Goth
From Mia Goth to Jenna Ortega, everyone is obsessed with soft goth makeup
Goth is back, but this time, it’s softer, more chic, and easier to wear. Soft goth makeup has taken over Instagram, with over a million views on tutorials, and we have no doubts as to why: it gives that effortlessly moody, cool-girl vibe without looking like a costume. In fact, celebs are loving it too. From musician Billie Eilish’s dramatic stage looks to singer-songwriter Rosalía’s romantic, cinematic makeup, stars are experimenting with smoky eyes, sculpted cheekbones, and deep lips.
But what exactly is soft goth?
This trend tones down the drama of classic goth makeup, creating a modern, wearable look that balances edge with elegance. If the full goth look is all-black everything and heavy liner, soft goth is its chill, fashion-forward cousin. It’s more about smoky shadows, neutral skin, and a statement lip that feels effortless.
Before becoming an internet trend, goth makeup had a rich history. Emerging in the late 1970s as punk faded away, it drew on Victorian fashion, old horror films, and gothic literature, emphasising pale skin, dark eyes, and a sense of dramatic rebellion. By the 1990s, movies like The Craft (1996) gave goth beauty a cinematic, sensual edge. Today, the style has evolved into a modern, polished, and wearable everyday look.
Why is everyone suddenly into it?
“Soft goth fits perfectly with today’s mood. After years of glowing skin and glossy pink cheeks, people are ready for something different. There’s a craving for depth, texture, and emotion in beauty again. And soft goth makeup hits that sweet spot,” says makeup artist Yamini Grover.
Pop culture has played a huge role in its comeback. Actor Jenna Ortega’s Wednesday Addams look made dark eyes and pale lips feel cool again. Musicians like Billie Eilish and Adela keep the vibe alive with their moody, otherworldly styles. Even fashion runways have gone darker, with models wearing diffused smoky eyes, matte skin, and shades of greige lipstick.
Here’s how to nail the look:
Use a matte or semi-matte foundation for a smooth, even finish. Keep your complexion neutral rather than overly bronzed or dewy.
Contour with cool tones to define the cheekbones, temples, and jawline. Keep blush subtle or skip it completely.
Blend dark shadows like grey, charcoal, plum, or brown close to your lashes. Focus on soft blending instead of sharp lines. A touch of shimmer in the inner corner can make it more modern.
Choose a lipstick in deep berry, plum, or greige. A satin or soft matte finish gives a polished but moody touch.
The key to soft goth is imperfection. Let the eyes look a little lived-in, keep the edges diffused, and embrace a bit of rawness.
(With inputs from makeup artist Amita Juneja)
“Portlandia” co-creator Jonathan Krisel is making his feature debut with “Hey Bear,” a bold revenge comedy that will star Mia Goth (“Frankenstein”), Zach Galifianakis (“The Hangover trilogy”) and Dan Stevens (“I’m Your Man”).
Penned by Carrie Kemper, the Emmy-winning writer of “Beef,” “Hey Bear” is being pitched as a “coming of rage” story boasting offbeat comedy, about a woman who seeks revenge on the bear that ate her husband. Alix Madigan (“Winter’s Bone”) will produce.
“Hey Bear” will be introduced to buyers at AFM, with HanWay Films handling international sales and WME Independent & UTA Independent Film Group representing North America.
Goth stars as Claire, who “has always led a life solely based on other people’s expectations. Married to Gregory (Dan Stevens), she accommodates his desire to spend his life studying bears in Glacier National Park, even though it means months away from him at a time. During one of her visits, a grizzly bear, nicknamed Mr. Cranky by Gregory, mauls him to death. After being told by the park rangers that Mr. Cranky was euthanised, Claire finds out that the bear has merely been transported to another national park and is living his best life. The usually meek Claire makes up her mind to exact revenge on the bear. She teams up with socially awkward park ranger Putt (Galifianakis) to assassinate Mr. Cranky, but Putt has his own murky motivations for joining her. With death and truth lurking around every tree, Claire’s desperate, grief-fueled mission takes her on an ultimately uplifting journey of empowerment and self-discovery. Set in breath-taking natural scenery, this “coming of rage” story is a darkly comedic rollercoaster ride full of originality and surprise,” the synopsis reads.
“There is nothing more thrilling than coming across a project that breaks barriers in terms of originality. As absurd and crazy as the premise of this story is, you always fully connect and empathise with Claire’s journey as she figures out how out of grief, to take ownership of her life again,” said Gabrielle Stewart, CEO of HanWay Films. “Mia Goth, Dan Stevens and Zach Galifianakis are the dream team to make us laugh, feel, and gasp with shock and horror,” Stewart continued.
Executive producers are Carrie Kemper and Danica Radovanov. Krisel is represented by UTA and Mosaic. Kemper is represented by UTA. Goth is represented by WME, Curtis Brown and Jackoway, Austen. Galifianakis is represented by Brillstein Entertainment Partners and UTA. Stevens is represented by CAA and Julian Belfrage Associates
For One Night Only, Jenna Ortega Pauses Goth Glam for Something More Soft
Jenna Ortega and her stylist Enrique Melendez have spent the last year going all-in on Ortega’s brand of gothic glam. Inspired first by her leading role in Netflix’s Wednesday, Ortega has delighted in dark, sexy style codes: a reptilian skin-like Ashi Studio gown, pirate cosplay in Vivienne Westwood, a shredded, ripped-up GapStudio jersey dress that’d make any mid aughts emo princess swoon, a ruffled suit that reflected Stefano Gallici’s avant grade gothic vision at Ann Demulemeester. From mall goth boots on an Australian beach to mussed-up, don’t-mess-with-me makeup and backcombed hair, Jenna Ortega has stayed committed.
Last night, at InStyle’s Imagemaker Awards, Ortega opted for something a little different. Don’t get me wrong, with those bleached eyebrows, it’s still very much giving ethereal creature of the night, but this veered more romantic. More Du Maurier than Poe. Ortega wore a sheer lilac gown from Amiri’s spring 2026 collection, which features delicate, leaf-like beading, a see-through bodice, and thigh-high slit. She paired it with a fluffy oxblood coat, platform sandals in metallic silver, and a mirrored silver, boxy clutch bag. Melendez posed with Ortega on the red carpet in a similarly toned red suit.
Photo: Getty Images
Just five days after Jonathan Anderson’s debut Dior runway show, one of his most provocative pieces traveled over 5000 miles from Paris to Los Angeles. The occasion? The premiere of Guillermo del Toro’s highly anticipated new movie, Frankenstein. The lucky wearer? None other than Mia Goth, Who What Wear’s October cover star. She joins Jacob Elordi in the monster movie everyone will be talking about for the remainder of 2025 (and beyond).
Goth was announced as one of Dior’s newest ambassadors less than two weeks ago, so a red carpet moment was inevitable. The question of which runway look she’d choose to debut, however, remained a talking point among fashion editors in recent days. Well, now we know the answer—and it was certainly worth the wait. Styled by Jamie Mizrahi, Goth wore Anderson’s sheer black lace dress, a.k.a. look 41. On the runway, it was styled with a statement hat and beige undergarments, but Goth decided to ditch the topper and go for black bikini-cut underwear. She also wore Tiffany & Co. earrings and two Jean Schlumberger by Tiffany & Co. rings. Scroll down to see her newest red carpet look.
On the Red Carpet
(Image credit: Getty Images)
On Mia Goth: Dior dress; Tiffany & Co. earrings; Jean Schlumberger by Tiffany & Co. rings
On the Runway
(Image credit: Courtesy of Dior)
Mia Goth’s Who What Wear Cover Story
See our photoshoot and read our exclusive interview with Mia Goth at this link.
I meet Mia Goth in late August in Pasadena in a small park in the middle of the California Institute of Technology’s campus. She selects a bench in the shade, fronted by a series of small ponds and encircled by buildings housing the genius minds of tomorrow. It is rather on the nose, I tell her, given the day’s subject matter. She is the female lead in Guillermo del Toro’s Frankenstein, the celebrated director’s 149-minute, $120 million three-decades-in-the-making passion project about a cursed inventor, and here we are, poised between the natural world and the ever-widening reaches of scientific exploration. Goth looks over her shoulder at the Kellogg Radiation Laboratory. “That did cross my mind,” she says impishly. “Scientists…” Really, she says she chose this little park, with its boulders and terraced pools full of friskily scrumming turtles, because it doesn’t feel like L.A. (more on that later) and because she comes here regularly with her 3-year-old daughter, Isabel. It’s one of their favorite outings. “That’s one of the beautiful things about having a child. … Things that you used to take for granted or you just weren’t present for or just completely glazed over as an adult, she really slows down,” she tells me. “This, if I was on my own, I might just look at it and appreciate it. Move on. Turtles. But with her, it becomes a whole morning.” Goth is wearing no makeup (and not in the usual starlet no-makeup makeup way—really, none), and she is beaming. Parenthood, she tells me earnestly, “is the greatest gift of my life.”
This, it must be said, differs wildly from Victor Frankenstein’s experience—as written by Mary Shelley in her iconic 1818 novel and as depicted in del Toro’s 2025 film, in theaters and on Netflix this fall. The director has taken some liberties with the text: his Dr. Frankenstein (Oscar Isaac) has a cruel, demanding father, and transforms the sorrow of losing his mother, played for a few scenes by an unrecognizable Goth (truly, I triple-checked it with both Netflix and personal reps), at a young age into the determination to create life out of pieces of recovered corpses. He makes himself a parent too— just a really, really bad one. His repulsion by and abandonment of his creation (Jacob Elordi) results in a lot of unnecessary death and destruction. It’s mayhem that could have been mastered by patience, understanding, and love—basically, good mothering (there’s a lot of Freudian emphasis on Victor’s preference for milk) but also a sense of humanity. There is a reason this story has remained relevant for over two centuries and has found its moral lesson applied to everything from the French Revolution to the creation of and increasing reliance on AI: Just because we can do something, Shelley’s work insists, doesn’t mean we should.
(Image credit: Future)
Goth’s real role in del Toro’s film is playing Elizabeth Lavenza. In Shelley’s novel, she is Victor’s pure-hearted cousin and later wife, a benign victim who pushes the plot along. Here, the character is a refined young woman with a mind of her own who Victor finds himself inexplicably drawn to. (Could it be her uncanny similarity to his mother? There’s Freud again.) She is engaged to Victor’s guileless and kind younger brother and has a deep-pocketed uncle (Christoph Waltz) who is willingly and increasingly entangled in Victor’s experiments. Goth’s Elizabeth possesses a genuine appreciation for science, specifically entomology, and a love of both the natural and metaphysical worlds. She has spent her most recent years in a convent. The part is basically the human embodiment of pure female virtue turned all the way up to Virgin Mary levels—all quiet kindness, grace, and maternal instinct wrapped in the halo of a cerulean-feathered fascinator that highlights Goth’s eyes.
Goth spent time with some nuns in Alhambra, California, to prepare for the role, she tells me, and read the stacks of books that del Toro had given her (subjects: entomology; the book of Job; a biography of the 17th century Hieronymite nun, poet, and playwright Sor Juana Ines de la Cruz; a study of the fashions of the time). She also made a playlist, which she does for all of her film projects, mostly made up of scores by the Icelandic composer Jóhann Jóhannsson, though she later decided she needed to break up all the “composer energy” with songs by Jeff Buckley, Beirut, Eve, Big Sean, and Mariah Carey. She found the most success when she’d meditate and try to channel a higher spirit. “I started to realize that actually when I get quiet and I’m able to sit with myself and get silent and really connect to the most authentic part of me, that’s where she exists,” Goth says.
Though she describes the shoot as magical (“I would have done anything Guillermo asked me to,” Goth says with a “pinch me” air. “I never got over the fact that I was a part of Guillermo del Toro’s Frankenstein. I still haven’t gotten over it”), the set was not a nonstop party. “I was taken by how focused and how quiet and how detail oriented the set was,” she says. “I mean, everyone knew what time it was and what this represented and what it could be if we made it work. I guess, in that sense, there were parts of the job that were quite lonely.” She often feels that the energy of the character and the story end up translating to the dynamic and the vibe of the set. She says, “I think just the nature of my character being a woman, the only woman, in a Victorian world is intrinsically lonely.”
Goth believes all storytelling is, in some part, biographical, and she thinks there was a part of Shelley in all of these characters. At the time of writing Frankenstein, the 18-year-old Shelley had run away with the married poet Percy Bysshe Shelley, just lost their out-of-wedlock child two years prior, and was pregnant with another. It was a period that The New Yorker, reviewing Muriel Spark’s 1951 biography of Shelley, summarized as “eight years of near-constant pregnancy and loss.” Shelley was no stranger to the latter: Her mother, the writer, philosopher, and women’s rights advocate Mary Wollstonecraft, had died soon after childbirth, and her father, the political philosopher William Godwin, rejected her at 16 for her trespasses with Shelley. The impetus for Frankenstein came from a bored Lord Byron (who, it has been suggested, served as a fair amount of the inspiration for the impulsive and morality-challenged Victor and who himself impregnated Shelley’s stepsister with a child he would effectively abandon a few years later). During a stormy weekend visit, he suggested a ghost story competition. Shelley’s story became Frankenstein: a parable of man’s genius perverted to folly, as expressed through the eyes of a hideous, powerful, innocent. (Ultimately, as is so often the case, the problem was other people; as Wollstonecraft had written in 1794, “people are rendered ferocious by misery.”) “I thought a lot about [Mary Shelley] and who she was,” Goth says. “At the core part of it, she was a very lonely woman. She created a friend in the creature,” who, like all infants, didn’t ask to be born and fumbles through the world looking for love and kindness and finds mostly cruelty and fear. “That’s something that I was drawn to in the character,” Goth continues, “this feeling of always feeling kind of an outsider myself.”
***
Mia Gypsy Mello da Silva Goth was born in London in October 1993 into what she succinctly describes as “quite a hippie background.” She moved with her mother to the latter’s native Brazil in the early days of infancy, and a few years later, they joined her father in his native Canada. She and her mother permanently relocated to London when she was 12. To the consistent surprise of those who’ve only ever seen her in character on-screen, she speaks in a girlish lilt that betrays her British heritage but also feels slightly out of time. Some of her many devoted online fans have described her as sounding like a Victorian ghost.
The young Goth spent her early years watching the American movies that played on Brazilian TV in English, regardless of their subject matter or rating. She remembers 21 Grams, Pulp Fiction, Reservoir Dogs, and Free Willy all leaving a positive impression. “I’ve always appreciated heavier, complex subject matter,” she says. She would also visit her maternal grandmother—Maria Gladys Mello da Silva, a popular actress in Brazil—on various film and TV sets. “Some of my earliest memories are of being on set,” she says. “I just remember thinking to myself, ‘I want to do that‘ and looking up to her and just being in awe of her and what she was doing. It was kind of that way my whole life.”
Goth’s unique, doll-like look drew attention, and she started modeling and then auditioning when she was a teenager back in the UK. “It just always felt like [acting] was the path I was going to go down,” she says. “I couldn’t explain it, and I didn’t know how it was going to happen, but it just always felt like that’s what was going to happen.” Her big-screen debut was at 18 when she decided to forgo university to act in Lars von Trier’s notoriously boundary-pushing X-rated erotic film Nymphomaniac: Volume II instead. Her parents knew von Trier’s work and were thrilled for her to get the opportunity. “I couldn’t have asked for a more supportive family in that sense, actually,” she says.
Goth had no doubts herself about skipping college. There was never a plan B, she says, turning her gaze to the ground, where a nearby squirrel surveys, spread eagled in a patch of shade. “I always thought to myself, ‘You can’t have a plan B. You can’t live your life like that because if you have a plan B, you’re not going to work as hard on plan A. So you have plan A, or you’re fucked.'” It’s the first flash I’ve seen of the intensity she’s known for in some of her grittier roles, the expletive delivered with the matter-of-factness of a punchline. (It isn’t one. She’s quite serious.) “I think I come from such a world where it was like my planning had to work,” Goth continues. “I could never go back to what that was, so it just had to work. It just informed me in every way and my drive and how I’d show up for auditions, and I would be prepared for sets.” The squirrel shoots up a tree trunk, and we both turn to watch it watching us, a ring of eyes staring at each other, waiting for the next move. She shrugs, “I just put all of my eggs in one basket.”
Nymphomaniac was a foundational experience, and not only because it’s where she met her now partner and the father of her child, actor Shia LaBeouf. “I love that movie. I’m very proud of that movie. It’s still one of my favorite movies that I’ve been a part of,” she says. Von Trier’s set provided what “really became my whole blueprint for what I wanted my career to look like,” she tells me: “the directors that I wanted to work with, the style of directing that I gravitate toward, the kind of films that I enjoy most, the actors that I really respond to. I think one of the reasons it was such an incredible experience was because it was so free. Lars would tell me, ‘Go through the script, and if there’s anything that doesn’t sound right coming out your mouth, change it.’ To give that to an 18-year-old that didn’t have any experience was really empowering.” Her CV quickly turned into a murderers’ row of critically lauded auteur projects: A Cure for Wellness, High Life, Suspiria, Emma, X, Pearl, Maxxxine. Many of these (notably the X trilogy, the second installment of which, Pearl, she cowrote with creator Ti West) had small budgets and obsessive fandoms, for whom she quickly became their favorite star. They also tended to show off her excellent capability for elevating considered gore and talent for big, full, theatrical screaming. She doesn’t love the oft-applied “scream queen” label, though. “Someone came up to me the other day, and they’re like, ‘Oh, you’re one of my favorite actresses,'” she says. “I’m like, ‘Oh, thank you!’ And they’re like ‘…in horror movies.’ And I was like…”” She blinks and presses her lips into a thin, quizzical smile. But look, that’s okay. That’s unlikely to be the case for much longer.
Frankenstein is the biggest and most mainstream project that Goth has been a part of to date. That will remain true for a little under a year until Christopher Nolan’s behemoth The Odyssey premieres next summer and she appears alongside what sounds like nearly every star in the Hollywood firmament. (Along with most details about the project, her exact role remains under wraps, though she does say that filming was “one of the greatest experiences,” that Nolan was a master class in directing, and that she “learned so much on that film set.”) Following that comes a new stratosphere or, really, galaxy: Star Wars: Starfighter, helmed by Shawn Levy and costarring Ryan Gosling. (It’s a standalone project, she says, meaning they won’t be inserting themselves into the universe’s prior storylines, but that’s really all she can say about it. Gosling has said that it is all new characters and takes place in a time after the Battle of Exegol, after Episode IX.) And then there’s the next project, which has not even been announced, so mum’s the word, though, she says earnestly, “It’s the best thing I’ve ever read.” Apologies to all of those who would prefer to keep her as their favorite indie horror actress, but what’s happening now is a pointed turn to the very big time.
(Image credit: Future)
“I’m making a mindful decision of wanting to branch out and just not do the same thing,” she tells me. “In any career, in any profession, you want to keep growing and trying new things. Otherwise, you just kind of get stagnant, and it’s not fun anymore, and you’re not exploring anymore, and it’s just not enjoyable anymore.” She gives too much of herself to each project to shoot things back-to-back-to-back; she prefers to go off and live her life and fill that well with experience so that she can draw from it later in her work. The key to having an interesting and fulfilling career, she tells me later, “is to cultivate a really fulfilling life outside of work so that you’re able to have patience to wait for the right projects to come around.”
To that end, she also has her 3-year-old daughter to think about. “I was always quite picky to begin with, but now even more so,” she says. “It has to make sense on many levels. Oftentimes, you are waking up before she wakes up, and you’re coming home after her bedtime. You have to justify it in your head to be away, for it to make sense, to be away from her, to be taken away from her. I feel very lucky that the projects that I’m working on [do] make sense to me.” Isabel came with her to the Scottish Highlands to shoot some of Frankenstein, and they will relocate to London for Star Wars, which both she and Goth are excited about. “I miss London,” Goth says. (She doesn’t like L.A.? “I hate L.A.,” she whispers.) “I miss my friends. I miss the people. I miss the culture. I just miss the sense of the city, being able to step outside and be around something.” L.A. has been a fun place to raise a child with its easy weather and natural splendor, but she worries about the preteen years and how much quicker it seems the loss of innocence happens here thanks to the prevalence of social media, the exposure to the film industry, the emphasis on celebrity and money and the access to everything it can buy. “It feels like that awkward stage doesn’t happen anymore,” she says. “I feel like I was in my awkward stage until about 26.”
(Image credit: Erica Snyder. Wardrobe: Tom Ford dress.)
We walk to a nearby café and chat about the prep she has to do before the Venice Film Festival in a week. There will be a facial and hair and nail appointments—the usual glam before takeoff. She doesn’t fear or loathe the red carpet or summon a character beforehand in order to face it; she likes celebrating a project she believes in this much alongside the people who made it with her. Plus, the grandeur of Venice! And then there’s the parenting part, getting Isabel ready for the trip. (Luckily, her daughter’s favorite game is “airport”: They pack suitcases, and a stuffed giraffe collects their tickets.) Inside where we wait for our drinks, there’s inexplicably a life-sized cardboard cutout of R2-D2 by the cash register. When I point it out, she poses next to it, finger-gunning with a goofy smile like a tourist at Disneyland. (Sorry to disappoint R2 fans, but she says that particular droid is not one of her future costars.) None of the dozen-plus customers in line seem to clock that there’s a movie star, let alone a future Star Wars star, in their midst. In her boxy white T-shirt, frayed jean shorts, kelly green Doc Marten brogues, and red socks, Goth looks every inch a cool young Pasadena native or fellow Caltech student. I ask if she often gets recognized. “Sometimes. Not a lot though. It’s not to the point where it’s uncomfortable or unmanageable,” she says. In bigger cities around younger people, it happens more, but typically, they just want to say hi. “It’s like living in a small town,” she shrugs. Let’s hope she’s ready for it to get a whole lot bigger.
(Image credit: Erica Snyder)
Photographer: Erica Snyder
Stylist: Lauren Eggertsen
Creative Direction: Sarah Chiarot
Hair Stylist: Bryce Scarlett
Makeup Artist: Nina Park
Manicurist: Betina Goldstein
Set Designer: Francis Cardinale
Entertainment Director: Jessica Baker
Producer: Luciana De La Fe
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Drake is kicking his ICEMAN rollout into full gear as the next step in the overall puzzle was released today: an interview. He sat — or technically laid — down with Bobbi Althoff to run it back for part two of their viral conversation from 2023. While the Toronto superstar delved into his thoughts about a plethora of topics, he also spoke about one day finding his Mrs. Right and what that journey would look like.
When Althoff abruptly asks the 6 God when he plans on getting married, he diverts the convo by saying, “I’d get married here,” referring to the luxurious lakefront estate they’re conducting the interview from. For the next few minutes, he humorously tries to distract Bobbi from the original question by mentioning things about their surroundings. He finally answers by saying, “When that type of connection finds me,” but he hasn’t gotten close to finding it because “nobody believes.”
After some more banter while Bobbi tries to get him to focus, Drake adds, “I need someone who deeply appreciates the fact that I try really hard. That’s the best way I’ve ever said it.” They then debate about whether Bobbi should officiate his wedding, if he’ll have a Jewish ceremony, and other details.
Moving onto what he “imagines his wife to look like” and “what’s the type of girl [he] wants to marry” Drizzy warns, “That’s the one area where I don’t feel like the world is ready to accept what I feel is my [dream] partner.”
When he eventually gets to his answer, he reveals, “‘Cause it’s some tweaked out goth, kinda tatted all over…”
The “Hotline Bling” rapper confirms he’s been with that exact type of woman, and he would find the special ladies at Comic Con. “I really feel like my destiny is to wind up with a goth baddie with just absolute O cups,” he says, before adding she also has to be funny.
Drake’s dating history has constantly been at the forefront since his rise to stardom. Over the last decade and a half, he has been linked to names like Rihanna, Serena Williams, Jorja Smith, SZA, Malaika Terry, Jennifer Lopez, and more. He has one child, his 7-year-old son Adonis Graham, with Sophie Brussaux.
Elsewhere in the conversation, Drake speaks about “entitled” journalists who were “so angry” about his first interview with Althoff, being arrested in Sweden, and more. Watch their 2023 convo below and the recent one above, with the referenced portion beginning around the 47-minute mark.
Who Is Mia Goth? 5 Things About the ‘Frankenstein’ Actress – Hollywood Life
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Mia Goth is starring in Guillermo del Toro‘s adaptation of Frankenstein, which had its world premiere at the 82nd Vencie International Film Festival in August 2025. Slated for a November 2025 Netflix release, the movie features Mia as Elizabeth Lavenza.
She’s also known for a seemingly volatile on/off relationship with Shia LaBeouf. Here’s what else to know about Mia.
While Mia is British, she grew up in Brazil
She was born in London but moved to her Brazilian mother’s homeland as a child. She was raised there before moving back to England when she was a teenager.
MIA GOTH. pic.twitter.com/koviAtDwVQ
— best of mia goth (@gothfiles) August 31, 2025
Before acting, Mia got her start as a model
After she moved back to London, she was discovered by Storm Model Management when she was just 13. Her slim figure, alluring eyes and pillowy lips landed her numerous modeling campaigns. She’s currently the face of Prada’s latest fragrance.
Mia has had a tumultuous on/off relationship with Shia LaBeouf
Mia has had a famously tumultuous relationship with Holes actor Shia LaBeouf, punctuated by drama and intermittent splits. The romance began in 2012. However, in Mar. 2016, he told a cashier at an Los Angeles area Gelson’s that he was marrying Mia, and she was spotted with a diamond engagement ring on her hand.
Mia is married to Shia LaBeouf
They held a quickie commitment ceremony in Las Vegas in 2016 — with an Elvis Presley impersonator officiating! It wasn’t a legal wedding, according to a local official — but Shia later confirmed the marriage on The Ellen DeGeneres Show. They split two years later and filed for divorce amid Shia’s romance with FKA twigs, which eventually fizzled out — as did a reported relationship with Margaret Qualley.
The duo reconciled in February 2022 amid news of Mia’s pregnancy with the Transformers actor.
MOVIE STAR pic.twitter.com/vYl2au6rK0
— best of mia goth (@gothfiles) August 30, 2025
Mia is a first-time mom
Shia and Mia welcomed their first child together in March of 2022, with PEOPLE confirming the news after the couple was seen in April of 2022 pushing a stroller in Pasadena. Later, another outlet reported that Shia had shared both the sex and name of their child.
“I have a little girl, Isabel; she is five months old and just beginning to develop the last half of her laugh; it’s AMAZING,” he reportedly wrote in a letter to Olivia Wilde, published by Variety in August of 2022. “Mia, my wife & I have found each other again & are journeying toward a healthy family with love and mutual respect.”
First it was Margot Robbie, summering in Ibiza in a sheer black maxi dress with beachy accessories. Then the fearless Kylie Jenner in leathers and latex, and Jenna Ortega’s entire press tour for Wednesday, in which she’s revelled across the spectrum of gothic glamour.
Of course, the trend for all-black this summer has found a fan in Lady Gaga. The musician is back in New York for her sold-out set of Mayhem Ball shows at Madison Square Gardens, and returned to a favorite celebrity haunt, Corner Store, for dinner with her fiancé Michael Polansky. Gaga wore a cropped Balenciaga blazer with boxy, structured shoulders and a raw hem, wwhich she wore over a clingy Norma Kamali black catsuit.
She accessorized with the towering Balenciaga “Camden” boots with a sleek, angular platform, as well as a pair of goggle-like sunglasses from Port Tanger, and a mini Kelly bag by Hermès.
Photo: Backgrid

Photo: Backgrid
The off-duty but elevated look is in keeping with Lady Gaga’s current style lexicon, a longtime lover of Balenciaga’s raw tailoring and sculptural boots. (Of recent, she’s also been spotted with another accessory-du-jour, the Lababu, as a charm on her bag). Onstage, too, the final act of the Mayhem Ball sees Gaga lean into the more gothic elements of her style. She’s pulled latex pieces by Japanese-born, London-based designer Atsuko Kudo, and looked to British designer Gareth Pugh for archival leather biker jackets, a custom Tom Knight “Born This Way” jacket, and a custom State Fair patchwork leather waistcoat emblazoned with Mayhem details. (Shout out to La Maison Gaga for doing the work for the little monsters).
Gaga was also wearing her engagement ring. Designed by Sofia Jewelry, the ring features an oval-cut stone set on an 18-karat rose and white gold diamond pavé band, with pink ombré diamonds and a hidden white diamond halo.
With a slew of NYC dates, expect more shots of Gaga in all her gothy leathers and latex out and about, on and offstage—after all, it’s a Mother Monster summer.