Lily Allen wore an off-shoulder black mini dress with opera gloves and diamonds to De Beers’ Paris flagship opening on January 27, 2026.
For the De Beers flagship opening in Paris on January 27, 2026, Lily Allen leaned into a look that’s less diamond commercial, more vintage noir heroine. The silhouette was minimal — a fitted off-the-shoulder black mini dress , possibly satin-blend, cleanly structured through the bodice, short enough to echo mod references but anchored in something older, more grown. She added black opera gloves in leather , shiny and slightly creased at the wrists. That detail gave it away: this wasn’t about perfection. It was about attitude.
Around her neck — a heavy, curved diamond choker , with larger stones spaced at calculated intervals. Matching pieces dripped from her ears and coiled on her fingers. It wasn’t subtle. Nor was it trying to be. Her hair was fastened back tight, fringed bangs meant to frame, not float. Slicked without being lacquered. The makeup followed suit — bare-skin base , defined eye , matte lip , all in control.
Mckenna Grace wore a mint green leather coat over a navy shirt dress on the Spring 2026 cover of Behind the Blinds magazine.
On the Spring 2026 cover of Behind the Blinds , Mckenna Grace appears exactly how a fashion editor might imagine a Gen-Z Hamlet in suburbia — reflective, slightly adrift, weather-softened. The setting: grass, greenery, sun-dapple white blooms. The clothing: sharply styled but quiet. She wears a structured mint green leather coat , the kind that feels like late-era Miuccia — vaguely clinical, consciously unfeminine, and just a hair too large in the shoulders. Underneath, a dark navy button-down shirt dress plays peekaboo — collar popped, hem tucked just out of frame, legs bare to the knee.
Paris Hilton’s January 2026 Interview Magazine shoot moves from roses in hand to Gucci bags on the floor.
In Interview Magazine’s January 2026 spread, Paris Hilton is caught in multiple moods. One frame shows her in a black blazer and trousers, bouquet of red roses clutched, handbag dangling. The plain background makes the flowers louder, the outfit sharper.
Then the switch. A long pink gown with feathered cuffs, glittery handbag in hand, Gucci bags scattered at her feet. It’s indulgent but softened by the pale wall behind her.
Another shot leans into domestic luxury. She sits in a decorated living room, patterned blouse and skirt, Gucci handbag resting casually, shopping bags and gift boxes crowding the floor. The scene feels less like a shoot, more like a post-shopping pause.
The bedroom frame is louder. Red coat with floral embellishments, black gloves, heels. Valentine’s Day props everywhere — heart boxes, rose petals, cake half-eaten on a silver tray. It’s romantic, but also messy, almost too much.
Finally, the hallway. Floral dress, deep neckline, blonde hair straight, Gucci bags in both hands, pink flip phone dangling. Blue carpet, white walls, bright light. It’s the most candid of the set, like she’s caught mid-step.
Together, the spread doesn’t flatten her. It lets her shift. Roses, feathers, shopping bags, red coats, hallway phones. Interview Magazine doesn’t chase one image. It lets Paris be many.
