Elle Fanning posed in a shimmering gold Ralph Lauren gown with Cartier rings during a Miles Diggs photoshoot for the Critics Choice Awards in January 2026.
January 2026. A hallway, clean lines, wood floors catching the train of a gown. Elle Fanning stood there, not on a carpet but in a lived‑in space, light pouring in from wide windows.
The dress — Ralph Lauren Fall 2003 — gold, shimmering, straps thin, neckline deep. Fabric falling long, train stretching behind her, catching the floor like spilled metal. It wasn’t loud, more like steady glow. Hair loose, wavy, blonde, framing the look without fuss.
Cartier rings visible, Panthère and Broderie, small glints against the gold. Jewelry didn’t compete, it punctuated. The setting itself mattered — staircase, white walls, natural light. A photoshoot that felt less staged, more like someone paused mid‑evening, caught in a moment.
Mia Goth wore a white custom Dior gown with Gem Dior jewelry to the 2026 Critics Choice Awards ceremony.
Mia Goth is present at the Barker Hangar in Santa Monica. It is January 4, 2026. She is wearing a Dior Custom Dress . It is white. Not eggshell or ivory, but a dead, flat white. The gown is a column, severe and unadorned, save for a folded band of fabric that wraps around her shoulders, pinning her arms to her sides. It’s a look that feels less like fashion and more like a sculpture wrapped in a sheet before the unveiling. A very deliberate, very quiet moment in the noisy machinery of celebrity red carpet culture.
This is a pivot. Goth usually inhabits a space of “weird” fashion—eerie, frayed, slightly off-kilter. This is pristine. It evokes the energy of a runaway bride who decided to stop running and just stand very still. It fits into the current “modest luxury” wave but does so with a specific, almost clinical detachment. It suggests that the most radical thing one can do right now is look entirely blank.
The construction is impeccable, of course. It is Dior. The fabric falls without a single ripple. The off-the-shoulder wrap detail—a nod, perhaps, to the Dior Pre-Fall 2026 collection’s outerwear—softens the neckline but restricts gesture. She cannot wave. She can only pose. She accessorizes with Dior Gem Dior Earrings and a matching Dior Gem Dior Ring , small clusters of gold and stones that look like geological accidents rather than polished gems. The hair is pulled back, messy bangs falling into her eyes. It is beautiful, yes, but in a way that feels slightly frozen. A statue in a room full of people trying to be gifs.
Arden Cho wore a lilac Vivienne Westwood gown with silver Jimmy Choo platform sandals to the 2026 Critics Choice Awards.
Arden Cho is on the carpet at Barker Hangar. It is January 4, 2026, the occasion of the 31st Annual Critics Choice Awards. She wears a Vivienne Westwood Gown in a shade of purple so faint it might just be a trick of the light. Lilac, maybe wisteria. It’s the brand’s signature architecture—the corset, the scoop, the drape—but softened until the punk edge is entirely gone. This is the romantic Westwood, the one that leans heavily into historical reenactment.
The silhouette is familiar to anyone who follows celebrity red carpet cycles. The bodice features that distinct, off-the-shoulder cowl that serves to frame the décolletage with a kind of nonchalant grandeur. It’s draped, swathed, and pulled tight at the waist before releasing into a skirt that splits aggressively at the thigh. It exposes Jimmy Choo Claressa Platform Sandals in metallic silver, chunky anchors for such a floaty dress. Around her neck sits the Shiphra Circle Necklace , a delicate loop of diamonds that looks almost fragile against the expanse of skin.
There is a tension here between the structure and the wearer. Westwood corsetry is demanding; it usually requires a certain physical resistance to look right. Here, the bodice feels a little roomy, the “swag” of the neckline drooping perhaps a millimeter too low, hovering on the edge of a wardrobe malfunction. It lacks that snap-tight precision. The fabric—a lustrous satin—crumples at the hip in a way that feels more accidental than sculptural. It is undoubtedly pretty, a vision of pastel femininity, but it feels like she is wearing the dress carefully, rather than inhabiting it fully. A beautiful, slightly precarious balancing act.
