Amelia Hamlin wore a gold lace-trimmed slip dress with a vivid blue fur coat at FX’s The Beauty premiere in New York City.
At FX’s The Beauty premiere in New York, Amelia Hamlin didn’t so much arrive as dominate the frame. A gold satin slip dress–lace-trimmed, barely structured, almost liquid under the lights–set the tone. Over it, she threw on a massive electric blue fur coat that looked too much and just right at the same time. The contrast wasn’t delicate; it was audible — a collision between Hollywood glamour and downtown irony.
The slip itself runs close to lingerie, yet her composure kills the vulnerability of the fabric. Accessorizing was spare: a thick, sculptural diamond necklace against the gold and a pair of sharp black heels for weight. The coat’s volume forces balance, each movement turning into a gesture. Her hair fell in clean waves over one shoulder, the makeup cool, measured, and strategically unbothered.
Meg Donnelly posed in a sheer lace-trimmed dress with a feathered black coat for a Broadway.com fashion photoshoot in January 2026.
A red backdrop. A wooden stool. And Meg Donnelly , standing like she owns the quiet between flash bursts. The look is layered and strange in a good way–a translucent dress with black lace seams tracing the shape of her body, its dual front slits revealing pale under-layers beneath the mesh. Over it, a massive black coat lined in feathers like night air wrapped around her shoulders.
Her hair is drawn back sharply–an intentional contrast to all that texture. Statement earrings throw light around her face, like punctuation marks. The shoes, pointed and delicate, appear almost vintage when paired with white socks–a deliberate wrong note, the kind stylists build entire editorials around. It works because she commits to the posture, leaning off the stool, gaze steady and lucid.
Madelaine Petsch wore a crimson cutout silk dress with strappy heels at the Los Angeles special screening of The Strangers Trilogy.
There’s a cinematic quiet in how Madelaine Petsch arrives. No heavy poses, no flash-drama gesture–just a straight-lined gaze and that saturated red. The dress, a deep metallic crimson, holds close through the torso before tapering down in a smooth fall that stops mid-calf. Its halter-style straps knot and cross along her shoulders, almost sculptural, framing the neckline like an intentional flourish.
The fabric catches light with barely any reflection, absorbing it instead, matte but alive. She paired it with simple black sandals, slender straps letting the polish of the look rest on the color itself. Her hair’s tied back, strands left loose to soften the angular cut of the dress. The makeup stays neutral–warm toned lips, pale lids, no competing gold shimmer. Just her skin, the red, and the faint cool of stage lights.
