Reese Witherspoon wore a brown Yves Salomon fur jacket and black trousers while out in snowy New York City on February 6, 2026.
Not all winterwear screams. Some just steps casually into frame and owns it. Reese Witherspoon , for example, in New York this week—fully bundled but distinctly unfazed.
She wore a cropped Yves Salomon fur jacket in rich brown, which looks like it hasn’t touched a subway turnstile in its lifetime. It’s voluminous but not theatrical, and it hangs just long enough to suggest warmth, not heaviness. Underneath: a slim black turtleneck , classic layering move, zero fuss. The contrast grounds the fur without clashing with it.
The pants are wide-leg black trousers, loosely tailored with that very specific type of puddling near the shoes that only works when you don’t try too hard. And speaking of the shoes — barely visible black platform boots peeking from beneath the hem — flat enough for real walking, thick-soled enough to handle melting city sludge.
Accessories? Sharp. Rectangular black sunglasses , clean lines. A structured black leather shoulder bag , chain strap tucked under her arm with the kind of nonchalance only possible when you’re both rich and cold. Hair down, but flattened at the roots — January in Manhattan weather always wins eventually.
This is the kind of celebrity street style that whispers instead of shouts. It works because all the pieces are solid solo, but together they read curated without being performative. There’s no attempt to look young. Or edgy. Just pulled-together and warm.
Final take? This is what a $11K coat looks like when you’re not trying to make it look like $11K.
Alison Oliver wore a pale pink satin gown with crystal bows to the Wuthering Heights film premiere in London on February 5, 2026.
There’s a particular kind of charm that doesn’t need to be loud — and Alison Oliver brought exactly that energy to the Wuthering Heights film premiere in London on February 5. Sweet, pale, and perfectly measured.
She wore a pale pink satin gown with a fitted column silhouette. The bodice? Softly structured with visible bonded seam lines , giving the shape a corset feel without the rigidity. But the real centerpiece: a trio of crystal-trimmed satin bows running straight down the front — delicate but very much not decorative filler. That’s the look. The bows are the story.
Tiny straps meet off-the-shoulder lace-trimmed sleeves , like the dress can’t fully decide if it wants to be antique or 2000s prom-core, so it splits the difference — and it works. The lace is fine, dusty-looking even, but holds its place quietly. Same with the accessories: a few slim bracelets, delicate earrings, nothing too shiny, nothing pulling away from the gown. She’s not competing with the dress.
Hair left down in a basic center part. Makeup is minimal — slight shadow, a cool-toned lip, nothing trying to contour its way into drama. It’s that very specific kind of red carpet restraint that reads thoughtful, not underdressed.
This gown works because it doesn’t try to be fashion-forward. It leans into being storybook . The kind of thing you’d wear if your name was embroidered inside the cover of the film.
Paris Jackson wore frayed denim shorts, a crop tank, and cowboy boots while grabbing coffee in Los Angeles on February 6, 2026.
This outfit is doing the absolute most by doing the bare minimum. Paris Jackson was spotted in LA on February 6 grabbing coffee like she was headed straight from Joshua Tree to the studio and didn’t care who noticed. And honestly? She’s leaning into it.
She wore beat-up cowboy boots with bold textile patterning — broken-in, almost dusty, the kind of boots that have seen too much and keep going. Paired with high-cut frayed jean shorts , the proportions are early-2000s and entirely unapologetic. The ribbed white tank top feels deliberately basic, like it’s never met a steamer. Thrown over it? A slouchy olive green cardigan , thin and worn open, like an afterthought that makes the rest of the look make sense.
The accessories clock her as someone who dresses for herself. A brown trucker cap embroidered with “Sur La Plage” sits low over her face. She’s layered up on rings — chunkier silver ones, stacked, heavy-looking. A quiet brown leather crossbody bag hits at the hip, soft and lived-in. Hair’s braided or twisted under the cap, hard to tell — but definitely not fussed with.
As a street style move, this is dirtbag chic done intentionally. It works because she’s not halfway with it — the boots aren’t clean, the shorts aren’t modest, and the attitude’s fully baked in. Wouldn’t recommend it for everyone. But it makes perfect sense for her.
Final verdict: This look only works if you commit. She does.
