Gracie Abrams trades stage drama for soft-focus intimacy—her latest Hourglass Cosmetics shoot leans into quiet glamour, with a halter whisper and undone waves.
There’s something arresting about restraint—especially when it’s worn with conviction. In her September 2025 campaign for Hourglass Cosmetics, Gracie Abrams doesn’t just pose; she inhabits a mood. The image, a close-up that feels almost voyeuristic, captures the singer-songwriter in a moment of cinematic stillness, where softness becomes the statement.
Mia Goth’s TIFF appearance was a study in contrasts—her white halter gown, anchored by noir accents, felt like a ghostly nod to old Hollywood restraint.
There’s a quiet power in simplicity—especially when it’s worn with the kind of eerie poise Mia Goth brings to a red carpet. At the 2025 Toronto International Film Festival premiere of Frankenstein , Goth stepped onto the TIFF step-and-repeat with a look that felt both spectral and sculptural, as if channeling a postmodern Vivien Leigh.
Her gown, a floor-length halter in crisp white, skimmed the body with architectural precision. The fabric—likely silk crepe or a matte satin—offered no embellishment, no embroidery, no distraction. Just clean lines and a black waistband that sliced through the silhouette like a cinematic cut. It was a dress that didn’t need to shout. It whispered.
The black open-toe heels, minimalist in design, echoed the waistband’s starkness, grounding the look in a kind of noir geometry. But the real punctuation came from her necklace: a string of purple stones, cool-toned and slightly offbeat, adding a touch of gothic romance to an otherwise modernist ensemble. It was the kind of accessory choice that feels deliberate—like casting Helena Bonham Carter in a Sofia Coppola film.
Alix Earle’s red carpet moment was all edge and economy—a Tom Ford mini with the precision of a scalpel, paired with patent defiance and a no-nonsense stare.
There’s something deliciously confrontational about Alix Earle’s appearance at the 2025 MTV Video Music Awards in New York—like she’s daring the room to blink first. While others leaned into theatrics, Earle sliced through the noise with a look that felt more editorial than performative.
Let’s start with the dress: a custom mini adaptation of Tom Ford’s sleeveless round-neck day dress. In stark white, the fabric held a subtle sheen—likely silk crepe or a structured viscose blend—that caught the camera flash without ever veering into bridal territory. The cut was surgical: clean lines, zero embellishment, and a hem that flirted with scandal but stayed firmly in the realm of taste. Ford’s signature restraint was on full display, proving once again that minimalism, when done right, can be the loudest statement in the room.
On her feet: Paris Texas Lidia Patent Leather Slingback Pumps in black, a choice that grounded the look with a touch of urban severity. The high-shine finish echoed the dress’s polish, while the slingback silhouette added just enough retro flirtation to keep things interesting. No jewelry, no bag—just the shoes and the stare.
Earle’s pose was pure power: one leg forward, shoulders squared, chin tilted with intent. The lighting at the VMAs red carpet—harsh, unforgiving, paparazzi-grade—only amplified the starkness of her ensemble. She didn’t soften it. She leaned in.
Hair was pulled back into a sleek, low bun—no flyaways, no volume, just control. Makeup followed suit: matte skin, a neutral lip, and brows that looked brushed but not fussed. If there was a theme here, it was discipline.
