Jane Krakowski wore a sequin mini skirt and white blouse for PLAYBILL’s November 2025 editorial photoshoot shot by Heather Gershonowitz.
Shot by Heather Gershonowitz for PLAYBILL’s November 2025 issue , Jane Krakowski doesn’t overdo it here–or underplay it either. The pose? Casual. Hair lightly smoothed with one hand. No spotlight-eyed stare, no mystery. She looks like she could be mid-rehearsal. Or mid-laugh. Depends on the moment.
The look is surprisingly basic– but with intention . A crisp white button-down, relaxed at the cuffs, tucked into a high-waisted black mini skirt covered in sequins that catch light like slow-moving traffic on a wet street. It sparkles, but not aggressively. The shirt is formal in structure but softened through rolled sleeves and a neatly oversized black bow at the collar. It’s possible to imagine this outfit as officewear, if your office happened to be on a stage under footlights.
Black semi-sheer tights complete it, grounding the shine underneath in something steadier. No visible shoes, no extra jewelry, no flashy beauty accents. That simplicity feels honest.
Emma Raducanu wore a blue long-sleeve top and tennis skirt during her Hobart International 2026 match opener against Camila Osorio.
This isn’t one of those polished, posed courtside shots. This is Emma Raducanu mid-swing , legs off the ground, racket slicing forward like she’s trying to split the night. No drama, just grit. Power, not posture.
She’s wearing something quiet, almost muted– a dusty blue long-sleeve performance top , fitted toward the torso, designed for function. Below the waist: a pale blue pleated tennis skirt that flies outward with the force of her movement. Her sneakers–neon pink, no ambiguity there–feel like the punctuation in an otherwise low-volume outfit. Nike visor on. Ponytail held back. Eyes tracking the ball like it insulted her family.
No frills. Just speed and tension and clean lines.
Jenna Ortega wore Dilara Findikoglu Spring 2026 with Simone earrings for the Vanity Fair Golden Globes dinner in January 2026.
Jenna Ortega didn’t just show up–she sat , and that part matters. Photographed inside the Golden Globes dinner hosted by Vanity Fair in January 2026, Ortega is caught mid-presence. No strategic pose. She’s just there, body turned slightly, eyes fully aware of the camera, hand clutching the back of her chair like it might try to leave without her.
The Dilara Findikoglu Spring 2026 look she wears grabs attention in ways smoother dresses don’t. It’s black, with sheen. Gothic but not drama-club. A ruched high-neck top sculpts her torso–rigid, almost armor-like–with visible gathers and exposed boning that trick the eye into thinking Victorian corsetry. But then: cutouts. Deep side reveals. And that bare strip over the hip? Disruptive in the best way. She’s seated, yet the visual tension stays upright.
Her earrings– Simone Birds in Poetry , as named by context–hang just low enough to peek beneath straight, center-parted hair. Tiny, poetic flickers amid the otherwise ironclad black. There’s no necklace. No fuss. Nothing redundant. Her makeup? Clean. Focused on definition–sharp cheekbones, defined brow, neutral lips. The usual. But precise. Controlled. Like every line on her face was made with intention.
The atmosphere around her buzzes with chatter, plates, tuxedos. But in this hard flash moment, it all falls away.
The look works harder than it initially seems. Structurally, it’s a beast–stiff ruching, fringe, embroidery, slashes of skin. Too complicated? Maybe. But that’s what gives it shape at rest . In a seated position, most dresses collapse. Not this one. The torso stays constructed, the cutouts deliberate, the energy intact.
And importantly, it doesn’t beg for attention. It permits it . The earrings–those Simone Birds in Poetry danglers –are a small softness against the harsher lines of the dress. No clash, just contrast. If this is what modern Gothic glamour wants to be in 2026–paused, angular, slightly sour–then it lands. It lingers.
Vulnerability in hard fabric. That’s the trick this look pulls off.
