Shay Mitchell wore a red striped Supreme x Nike rugby and pleated mini skirt in a playful coffee-run shoot shared January 22, 2026.
Inside what looks like a backroom, surrounded by cardboard boxes and a folding chair, Shay Mitchell pulled off the rare photoshoot that feels like pure movement. Holding a cup of Philz, mid-stir, and looking like she just paused between errands—but every piece on her is playing at another frequency.
She wore an oversized, Supreme x Nike rugby top , striped in bold red and white, the kind of vintage athletic motif that’s crept back into closets through pure nostalgia. The collar’s slightly undone. The cuffs bounce over her wrists. Pulled just loosely enough to suggest she’d rather be comfortable than curated.
Below that: a crisp, Helsa poplin bubble skirt , pleated and puffed wide, a little too short to be prep-approved. Think gym-class meet-cute meets runway ratio. It gives movement and nothing else — pleats flying even when still.
The accessories leaned into that perfect contradiction: Bottega Veneta Cone wraparound sunglasses , sharp like math. A structured Hermès Birkin bag in chocolate leather , big and bossy as ever, grounding the casualness with status. And on her feet, The Row Novus loafers — black, square toe, styled with white slouchy socks. Like she borrowed her grandfather’s shoes for a varsity match and made them look brand-new again.
Hair’s up. Slightly undone bun. Strands tucked and messy in carefully controlled curl. Under-eye liner sharp. No grin. No staged energy.
It’s schoolgirl-core, flipped luxury, brewed with espresso and spit out smoother than you’d expect.
Madison Beer wore a charcoal mini romper, sheer tights, and black boots during her Interview Magazine signing event in January 2026.
Sat perched on the corner of a table with stacks of glossy magazine covers behind her, Madison Beer looked like the most self-aware editor’s dream. Not overly styled, not calculated — just unfazed mid-moment, pen in hand, signature half-finished. Intimate, but not posed.
She wore a strapless grey mini romper , softly tailored with subtle pleats and button detailing running down the front. The fabric looked like wool suiting pulled from a school blazer, but cut into something far less academic. The shape was neat and squared at the top, tapering into micro hemlines that landed barely mid-thigh.
Paired with it? Sheer black tights , running clean without any visible patterns — adding just enough contrast to keep the romper grounded. On her feet: knee-high black suede boots , smooth, no hardware or overt structure. They sealed the look without competing with it. Minimal, but firm.
Chappell Roan wore a sheer tattered gown with gothic beadwork and shredded lace during her onstage appearance at the 2026 Resonator Awards.
The gown was chaotic in the best, most specific way. A sheer base in smoke-grey tulle and cream was torn up with trailing black lace panels, unraveled hems, deliberate mess. Strips of fabric swung loose like inked parchment disintegrating mid-spell. The top half, more structured, hugged her torso in a corset-style shape with high shoulders and glossy jet-black beadwork , dripping in messy vertical embellishments that caught the light unpredictably.
The neckline climbed high but didn’t feel conservative — it felt defiant. Gothic but not costume. Dramatic but alive. The exposed arms, her tattoos in full view, added a layer of intimacy, grounding the look harder in the now.
Hair: a voluminous red updo, curled and pinned like modern cabaret chaos. Warrior-princess meets art school insomnia. Footwear? Black lace-up heels — cut-out caged stilettos that looked like they’d been dragged through a midnight forest and came out sharper. If you blinked, you missed how much of the dress was working against itself in harmony.
