Camila Morrone appears in Glamour Spain’s January 2026 issue, styled across multiple outfits with vintage textures and modern contrasts.
The January 2026 edition of Glamour Spain places Camila Morrone in a sequence of looks that feel less like staged glamour and more like fragments of lived-in spaces.
One cover frame shows her reclining on a textured armchair, lace dress in white, floral patterns scattered, arms resting behind her head. The wall behind is worn, chipped, almost careless. It makes the dress sharper, less romantic, more grounded.
Another shot moves outdoors, a burgundy oversized sweatshirt paired with a gradient pencil skirt. Socks sheer, heels pointed. The door behind is heavy wood, stone column beside it. Casual top against formal bottom–it’s a clash, but deliberate.
Then indoors again. A black backless dress with ruffled detailing, brown leather shoes. She leans back, eyes closed, hair falling. Rustic wall, fireplace in shadow. The elegance of the garment against the aged setting feels like contradiction, but also harmony.
A studio frame shifts tone. Light blue vinyl-like dress, glossy, long-sleeved, collared. Black heels. White backdrop, visible lighting stand. It’s clinical, almost too clean, but the futuristic fabric keeps it interesting.
Finally, a softer image. Satin dress in pale blue, halter neckline, floral patterns faint. Wooden bench, distressed wall behind. The mood is quiet, contemplative, almost fragile.
Jessica Chastain appears in Hia Magazine’s January 2026 issue, styled across multiple outfits with bold jewelry and layered contrasts.
The January 2026 issue of Hia Magazine places Jessica Chastain in a sequence of looks that feel more like fragments of lived-in elegance than polished glamour.
One frame shows her in a light blue dress with sheer overlay, jewelry in silver and blue, necklace and earrings matched. The plain white background strips away distraction, leaving only fabric and shine.
Another image shifts tone. Dark off-the-shoulder garment, sparkling bracelet, dangling earring. Hair neat, posture poised. Again, the white backdrop keeps it clinical, almost too clean, but the jewelry insists on drama.
A softer frame follows. Gray ribbed top, high-neck. Necklace elaborate, teardrop pendant with pink and white stones. Hair loose, backdrop dark gray. Jewelry dominates, clothing recedes.
Finally, a white button-up shirt. Circular pendant necklace, silver bracelet. Plain white background again. It’s stripped down, almost blunt, but the accessories carry the weight.
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.
