Paris Hilton’s January 2026 Interview Magazine shoot moves from roses in hand to Gucci bags on the floor.
In Interview Magazine’s January 2026 spread, Paris Hilton is caught in multiple moods. One frame shows her in a black blazer and trousers, bouquet of red roses clutched, handbag dangling. The plain background makes the flowers louder, the outfit sharper.
Then the switch. A long pink gown with feathered cuffs, glittery handbag in hand, Gucci bags scattered at her feet. It’s indulgent but softened by the pale wall behind her.
Another shot leans into domestic luxury. She sits in a decorated living room, patterned blouse and skirt, Gucci handbag resting casually, shopping bags and gift boxes crowding the floor. The scene feels less like a shoot, more like a post-shopping pause.
The bedroom frame is louder. Red coat with floral embellishments, black gloves, heels. Valentine’s Day props everywhere — heart boxes, rose petals, cake half-eaten on a silver tray. It’s romantic, but also messy, almost too much.
Finally, the hallway. Floral dress, deep neckline, blonde hair straight, Gucci bags in both hands, pink flip phone dangling. Blue carpet, white walls, bright light. It’s the most candid of the set, like she’s caught mid-step.
Together, the spread doesn’t flatten her. It lets her shift. Roses, feathers, shopping bags, red coats, hallway phones. Interview Magazine doesn’t chase one image. It lets Paris be many.
Lily Allen wore an off-shoulder black mini dress with opera gloves and diamonds to De Beers’ Paris flagship opening on January 27, 2026.
For the De Beers flagship opening in Paris on January 27, 2026, Lily Allen leaned into a look that’s less diamond commercial, more vintage noir heroine. The silhouette was minimal — a fitted off-the-shoulder black mini dress , possibly satin-blend, cleanly structured through the bodice, short enough to echo mod references but anchored in something older, more grown. She added black opera gloves in leather , shiny and slightly creased at the wrists. That detail gave it away: this wasn’t about perfection. It was about attitude.
Around her neck — a heavy, curved diamond choker , with larger stones spaced at calculated intervals. Matching pieces dripped from her ears and coiled on her fingers. It wasn’t subtle. Nor was it trying to be. Her hair was fastened back tight, fringed bangs meant to frame, not float. Slicked without being lacquered. The makeup followed suit — bare-skin base , defined eye , matte lip , all in control.
Chase Infiniti wore a black velvet strapless mini dress with opera gloves and diamond jewelry at De Beers’ Paris opening on January 27, 2026.
At the opening of the De Beers London flagship on Rue de la Paix in Paris, Chase Infiniti embodied a kind of quiet throwback power few can pull off. Tall, precise posture. Minimal movement. The dress — a black strapless ruched velvet number — did the rest.
The silhouette was classic but intentionally exaggerated at the hips. Draping pulled diagonally across the skirt, creating almost a rose-like fold near the side seam. The neckline dipped gently, not quite a sweetheart, with just enough curve to soften the angular cuts of the bodice.
Her arms were swallowed by black velvet opera gloves , each styled with subtle vintage brooch details. It wasn’t theatrical. It was deliberate, even restrained. She looked dressed for the kind of night where people whisper more than they speak.
Black sheer tights grounded everything, coordinating perfectly with traditional pointed-toe black stilettos. No platform. No gimmicks.
What caught more light than anything else wasn’t the velvet, but the diamond statement necklace curled just below her collarbone — ornate, likely De Beers, nodding to the reason for the evening without outshining the fabric. Hair, naturally coiled, was styled half up with halo volume, and her makeup leaned into soft pinks and skinlit warmth.
This wasn’t a loud moment. But it stayed in the room well after she moved on.
