Annabelle Wallis was seen filming Mercy in Los Angeles on January 23, 2026, wearing a navy Staud Joan Maxi Dress and tan sandals.
There’s no red carpet here, just a pale city wall, sunlight, and two people caught mid-moment. Annabelle Wallis stands beside an actor in uniform, smiling up at him with that off-camera mix of warmth and concentration that only happens on set.
Her outfit is simple but deliberate — a navy Staud Joan Maxi Dress , button-front and long-sleeved, the fabric moving cleanly down to her ankles. The color keeps her grounded against the concrete and shadows. You can see the faint structure of the collar, the relaxed waist fit giving the piece quiet authority. At her feet, light-toned Manolo Blahnik Iacopo Double Band Sandals peek beneath the hem, grounding the look without upstaging it.
Hair is undone, blonde waves sliding over the shoulders — polished, but not too much. Makeup is faint, touched just enough for the camera. She looks fully present, not styled for glamour but for realism — the kind that film sets rely on when life has to look effortless.
Dove Cameron shared a mirror selfie on January 23, 2026, wearing a black knit top and pleated leather skirt with her Prada Cover in Saffiano.
Bathroom light bouncing off gray marble, space quiet except for her silhouette in the mirror. Dove Cameron holds her phone just above eye level, half serious expression, all precision.
She’s dressed head-to-toe in black — a slim knit top, sleeves extending past the wrist, and a structured pleated leather skirt cinched by a side buckle. The shine of the leather catches the muted light in small patches, moving like oil sheen across still water. On her wrist, a faint gold ring glints; her phone case, unmistakably Prada Cover in Saffiano , carries the quiet confidence of someone who enjoys design details.
Xochitl Gomez wore a structured red gown with matching pointed heels to the Wonder Man launch event in Hollywood on January 22, 2026.
The red carpet matched her dress almost perfectly — same hue, same energy. Xochitl Gomez stood centered against the black backdrop, framed by the bold yellow Wonder Man lettering. The effect was clean, intentional.
The gown itself, sculptural and unforgiving, formed heavy folds near the neckline that extended into angled shoulders — like controlled wings. It wasn’t soft, not meant to be. The cut hugged through the waist and fell straight, neither dramatic nor relaxed, just firm, confident. Matching red stilettos anchored the look with quiet precision.
Hair was sleek, pulled back with a side-swept bang softening the geometry. Her makeup stayed minimal but defined: strong liner, warm rose tones, a neutral sheen on the lip. The jewelry — small hoops, one or two rings — stayed understated, letting the dress carry the power conversation.
