Jodie Foster wears a sharp double-breasted coat for Variety Magazine, discussing her transition from being the only woman on set to working with female directors.
Jodie Foster is sitting against a neutral, grey-wash studio backdrop, looking like a person who has absolutely nothing left to prove. She is wearing a dark, double-breasted coat—heavy wool—with structured shoulders and wide lapels that frame her face with a certain architectural intent. It is a look of quiet power, devoid of the foolish glamour that often plagues January covers. Her hair is short, silvered, and styled with a natural, windswept texture that feels honest.
There is a bluntness to this portrait. No jewelry, no unnecessary high fashion distractions. Just the texture of the coat and the directness of her gaze. It is interesting how her career has shifted; she spent decades navigating an industry where she was often the only woman in the room besides the makeup artist or script supervisor. Now, she speaks about the amazing shift toward working with female directors, a sharp contrast to the simpler, more tedious dynamic she often had with male filmmakers in the past. It is a liberation that shows in the set of her jaw.
Her hands are tucked into her pockets, a pose that feels lived-in and comfortable. The editorial does not try to hide the lines on her face or the reality of a life lived in the spotlight. Even when discussing her famous 2013 speech, she remains firm that it was a meditation on dignity and privacy rather than a simple declaration. It is that same sense of boundary-setting that defines this shoot—a refusal to be a lavish mess for the public eye. The light is soft, wrapping around the dark fabric of the coat, creating a silhouette that is both impenetrable and deeply human.
She looks like a woman who has finally found a way to be seen without being consumed.
Rihanna embraced a relaxed homecoming aesthetic in Barbados on January 4, 2026, wearing a black-and-white striped jacket and rare Longchamp x Jeremy Scott accessories.
Rihanna is back in Barbados, and the air feels different. Less like a stage, more like a backyard. She is standing there, holding one of her boys, looking completely unbothered by the lens. She has opted for a striped black-and-white jacket—bold, horizontal lines that feel almost nautical but definitely casual. It is layered over a simple white T-shirt. No foolish glamour here, just the practical layering of a mother who knows the Caribbean breeze can turn.
Daisy Edgar-Jones wore a brown suede coat with a pink knit scarf on the Here Comes The Flood set on January 7, 2026.
Paterson, New Jersey, doesn’t offer much in the way of warmth in early January. You can see it in the way Daisy Edgar-Jones is hunched slightly, walking across an asphalt lot that looks biting and grey. She’s wrapped in a long, tan-brown suede coat—the kind that looks heavy and lived-in—and a massive, pale pink knit scarf that looks like a soft, fluffy cloud against the grit of the background. It’s a very specific kind of celebrity street style —the costume variety that has to look like real life but slightly more intentional.
