La La Anthony steps out in New York, smiling in a sleek black outfit while leaving the Sherri Shepherd talk show.
On January 22, 2026, La La Anthony was photographed outside the Sherri Shepherd talk show in New York. The look was simple but sharp: a fitted black peplum-style top paired with a mid-length skirt, finished with black heels. Hair long, wavy, catching the light as she turned back toward the camera. The smile was easy, unforced, the kind that makes the outfit feel less staged and more lived-in.
From the front, the outfit reads sleek and structured. The peplum detail adds shape without excess, while the skirt length keeps it balanced. From behind, the silhouette holds its line, the fabric moving cleanly as she steps toward the car. It’s not a loud look, but one that works because of confidence–clothes carried by demeanor, not embellishment.
La La Anthony steps out in New York, smiling in a sleek black outfit while leaving the Sherri Shepherd talk show.
On January 22, 2026, La La Anthony was photographed outside the Sherri Shepherd talk show in New York. She wore a fitted black ensemble–peplum-style top paired with a mid-length skirt, finished with black heels. Hair long, wavy, catching the light as she turned back toward the camera. The smile was easy, unforced, the kind that makes the outfit feel less staged and more lived-in.
Virginie Efira appears in Madame Figaro’s January 2026 issue, styled in bold fashion while reflecting on career, motherhood, and aging.
The January 2026 issue of Madame Figaro places Virginie Efira in a sequence of frames that feel grounded, textured, and quietly assertive. One cover shows her in a deep purple button-up and matching high-waisted pants, red sandals anchoring the look. Hair loose, bracelets stacked. The pose is relaxed, but not passive–there’s a quiet control in the way she stands.
The editorial folds into a candid interview. Efira speaks about therapy, motherhood, and the shifting terrain of female representation in cinema. She recalls her early attempts at psychoanalysis, the discomfort of male authority, and the eventual liberation found in working with women. Her reflections on aging are blunt and unsentimental–she doesn’t romanticize it, but she doesn’t fear it either. She sees age as projection, not definition.
