Kelly Reilly wore a sheer black lace top and tailored trousers at the Under Salt Marsh screening in London in January 2026.
At the January 19, 2026 screening of Under Salt Marsh in London, Kelly Reilly delivered a pared-back yet deliberate take on red carpet fashion . The actor appeared in a sheer black lace top with scalloped edges and a deep plunge neckline — more blouse than gown, but no less calculated. The lace extended into fluttering cape sleeves, adding movement without chasing extravagance. She grounded the look with classic straight-cut trousers in dense black fabric that resisted sheen, allowing the top’s texture to hold visual dominance. Discreet pointed-toe heels — barely peeking from beneath — completed the ensemble.
This wasn’t a high-drama couture moment, and that felt telling. Reilly has never gravitated toward theatrical silhouettes or glitterbomb styling. With high-profile roles in atmospheric dramas — including Under Salt Marsh , which leans into slow dread and emotional unraveling — her public aesthetic often mirrors her onscreen restraint. The relaxed ease of her pulled-back bangs and soft gold drop earrings offered just enough character without feeling composed for the flashbulbs. In a red carpet era still dominated by amplified proportions and embedded trend codes, this quieter approach reads more like refusal than retreat.
Victoria Justice wore the Peppermayo Forever Radiant maxi dress and For Art’s Sake Hand Earrings at the Peppermayo 2025 holiday party.
Captured beside the glow of a rooftop pool under the December sky, Victoria Justice brought a sleek kind of holiday energy to the Peppermayo Christmas Party on December 18, 2025. Her choice? The Peppermayo Forever Radiant maxi dress — stark white, halter neck, open sides. A neckline that wraps high around the collarbone and plunges low at the sides with nothing in between. Minimalism? Technically, yes. But this wasn’t casual. It was curve-hugging, ultra-clean, focused.
The fabric doesn’t cling so much as it follows. Below the waist there’s enough drape to prevent it feeling costume-tight. But the upper half — from shoulder to side seam — is intentionally spare, held by the fewest seams required to qualify as “dress.” You can feel the absence here doing half the work. The rest comes from attitude.
There’s one flash of accessory: the For Art’s Sake Hand Earrings , their silhouette just barely visible against her pulled-back hair. Bare shoulders, bare arms, even the back is mostly cut out. This is an outfit designed for three things: flash photography, a slight breeze, and a perfectly timed head turn.
And that’s exactly what this look thrives on — small, simple drama played confidently. The glow of downtown Los Angeles spread far below gives it context: a party, yes, but with cinematic leanings. You could freeze this moment halfway between red carpet arrivals and a perfume commercial.
This kind of look isn’t about shouting — it’s about timing the whisper.
Victoria Justice wore a Vaillant Studio lace tank and skirt with knee-high boots and Otra Eyewear sunglasses at the Invisible House shoot 2025.
Joshua Tree, November 13, 2025 — Victoria Justice photographed herself inside the glassy geometry of the Invisible House, reflecting both her and the structure in equal measure. The shot feels half-constructed, half off-guard–an image suspended between architectural polish and quiet self-awareness. She wears the Vaillant Studio Signature Satin Asymmetric Lace Tank Top , styled with the matching Vaillant Studio Deconstructed Asymmetric Lace Skirt . Together, the pieces read soft but intentional, tracing curves without overt drama.
A cocoa-brown Entire Studios V-Neck Sweater is tied unassumingly around her waist, grounding the otherwise fluid look. Sleek high black boots add height but also restraint–it’s effort disguised as ease. The sparkle comes from Kohl’s Vintage Style Simulated Crystal Giant Earrings , a wink toward nostalgia, and a pair of Otra Eyewear Aster Sunglasses balances the composition with mid-century cool.
This fashion photoshoot doesn’t scream editorial excess; it feels lived-in, like she paused mid-thought to catch her own story in the glass. Justice looks less like a subject and more like part of the room’s architecture–precise, transparent, quietly dangerous.
