Ashley Moore’s September fashion photoshoot with Mary Nevezhyna turns high fashion into a cinematic study of contrasts — white fur, sheer black, and sculptural light.
What happens when fur collides with shadow, when sheer black meets the geometry of a poolside terrace? Ashley Moore’s September photoshoot with Mary Nevezhyna answers in fragments — each frame a study in tension.
The imagery thrives on contrast. In one shot, Moore reclines on a tiled floor, black lace dress paired with electric-blue socks and strappy heels — a collision of sensuality and irreverence. In another, she stands by a modernist pool, wrapped in a massive white fur coat, sheer tights elongating the line of her legs, sunlight slicing across the scene in sharp architectural shadows. Indoors, the narrative shifts again: seated against wood paneling, fur still enveloping her, she lights a cigarette — a cinematic tableau that feels equal parts Helmut Newton and Sofia Coppola.
The wardrobe is deliberately minimal in number but maximal in impact. The oversized fur coat dominates, its plush volume juxtaposed against the fragility of sheer tights. The lace dress, glimpsed in the floor pose, adds a layer of gothic sensuality, while the bright blue socks inject a jolt of surrealism. It’s styling that resists cohesion in favor of curated dissonance — a hallmark of high fashion editorials.
Accessories are stripped back to essentials: strappy black heels, the occasional cigarette, the fur itself functioning as both garment and prop. The absence of jewelry or bags underscores the editorial’s focus on form, texture, and mood rather than consumerist detail.
At London Fashion Week, Hayley Atwell redefined the celebrity event look with a sharply tailored grey suit — front row fashion that fused precision with cinematic cool.
Hayley Atwell didn’t just attend Emilia Wickstead’s London Fashion Week show — she reframed what it means to arrive, dressed in a suit that spoke louder than sequins.
The look was all about structure. A double-breasted blazer, cut long and sharp, anchored by black buttons, extended into matching trousers that skimmed the floor with precision. The grey tone was deliberate: neutral enough to whisper, tailored enough to command.
The ensemble evokes the heritage of Savile Row tailoring, but with a modern twist — the proportions elongated, the cut softened just enough to flatter without losing edge. The fabric, smooth and matte, reinforced the severity of the silhouette while allowing movement. It’s a designer outfit that reads as both armor and statement.
Atwell’s styling choices sharpened the message. Black pointed-toe heels extended the line of the trousers, while oversized hoop earrings injected a flash of femininity against the suit’s severity. The narrow sunglasses added a cinematic layer — think 90s power minimalism with a dash of Matrix cool.
At the Daytime Beauty Awards, Denise Richards turned red carpet fashion into a study of lightness — a floral dress, fluid movement, and a smile that sealed the moment.
Some red carpet arrivals whisper rather than shout — and Denise Richards’ appearance at the 7th Daytime Beauty Awards was a masterclass in that quiet confidence.
Her dress balanced structure and softness: a fitted bodice with a deep neckline, held by slim straps, gave way to a flared skirt that moved with ease. The floral pattern, rendered in light tones, added a sense of freshness that felt perfectly attuned to a Los Angeles September.
The ensemble evokes the kind of effortless femininity often seen in resort collections — airy, approachable, yet polished enough for a formal event. The neckline introduced allure, while the skirt’s volume kept the look playful rather than severe. It’s a silhouette that flatters by contrast: fitted above, fluid below.
Her strappy sandals, in a shade that echoed the dress, extended the line of the leg and reinforced the lightness of the look. Jewelry, if present, was minimal — a choice that kept the focus on the print and cut rather than ornamentation.
