Margot Robbie appears in Bold The Magazine’s 2026 German edition, reflecting on her career, creative control, and the bold choices that shaped her rise.
January 2026. Margot Robbie, close-up, blonde waves loose, neckline deep, gaze steady. The cover clean, beige background, white BOLD letters slicing through the frame. No props, no distractions. Just her.
The editorial tone is raw. Robbie speaks of impulse, not confidence. Of jumping into the unknown without overthinking. Her move from the Australian countryside to Melbourne, then to the U.S., wasn’t mapped out. It was instinct. She recalls walking alone to birthday parties at age ten, armed with a map and no fear. That same energy carried her through soap operas, failed pilots, and finally into Scorsese’s lens.
She doesn’t romanticize fame. Red carpets still feel surreal. Producing came from wanting more control, not boredom. LuckyChap, her company with husband Tom Ackerley, became a space for risk. From “I, Tonya” to “Barbie,” she chased stories that felt off-center. She’s pragmatic, not precious. She sold old toys on the curb as a kid. She charged family for magic tricks. That spirit never left.
Now, post-“Barbie,” she’s recalibrating. A child born, a few flops behind her, and a new project ahead. “Wuthering Heights” with Emerald Fennell isn’t a faithful adaptation. It’s something else. Something Robbie-shaped.
Sydney Sweeney wore a white Cong Tri organza-striped sheer mini dress with Jimmy Choo Lotta pumps at W Magazine’s 2026 party.
At W Magazine’s Best Performances party at Chateau Marmont in Los Angeles, Sydney Sweeney arrived in a sharp flash of controlled white. The look: a Cong Tri organza-striped sheer mesh mini dress , where each vertical strip seemed to float, catching the light like fine paper threads. It wrapped and knotted asymmetrically at the hip, one long tail grazing mid-thigh. In hand, a Jimmy Choo White Bonny Bag –tiny, almost coquettish. On her feet, solid Jimmy Choo Lotta Pumps , neat ivory points that grounded all the movement above.
The cropped, sculpted bob framed her face with the precision of 1930s Hollywood cuts–sleek but not stiff, evening softness rather than red-carpet warfare. Makeup stayed neutral; the skin carried its own shimmer under flash bulbs. This wasn’t glamour shouting, but something quieter–discipline dressed as lightness. The look belongs to that current of celebrity style where transparency meets tailoring, where exposure feels like engineering.
Seen against the present wave of minimalist revival, the piece reads as both homage and provocation. Its fragility is deliberate–each strip suggesting what Cong Tri has often refined: balance between sensuality and restraint. And in Sweeney’s case, the effect is industrially pure, almost futuristic. The only flaw, perhaps, is its brevity; proportions leaned toward performance rather than longevity. Yet that’s precisely its point–momentary brilliance captured before it dissipates.
Culturally, this frame of white recalls the ongoing fascination with “soft armor”: women adopting materials that appear delicate but operate like codes of defiance. Where once shimmer was innocence, here it’s control. Sweeney’s look doesn’t whisper vulnerability–it choreographs it.
Imogen Poots wore a sheer black T-shirt with a black midi skirt and pointed heels at the BAFTA Tea at Four Seasons Hotel in Los Angeles.
Imogen Poots at the BAFTA Tea at Four Seasons Hotel, Los Angeles, January 10, 2026. She stands on the gray carpet, hands loose, not a hint of nerves. The look is all black –a sheer T-shirt, just see-through enough to catch the light, tucked into a high-waisted black midi skirt. No belt, no jewelry, nothing extra. Shoes are black, pointed, classic. The whole thing is pared back, almost severe, but not cold.
Her hair is down, loose waves, a little messy, a little rock and roll. The makeup is the only real pop– bright pink eyeshadow , bold and unapologetic, the rest of her face left bare. No earrings, no necklace, just the eyes and the attitude.
It’s a look that feels like she got dressed in five minutes, but in the best way. For those who follow red carpet fashion , it’s a reminder that sometimes the best move is to keep it stripped down–one color, one idea, and a little bit of nerve.
She could be anywhere–a concert, a gallery, or just out for coffee. Tonight, she’s here, and the pink eyeshadow does all the talking. No need for drama, just a flash of color and a shrug.
