Paige DeSorbo posed in a short white robe and pointed heels for her February 2026 fashion photoshoot with Inc. Magazine.
For the February 2026 issue of Inc. Magazine , Paige DeSorbo stepped out of her Bravo frame and into something a little messier, a little more mischievous. Just her, a white robe, and a camera flash that seems to come with a wink, not a warning. The terry cloth robe is short—cinched, off the shoulder, loose at the sleeves—and looks more hotel suite than high fashion, though the contrast piping and monogram down by the hem give it the tiniest trace of control.
She kept it clean: white pointed heels and nothing else. Hair damp, flipped to one side, still catching that “just got out of glam but stopped for a selfie” shine. No jewelry. No backdrops, aside from white walls and a dark navy carpet so plush you could sink straight into it. The lighting? Harsh. Deliberate. Like someone brought a disposable camera to a dressing room and just rolled with it.
It’s the kind of editorial that doesn’t try to look like effort. The aftermath of styling, not the construction of it. More robe than runway, more energy than elegance—and all of it works because she lets it feel a little unfinished.
Kristen Bell’s Cosmopolitan Deutsch March 2026 shoot blends pink florals, silver sequins, and quiet honesty.
On the March 2026 cover of Cosmopolitan Deutsch, Kristen Bell smiles in a textured pink floral outfit. It’s not loud. Just soft, a little playful. The pink circle reads “The Love Issue,” but the tone feels more grounded than romantic.
Inside, the mood shifts. One page spells her name in sequins — literally. “BELL” glitters across the layout. She’s seated, chin resting on her hand, wearing a sleeveless silver dress that catches light in uneven flashes. Earrings long, hair tucked back. The pose is relaxed, not stiff.
Another frame: strapless blue-and-white gradient dress. One hand behind her head, the other near her neck. A silver bracelet. The background is plain, which makes the dress feel more like a quiet moment than a fashion statement.
The interview threads through it all. She talks about being 45 and still figuring things out. About depression, and how Frozen II’s line “just do the next right thing” became her mantra. About her husband’s morning routine and how she sometimes resents it, then remembers what he brings to the table.
She’s proud of her role in “Nobody Wants This,” a Netflix series that shows love after the first kiss — the mess, the merging of toothbrushes, the awkward family dinners. She wanted to play someone imperfect. Someone who snores, who wakes up with drool. Someone who feels like her.
The spread doesn’t flatten her into one image. It lets her shift — pink floral warmth, silver sparkle confidence, blue calm reflection. And in between, the voice of someone who’s still working on it.
Margot Robbie wore a long black leather coat and wide-leg trousers with dark sunglasses during a casual London outing on February 3, 2026.
In London on February 3rd, 2026 , Margot Robbie gave us one of those rare street style moments that doesn’t try too hard. Just a woman on the move with sharp tailoring and somewhere to be. She wore a long black leather trench , heavy in drape but easy in cut—cinched slightly at the waist, shoulders broad but relaxed, falling open just enough to show pieces underneath. All black. All texture.
There’s no title card, no glossed-up exit. Just midnight-toned wide-leg pants skimming the ground, barely catching the heel of her black leather Chanel pumps from the Spring 2026 collection . In hand? A structured Hermès Birkin bag —worn, not flaunted. Her Akila Verve sunglasses tucked perfectly into the frame of soft hair, straight and parted down the middle. Shades on. No expression given away.
It’s not edgy. Not glamorous, either. This is travel dressing that understands luxury without advertising it. The Sage & Salt Evil Eye Charm on her Birkin adds exactly one wink to the otherwise stone-faced look. No trend-chasing, no effort to charm the lens. Just function, form—and flight path energy. The look wasn’t built to pose, it was built to move—and that’s the whole point.
