Kate Middleton visited Charing Cross Hospital on January 8, 2026, wearing a burgundy Roland Mouret pantsuit and a chocolate suede DeMellier London bag.
The hospital light is never kind, but Kate Middleton makes it look like a choice. She is at Charing Cross, walking through those corridors that smell of floor wax and urgency. She is wearing a burgundy Roland Mouret suit. It is sharp. The trousers have that long, precise break over her heels, and the jacket is buttoned tight, creating a silhouette that is all business, no fuss. Underneath, a coordinating shirt. Monochromatic. It is a deep, wine-soaked red that feels heavy and serious for a January morning. She is carrying a chocolate suede bag—the DeMellier London one—clutched by the top handle. The texture of the suede looks soft against the flat, hard press of the suit fabric. It is a celebrity event look that understands the room. You do not wear foolish glamour to a neurorehabilitation ward. You wear a uniform of empathy.
Her hands are bare of the big sapphire. Just the thin Welsh gold band. It is a practical move—infection control, they say—but it leaves her fingers looking strangely light, almost vulnerable. Her hair is down, those long, familiar waves, catching the fluorescent glow of the hospital ceiling. There is no melodramatic even-handedness here; she just looks like someone who has shown up to do the work. The suit is a repeat, a recycled piece of armor that she knows works. It has a bit of that frozen grit you need when you are shaking hands in a place where people are fighting to walk again.
The dark red fabric moves with a heavy, expensive swing as she talks to the staff. It is a quiet kind of power. Not shouting. Just a deep, saturated presence in a room full of white coats and blue scrubs.
A sharp crease in the trousers and a steady hand on a suede bag.
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.
Xochitl Gomez wore a black velvet mini dress with fishnet tights and combat boots for an Instagram photoshoot on January 8, 2026.
Xochitl Gomez is sitting in a movie theater, but it is not for a premiere. It is more of a moody, staged moment shared on Instagram. She is wearing a black velvet mini dress, the kind with a square neckline and thick straps that feel a bit like a throwback to nineties grunge. There is a tiny red rose pinned right at the center of the chest—a small, melodramatic even, bit of detail in all that dark fabric.
