Yerin Ha appeared on the January/February 2026 cover of Vogue Singapore, photographed by Peter Ash Lee, wearing a black leather look against Philip Colbert’s lobster artwork.
January/February issue, Vogue Singapore . The cover shot by Peter Ash Lee. Yerin Ha standing against a lobster — not real, but Philip Colbert’s oversized, cartoonish sculpture. Red claws, wide eyes, surreal grin.
Her outfit: black, sharp. Leather skirt, high boots, sleeveless top. The look felt tough, almost militant, but softened by the playful chaos behind her. The lobster’s exaggerated form turned the frame into something half‑serious, half‑comic.
Hendrix Yancey posed in a series of fashion photos with Kakki Jones and Krystina Bullard in January 2026, showcasing varied outfits against textured urban backdrops.
January 2026. The shoot felt loose, almost improvised. Hendrix Yancey leaning against red cinder blocks, maroon sleeveless top catching light, dark jeans grounding the look. Sunglasses on, smile wide, body tilted back. The wall rough, painted, almost industrial. A moment that felt candid more than staged.
Another frame — faux fur coat draped over shoulders, maroon crop top underneath, high‑waisted jeans, white shoes. The red wall still behind, but now softened by the coat’s texture. The outfit carried contrast: shine against fur, urban grit against styled polish.
Then a shift. Quilted jacket patterned with florals, striped pink‑and‑white top underneath, denim mini skirt. Playful expression, tongue out, eyes wide. The garage door black, column white. Industrial backdrop against youthful energy. The outfit casual but styled, a mix of everyday and editorial.
Each look different. Each setting blunt. No glamour tricks, no heavy staging. Just fabric, texture, pose, and attitude.
Jackie Tohn wore an off shoulder yellow column gown with pockets on the 31st Annual Critics Choice Awards 2026 red carpet.
At the 31st Annual Critics Choice Awards on January 4, 2026, at Barker Hangar in Santa Monica, California, Jackie Tohn steps onto the carpet in a straight-shot block of yellow. It is an off‑the‑shoulder gown, clean and structured, the neckline dipping into a soft V that frames her collarbones. The bodice is fitted and seamed, then spills into a long column that reaches the floor. The skirt has quiet volume at the hips and, crucially, side pockets—her hands resting in them keep everything from feeling too stiff. Against the charcoal star backdrop of one of the busiest nights on the celebrity red carpet calendar, the color hits like a traffic light you cannot ignore.
The details are simple on purpose. No necklace, no stacked bracelets, just small gold earrings and loose, dark hair parted in the middle, falling in soft waves over her shoulders. Makeup stays in the neutral lane: defined eyes, a natural lip, skin that looks like skin. The bright dress could easily tilt into cartoon territory, but the way she stands—shoulders relaxed, gaze steady—brings it back to earth. It feels like a person wearing a dress, not a dress swallowing a person, which is not always the case at these things.
