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.
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.
Teyana Taylor wore a dramatic black Miss Sohee couture gown with sheer bodice and voluminous skirt at the Palm Springs Film Festival Awards 2026.
Palm Springs Convention Center, January 3rd. The carpet lined with logos — Cadillac, Kering, the festival name stamped across the backdrop. Teyana Taylor stepped into that frame in a gown that didn’t whisper. It carried weight.
The dress, Miss Sohee Spring 2025 couture, black and glossy. The skirt wide, voluminous, almost ballooning out with shine. The bodice sheer, structured, lines visible, holding shape against the skin. It felt architectural, but not stiff. Shoes hidden, jewelry not obvious. The focus stayed on fabric and silhouette.
It wasn’t about sparkle or color. Just black, exaggerated in scale, softened by transparency at the top. The neckline cut sharp, shoulders bare, the whole look balanced between drama and restraint.
The critic’s note: Taylor’s choice leaned into couture’s extremes — volume below, structure above. A gown that made presence without needing embellishment.
