Elle Fanning appears in the January 2026 issue of Who What Wear, photographed in several distinct outfits that highlight whimsy, structure, and editorial edge.
January 2026. Elle Fanning smiling against a blue backdrop, oversized black bow perched on her head, off-the-shoulder top simple, playful. In her arms, a fluffy white cat-like figure, surreal, almost toy-like. The cover feels whimsical, light, a mix of fashion and fantasy.
Another frame, mood shifted. Oversized brown trench coat cinched at the waist, sleeves voluminous, collar wide. Gold hoop earrings catching light. The silhouette dramatic, heavy, almost sculptural. The blue background plain, letting the coat dominate.
Third look, more theatrical. Seated on a stool, long tailored blue coat with puffed sleeves, fur collar thick. Cream heels visible, headpiece striped fabric twisted into rabbit-ear loops. Pose upright, stylized, almost absurd but striking.
Fourth outfit, darker tone. A floral-patterned dress, puffed sleeves, high neckline. She holds a giant fork topped with painted flame. Wooden floor beneath, surreal prop clashing with elegance. The image feels symbolic, protest-like, yet still fashion.
Final frame, surreal again. White coat, barefoot, standing before a cartoonish house with red roof and eye-shaped windows. A cat peers from a shuttered window. She grips another oversized fork. The scene blends editorial with dreamscape, fashion stitched into fantasy.
Her styling here: deliberate opposites. Whimsy and surrealism, then structure and grit. Together they form a fashion spread stitched from fragments. A celebrity photoshoot that resists glamour excess, leaning instead into play, texture, and mood.
The critic’s note: Fanning’s editorial wasn’t about spectacle. It was about fragments — bow oversized, coat heavy, fork absurd, cat staring. A styled shoot reframed into something tougher, more authentic.
Jenna Ortega wore Dilara Findikoglu Spring 2026 with Simone earrings for the Vanity Fair Golden Globes dinner in January 2026.
Jenna Ortega didn’t just show up–she sat , and that part matters. Photographed inside the Golden Globes dinner hosted by Vanity Fair in January 2026, Ortega is caught mid-presence. No strategic pose. She’s just there, body turned slightly, eyes fully aware of the camera, hand clutching the back of her chair like it might try to leave without her.
The Dilara Findikoglu Spring 2026 look she wears grabs attention in ways smoother dresses don’t. It’s black, with sheen. Gothic but not drama-club. A ruched high-neck top sculpts her torso–rigid, almost armor-like–with visible gathers and exposed boning that trick the eye into thinking Victorian corsetry. But then: cutouts. Deep side reveals. And that bare strip over the hip? Disruptive in the best way. She’s seated, yet the visual tension stays upright.
Her earrings– Simone Birds in Poetry , as named by context–hang just low enough to peek beneath straight, center-parted hair. Tiny, poetic flickers amid the otherwise ironclad black. There’s no necklace. No fuss. Nothing redundant. Her makeup? Clean. Focused on definition–sharp cheekbones, defined brow, neutral lips. The usual. But precise. Controlled. Like every line on her face was made with intention.
The atmosphere around her buzzes with chatter, plates, tuxedos. But in this hard flash moment, it all falls away.
The look works harder than it initially seems. Structurally, it’s a beast–stiff ruching, fringe, embroidery, slashes of skin. Too complicated? Maybe. But that’s what gives it shape at rest . In a seated position, most dresses collapse. Not this one. The torso stays constructed, the cutouts deliberate, the energy intact.
And importantly, it doesn’t beg for attention. It permits it . The earrings–those Simone Birds in Poetry danglers –are a small softness against the harsher lines of the dress. No clash, just contrast. If this is what modern Gothic glamour wants to be in 2026–paused, angular, slightly sour–then it lands. It lingers.
Vulnerability in hard fabric. That’s the trick this look pulls off.
Emilia Clarke appears in the January 2026 issue of The New York Times, photographed in two contrasting outfits that highlight color, texture, and editorial restraint.
January 2026. Emilia Clarke seated on the floor, backdrop plain, sweater bright pink, turtleneck high. Loose black pants, shoes dark, posture casual. Hands clasped, arms resting on knees. The pink against the neutral background feels almost too loud, but it works. A clash softened by her calm expression.
Another frame, softer again. Clarke lying on the floor, outfit white, textured fabric, pleated skirt. Long sleeves, one marked with black and yellow detail. Pose deliberate, hand near the neck, gaze direct. The composition minimal, clean, almost serene. The outfit structured but light, fabric folding gently.
Her styling here: opposites. One outfit leaning into bold color, almost playful. The other leaning into quiet restraint, fabric and pose subdued. Together they form a fashion spread stitched from fragments. A celebrity photoshoot that resists glamour excess, leaning instead into texture, tone, and mood.
Clarke’s editorial wasn’t about spectacle. It was about fragments — pink sweater loud, pleated skirt soft, gaze steady. A styled shoot reframed into something tougher, more authentic.
