turning down Marvel, pursuing projects like The Crowded Room and Long Bright River . She speaks candidly about family life in upstate New York, valuing quiet, space, and the freedom of raising her children away from the spotlight. The editorial balances her professional peak with personal grounding, showing an actress who has grown into her own rhythm.
This Who Australia spread works because it doesn’t separate career from image. The styling is bold but not excessive, while the narrative insists on authenticity. The insight is that Seyfried’s editorial presence mirrors her career arc–confident, versatile, and rooted in choices that prioritize substance over spectacle.
Natalie Portman wore Tiffany & Co. Hardwear jewelry while filming a commercial in Central Park, New York City on January 22, 2026.
The shot catches stillness more than sparkle. Inside a parked car framed by cold reflections, Natalie Portman sits poised, eyes steady on something just outside the frame.
Michaela Russell wore a floor-length black gown with floral appliqué detailing at the It’s Not Like That premiere in New York City.
On the soft blue-green backdrop of the It’s Not Like That premiere, Michaela Russell keeps her composure simple and exact. The dress — a black floor-length column gown — skims close to the body, catching light only where textured black floral appliqués rise subtly from the fabric. The thin spaghetti straps hold an almost minimal shape, letting the surface texture carry the quiet drama.
Her hair , loose and wavy, falls over one shoulder in a balanced, natural flow — never overdone. A delicate silver necklace sits at the collarbone, matching a small set of rings that glint when the flash meets them. Her makeup is light: a soft coral lip and faint blush define her, while dark lashes give the look an edge of depth against her clear skin.
