Anya Taylor-Joy appears in Harper’s Bazaar España February 2026 issue, styled with Dior Beauty and layered editorial contrasts.
The February 2026 issue of Harper’s Bazaar España places Anya Taylor-Joy in a series of frames that balance beauty products, desserts, and her own presence. The layout is playful–pink backgrounds, Dior Beauty scattered among macarons and cakes. She wears a light-toned top, her gestures casual, almost mischievous.
Her career narrative folds into the spread. From The Witch to Split , Glass , and Emma , she has built a filmography that feels hypnotic, versatile, and deeply personal. She speaks of acting as connection, of maintaining the most important relationship–with herself. The multicultural threads of Argentina and Spain remain part of her identity, grounding her global reach in something intimate.
The styling here is not about glamour alone. It’s about blending beauty with everyday indulgence. Lip oils, perfumes, desserts–objects of taste and texture–become part of the editorial. The result is less spectacle, more lived-in charm.
Lindsey Vonn appears in SELF Magazine’s January 2026 issue, styled in multiple bold outfits with layered textures and modern contrasts.
The January 2026 issue of SELF Magazine places Lindsey Vonn in a sequence of frames that lean into strength and style, each outfit distinct, each pose deliberate.
One frame shows her in a black bikini top paired with high-waisted undergarment and oversized puffy pants. Sunglasses perched on her head, hands tucked into the waistband. It’s athletic, but also playful–like winter gear colliding with swimwear.
Another look shifts tone. A voluminous off-white puffer jacket, sculptural in its folds, photographed against black. The hood swallows her shoulders, the padding exaggerated. It feels less like clothing, more like architecture.
Then a beige oversized jacket draped over her shoulders, paired with a wrapped white top and pale yellow pants with furry cuffs. Arms raised, hands behind her head. The pose is confident, almost defiant, but softened by the textures.
A darker frame follows. Brown fur jacket with pronounced shoulders, black crop top underneath, leather pants zipped at the front. Hair loose, stance firm. The contrast between fur and leather makes the look heavier, more grounded.
Finally, a dynamic shot. Black long-sleeve top, flared jeans, coat trailing behind as she kneels with one leg bent. The background deep blue, fabric caught mid-motion. It’s less about the outfit, more about movement–fashion as gesture.
Emma Kenney wore a structured pink tweed jacket and pleated skirt with white pumps at the Infinite Icon premiere in Los Angeles on January 20, 2026.
Against the glowing magenta backdrop of Paris Hilton’s Infinite Icon premiere, Emma Kenney stands poised in a monochrome burst of pink. It’s sugary, yes, but deliberate — every shade matching, every fold crisp. She wears a pink tweed jacket , buttoned neatly at the waist with subtle tailoring, short sleeves, structured shoulders. The jacket’s belt catches just enough light to frame the silhouette, soft but defined. Below, a pleated skirt , same tone, just short enough to move — feminine, unfussy, a slight throwback to mid-century polish done young.
