Jennifer Lawrence wore a yellow The Row coat with Alo Yoga leggings and UGG boots in New York City on Tuesday.
Jennifer Lawrence stepped onto the grey pavement of New York City on Tuesday, effectively cutting through the winter gloom in a swath of pale butter yellow. The actress selected The Row Delores Cashmere Coat , a wrapping, architectural garment that functioned less like outerwear and more like a soft, mobile fortress against the chill. Beneath the cashmere volume, she wore a simple grey sweatshirt and Alo Yoga High-Waist Airlift Leggings , grounding the ensemble in the practical vernacular of celebrity street style .
This is not a look trying to impress; it is a look trying to survive the cold with its dignity intact. The choice of such a delicate, pale yellow for the grime of a New York winter is perhaps the ultimate flex—a signal that one is driven door-to-door, hovering slightly above the slush. It evokes the “Quiet Luxury” pivot we’ve seen Lawrence navigate under stylist Jamie Mizrahi, but here, it feels undone, messy, and authentically human.
There is a specific irony in pairing a coat that costs as much as a small car with gym leggings and mass-market sheepskin boots. It suggests that for Lawrence, high fashion is merely a functional tool rather than a sacred object. The silhouette is top-heavy and undeniably cozy, prioritizing tactile comfort over visual proportion. While the The Row Delores Cashmere Coat is a breathtaking masterpiece of construction, wearing it this casually borders on fashion blasphemy—which is precisely what makes it work. It is an assertive rejection of the polished “pap walk,” replacing performance with a very expensive form of reality.
Sabrina Carpenter wore a white Buci Ambrosia Knit Poncho with matching Buci Bow Stockings for an outing on Sunday night.
Sabrina Carpenter exists, mostly, in a self-imposed 1960s vignette, and her appearance on January 4 was no exception to this rule. The singer was captured in a flash-lit corridor wearing the Buci Ambrosia Knit Poncho , a garment that is less a sweater and more a soft, architectural bell. It swallows the upper body in creamy, ribbed fabric, creating a silhouette that is equal parts ski-lodge cozy and Mod-era stark. It’s a deliberate pivot from the usual exposed skin of celebrity style , trading grit for a kind of aggressive, winterized innocence. The commitment to the “living doll” aesthetic continues downward. She paired the oversized knit with Buci Bow Stockings , thigh-high white socks finished with delicate ribbon ties that cut the leg off just so. It’s kitsch, certainly—a little bit nursery rhyme, a little bit retro futurism. On her hand, visible as she clutched a vintage-style handbag embroidered with needlepoint roses, was the Maison Raksha Diamond Initial Ring , a sparkle of hard luxury against all that soft yarn. The bag itself is the punctuation mark here; stiff, floral, and looking like something looted from a well-kept grandmother’s parlor. There is something almost suffocatingly sweet about this ensemble, and yet, it works because Carpenter wears it with a knowing smirk. The proportions of the Buci Ambrosia Knit Poncho —huge sleeves, high neck, short hem—are tricky, threatening to turn the wearer into a walking lampshade. But she navigates the volume by keeping the lower half sharp with the Buci Bow Stockings . It’s not “fashion” in the intellectual sense; it’s costume design for real life. The look feels curated for the camera flash rather than the human eye, a flat, perfect image of winter whiteness that refuses to acknowledge the slush outside.
Kate Hudson appears in W Magazine’s Best Performances Issue for January 2026, photographed by Tyrone Lebon in a floral dress alongside a group portrait styled with playful uniformity.
January 2026. Ten women lined up, blonde waves falling in near‑identical rhythm. Dresses floral, patterned, multicolored. Each face pursed, lips pushed forward, a kiss or a duck face — hard to tell, maybe both.
Hudson stands central, slightly forward. Her dress fitted at the bodice, ruched skirt pulling texture across the frame. The print loud, but softened by the repetition around her. The others echo her presence, almost clones, but not quite.
