Emma Kenney wore a structured pink tweed jacket and pleated skirt with white pumps at the Infinite Icon premiere in Los Angeles on January 20, 2026.
Against the glowing magenta backdrop of Paris Hilton’s Infinite Icon premiere, Emma Kenney stands poised in a monochrome burst of pink. It’s sugary, yes, but deliberate — every shade matching, every fold crisp. She wears a pink tweed jacket , buttoned neatly at the waist with subtle tailoring, short sleeves, structured shoulders. The jacket’s belt catches just enough light to frame the silhouette, soft but defined. Below, a pleated skirt , same tone, just short enough to move — feminine, unfussy, a slight throwback to mid-century polish done young.
Anya Taylor-Joy appears in Harper’s Bazaar España February 2026 issue, styled with Dior Beauty and layered editorial contrasts.
The February 2026 issue of Harper’s Bazaar España places Anya Taylor-Joy in a series of frames that balance beauty products, desserts, and her own presence. The layout is playful–pink backgrounds, Dior Beauty scattered among macarons and cakes. She wears a light-toned top, her gestures casual, almost mischievous.
Her career narrative folds into the spread. From The Witch to Split , Glass , and Emma , she has built a filmography that feels hypnotic, versatile, and deeply personal. She speaks of acting as connection, of maintaining the most important relationship–with herself. The multicultural threads of Argentina and Spain remain part of her identity, grounding her global reach in something intimate.
The styling here is not about glamour alone. It’s about blending beauty with everyday indulgence. Lip oils, perfumes, desserts–objects of taste and texture–become part of the editorial. The result is less spectacle, more lived-in charm.
Leslie Bibb wore a sheer lace top and black leather skirt while attending the Sézane DEMAIN charity dinner in New York on January 21, 2026.
There’s intimacy in the setting — dim light, stacked books, a whisper more café than runway. Leslie Bibb leans against that quiet backdrop, crisp posture, corners of a smile. She’s wearing a black lace top , delicately sheer, long-sleeved and tucked neatly into a high-waisted leather midi skirt . The contrast feels deliberate: softness versus structure, translucent texture against the exactness of leather.
The lace catches light like fine dust — patterns faint, floral, shadowed over skin. The skirt falls clean, no seams breaking its line, stopping just below the knee. On her feet, black pointed-toe heels , sharp and understated. Accessories are minimal — just slim metallic earrings, a small ring, polished nails the color of wine. It’s not loud, not overworked, just precise.
