Kiernan Shipka wore a black oversized coat with a green ruffled mini dress at The Shitheads premiere during Sundance Film Festival on January 23,
Kiernan Shipka stepped out for The Shitheads premiere at Sundance’s Library Theater, and the look was pure street style pragmatism with a twist. A slouchy black coat—oversized, slightly rumpled, the kind you’d grab for a late-night dash—swallowed her frame, but the flash of green underneath cut through the winter gloom. That’s a Delphine Zoey dress, its ruffled hem peeking out like a secret, the fabric stiff enough to hold its own against the coat’s bulk. No fuss, no frills, just a coat that says “I’m cold” and a dress that whispers “but I tried.”
Anastasia Karanikolaou wore a black V-cut plunging top with dark wash denim jeans for dinner at Bird Street on January 24, 2026.
Night falls on West Hollywood and Anastasia Karanikolaou is caught mid-stride, heading toward Bird Street for dinner. It is a look that leans heavily on the architecture of the V-cut top —a plunging , ribbed black number that feels less like a garment and more like a daring geometric exercise. This is celebrity street style stripped of its layers, opting instead for a singular, high-impact focal point that demands attention against the muffled backdrop of the evening.
Bianca Censori wore a sheer silver ensemble and Kanye West chose a brown work jacket for their movie date in Los Angeles in 2026.
Los Angeles, January 23, 2026. A heavy metal door swings open, framing a traffic cone and two figures who seem to be walking through different dimensions. Kanye West and Bianca Censori step out into the night, likely post-movie, delivering yet another episode of their synchronized visual dissonance. It is a stark, almost clinical celebrity street style moment—a collision between heavy utility and fragile exposure.
There is something exhausting and fascinating about this dynamic. While he dresses for the workshop, she dresses for the vitrine. The juxtaposition feels deliberate, a curated tension between protection and exhibition. Bianca’s outfit, with its liquid sheen and unforgiving fit, rejects the comfort usually associated with a casual movie date. It’s too specific, too theatrical. Yet, the monochromatic palette ties them together; the muted earth tone of his jacket doesn’t clash with her spectral grey. It suggests that even in a parking lot, they are treating the sidewalk like a conceptual art installation rather than public space.
Is this extreme contrast between utilitarian armor and sheer vulnerability a commentary on modern celebrity, or simply a provocative styling habit?
