Millie Leer wore a sheer black tank top, wide-leg pants, and a floor-length faux fur coat at the Seven Dials UK premiere in 2026.
At the Seven Dials UK premiere in London on January 13, 2026, Millie Leer arrived on the red carpet with a look that leaned more cinematic antihero than stately toast-of-the-town. Forget polished glamour—this was controlled chaos, cloaked in faux fur and dark romance. Her ensemble reads not as an outfit but as a small, deliberate rebellion.
She wore a sheer black tank top with a deep scoop neckline, the kind that doesn’t announce itself, just sits there knowing. The fabric clings without effort, slightly translucent under bright lights. Her black wide-leg trousers drape easily, cinched at the waist with a layered sash belt , knotted through a silver O-ring— almost pirate, almost grunge . The pants fall full and un-hemmed, brushing over heeled shoes that barely peek out.
But it’s the floor-length faux fur coat —rich brown with streaks of caramel and black, fully lined in gold satin—that delivers the punch. It’s half-worn, shrugged off her shoulders, arms swimming in its sleeves. The kind of gesture that suggests the coat is there for attitude, not warmth. A lone pendant necklace , tidy hoop earrings , and a slicked bob held behind the ears round out the look, keeping everything controlled from the neck up.
Millie Leer wore a pastel pink satin mini skirt and cropped button-up jacket at the Dior Addict Sweet Shop party in Los Angeles, February 2026.
At the Dior Addict Sweet Shop party in Los Angeles on February 3, 2026, Millie Leer stepped squarely into the pink noise of a brand dreaming in sugar and gloss. No drama, no fuss—just a fresh, clean take on red carpet fashion that reads more boutique dollhouse than haute spectacle.
She went full monochrome, wearing a pale pink satin cropped jacket with sharp lapels and a row of reflective buttons—something between sleepwear and showroom. The matching satin mini skirt hit high and clean on the thigh, skimming the upper leg without clinging. There’s no embellishment here. Only sheen and fit. The kind of look that relies entirely on texture and proportion.
Clear wraparound glasses , minimal silver hoops , and a sleek center-parted bob keep it modern, almost clinical. Pointed kitten heels in white patent leather deliver the only flourish, adding just enough polish to say “party” without veering into overdressed.
In a setting that could’ve swallowed her whole—floor, walls, fixtures all a near-identical Barbie pink—she resisted the bait to match maximalism with more maximalism. And that’s maybe the smartest move here: staying flat in texture, light on contrast, letting the room do the loud talking.
There’s a subtle line being played: softness, yes—but not vulnerable. This isn’t a pastel plea. Leer’s streamlined satin separates feel intentionally juvenile—weaponizing sweetness the way pop stars use innocence as armor. It’s not shy. It’s measured, strategic. Cool on contact.
Lili Reinhart wore a burgundy lace dress with a keyhole neckline during her SCAD TVfest portrait shoot by Robby Klein in February 2026.
Shot under pastel arches and icy light, Lili Reinhart stands centered, tidy, styled—but not waxed into perfection. There’s movement in the stillness. Something quietly theatrical about the setup, yes, but her presence cuts through it all, grounded and self-knowing.
She wears a full-length burgundy lace dress fitted close, no embellishment fuss—just texture. The shape runs lean through the body, dropping to a subtle train with an uneven, slightly sheer hem. The neckline dips into a soft keyhole cut , crowned by a lace rosette at center chest that feels more vintage brooch than ornament.
Shoulder caps lean almost fluttery, like the dress is toying with romance but keeping it dry. Footwear—a pair of rich burgundy stacked heels , tonal and simple. Nothing distracts. Her hair is up: clean, blunt part, soft bun. Earrings are traded out for nothing. Makeup stays satin-finished, resistant to both gloss and grit.
This was a quiet photoshoot moment—not high-concept, not overcooked. But it finds its power in stillness, in a silhouette that holds.
She’s not trying to reinvent the format—just showing up clear-eyed, wearing lace like it’s skin, not theater.
