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.
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.
Elle Fanning wore a custom Gucci crystal-embroidered gown with Cartier diamond jewelry for a Golden Globes photoshoot in Los Angeles 2026.
In the stillness of hotel-room light, Elle Fanning looks like something that quietly glows rather than shines. The Gucci custom gown she’s wearing is built from near-impossible texture–silver, powder-blue, lavender, all melting together into one reflective haze. Up close, the fabric catches differently each time: some areas scatter like frost, others turn dense with tiny mirrored stones. It’s both fragile and impossible at once.
The cut is narrow, clean. Bare shoulders framed by illusion tulle that disappears into skin. A gentle V-neck, not daring but exact. Floor length, brushing the carpet but never dragging it. Nothing about it screams attention; yet, you can’t look away. Her hair, blonde and steady, falls flat over the chest–intentionally simple, like punctuation after all that shimmer.
Around her neck, the weight of Cartier diamonds –structured curves echoing the gown’s quiet geometry. Matching Broderie De Cartier and Reflection De Cartier rings blink from her hands, no drama, just light in the right places. The photo catches her in a moment between poses, head tilted slightly, expression soft but anchored.
It’s classic Fanning–romantic precision, modern detachment, a kind of deliberate calm in a room that feels held together by pastel air and static light. Nothing theatrical. Just control dressed up as serenity.
