Brooks Nader wore a gray faux fur jacket with sleek black leggings and pointed heels while leaving the Infinite Icon after-party in Los Angeles.
Paparazzi flash catches movement — not the usual red carpet pose but a stumble mid-laugh. Brooks Nader throws her arms out, half-balancing in sharp black heeled boots , a moment that feels more human than haute. She’s dressed in a plush gray faux-fur jacket over a black fitted top and opaque leggings , a uniform of sleek monochrome warmth cut through with texture.
The fur’s dense, soft pile and the tightness of the leggings make the contrast work — cozy meets kinetic. Her small rectangular sunglasses stay fixed even as her posture slips, an unintentional testament to balance (and commitment to the look). Hair’s pulled up casually, strands loose enough to catch motion blur, an echo of nightlife energy that’s already fraying at the edges.
Adria Arjona wore a sleek black sheer dress while Jason Momoa paired a velvet plum suit with his signature necklace at The Wrecking Crew premiere.
At the Wrecking Crew New York screening, Adria Arjona and Jason Momoa arrived together with the kind of synced but easy energy that looks less choreographed, more natural. Arjona’s black gown walked that fine line between elegance and risk — a mix of opaque and sheer panels that softened what could’ve been stark. The design clung neatly through the torso, with a fluid drop into a slight train. It’s sheer, yes, but not overt. Subtle transparency, not exhibition.
Her hair , all soft waves, fell over one shoulder with a natural shine, parted loose and low-maintenance — the “done but free” school of red carpet hair. Makeup stayed minimal: bronze skin, nude lip, defined eyes. It’s quietly confident, more about harmony than headline.
Beside her, Momoa grounded the visual story with a deep plum velvet suit , unstructured yet tailored enough to hold form. Brown boots , warm against the purple, gave the look a grounded weight. He layered on a lei niho palaoa necklace — the traditional Hawaiian piece — worn over his shirt, a gesture that feels more about identity than styling. It resists aesthetic rules, but that’s exactly the point.
As dual premieres go, the contrast worked perfectly: her sleek black minimalism beside his textured boldness. Together, they presented a balance of warmth and control — cohesive without matching. It gives “couple coordination” an edge that feels real, accidental even.
Arjona’s dress sells restraint disguised as allure. Momoa’s suit counters with tactile depth and cultural grounding. Each outfit, distinct, but connected through tone and presence. They’re a pair who make equilibrium look effortless — and probably don’t even plan it.
The Wrecking Crew , directed by Ángel Manuel Soto, blends high-octane action with brotherly chaos. The film stars Jason Momoa as Jonny and Dave Bautista as James, estranged half-brothers forced back together by the mysterious death of their father. As they dig into his past, old grudges resurface, secrets fracture alliances, and the family’s fate teeters between revenge and reconciliation. Set across Hawaii’s urban sprawl, the movie balances beating-heart humor with grit — a brawler’s family drama disguised as an action comedy.
The ensemble cast includes Claes Bang, Jacob Batalon, Stephen Root, and Morena Baccarin, along with Temuera Morrison and Frankie Adams. The tone lands somewhere between Fast & Furious -style energy and emotional reckoning — relationships, roots, and wreckage all wound up in one.
Peyton List wore a sharply tailored black suit styled with a crisp shirt and red clutch during her sleek January 2026 fashion photoshoot.
There’s something disarmingly poised about this moment — Peyton List standing in an all-white bathroom, tiles reflecting the muted light, the mirror framing her like a quiet accomplice. She wears a black suit , impeccably tailored, with a white button-up shirt pressed to prison-level perfection. A thin black tie dangles straight, slightly loosened, as if the shoot caught her between poses, not in one.
The jacket cinches at the waist with a sculpted edge, shaping contrast against her straight-leg trousers that fall clean to pointed black heels . No embellishments, just subtle precision. Her hair , undone waves bordering on messy, cuts the formality down to something human — editorial cool rather than boardroom strictness. A pop of rebellion, almost cinematic.
