Ashley Greene wore multiple distressed and edgy outfits for her Maxim 2009 editorial photoshoot featuring denim cut-offs, leather jackets, and industrial hardware.
There is a specific, jagged energy in these frames. One shot shows a grey marl tank top, so thin it is almost a ghost, paired with denim shorts that are more fringe than fabric. It looks like a Sunday morning that got out of hand. The studio light is harsh, flat, catching the frozen grit of the frayed denim. It is a celebrity photoshoot that does not care about being tidy. She is pulling at the hem of the shirt, a gesture that feels spontaneous, maybe even a little impatient.
The mood shifts into something more deliberate, almost melodramatic even, with a black minidress featuring a zipper that looks heavy enough for a piece of luggage. The industrial silver pull cuts right down the center. It is a styled shoot that leans hard into that 2009 obsession with “tough” femininity. Layered necklaces with cross pendants and small daggers dangle over a black bodysuit, creating a visual noise that is both distracting and somehow necessary. It is a bit of a lavish mess of hardware against skin.
Miley Cyrus wore a black Tom Ford suit with studded detailing and Messika rings at the Palm Springs Film Festival Awards 2026.
Palm Springs, January 3rd. The carpet lined with logos — Cadillac, Kering, the festival itself stamped across the backdrop. Miley Cyrus stepped into that frame in a black suit, Tom Ford Resort 2026.
The jacket cut sharp, plunging neckline left open, inner top studded with small metallic points. Not glitter, more grit. Shoes pointed, black, clean. Rings visible — Messika pieces stacked, catching light when her hand shifted.
It wasn’t a gown moment. No sweeping fabric, no couture theatrics. Instead, a suit that felt deliberate, pared down, almost stubborn in its refusal to play the usual red carpet game.
The look carried weight in its simplicity. A reminder that tailoring can be its own kind of armor. The critic’s note: Cyrus chose structure over softness, jewelry over embellishment, presence over excess.
Meghann Fahy wore a sheer maroon floor-length gown with a Tiffany & Co. Schlumberger Vigne Ring to the Palm Springs International Film Festival.
The lighting is flat, almost clinical, but the dress manages to hold its own. It is a deep, bruised plum—or maybe a dark maroon—rendered in a sheer fabric that feels more like a quiet suggestion than a loud statement. Meghann Fahy stands there, hands clasped, looking remarkably composed for someone wearing what is essentially a tinted veil. There is a strange, frozen grit to the way the hem pools at her feet, hiding the shoes entirely. It is a best dressed contender for the sheer audacity of its simplicity.
The Tiffany & Co. Schlumberger Vigne Ring provides the only real spark. It sits on her finger, a small knot of intricate gold and stone, breaking up the monochromatic flow. Without it, the celebrity look might feel too skeletal, too much like an unfinished thought. Instead, the jewelry anchors the gown , giving the red carpet fashion a necessary touch of the tangible.
Ashley Greene showcases a variety of early-career looks for Next Level Apparel, bridging the gap between basic studio work and celebrity photoshoot culture.
There is a certain raw, unvarnished quality to this 2004 session with Ashley Greene. It is not a fashion photoshoot in the sense of high-gloss art; it feels more like a working day. The frames capture her in a wide range of outfits, though the specific clothes almost matter less than the way she occupies the space. It is a styled shoot that feels surprisingly grounded, lacking the heavy-handed retouching we have grown used to. The lighting is flat, honest—a studio portrait setup that refuses to hide the textures of the fabric or the skin.
