Elle Fanning posed for a January 2026 photoshoot wearing a soft sheer blue top with draped sleeves and minimal makeup focused on radiant skin.
The image feels still, almost quiet — like the camera was breathing with her. Elle Fanning stands slightly off-center, one hand brushing her neck, her gaze measured but not staged. She looks relaxed inside the moment.
She wears a diaphanous blue top , sheer fabric layered loosely over the shoulders, folding like light waves. Draped lines twist gently at the waist, a soft sheath sliding into darker tones below. The transparency adds air more than allure — it’s the kind of look that lives between texture and atmosphere.
Her hair, pale blonde and parted neatly, scatters a few uneven strands down her collarbone. The skin, luminous under subdued light, makes the fabric’s tone echo against her own. The makeup — pink flush on the cheek, a slick of red across the mouth — holds just enough tension to keep it modern, not romanticized.
Elle Fanning and Dakota Fanning were seen leaving Chateau Marmont in Los Angeles on January 21, 2026, both wearing dark coats and quiet tailored layers.
It’s night in Los Angeles — damp pavement, soft headlights, laughter hanging just above the chill. Elle Fanning and Dakota Fanning step out arm in arm from Chateau Marmont, bundled but relaxed, more sisterly warmth than celebrity formality.
Elle wears a long charcoal coat with a deep brown collar, the kind of vintage-meets-modern cut that lets fabric drape rather than command. The lines fall straight, clean, no fuss. In her hand: a black leather bag from The Row Dalia Baguette series — discreet design, exact polish. Beneath the hem, a pair of black Khaite Celia Pocket Leather Pumps flash briefly under streetlight.
Dakota matches her energy but shifts tone — a black wool coat that’s heavier, looser, framing her Balenciaga Le City First Bag against the sleeve. Simple trousers, dark shoes. No bold hue between them, only contrast in texture and ease. Her hair is undone, smiling wide; hers is the more lit one in the frame, pulling the duo’s gravity upward.
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.
