Adéla’s NYLON January 2026 shoot moves between corset beige, avant-garde black, sheer grit, and layered street drama.
The January 2026 issue of NYLON opens with Adéla crouched low, pink hair sharp against a white background. Beige corset, fishnets, metallic choker. One hand pressed to her chest. It feels raw, almost improvised, like she’s testing the edges of the outfit rather than posing for it.
Another frame: black gown, high collar, fringe shoulders, cut-out sides. Arms stretched wide against a wall. The dress is long, form-fitting, dramatic. Nail polish black. The pose is rigid, stylized, almost architectural.
Then a shift outdoors. Sheer black top and pants, bra visible, undergarments plain. Pink hair against a cracked wall, plants at the base. The contrast is sharp — urban decay against styled transparency.
Finally, a sidewalk shot. Layered black outfit, train flowing, stockings sheer, heels high. Sunlight cuts shadows across the pavement. A street sign in the background. It feels less editorial, more like someone caught mid-stride in a city that doesn’t care.
Together, the spread doesn’t chase glamour. It leans into contrasts — corset beige, fringe black, sheer grit, layered street. Each outfit feels like a different note, stitched into one restless editorial rhythm.
Molly Gordon’s Theory Spring 2026 campaign moves between tailored gray, soft green calm, and black leather boldness.
The Spring 2026 campaign from Theory opens with Molly Gordon in a light gray pantsuit. Structured blazer, wide-leg trousers, asymmetrical flap pocket. The setting is minimal, white walls and large windows. It feels professional but not stiff, more like a modern office paused mid-thought.
Another frame softens the mood. She’s seated, wearing a light green short-sleeved top and cream pants. Hair long, brown, falling loose. The background muted in white and gray. The palette is calm, almost domestic, like a quiet morning.
Then a sharper turn. Black oversized leather jacket, white wide-legged pants, hair wavy and covering part of her face. She sits on a chair, looking directly at the camera. The contrast is bold, jacket heavy against the clean background.
Together, the campaign doesn’t chase glamour. It leans into contrasts — tailored gray, soft green, black leather. Each outfit feels like a different note, stitched into one editorial rhythm.
Anna Sawai wore a floral ruffled top with indigo tapered pants at Apple TV’s Press Day held February 3, 2026, in Santa Monica, California.
At the Apple TV Press Day on February 3, 2026 , held at Barker Hangar in Santa Monica , Anna Sawai kept things playful and structured, delivering a look that registered somewhere between curated ease and pop-up editorial. Her cropped floral ruffle top bloomed in oversized violet roses scattered over a white background with washes of olive-green leafwork—loose, airy sleeves, a squared smock-like neckline, and a subtle keyhole at the collarbone. It flared outward in motion, not drama.
Paired with those florals came a sleeker bottom half: high-waisted slate-blue pants , sharply tailored, with a visible texture—something between woven jacquard and brushed suiting. The fit hugged just enough, cropped slightly at the ankle, with seams and small metal accents peeking near the waistband. On her feet: gloss-black pointed pumps , no embellishment, no straps—just polish.
Beauty choices were light but deliberate. Her hair, parted center and worn long in soft bends, echoed the not-trying-too-hard pulse of the look. Bare neck. No clutch. The earrings? Skipped entirely or hidden, because the top did the heavy lifting. The whole thing felt more photoshoot test look than premiere outfit—and that might’ve been the point. This wasn’t image over substance—it was just clean expression in high-resolution lighting.
