Meg Donnelly posed in a sheer lace-trimmed dress with a feathered black coat for a Broadway.com fashion photoshoot in January 2026.
A red backdrop. A wooden stool. And Meg Donnelly , standing like she owns the quiet between flash bursts. The look is layered and strange in a good way–a translucent dress with black lace seams tracing the shape of her body, its dual front slits revealing pale under-layers beneath the mesh. Over it, a massive black coat lined in feathers like night air wrapped around her shoulders.
Her hair is drawn back sharply–an intentional contrast to all that texture. Statement earrings throw light around her face, like punctuation marks. The shoes, pointed and delicate, appear almost vintage when paired with white socks–a deliberate wrong note, the kind stylists build entire editorials around. It works because she commits to the posture, leaning off the stool, gaze steady and lucid.
Rachel Pizzolato attended The Raven world premiere in Hollywood on January 15, 2026, photographed in a sparkly silver mini dress.
January 15, 2026. Hollywood. Rachel Pizzolato standing close to another guest, smiling, silver dress catching the light. Short, sparkly, paired with high heels. The fabric glimmers, neckline simple, silhouette sharp. The look feels playful, direct, no excess.
Her styling here: minimal accessories, focus on the dress itself. Hair loose, natural. The silver tone against the warm indoor lighting creates contrast. A celebrity event look stitched from fragments. A public appearance leaning into sparkle rather than restraint.
The critic’s note: Pizzolato’s premiere look wasn’t about spectacle. It was about fragments — silver shimmer, short hemline, smile steady. A styled shoot reframed into lived-in glamour.
Amelia Hamlin wore a gold lace-trimmed slip dress with a vivid blue fur coat at FX’s The Beauty premiere in New York City.
At FX’s The Beauty premiere in New York, Amelia Hamlin didn’t so much arrive as dominate the frame. A gold satin slip dress–lace-trimmed, barely structured, almost liquid under the lights–set the tone. Over it, she threw on a massive electric blue fur coat that looked too much and just right at the same time. The contrast wasn’t delicate; it was audible — a collision between Hollywood glamour and downtown irony.
The slip itself runs close to lingerie, yet her composure kills the vulnerability of the fabric. Accessorizing was spare: a thick, sculptural diamond necklace against the gold and a pair of sharp black heels for weight. The coat’s volume forces balance, each movement turning into a gesture. Her hair fell in clean waves over one shoulder, the makeup cool, measured, and strategically unbothered.
