Aggy K. Adams wore three striking outfits for Hunger Magazine September 2025, mixing tailoring, sequined pink drama, and floral‑framed black styling.
Aggy K. Adams fronts Hunger Magazine 36, September 2025, with three looks that feel like different moods stitched together.
First: a dark oversized blazer thrown over a silver fringe mini dress , paired with sheer tights and red heels . Accessories — chunky silver bracelets, turquoise ring — keep it loud. If you ask me, the blazer is the stabilizer here. Without it, the fringe and heels would tip into chaos.
Second: a shiny pink dress with sequins and geometric patterns, styled with black lace tights and pointed boots . Braided hair pulled outward, pose upside against a wall. It’s bombastic, almost foolish glamour, but that’s why it works. I’ll say it — this one feels like a fashion photoshoot idea that dares you to look twice.
Third: a shiny black outfit with decorative buttons, surrounded by a wall of purple hydrangea flowers . Arms raised, braids intact. The contrast is sharp: dark fabric against vivid blooms. The best part? It’s theatrical without needing glitter.
Together, the three outfits show range — tailored edge, sequined excess, floral drama. What I love is that none of them chase perfection. They’re messy, lived‑in, and that’s what makes them memorable.
Closing thought: the hydrangea shot lingers longest — like a shadow pressed against color, strange and impossible to forget.
Kendall Jenner wore The Row’s trench coat and jeans while shopping at Galerie Half on Melrose Boulevard in Los Angeles on February 6, 2026.
Kendall Jenner makes beige look sharp — not everyone can say the same. On February 6, 2026, the model was photographed leaving Galerie Half on Melrose in an outfit that whispered wealth louder than most red carpet gowns shout.
She wore The Row’s Riku Cotton Trench Coat , sleeves slightly long, collar unpopped, fabric moving like air. No cinching. No buttons fussed with. It hangs open — intentionally — to reveal a whisper-clean base layer matched with The Row’s Burty Straight-Leg Jeans , perfectly white and weighty.
Now the detail that matters: under the coat is the Maison Magdalena Brisa Scarf , long, fringe-heavy, and peeking dead-center through the jeans. It sways like fringe on a silk poncho but lands like a styling sleight of hand. It doesn’t pull focus. It elevates the core neutrals.
The Row’s Eva Slipper in soft black leather finishes the feet — understated, flat, elegant with no drama. Bag of choice? The Row’s Lilou Woven Shoulder Bag , casually thrown over her arm like it woke up there.
Glasses. Slim. Black. Minimal makeup. Hair down — center-parted and honest.
This is what happens when California ease meets New York money. No clickbait color. No logos. Just texture, proportion, and perfect moderation in motion.
Chase Sui Wonders wore a bold red dress to the UTA special screening of Pillion in Los Angeles on February 5, 2026.
Red doesn’t whisper. And Chase Sui Wonders wasn’t trying to be subtle at the Pillion UTA Special Screening in Los Angeles on February 5, 2026. She showed up in a full-stop, high-impact red dress that insisted on attention — not because of over-the-top styling, but because of pure color confidence.
The cut is simple. Almost sculptural. A structured sleeveless dress , fitted through the torso and slightly flared at the hem, falling just to the calves. There’s no dramatic slit. No sparkle. No unnecessary additions. It’s just red. Saturated, clear, unapologetic red — the kind that works when the fabric is right and the fit is flawless.
Accessories were minimal, almost avoided. Black small-heeled shoes. A soft wave in the hair. Natural lip. No earrings jumping for attention. The styling held back. The dress did the talking.
It’s a smart move. In a sea of red carpet fashion that tends to scream or slither, Chase chose control. A single color, done with confidence. Nothing felt borrowed or performative. It looked personal.
This wasn’t drama. It was direction.
