Kiernan Shipka appears at the Arby’s Cinema Center during Sundance 2026, blending casual ease with festival camaraderie.
At the 2026 Sundance Film Festival in Park City, Kiernan Shipka stepped onto the carpet at the Arby’s Cinema Center. The backdrop was crowded with logos—Collider, Sommsation, Church & State, Arby’s itself. A sandwich even made its way into the frame, held like a prop, half joke, half branding.
Shipka stood with three others, the group relaxed, not stiff. No gowns, no tuxedos. Just casual layers, everyday shoes, the kind of look that fits a media event more than a premiere. The vibe was friendly, almost playful, more about presence than fashion.
Kiernan Shipka wore a black lace top with wide-leg trousers at the Acura House of Energy during the 2026 Sundance Film Festival.
On January 24, 2026, Kiernan Shipka attended the Acura House of Energy at the 2026 Sundance Film Festival in Park City, UT with an event appearance look that feels like she dressed in five minutes, but with taste. The top is a black lace blouse with a sheer, floral pattern and short flutter sleeves that sit out from the shoulder. It is fitted and cropped, showing a strip of midriff. Underneath, you can see the sheer-to-skin contrast clearly, which is the whole point of lace like this: pretty, slightly blunt, nothing coy about it.
Reader challenge: Is the cropped lace top a smart contrast against the wide-leg trousers, or does it break the silhouette too sharply at the waist?
Michelle Randolph appears in V Magazine’s January 2026 issue, styled in two contrasting outfits that balance softness and edge.
The January 2026 issue of V Magazine places Michelle Randolph in two sharply different frames. One shot has her reclining against a textured beige backdrop, lace outfit detailed and delicate, boots white with black polka dots. A wooden stool sits beside her, almost casual, almost forgotten. The mood is soft, vintage, slightly faded.
Then the tone flips. She stands on a platform draped in reddish fabric, backdrop marbled beige. Strapless black dress, high in front, sweeping long in back. The train pools heavy, while her sandals sparkle under the light. It’s dramatic, but not loud. Just a shift in posture, a different kind of presence.
Together, the spread feels like a conversation between restraint and excess. Lace and dots whisper one thing, the black dress answers another. Randolph doesn’t force them to connect. She just moves between them, steady, unhurried.
