Becky G wore an oversized red sports jersey and baggy tan trousers for her Architectural Digest February 2026 fashion feature.
This isn’t your typical interiors shoot. No marble surfaces, no linen sofas, no staring longingly out of an arched window. This one smells like clay and fresh paint — and that’s what makes it perfect. Becky G appears in the middle of a sun-drenched pottery shop for Architectural Digest February 2026, wearing an oversized red and white sports jersey with the number 87 printed so large it almost swallows her. She pairs it with baggy tan trousers, worn low on the waist with a hint of slouch. One hand tucked in a pocket, the other resting on a shelf like she shops here every weekend. The look isn’t curated — it’s thrown on, lived-in, intentional in its chill. What hits hardest is the contrast: her bold red jersey bouncing off walls packed with color — ceramics glazed in every sun tone, rows of masks and cow figurines stacked like cousins in a kitchen. Becky doesn’t try to dominate the backdrop. She becomes part of the rhythm. And it works. Here’s the thing — this isn’t glamorous, and it’s not supposed to be. It’s her stepping into a space that feels personal; the style just tags along. White sneakers keep things grounded. Hair loose, makeup minimal, no effort to over-deliver. Just confidence at its quietest volume. It’s effortlessly eye-catching because it’s not reaching. The clothes don’t shout — the setting does.
Pressley Hosbach wore a sheer black lace crop top, dark wash jeans, and metallic heels at the Kissing Is the Easy Part LA premiere.
There’s something about this look that says, “I didn’t overthink it—but I knew what I was doing.”
Pressley Hosbach stepped out for the Kissing Is the Easy Part premiere in Los Angeles on February 5, 2026, wearing a sheer black lace crop top , layered over a matching bralette. The top shows skin but doesn’t scream about it. It’s delicate, a little risky, and easy to get wrong—but she balances it with no-nonsense dark denim that sits right on the hips and keeps everything from veering into costume territory.
Then there’s the styling. Pointed metallic heels peek out from under the wide-leg jeans—tiny flash, no fuss. A burgundy leather belt , a throwback touch, matches the understated energy. Her long blonde hair is center-parted and loose, softening the edges. And the red backdrop? That tinsel wall? It makes the whole thing feel even more lived-in and low-key glam.
The best part is that none of it tries too hard. No designer nameplate in your face, no heavy glam squad imprint. It feels young and honest. Just a girl in lace and denim making a statement: casual doesn’t have to mean boring.
Bottom line: this isn’t event-formal or red carpet princess. It’s event-cool. And that’s harder to nail than people think.
Morfydd Clark wore a strapless textured white Hussain Chalayan dress for her Harper’s Bazaar UK March 2026 editorial shoot.
There’s a stillness in this shot that doesn’t try to be beautiful. That’s why it works. It just is . Bare. Balanced. And stubbornly grounded.
Morfydd Clark appears in Harper’s Bazaar UK March 2026 in a no-frills textured white strapless dress by Hussein Chalayan , styled against a stark grayscale backdrop marked with abstract black circles. The silhouette isn’t sharp. It doesn’t cling or flatter in an obvious way. It rests — softly sculpted, quietly architectural, but never cold. The fabric looks like it might crinkle if you pinched it. It’s simplicity with presence.
Her makeup is close to none. Skin is left raw. Hair is slicked straight, tucked behind one ear. Gold earrings by Tiffany & Co. flicker faintly but aren’t working overtime. This kind of styling doesn’t try to frame her — it lets her float. Or lean, really. She’s tilted on one hip, gazing into nowhere, like she’s thinking through something complex under fluorescent light.
What comes through, beyond the visuals, is how at home she feels in stories that twist on the edge of strange. From Lord of the Rings: The Rings of Power to her recent Hamlet , Clark is drawn to roles that scrape against genre rules. But it’s not about fantasy for fantasy’s sake — she admits there’s something comforting in the weird, especially when it deals with people who are “swimming against something,” not coasting. That tension shows up here too — delicate fabric, tense stance.
She doesn’t need to say she’s in control. The whole frame says it for her.
