Kristen Stewart wore a black pinstripe Tom Ford Resort 2026 suit with a striped shirt at Variety’s Creative Impact Awards in Palm Springs 2026.
Palm Springs, January 4th. Marble floors, logos stamped across the backdrop — Variety, Palm Springs International Film Society, Parker Palm Springs. Kristen Stewart stood there in a suit that felt both sharp and undone.
Black pinstripes, blazer cut long, trousers wide‑legged. The shirt underneath striped, buttons left partly open, collar loose. It wasn’t polished, not stiff. More like a shrug in fabric form, casual but deliberate. The look leaned into tailoring, but refused to play by its rules.
Sophie Turner posed in a series of tailored suits — oversized, layered, and styled with minimal accessories — for a Net‑a‑Porter photoshoot in January 2026.
January 2026. Studio light fading into gradient, then shifting to stark white, then outdoors against skyline dusk. Sophie Turner moved through each frame in suits that felt different but connected.
One look: black oversized suit, blazer loose, trousers wide, no shirt underneath. A gold chain at the neck, blunt, almost careless. The outfit leaned on absence — no layers, no fuss, just fabric and attitude.
Another: pinstripe tailoring, blazer long, trousers cut wide, striped shirt underneath left partly unbuttoned. It wasn’t polished, more like a shrug in fabric form. A suit worn undone, casual but deliberate.
Then a softer shift. Beige overcoat layered over a black vest and white shirt with exaggerated tails. Hands in pockets, gaze off to the side. The outfit felt urban, twilight‑ready, less about glamour, more about rhythm.
And finally, plaid shirt oversized, paired with faded jeans. Relaxed stance, hands in pockets. A look that stripped tailoring down to its most casual form.
Kate Hudson wore a strapless red gown with a high slit while presenting onstage at the 31st Annual Critics Choice Awards in Santa Monica 2026.
Santa Monica, January 4th. The stage lit with star‑shaped lights, a burst of red glow overhead. Kate Hudson stood behind the microphone, card in hand, gown catching the spotlight.
Red, strapless, floor‑length. The slit cut high, fabric folding cleanly down the front. Shoulders bare, neckline straight, hair styled loose enough to soften the sharpness of the dress. It wasn’t overloaded with detail — no sequins, no heavy jewelry. Just color and cut, direct and unfiltered.
The card read “Critics Choice Awards.” Hudson’s stance steady, one hand holding, the other relaxed. The gown moved with her, not against her. A look that felt functional for the stage but still striking.
