Cristin Milioti crouched into character—leopard print, lace tights, and a stare that could slice—delivering editorial excess with a wink toward celebrity fashion.
Cristin Milioti doesn’t just wear clothes—she weaponizes them. For her September 2025 editorial with FLAUNT Magazine, shot by Arnaldo Anaya Lucca, the actress stepped into a look that felt equal parts Old Hollywood and post-apocalyptic cabaret. It’s the kind of image that doesn’t ask for attention—it demands it.
There’s something thrilling about a crouch. Not a pose, not a perch—an active, feline crouch. Milioti’s body language alone could headline this shoot, but the styling? That’s where the real drama unfolds.
The centerpiece: a voluminous faux fur coat in full leopard print, sweeping the floor with unapologetic grandeur. It’s plush, theatrical, and unmistakably maximalist. Beneath it, black lace-patterned tights peek through—intricate, sheer, and slightly risqué. The silhouette is unconventional: no dress, no trousers, just the tension between texture and exposure. The coat’s exaggerated proportions contrast beautifully with the delicate lace, creating a visual rhythm that’s both chaotic and controlled.
Milioti’s black high-heeled shoes—sleek and pointed—anchor the look with a touch of classic elegance. Long, dangling earrings shimmer subtly, catching the light without stealing the scene. The synergy here is deliberate: every piece contributes to a mood of decadent defiance.
Jeri Ryan dialed up early-2000s charm with a sheer floral blouse and denim duo—an off-duty look that whispers Y2K nostalgia without screaming for attention.
There’s something quietly magnetic about a celebrity who doesn’t need sequins or sculptural couture to command a room. At the MTV Movie Awards Pre-Party held inside Astra West on May 31, 2002, Jeri Ryan walked in wearing a look that felt refreshingly real—like a snapshot from a time when fashion was less about algorithms and more about instinct.
Ryan’s sheer, long-sleeved blouse—delicately patterned with muted florals—floated just above the waistband of her classic blue jeans, creating a silhouette that’s both relaxed and subtly flirtatious. The blouse’s translucent fabric offered a whisper of skin without veering into overt sensuality, a balance that defined much of early-aughts fashion. Paired with a black belt cinching the waist, the ensemble leaned into casual structure while preserving softness. Though the designer remains unconfirmed at press time, the look channels the era’s affinity for mixing romantic textures with utilitarian staples.
This was 2002—pre-Instagram, pre-filtered perfection. The look echoes the street-smart femininity of stars like Jennifer Aniston and Sarah Michelle Gellar, who often favored jeans-and-blouse combos that felt accessible yet aspirational. It’s a reminder that celebrity style once thrived on relatability, not just runway replication.
Channeling a grunge-glam hybrid, Lily Brooks O’Briant stepped into her single’s spotlight with a mesh-cloaked mini—equal parts rebellion and razor-sharp celebrity style.
There’s a certain thrill when a rising star refuses to play it safe—and Lily Brooks O’Briant, fresh off the release of her 2025 single “Looking for a Man,” delivered just that. In a look that felt plucked from a dystopian runway dream, she fused punk nostalgia with modern sensuality, standing against a bare wall like it was her own personal stage.
The centerpiece: a black mini dress, form-fitting and unapologetically bold, punctuated by rows of metallic eyelets that glinted like armor. It’s a silhouette that hugs and highlights, but the real intrigue lies in the texture play. Over the dress, she layered a distressed black mesh top—loose, hole-ridden, and deliberately undone. The contrast between the structured dress and the chaotic overlay created a visual tension that felt both curated and chaotic. Think Vivienne Westwood meets Gen Z TikTok couture.
