Kaia Gerber was spotted leaving the Chateau Marmont Hotel in Los Angeles on January 25, 2026, wearing a layered black coat and checkered skirt ensemble.
A Los Angeles night cooling fast, flashes catching movement on brick steps. Kaia Gerber moves deliberately — unhurried, focused — wearing a long black coat draped open to reveal a checkered midi skirt underneath. The look feels straight out of a quiet style film: practical, careful, never loud.
She pairs the layered pieces with black leather flats , every element softened by the dim side‑lighting from the hotel’s entryway. A black scrunched bag rests effortlessly on her arm, completing a composition that reads as ease disguised as uniform. Her hair, simple and center‑parted, carries the kind of undone neatness that comes not from trying but from knowing.
Kaia Gerber posed in a Saint Laurent Spring 2026 look with distressed denim and sleek black heels for her Harper’s Bazaar February 2026 editorial.
The camera finds Kaia Gerber mid‑stance — legs set wide, energy contained but ready to lunge. She wears a black leather jacket with sharply built shoulders , the light skating across its glossy surface. Beneath, just enough of a bra top peeks through to break the severity. Ripped denim jeans stretch long, scraped pale at the thigh, torn openly at both knees; their roughness cancels the gloss of her jacket. A small tiara rests on her head, not ironic, just defiant. The finishing touch: Christian Louboutin Sporty Kate Sling Pumps grounding the stance at both ends of the frame.
Photographed for the Harper’s Bazaar February 2026 issue, the image walks the razor line between haute edge and street chaos — Saint Laurent Spring 2026 rendered like a dare. The darkness behind her doesn’t swallow; it spotlights. She looks more like a guitarist between sets than a model in mid‑pose.
Kiernan Shipka wore a black cut‑out top with a white flowing skirt for her LA Times photoshoot by Justin Jun Lee in January 2026.
Framed against a sweep of glass and skyline, Kiernan Shipka stands in quiet balance — her reflection folding into the concrete floor beneath her. The look: a black fitted top with a waist cut‑out paired with a white floor‑length skirt that shifts light like paper. Minimal jewelry, no visible branding, just posture and proportion working together. The photographer, Justin Jun Lee , captures her like an architectural line sketch — clean, measured, human.
The muted tones of the city blur behind her, amplifying the simplicity. It’s a portrait that resists overt emotion, as if Shipka were playing at stillness while everything beyond the glass keeps rushing. The cut‑out detail interrupts the otherwise precise silhouette — small rebellion hidden inside restraint.
