Joey King wore a cream sweatshirt, dark track pants with side stripes, and white sneakers while out for lunch in Los Feliz on January 10 2026.
Midday Los Feliz light, soft and ordinary. Joey King walks with the calm rhythm of someone who doesn’t care about being seen–but of course, she is. The outfit says comfort first: a plain cream sweatshirt , slightly oversized at the cuffs, paired with dark gray track pants traced with two narrow white stripes down each leg. Nothing polished about it. Just movement, function.
In one hand she’s carrying a green jacket –folded loosely over her arm, as if she grabbed it last second–and her phone, pale orange case catching the light. White sneakers , clean but lived-in, ground the look. The kind of shoes that go from errands to brunch without question. The hair, loose and brushed forward, frames her sunglasses– tortoiseshell rectangles that tilt a bit movie-star, a little ironic under that no-makeup skin.
Sydney Sweeney fronts the Armani Beauty Luminous Silk campaign for January 2026, embodying radiant skin and modern minimal makeup in the brand’s signature style.
The new Armani Beauty Luminous Silk campaign finds Sydney Sweeney caught in that impossible between-state–glow and stillness. Her face fills the frame, no tricks, no drama. Bare skin so luminous it looks almost fragile. The foundation’s satin finish isn’t hidden behind editing or excessive shine; it’s real texture, tempered realism.
Her makeup feels deliberate in its restraint. Softly brushed brows, subtle highlight, lips nudged toward rose–not quite color, more suggestion. The eyes, framed by long lashes, catch the light with a clarity that recalls early 2000s beauty ads, when radiance meant intimacy, not gloss. And across the image, folds of sand-colored fabric drift like breath, blurring edges between product shot and portrait.
Eiza Gonzalez wore a black corset-style dress with sheer detailing and minimal heels at W Magazine’s Best Performances Party in Los Angeles 2026.
At the W Magazine Best Performances Party inside the Chateau Marmont, Eiza Gonzalez stood out quietly in black–matte yet luminous under the strange pink carpet light. Her dress: a fitted, corset-style bodice with sheer panels and sequin embroidery that flickered subtly instead of shouting for it. The lower half flows into a deep-black skirt, soft but not fluid, something between silk and organza, cut just below the calves. You can almost hear the fabric whisper against itself when she moves.
