Natalie Portman wore Tiffany & Co. Hardwear jewelry while filming a commercial in Central Park, New York City on January 22, 2026.
The shot catches stillness more than sparkle. Inside a parked car framed by cold reflections, Natalie Portman sits poised, eyes steady on something just outside the frame.
Nell Fisher wore a sleeveless beaded black dress with lace-up boots for her appearance on The Tonight Show Starring Jimmy Fallon on January 22, 2026.
Backstage blue walls, steady studio light, that casual waiting-before-the-cameras mood. Nell Fisher stands relaxed, one foot slightly ahead, fingers clasped at her waist — the nervous-energy stance of someone very young but fully self-possessed.
Her dress is black, covered in a scatter of white-silver embellishments, precise like fireworks stilled mid-blast. The cut is sleeveless, high-necked, the beadwork tight up top and looser near the hem. It’s a piece that doesn’t ask for drama — it already holds its own rhythm. Below, thick black tights and lace-up boots cut the shine down to earth. That pairing gives it grit, makes sure the sparkle doesn’t float away into make-believe.
Hair down, soft and parted; makeup light — a rosy lip, bright eyes, nothing forced. The look reads fun but grounded , very much a teenager on a late-night show who still looks like herself.
This is what modern youth red-carpet style has evolved into: sincerity dressed up. Less about impressing the adults, more about feeling comfortable amid the glitter.
Amanda Seyfried appears in Who Australia’s January 2026 issue, styled in bold fashion while reflecting on her career and creative peak.
The January 2026 issue of Who Australia places Amanda Seyfried in sharp focus. The spread opens with her in a black outfit punctuated by a striking red ruffle–confident pose, direct gaze, no excess. It feels immediate, lived-in, not theatrical.
Her career narrative folds into the editorial seamlessly. From her early inspiration watching Romeo + Juliet to her breakout in Mean Girls , Seyfried’s trajectory has been marked by versatility. She has moved through musicals like Mamma Mia! and Les Misérables , into darker roles such as The Dropout , where her portrayal of Elizabeth Holmes earned her an Emmy. More recently, The Treatment of Anne at Venice signaled her willingness to embrace freedom in performance, describing it as a space where “anything goes.”
The magazine also highlights her choices–turning down Marvel, pursuing projects like The Crowded Room and Long Bright River . She speaks candidly about family life in upstate New York, valuing quiet, space, and the freedom of raising her children away from the spotlight. The editorial balances her professional peak with personal grounding, showing an actress who has grown into her own rhythm.
This Who Australia spread works because it doesn’t separate career from image. The styling is bold but not excessive, while the narrative insists on authenticity. The insight is that Seyfried’s editorial presence mirrors her career arc–confident, versatile, and rooted in choices that prioritize substance over spectacle.
