Hailee Steinfeld wore a peach Prada custom dress with a Repossi necklace and satin sandals for her Golden Globes photoshoot in January 2026.
Hailee Steinfeld, Golden Globes photoshoot, January 2026. She stands in a pale studio, hands gently cradling her belly, gaze soft, not a hint of nerves. The dress is Prada Custom –peach, long-sleeved, floor-length, covered in vertical silver embellishments that catch the light with every move. The fabric is sheer, but the lines keep it graphic, not fragile. The fit is loose, flowing, with a subtle train that pools behind her.
Her hair is styled in deep waves, parted to the side, old Hollywood but not stiff. Around her neck, a bold Repossi Berbere High End Necklace –thick, silver, almost industrial. On her ear, a Repossi Serti Sur Vide Earcuff . The Prada Platform Satin Sandals are hidden under the hem, but you know they’re there. Makeup is soft, a little glow, lips a muted rose, eyes defined but not heavy.
This is a look that leans into modern glamour, but never feels overdone. The Prada gown is all about movement and light, but Hailee’s styling keeps it grounded–no extra sparkle, no wild hair, just a sense of ease. For those who follow photoshoot , it’s a reminder that sometimes the best move is to let the fabric and the silhouette do the talking.
She could be anywhere–a studio, a gallery, or just lost in her own thoughts. Today, she’s here, and the silver lines do all the work. The rest is just quiet.
Sophie Turner wore a black Khaite Samuel jacket and Jett skirt with wedge-heel mules at the Steal BAFTA screening in London on January 12, 2026.
Sophie Turner at the Steal BAFTA screening, London, January 12, 2026. She stands in front of the step-and-repeat, hands relaxed, gaze steady, not a hint of nerves. The look is sharp– black leather Khaite Samuel jacket , buttoned up, collar high, sleeves long, almost swallowing her hands. The hem is short, just skimming the top of her thighs, with the Khaite Jett skirt barely visible underneath. The whole thing reads like a mod mini dress, but with a tougher edge.
Her hair is slicked back, parted on the side, tucked behind her ears. Makeup is minimal–just a little bronzer, lips a muted rose, eyes defined but not heavy. Shoes are black, pointed, Khaite wedge-heel mules –no fuss, no sparkle, just clean lines and a sense of confidence. No jewelry, no bag, just the clothes and the attitude.
This is a look that leans into red carpet fashion –tailored but not stiff, modern but not trying too hard. For those who follow red carpet fashion , it’s a reminder that sometimes the best move is to keep it simple–one great jacket, one strong walk, and a little bit of edge.
She could be anywhere–a gallery, a dinner, or just out for coffee. Tonight, she’s here, and the leather does all the talking. The rest is just city noise.
Madison Beer wore a fitted beige top, black shorts, and black heels for her editorial photoshoot with The Sydney Morning Herald in January 2026.
Madison Beer for The Sydney Morning Herald, January 2026. She’s perched on a blue damask bench, legs crossed, one hand behind her, the other resting on the cushion. The room is pale blue, paneled, a little old-world, a little empty. The look is pure photoshoot –a fitted beige top, slightly sheer, with a single shoulder cut-out and faint, abstract prints. Black shorts, high-cut, nothing flashy. Black open-toe heels, sharp, almost severe, but not out of place.
Her hair is long, parted in the middle, falling over one shoulder. Makeup is soft, a little bronzer, lips a muted rose, eyes defined but not heavy. No jewelry, no bag, just the clothes and the pose. The whole thing feels a little bit “model off-duty,” a little bit “caught in between moments.” No drama, no sparkle, just clean lines and a sense of comfort.
