Gracie Abrams wore a black sleeveless top with lace texture and Chanel gold jewelry for the Coco Crush campaign in 2026.
The Chanel “Coco Crush” campaign frames Gracie Abrams in a pared‑down way. No clutter, no backdrop noise. Just her profile, jewelry, and a black sleeveless top that catches light with a faint lace or sequin shimmer.
The necklace — a textured gold choker — sits heavy but clean against her collarbone. Earrings stacked on the left ear: a small hoop, then a thin curved band above it. Nothing extravagant, just deliberate layering. The hair is short, straight, dark, cut to emphasize the line of the jaw.
Ashley Greene showcases a variety of early-career looks for Next Level Apparel, bridging the gap between basic studio work and celebrity photoshoot culture.
There is a certain raw, unvarnished quality to this 2004 session with Ashley Greene. It is not a fashion photoshoot in the sense of high-gloss art; it feels more like a working day. The frames capture her in a wide range of outfits, though the specific clothes almost matter less than the way she occupies the space. It is a styled shoot that feels surprisingly grounded, lacking the heavy-handed retouching we have grown used to. The lighting is flat, honest—a studio portrait setup that refuses to hide the textures of the fabric or the skin.
Elle Fanning wore a teal off‑shoulder vintage gown with Cartier jewelry, while Kate Hudson chose a red lace couture dress at Palm Springs 2026.
The Parker Palm Springs after‑party wasn’t staged like a red carpet. It felt crowded, warm, almost casual in its noise. Clothes had to speak louder than the room.
Elle Fanning, left in the frame, leaned into mid‑century couture. A teal gown, off the shoulders, cinched at the waist. The fabric shimmered, metallic but not gaudy. Accessories were visible — a Christian Louboutin clutch, Cartier rings, a watch that caught light when she moved. Shoes were partly hidden, but the stance suggested slim heels. It read as Rosenstein’s 1950s couture, a look that carried history without nostalgia.
Kate Hudson, beside her, chose Georges Chakra’s Fall 2025 couture. A sleeveless gown in deep red, textured with a net overlay, neckline plunging. The dress had weight, almost architectural, softened by how it fell. Andrea Wazen lace platforms gave her height, but the shoes stayed secondary. The look was contemporary, sharp, but not theatrical.
Together, the pairing was less about contrast and more about two parallel takes on evening formality. One vintage‑coded, with Cartier and Rosenstein references stitched into the look. The other modern couture, red fabric rendered with precision.
