Camila Mendes channels soft rebellion in Anthropologie’s Fall 2025 campaign—think cottagecore with a twist, latex with roses, and a wardrobe that whispers in italics.
Camila Mendes has always walked the line between girl-next-door charm and high-fashion bite. But in Anthropologie’s Fall 2025 collection, she doesn’t walk—she glides, she leans, she lingers. Shot across a series of intimate, light-drenched vignettes, the campaign feels like a love letter to texture, contrast, and the quiet drama of transitional dressing.
The collection unfolds like a mood board curated by a romantic with a dark side. In one frame, Mendes wears a cropped light gray cardigan layered over a black top and a black skirt dotted with white specks—like a starry night rendered in cotton. The silhouette is relaxed but intentional, with the cardigan’s soft knit playing against the skirt’s structured swing. Another look features a strapless, midnight-blue dress in glossy latex or leather, cut to mid-calf with a sweetheart neckline that sculpts the bodice like armor. It’s a study in tension: soft versus slick, domestic versus defiant.
And then there’s the brown cut-out dress—held together by black bow-like fasteners, paired with knee-high boots and framed by blooming roses. It’s giving “Jane Austen meets Rick Owens,” and somehow, it works.
Accessories are minimal, letting the garments speak. The boots are bold, the flower (a long-stemmed white bloom) is delicate, and the settings—whether a sunlit window or a checkered-tile stoop—feel curated but not contrived. Mendes’ poses are thoughtful, almost cinematic: one hand grazing her hair, another clutching a flower like a secret. The lighting shifts from soft indoor glow to crisp outdoor contrast, echoing the duality of the collection itself.
Kerry Condon attends the European premiere of F1: The Movie, trading her on-screen grease-stained jumpsuit for a dramatic, intricately embellished gown that fuses high fashion with a hint of racing-inspired dynamism.
For a film about speed and engineering, Kerry Condon’s choice of a Valentino gown was a surprisingly poetic one. She arrived on the red carpet not in the racing leathers her character might wear, but in a look that was all about controlled, elegant power. The dress, from Valentino’s Fall 2025 “Le Méta-Théâtre Des Intimités” collection by Alessandro Michele, is an ambitious sartorial statement that defies easy categorization.
The outfit focus is a two-part construction: a shimmering, geometric bodice paired with a sweeping black silk skirt. The top is a mosaic of rich colors—deep reds, warm golds, and bright silvers—creating a striking, almost armor-like effect with its metallic embellishments. Beneath this, a sheer, lace panel provides a subtle contrast, adding a layer of delicate sensuality. The high, defined shoulders give the silhouette a bold, almost architectural feel, a stark departure from the soft fabrics of the skirt.
Olivia Cooke trades Westeros armor for urban edge—her Hollywood Reporter shoot is all leather, glare, and a dash of post-dragon defiance.
Olivia Cooke has always had a knack for slipping between worlds—whether it’s the medieval bloodlines of House of the Dragon or the modern-day grit of a THR cover shoot. In the September 3, 2025 issue of The Hollywood Reporter, Cooke steps out of fantasy and into something far more tactile: a look that’s equal parts cinematic and confrontational, styled with the kind of precision that makes you pause mid-scroll.
The centerpiece of Cooke’s editorial is a dark leather jacket layered over a crisp white top—an ensemble that feels like a sartorial exhale after seasons of corsets and crowns. The jacket’s texture is rich, matte, and slightly distressed, suggesting wear without fatigue. It’s cut to flatter but not flaunt, with a collar that frames her face like a spotlight. The white top underneath adds contrast, a visual breath between the shadows. No visible logos, no embellishments—just pure, distilled cool.
Accessories are minimal, allowing the clothing and Cooke’s expression to carry the weight. She holds a strand of her hair with one hand, her gaze locked onto the lens with a kind of quiet challenge. The lighting is soft but directional, casting subtle shadows that contour her cheekbones and jawline. It’s a portrait that feels intimate yet editorial, like a still from a film you haven’t seen but already want to.
The shoot arrives amid Cooke’s continued rise as one of the most compelling actresses of her generation. Her role in House of the Dragon may have been forged in fire, but her off-screen persona is carved from something cooler—more cerebral, more grounded. In the THR article, she doesn’t shy away from honesty, even calling out tensions on set: “Some of the House of the Dragon cast have been fucking horrible to our cast.” It’s a quote that cuts through the industry gloss and adds texture to the fashion framing. This isn’t just a look—it’s a mood, a message, a moment.
Hair is medium-length, tousled, and parted naturally—no over-styling, no forced waves. Makeup is clean, with a focus on skin and eyes: a soft matte base, a hint of liner, and brows that anchor the face. The overall styling is cohesive, understated, and emotionally resonant. It’s the kind of look that doesn’t need a red carpet to make an impact.
For more moments where fashion meets narrative, browse our archive of celebrity photos .
