Emma Roberts wore an elegant strapless black outfit with a fur wrap and turquoise statement necklace for Net-A-Porter’s Destination Ski 2026 event.
At the One&Only Moonlight Basin in Big Sky, Montana, Emma Roberts stood against the wooden backdrop of NET-A-PORTER’s glowing sign, dressed in something quietly opulent. She wore a strapless black top paired with tailored black trousers that slipped just over pointed-toe black boots. Draped across her shoulders sat a voluminous faux-fur stole , streaked in warm shades of amber and rust — the texture catching the light in uneven ripples, half glamour, half snow-protection fantasy.
There’s composure in her stance: hands meeting at her waist, gaze level, confidence unforced. Nothing loud, nothing trying too hard — an understated shift from evening polish into alpine chic. A turquoise statement necklace breaks the monochrome, sharp against the dark fabric, adding the touch of altitude luxury that NET-A-PORTER’s Destination: Ski event seems built to celebrate.
Keira Knightley wore a rust sweater, wool trousers, and a long tailored coat while filming the Netflix spy thriller Black Doves in London.
Caught mid-stride on a brisk London street, Keira Knightley moves with purpose. There’s intensity in the blur of her coat, a long camel trench fanning out behind her as she runs. Over it — a rich rust-colored wool sweater , sleeves pushed slightly up, tucked into high-waisted brown trousers cinched by a wide belt . It’s not glamour — it’s function disguised as style, costume that slips easily into modern urban fashion .
The outfit looks drawn from that familiar Keira palette — tactile, earthy, quietly British. Soft tailoring built for weather . Brown leather boots meet the pavement mid-flight, the kind that sound sharp in echoing alleys. A brown baseball cap pulls the whole thing inward, breaking the elegance with something utilitarian, even slightly undercover. Large dark sunglasses wrap her eyes — story or realism, who’s to tell?
There’s something deeply cinematic about how this look reads in motion. The trench flares like punctuation. The textures do the talking: brushed knits, structured wool, leather ground tones. It’s as though “espionage wardrobe” has evolved from spy noir to street style outfits built on lived, wearable practicality. In that sense, Black Doves isn’t just a thriller — it’s a study in stealth dressing, where form follows the pace of a chase scene.
Sadie Soverall and Emma Laird wore relaxed knits and soft satin pieces in Brett Lloyd’s intimate Vogue UK Acting Portfolio for February 2026.
There’s a lazy quietness in this frame from Brett Lloyd’s Vogue UK Acting Portfolio , February 2026. Sadie Soverall sits on the left, one leg folded, gaze steady, wearing a loose buttery knit sweater with a half-zip collar and a dark skirt barely visible under the folds of fabric. Her hair — untamed, voluminous, deliberately unstyled — feels like its own statement, somewhere between introspection and quiet defiance.
Beside her, Emma Laird leans slightly, calm but alert, her expression softer. She pairs a striped short-sleeve T-shirt layered over a black long-sleeve top , grounded by a cream silk skirt that catches light just enough to create a liquid ripple. There’s understated symmetry between them — earthy sweater against luminous satin, casual lines alongside a curve of shine.
The palette sits in that muted zone where time feels unhurried: warm neutrals, sepia shadows, the kind of light that could be morning or late afternoon. In this space, street style instincts are translated into introspection — comfort turned contemplative. The setting itself, a neutral draped surface tied loosely with rope, rejects the high polish of typical editorial tableaux. It’s intimacy wrapped in deliberate imperfection.
Seen together, the two actors represent differing facets of emerging British cool. Soverall brings grounded sharpness, a textured weight. Laird counters with ethereal ease, the sheen of effortlessness that defines so much of today’s everyday outfit aesthetic — that subtle balance between undone and intentional. Their pairing feels quietly radical: a return to the tactile, to realism in fashion imagery that isn’t afraid to let fabric, mood, and fatigue exist on equal terms.
One could call it off-duty, but that misses the mood. It’s more like emotional stillness photographed — cinematic without trying.
