Imogen Poots wore a sheer black T-shirt with a black midi skirt and pointed heels at the BAFTA Tea at Four Seasons Hotel in Los Angeles.
Imogen Poots at the BAFTA Tea at Four Seasons Hotel, Los Angeles, January 10, 2026. She stands on the gray carpet, hands loose, not a hint of nerves. The look is all black –a sheer T-shirt, just see-through enough to catch the light, tucked into a high-waisted black midi skirt. No belt, no jewelry, nothing extra. Shoes are black, pointed, classic. The whole thing is pared back, almost severe, but not cold.
Her hair is down, loose waves, a little messy, a little rock and roll. The makeup is the only real pop– bright pink eyeshadow , bold and unapologetic, the rest of her face left bare. No earrings, no necklace, just the eyes and the attitude.
It’s a look that feels like she got dressed in five minutes, but in the best way. For those who follow red carpet fashion , it’s a reminder that sometimes the best move is to keep it stripped down–one color, one idea, and a little bit of nerve.
She could be anywhere–a concert, a gallery, or just out for coffee. Tonight, she’s here, and the pink eyeshadow does all the talking. No need for drama, just a flash of color and a shrug.
Margot Robbie appears in Bold The Magazine’s 2026 German edition, reflecting on her career, creative control, and the bold choices that shaped her rise.
January 2026. Margot Robbie, close-up, blonde waves loose, neckline deep, gaze steady. The cover clean, beige background, white BOLD letters slicing through the frame. No props, no distractions. Just her.
The editorial tone is raw. Robbie speaks of impulse, not confidence. Of jumping into the unknown without overthinking. Her move from the Australian countryside to Melbourne, then to the U.S., wasn’t mapped out. It was instinct. She recalls walking alone to birthday parties at age ten, armed with a map and no fear. That same energy carried her through soap operas, failed pilots, and finally into Scorsese’s lens.
She doesn’t romanticize fame. Red carpets still feel surreal. Producing came from wanting more control, not boredom. LuckyChap, her company with husband Tom Ackerley, became a space for risk. From “I, Tonya” to “Barbie,” she chased stories that felt off-center. She’s pragmatic, not precious. She sold old toys on the curb as a kid. She charged family for magic tricks. That spirit never left.
Now, post-“Barbie,” she’s recalibrating. A child born, a few flops behind her, and a new project ahead. “Wuthering Heights” with Emerald Fennell isn’t a faithful adaptation. It’s something else. Something Robbie-shaped.
Her hair is down, parted in the middle, loose waves. Makeup is soft, a little bronzer, lips a muted rose. No necklace, no earrings, just the dress and a bit of attitude. Shoes are black strappy sandals, high but not towering. The bag is velvet, small, with a silver handle–almost a toy, almost a dare.
It’s a look that doesn’t apologize. No layers, no fuss, just a woman in a sheer dress, letting the light do the work. For those who follow red carpet fashion , it’s a reminder that sometimes the best move is to strip it all back–one fabric, one silhouette, and a little bit of nerve.
She could be anywhere–a rooftop, a club, or just walking home under streetlights. Tonight, she’s here, and the dress is all edge, all confidence, no filter.
