Dove Cameron shared a mirror selfie on January 23, 2026, wearing a black knit top and pleated leather skirt with her Prada Cover in Saffiano.
Bathroom light bouncing off gray marble, space quiet except for her silhouette in the mirror. Dove Cameron holds her phone just above eye level, half serious expression, all precision.
She’s dressed head-to-toe in black — a slim knit top, sleeves extending past the wrist, and a structured pleated leather skirt cinched by a side buckle. The shine of the leather catches the muted light in small patches, moving like oil sheen across still water. On her wrist, a faint gold ring glints; her phone case, unmistakably Prada Cover in Saffiano , carries the quiet confidence of someone who enjoys design details.
Millie Bobby Brown posed for a Florence By Mills photoshoot in January 2026 wearing a white cherry-print set with angel wings and Cupid’s bow.
The open doorway frames everything — sunlit balcony, beige walls, terracotta rooftops. In the center, Millie Bobby Brown stands barefoot, half-turned toward the overcast sky, dressed like some 21st-century cherub.
She’s wearing a white cotton crop top and matching shorts , printed with tiny red cherries — playful, soft, perfectly aligned with her Florence By Mills aesthetic of youth and ease. Over her back, an exaggerated pair of white feathered wings — light catching on the texture, ruffled but intact. In her hands, a Cupid-style bow and arrow , wrapped in what looks like white tinsel.
The setting doesn’t dramatize her; it balances her. The marble railing, the aged stucco, the ordinary sky — they make the costume feel almost homemade, more sincere than styled. Her hair falls loose, brown with a slight wave, parted near the middle. No heavy makeup visible, just a natural flush, a sheen of daylight on her face.
It’s not glamour. It’s more a moment — simple, imaginative, a flash of humor that feels right for the brand’s free-spirited, teen-grown-up energy. Millie as Cupid isn’t selling desire here; she’s parodying it gently, replacing divine mischief with warmth.
Annabelle Wallis was seen filming Mercy in Los Angeles on January 23, 2026, wearing a navy Staud Joan Maxi Dress and tan sandals.
There’s no red carpet here, just a pale city wall, sunlight, and two people caught mid-moment. Annabelle Wallis stands beside an actor in uniform, smiling up at him with that off-camera mix of warmth and concentration that only happens on set.
Her outfit is simple but deliberate — a navy Staud Joan Maxi Dress , button-front and long-sleeved, the fabric moving cleanly down to her ankles. The color keeps her grounded against the concrete and shadows. You can see the faint structure of the collar, the relaxed waist fit giving the piece quiet authority. At her feet, light-toned Manolo Blahnik Iacopo Double Band Sandals peek beneath the hem, grounding the look without upstaging it.
Hair is undone, blonde waves sliding over the shoulders — polished, but not too much. Makeup is faint, touched just enough for the camera. She looks fully present, not styled for glamour but for realism — the kind that film sets rely on when life has to look effortless.
