Miley Cyrus wore a black Tom Ford suit with studded detailing and Messika rings at the Palm Springs Film Festival Awards 2026.
Palm Springs, January 3rd. The carpet lined with logos — Cadillac, Kering, the festival itself stamped across the backdrop. Miley Cyrus stepped into that frame in a black suit, Tom Ford Resort 2026.
The jacket cut sharp, plunging neckline left open, inner top studded with small metallic points. Not glitter, more grit. Shoes pointed, black, clean. Rings visible — Messika pieces stacked, catching light when her hand shifted.
It wasn’t a gown moment. No sweeping fabric, no couture theatrics. Instead, a suit that felt deliberate, pared down, almost stubborn in its refusal to play the usual red carpet game.
The look carried weight in its simplicity. A reminder that tailoring can be its own kind of armor. The critic’s note: Cyrus chose structure over softness, jewelry over embellishment, presence over excess.
Chase Infiniti wore a light pink satin Louis Vuitton gown with Gianvito Rossi sandals at the Palm Springs Film Festival Awards 2026.
Palm Springs Convention Center, January 3rd. The carpet lined with logos — Cadillac, Kering — the usual backdrop noise. Chase Infiniti stepped into that frame in a floor‑length gown, satin light pink, cowl neckline folding softly, hem flaring out just enough to catch the floor.
The dress read custom Louis Vuitton. Smooth, almost slippery fabric, reflecting light in a way that felt understated. Shoes weren’t the focus, but Gianvito Rossi’s Marlena sandals peeked out, slim straps against the pale tone of the gown.
It wasn’t a bombastic look. More pared down, almost quiet. The neckline draped, the color muted, the silhouette clean. Jewelry wasn’t obvious, no heavy sparkle. The emphasis stayed on fabric and cut.
The critic’s note: Infiniti’s choice leaned into restraint. A gown that didn’t shout, but whispered. Satin folds, soft pink, a cowl that framed rather than demanded.
Ashley Greene wore multiple distressed and edgy outfits for her Maxim 2009 editorial photoshoot featuring denim cut-offs, leather jackets, and industrial hardware.
There is a specific, jagged energy in these frames. One shot shows a grey marl tank top, so thin it is almost a ghost, paired with denim shorts that are more fringe than fabric. It looks like a Sunday morning that got out of hand. The studio light is harsh, flat, catching the frozen grit of the frayed denim. It is a celebrity photoshoot that does not care about being tidy. She is pulling at the hem of the shirt, a gesture that feels spontaneous, maybe even a little impatient.
The mood shifts into something more deliberate, almost melodramatic even, with a black minidress featuring a zipper that looks heavy enough for a piece of luggage. The industrial silver pull cuts right down the center. It is a styled shoot that leans hard into that 2009 obsession with “tough” femininity. Layered necklaces with cross pendants and small daggers dangle over a black bodysuit, creating a visual noise that is both distracting and somehow necessary. It is a bit of a lavish mess of hardware against skin.
