Camilla Luddington wore a sparkly embellished gown with pointed-toe heels at the Avatar: Fire and Ash premiere in 2025.
Camilla Luddington stepped onto the red carpet at the Avatar: Fire and Ash world premiere in Hollywood on December 1, 2025, in a look that fused celestial shimmer with premiere-worthy polish. Her long-sleeved sparkly gown , rendered in a deep, dark hue and adorned with silver embellishments , offered a textural contrast to the fiery backdrop of the event. The pointed-toe shoes , detailed with decorative accents, extended the silhouette with quiet precision.
The gown’s surface — a constellation of glinting elements — echoed the film’s mythic duality: fire and ash, light and shadow. Luddington’s styling was restrained, allowing the garment’s tactile richness to carry the visual weight. Her pose, poised yet relaxed, suggested a performer who understands the power of presence without excess.
Lindsey Vonn returns to elite skiing in The Red Bulletin USA – Issue 04, 2025, captured across multiple editorial scenes that blend alpine grit, post-surgical resilience, and cultural reinvention.
There are comebacks, and then there’s Lindsey Vonn’s 2025 return — a saga of steel, snow, and self-reinvention. Across multiple editorial compositions in The Red Bulletin , Vonn is captured not just as an athlete, but as a myth in motion. From the alpine serenity of snow-covered peaks to the kinetic blur of downhill speed, the visuals oscillate between stillness and velocity — a metaphor for the woman herself.
In one image, she stands against a backdrop of glacial majesty, holding a HEAD ski like a sword, dressed in a lilac top and black shorts, with a white coat draped over her shoulder. It’s not ski gear — it’s armor. The pose is deliberate: part Olympian, part oracle. In another, she dons a blue race suit emblazoned with American flag motifs and sponsor logos, clutching her Red Bull helmet like a talisman. The headline reads: “I’ve already won.” And by the time you finish reading the accompanying article, you believe her.
The editorial text is rich with detail: titanium implants, robotic surgery, wakeboarding ten weeks post-op, and skiing fifteen runs a day in New Zealand. Her knee, once a biomechanical battlefield, is now a silent partner. “I didn’t have to think about the knee,” she says. “I felt nothing, when all I felt before was pain.” That absence of pain becomes presence — a new kind of power.
But the comeback isn’t just physical. Vonn’s return is framed as a cultural reset. She’s not just skiing again — she’s rewriting what it means to be a woman in elite sport. “No one expects me to do anything at age 41,” she says, “but also everyone expects me to do everything.” The paradox is the point. She’s the underdog and the favorite. The legend and the challenger. The quote that anchors the spread — “I’m doing something no one else has done” — isn’t bravado. It’s blueprint.
The editorial also places her alongside other icons — Breezy Johnson, Mikaela Shiffrin, Kate Courtney, Carissa Moore — women who’ve faced injury, doubt, and reinvention. But Vonn’s arc is singular. She’s taken business classes at Harvard, launched a production company, invested in women’s sports, and helped land the 2034 Olympic Games. She’s not just returning to skiing — she’s returning to herself.
Dakota Johnson and Ro Donnelly wore Calvin Klein and Rodebjer in the Vanity Fair Hollywood Issue November 2025.
Dakota Johnson and Ro Donnelly appear in the November 2025 Vanity Fair Hollywood Issue in a black-and-white editorial that redefines creative intimacy. Shot by Zoey Grossman in a Spanish-style bungalow turned production office, the duo is captured mid-script review — surrounded by notebooks, coffee cups, and takeout containers. The setting is lived-in, not staged, and that’s the point: this is Hollywood stripped of spectacle, focused on the work.
Johnson wears a Calvin Klein shirt and Cartier watch , while Donnelly opts for a Rodebjer top and Cartier pants , styled by Naomi Simon . The fashion is quiet, functional, and real — a reflection of their production company TeaTime Pictures , which has carved out a reputation for thoughtful, character-driven projects since its 2019 launch. Their upcoming slate includes Cooper Raiff’s Daddy and Christy Hall’s Materialists , with Johnson preparing to direct The End , starring Jessica Alba and Christ xx .
