Dakota Fanning wore an oversized blue shirt with wide-leg navy pants and The Row Margaux bag in Hollywood on January 28, 2026.
Spotted on the move in Hollywood on January 28, Dakota Fanning looked like someone who had five minutes to get dressed—and made every one of them count. The look isn’t styled. It’s inhabited. That fine line where sloppy becomes stylish? She walks it in flats.
She wears an oversized baby-blue button-down shirt—pinstriped, rumpled, unapologetically wrinkled. The collar pops crookedly, and the fabric blouses around her as if it hadn’t been ironed all week (probably hadn’t, looks great). The sleeves balloon out slightly, cuffs undone, half-swallowed by her hands. It’s a familiar shirt—could be vintage, could be borrowed, doesn’t matter. It feels instinctual.
On the bottom: navy wide-leg trousers, dragging slightly at the hem. The fabric moves soft—no press lines, no hard creases, just that casual, deep-drape weight that suggests comfort over photography. She carries a rich caramel-brown top-handle bag—visually confirmed as The Row’s Margaux —which adds the one note of structure in the whole look. And sunglasses: oversized, amber-gradient lenses with thick arms, thrown on with a subtle “don’t ask anything right now” energy.
Shoes are hard to see, but the vibe is flats or soft soles—something functional, something quiet. Hair hanging natural, no styling, no gloss. Just sun, shirt, and shadow.
Larsen Thompson wore an asymmetrical ochre bodycon dress and boots to the H&M x e.l.f immersive experience in Berlin on January 28, 2026.
At the H&M × e.l.f immersive event in Berlin on January 28, Larsen Thompson delivered a look that knew exactly what kind of lighting it was stepping into. The setting was bright blue walls, branding bold and flat—but her dress brought all the grounding.
She wore a body-hugging, ankle-length ochre gown with a matte, sculptural finish. One long sleeve. The other shoulder bare. But even that exposed strap wasn’t tossed off—it wrapped her upper arm in a loop, like a design choice made with a pencil, not a Pinterest board. Her statuesque frame gave the silhouette extra resonance; it didn’t move around her—it anchored her.
The texture of the fabric stayed close to her body the entire way down—no train, no flare, no drama—but the proportions kept it quietly commanding. On her feet: dark chocolate pointed boots peeking from under the hem. Not dainty. Solid. They gave the look weight.
She wore a stack of gold bangles on her right wrist, worn confidently, not for sparkle, just punctuation. Her hair? Long. Flowing. Loose, brushed waves down one side, balancing the exposed shoulder. Makeup leaned minimal. Liner low-key. Lips soft. No statement earrings, no clutch, no excess.
Adèle Exarchopoulos wore a cropped black blazer and slit skirt at the César Revelations 2026 photocall in Paris on January 19, 2026.
At the César – Révélations 2026 photocall in Paris, Adèle Exarchopoulos showed up looking like she’d rather be in a black box theater than on a red carpet. And somehow—that worked.
She’s wearing a sharply cropped black blazer. Shoulders boxy, sleeves intentionally long and cuffed with visible white shirt peeking from beneath, irregular by design. There’s no over-polish here. This isn’t “done.” It’s deliberate. Underneath, a whisper of something metallic and strappy flashes out from under the lapels—a top or bralette that glints but never fights for space.
The skirt, high-waisted, falls to mid-calf and climbs at the thigh with a clean, defiant slit. The button detail runs off-kilter down one side, not trying to be functional. Just sharp. Just punctuated. A subtle edge of beading traces the hem like a cigarette flick. It’s a two-piece look styled to feel fractured, almost undone, and that tension gives it life.
Classic black pointed heels—simple, no embellishment—anchor her in place. Hair scraped back. Skin raw. Almost no makeup. Just the bones of the look and her posture doing the talking.
