Maude Apatow wore a black-and-white lace-detailed mini dress and a Lady Dior bag at the House of Dior VIP Dinner in Beverly Hills.
Inside Dior’s dinner setting–more garden than gala– Maude Apatow appears understated but deliberate. She wears what looks like a white sleeveless dress , its top clean and structured, while the skirt is built from looping layers of black-and-white lace petals , each one scalloped and half-transparent at the edges. It moves like air when she stands still. The neckline closes with a small bow, almost like punctuation.
She carries a black Lady Dior handbag , small and rigid, mirrored hardware catching light from the chandeliers and candlelit tables behind her. Black heels , sharp and modern, ground what might otherwise read as too romantic. Short hair curved softly at the chin, makeup neutral but exact. A warm flush across the cheeks, strong brow, red nails–some quiet rebellion snuck in through detail.
Odessa A’zion wore a black feathered off-shoulder top with wide-leg trousers and diamond jewelry at the 83rd Annual Golden Globes 2026.
On the red carpet of the 83rd Golden Globes , Odessa A’zion steps into the frame like she’s borrowed a shadow and made it couture. Her look: a black off-shoulder feathered top , dense with texture, every strand moving slightly against the stage lights. It’s both undone and exact. Paired with high-waisted wide-leg trousers , the silhouette lands somewhere between 1970s power suit and nocturnal creature. Nothing excessive–just mood.
She wears black gloves , satin maybe, giving the outfit a strange kind of polish, like it needed a final line beneath the chaos. A short diamond necklace glints faintly at the clavicle–small fire in all that darkness. The hair: full-volume curls spilling out, one deliberate wave falling to the forehead in that old Hollywood echo she doesn’t play for irony. Her makeup stays muted; eyes soft, lips brushed matte, skin light-dusted instead of glossy.
Nina Dobrev wore a vintage Herve Leger Fall 1997 beaded gown for a January 2026 photoshoot ahead of the Golden Globe Nominees Night.
No red carpet here–just hardwood floors, soft daylight, and Nina Dobrev standing like the room was built around her. She wears a vintage Herve Leger Fall 1997 beaded gown , the kind of piece that feels rediscovered rather than recreated. Off-the-shoulder, tight at every place you’d expect, its top half a sheer black cage over nude lining, boning visible beneath like architecture left on purpose.
The skirt stays simple and column-cut, letting the texture hold the eye. Beads shimmer gently–never glittering, just murmuring along the seams. The fit does the rest: sharp waist, softened neckline, hem just grazing narrow black heels. She doesn’t need a set design; the fabric already gives that cinematic restraint.
Makeup barely there. She wears a dewy flush, subtle shimmer at the inner eyes, lips with that quiet pink sheen that looks like breath, not product. Hair parted deep, loose, moving just enough to suggest a frame rather than a curtain.
It’s not nostalgia–it’s something cleaner, sharper. Vintage treated like a living thing. The dress doesn’t cling to the decade it came from; it settles into this one easily, clear proof that sometimes restraint ages better than excess.
Simple backdrop, perfect lines, no theater. Just her, and a dress that remembers how to hold tension.
