“Dua Lipa appeared in the YSL Libre Berry Crush campaign in 2026, photographed in a studio portrait with bold styling.
Dua Lipa — YSL Libre Berry Crush Campaign, 2026.
Sheer black blouse. Bra visible, fabric thin, transparency deliberate. Earrings gold, hoops wide. Bracelet metallic, wrist sharp.
Backdrop soft. Gradient pink to purple, light diffused, almost sunset but not quite. Studio air heavy, stylized, controlled.
Pose direct. Hand on hip, gaze steady, body upright. No fuss, no exaggerated gesture. Just blouse against skin, jewelry against light.
It feels pared down. Outfit minimal, accessories restrained, backdrop carrying mood. A look caught between campaign polish and human pause.
There’s honesty here. Clothes chosen for edge, backdrop for tone, pose for presence. A frame caught between sheer grit and berry glow.
Elle Fanning wore a teal off‑shoulder vintage gown with Cartier jewelry, while Kate Hudson chose a red lace couture dress at Palm Springs 2026.
The Parker Palm Springs after‑party wasn’t staged like a red carpet. It felt crowded, warm, almost casual in its noise. Clothes had to speak louder than the room.
Elle Fanning, left in the frame, leaned into mid‑century couture. A teal gown, off the shoulders, cinched at the waist. The fabric shimmered, metallic but not gaudy. Accessories were visible — a Christian Louboutin clutch, Cartier rings, a watch that caught light when she moved. Shoes were partly hidden, but the stance suggested slim heels. It read as Rosenstein’s 1950s couture, a look that carried history without nostalgia.
Kate Hudson, beside her, chose Georges Chakra’s Fall 2025 couture. A sleeveless gown in deep red, textured with a net overlay, neckline plunging. The dress had weight, almost architectural, softened by how it fell. Andrea Wazen lace platforms gave her height, but the shoes stayed secondary. The look was contemporary, sharp, but not theatrical.
Together, the pairing was less about contrast and more about two parallel takes on evening formality. One vintage‑coded, with Cartier and Rosenstein references stitched into the look. The other modern couture, red fabric rendered with precision.
Millie Bobby Brown and Sadie Sink appeared in a Netflix photoshoot in January 2026, photographed in a retro-styled editorial setting.
Retro room. Wood panels, plaid wallpaper, shelves stacked with books, board games, VHS tapes. CRT television with rabbit ears, tapes labeled Family Video . A set built to feel lived-in, almost too familiar.
Millie on the left. Outfit casual, pose angled, presence steady. Sadie on the right. Outfit sharp, hair neat, body relaxed but deliberate.
Between them, four others. Group styling mixed — vintage hints, modern edges. Clothes layered, textures varied, colors muted against the wallpaper.
It feels nostalgic. A room caught between decades, fashion caught between eras. A look framed by rabbit ears, VHS stacks, plaid walls.
There’s honesty here. Clothes chosen for mood, set chosen for memory, poses chosen for rhythm. A frame caught between retro grit and Netflix polish.
Not just a photoshoot. More like a pause in nostalgia — Millie against paneling, Sadie against wallpaper, group against time.
