Claire Foy appeared on the cover of Harper’s Bazaar UK’s February 2026 issue, styled in sheer lace and mossy textures.
Claire Foy reclines on moss. Lace sheer, sleeves wide, embroidery fine. Flowers scattered, white against green. Rings glint, bracelet quiet.
Pose still. Eyes soft, body angled, dress folding into the forest floor. A look that feels like pause, not performance.
It’s blunt. Lace fragile, moss damp, styling deliberate. Together, they carry presence. A look that feels like nature stitched with precision.
And beneath the styling, a voice. Foy speaks of wildness — not chaos, but clarity. Falconry training for H is for Hawk , grief embodied, emotion not faked. She’s not interested in noise, not on social media, not chasing hype. Her roles — from The Crown to Savage House — are chosen with care. She wants meaning, not momentum.
She’s juggling motherhood, filming, and a desire to make things that matter. A modern Magic Faraway Tree adaptation, a Danny Boyle newsroom drama, and a black-comedy period piece. She’s not faking it. She’s not interested in pretending. “I would really struggle to do something if my heart wasn’t in it,” she says.
Not just a cover shoot. More like a pause in moss — lace against soil, voice against silence, presence against performance.
Jennie Kim appeared in V Magazine Issue #158, December 2025, photographed by MAR+VIN in bold editorial looks.
Jennie Kim in fragments. Red bralette flashing under a jacket, collar pulled high, shorts sharp, tights sheer. Bangles heavy, earrings long, hair slicing across one eye. Pose deliberate, almost defiant.
Then a shift. White dress, polka dots oversized, skirt ballooning. Legs apart, stance strong, dots repeating down tights. Heels pointed, bob angled. A look that feels graphic, almost cartoonish, but held steady.
Another turn. Chevron stripes, sleeveless, converging lines. Earrings circular, makeup retro, lashes drawn heavy. A face that feels like 1960s reimagined, but not softened.
Final frame. Strapless monochrome, black below, white band above. Cap perched, hoops wide, bracelets stacked. Arms crossed, tilt sharp. Minimal, but not quiet.
It’s uneven. One outfit playful, another rigid, another retro, another stripped down. Together, they carry range. A look that feels like fashion’s restless energy stitched into four frames.
There’s honesty here. Clothes chosen for boldness, for pattern, for contrast. A frame caught between graphic design and lived-in presence.
Not just a magazine spread. More like a pause in rhythm — dots against stripes, red against black, presence against silence.
Sophie Marceau appeared on the cover of Marie Claire France’s February 2026 issue, styled in faux fur and denim.
Sophie Marceau against a red wall. Faux fur brown, soft, draped over denim. Jeans faded, top grey, nothing loud. Just texture, weight, and a quiet kind of presence.
Pose simple. Standing, no drama. Hair loose, gaze steady. A look that feels like winter, but not cold.
It’s blunt. Coat plush, jeans grounded, backdrop saturated. Together, they carry ease. A look that feels like someone who’s done this before, and doesn’t need to prove it.
And beneath the styling, a voice. Marceau speaks of instinct — not strategy, not calculation. Her career built on refusals, on walking away from roles that felt wrong, from scripts that sexualized or flattened. She recalls the chaos of early fame, the pressure to conform, the need to protect herself. She talks about motherhood, autonomy, and the emotional weight of playing women who feel deeply. Even in comedy, she insists, emotion leaks through.
She’s not nostalgic. She’s not bitter. But she’s blunt about the industry — the objectification, the early battles, the need to say no. Her words cut through the fluff. “I just want everything to be about my work,” she says. “The most interesting part of me is what I do. It’s not who I am.”
Not just a cover shoot. More like a pause in fur — denim against red, instinct against expectation, presence against noise.
