Chase Infiniti wore a black velvet strapless mini dress with opera gloves and diamond jewelry at De Beers’ Paris opening on January 27, 2026.
At the opening of the De Beers London flagship on Rue de la Paix in Paris, Chase Infiniti embodied a kind of quiet throwback power few can pull off. Tall, precise posture. Minimal movement. The dress — a black strapless ruched velvet number — did the rest.
The silhouette was classic but intentionally exaggerated at the hips. Draping pulled diagonally across the skirt, creating almost a rose-like fold near the side seam. The neckline dipped gently, not quite a sweetheart, with just enough curve to soften the angular cuts of the bodice.
Her arms were swallowed by black velvet opera gloves , each styled with subtle vintage brooch details. It wasn’t theatrical. It was deliberate, even restrained. She looked dressed for the kind of night where people whisper more than they speak.
Black sheer tights grounded everything, coordinating perfectly with traditional pointed-toe black stilettos. No platform. No gimmicks.
What caught more light than anything else wasn’t the velvet, but the diamond statement necklace curled just below her collarbone — ornate, likely De Beers, nodding to the reason for the evening without outshining the fabric. Hair, naturally coiled, was styled half up with halo volume, and her makeup leaned into soft pinks and skinlit warmth.
This wasn’t a loud moment. But it stayed in the room well after she moved on.
Paris Hilton’s January 2026 Interview Magazine shoot moves from roses in hand to Gucci bags on the floor.
In Interview Magazine’s January 2026 spread, Paris Hilton is caught in multiple moods. One frame shows her in a black blazer and trousers, bouquet of red roses clutched, handbag dangling. The plain background makes the flowers louder, the outfit sharper.
Then the switch. A long pink gown with feathered cuffs, glittery handbag in hand, Gucci bags scattered at her feet. It’s indulgent but softened by the pale wall behind her.
Another shot leans into domestic luxury. She sits in a decorated living room, patterned blouse and skirt, Gucci handbag resting casually, shopping bags and gift boxes crowding the floor. The scene feels less like a shoot, more like a post-shopping pause.
The bedroom frame is louder. Red coat with floral embellishments, black gloves, heels. Valentine’s Day props everywhere — heart boxes, rose petals, cake half-eaten on a silver tray. It’s romantic, but also messy, almost too much.
Finally, the hallway. Floral dress, deep neckline, blonde hair straight, Gucci bags in both hands, pink flip phone dangling. Blue carpet, white walls, bright light. It’s the most candid of the set, like she’s caught mid-step.
Together, the spread doesn’t flatten her. It lets her shift. Roses, feathers, shopping bags, red coats, hallway phones. Interview Magazine doesn’t chase one image. It lets Paris be many.
Emma Brooks wore a black strapless gown with a dramatic ruched train at the Wuthering Heights premiere in Hollywood on January 28, 2026.
At the Wuthering Heights premiere in Hollywood on January 28, 2026, Emma Brooks chose a hybrid look that sat somewhere between punk theater and minimal ceremony. The central piece: a strapless black gown with a body-skimming upper and a cinched bubble hemline that unfurled into a dry, exaggerated train. The fabric reads matte, possibly a nylon-taffeta mix — crushed, not precious . Draped in one hand like an afterthought, the train looked more like a dropped curtain than a flowing cape. It added tension, in a good way.
She styled it with dark green quilted ballet flats , a bold choice on a floor lined with heels. Her bag matched the gown in tone but played second fiddle to a chunky gold chain necklace with an asymmetrical buckle detail — the kind that feels more vintage-flea than polished-designer. Hair: softly pinned back, a few strands falling to frame the face. Makeup: punchy. Deep oxblood lip, pale skin, burnished eyes. The look is expressive, deliberate, and just a little chaotic.
