Olivia Wilde wore a black Aje Athletica sports bra and leggings after a workout in Studio City on January 30, 2026.
Spotted walking out into sunshine with sweat still visible on her cheeks, Olivia Wilde wore what most people imagine when they think “morning reset.” No gloss. No flash. Just clean, monochrome utility worn hard. Her look? A black AJE ATHLETICA sports bra, form-hugging, barely-there with micro straps, paired with high-waisted black leggings that hold everything without making a scene.
Footwear was uniform: thick-soled black Hoka sneakers (recognizable by shape alone), made more for impact absorption than aesthetics — though they noticeably make the look feel planted. And in each hand, items of modern ritual: a white Lululemon bottle and a green phone with a minimal case. No jewelry, no watch, no fluff. Just a slightly crinkled canvas shoulder bag.
Her hair — pulled into a high ponytail — was damp enough to signal real effort. Not styled, just tied back. Sunglasses sharp, cat-eye shaped, functional but also slightly smug in the best way. The entire posture reads like exit strategy. Done, moving on. Not posing for the camera but not hiding from it either.
This is what celebrity street style looks like when it actually belongs to the street — running errands, sweat unapologetically showing, and no brand logo shouting for attention. It’s what happens when off-duty means exactly that.
Sometimes the best look is the one that leaves absolutely nothing to interpret — here’s the day, here’s the sweat, that’s it.
Elyse Hofer wore a red fitted workout romper and white sneakers for her RXRXCOCO January 2026 fashion photoshoot in a natural light studio.
In a studio that feels more lived-in than lit-up, Elyse Hofer stands just inside the curtain line—smiling, grounded, unfussy. No wind machine. Just hardwood floors, an aging woven rug, and a plant that looks more real than staged. For this promo shoot with RXRXCOCO , she wears a single piece of athleticwear—a red sleeveless fitness romper that’s tight, but not shouting tight. It hugs cleanly at the waist and cuts just below the hip joint, showing off movement rather than frozen lines.
The neckline sits subtly square. Not scoop, not halter. The shade lands somewhere between tomato and true red—enough warmth to feel bold in daylight, but not aggressive. She pairs it with worn-in white performance sneakers that look like they’ve actually hit pavement, maybe a little too real for a prop. But that’s what gives this moment room to breathe.
No jewelry. Bare arms. Hair untouched by hairspray. It’s part fitness portrait , part girl-at-home-just-before-Pilates. And that’s probably the point. This isn’t a glossy fashion photoshoot pretending to sell fake sweat—this is fitnesswear that actually lets the person lead.
The power here isn’t in the pose—it’s in how little she seems to need it.
Sabrina Impacciatore wore a full burgundy corduroy suit with pointed heels for Interview Magazine during Sundance Film Festival, January 2026.
Somewhere outside a half-drained hotel hot tub, Sabrina Impacciatore sits with her knees wide, elbows heavy on thighs, exuding absolute stillness in an outfit that feels like it could weigh ten pounds. A full burgundy corduroy set — oversized wide-leg trousers , a matching coat pushed back just enough to let the shirt breathe, and a tucked-in belted button-down in the same deep tone. Not quite maroon. More crushed pomegranate. It’s all textured and matte and drapes like it’s decided not to comply with the body unless asked nicely.
The pants nearly touch the floor. You catch just a flash of sharp pointed-toe black boots , shaped like they could crack a sidewalk clean if she felt like it. Her hair is undone, maybe second-day waves, middle-parted, and effortless in the way that takes at least two trained stylists and a wind machine. Face serious. Eyes soft. Zero embellishment.
What works here isn’t the statement — it’s the refusal to make one. A uniform in a single statement color. Skin untouched by highlight. Hands gloved in chocolate brown leather like she just walked off a Fellini set. And the backdrop? Stripping the fantasy. Banquet chairs. Cement. An empty pool. Perfect.
It’s what fashion looks like when it doesn’t flinch — just folds into the landscape and dares you to question it.
