Dakota Fanning wore a vibrant green coat against a floral backdrop on The Sunday Times Style October 2025 magazine cover.
For the October 2025 cover of The Sunday Times Style , Dakota Fanning appears in a celebrity photoshoot that merges cinematic presence with editorial precision. She wears a vibrant green coat with oversized buttons, styled against a dark floral backdrop that amplifies the contrast between garment and setting.
The coat’s silhouette is structured yet relaxed, with a bold color that commands attention without veering into theatricality. Fanning’s platinum hair and neutral makeup provide balance, allowing the outerwear to dominate the frame. The composition is tight, the mood deliberate—a studio portrait that feels both intimate and assertive.
The cover headline—“SCREEN QUEEN Dakota Fanning steals the show – again”—is more than a nod to her filmography. It positions her as a figure of continuity in an industry obsessed with reinvention. The styling reflects this duality: the green coat is classic in cut but modern in hue, while the floral backdrop evokes both nostalgia and visual drama.
This fashion spread aligns with the 2025 editorial trend of statement outerwear as identity armor. In a season dominated by neutral layering and quiet luxury, Fanning’s look offers a counterpoint: color as character, silhouette as stance. The floral background isn’t just decorative—it’s narrative, suggesting growth, complexity, and cinematic depth.
Olga Obumova wore multiple layered and textured outfits for the Abercrombie October 2025 fashion photoshoot campaign.
For the Abercrombie October 2025 collection , Olga Obumova appears in a multi-look fashion photoshoot that explores texture, layering, and tonal contrast across a series of studio portraits. Each outfit offers a distinct narrative, yet collectively they reflect Abercrombie’s evolving aesthetic—where casualwear meets editorial polish.
In one look, Obumova wears a white lace-trimmed slip dress cinched with a black belt , layered under a grey oversized cardigan . The styling is completed with cream knee-high socks and black cowboy boots , blending softness with western edge. The setting—a minimal white wall flanked by a clothing rack and ironing board—evokes a behind-the-scenes intimacy, reinforcing the styled shoot energy.
Another frame shows her seated in a light olive-green chair , wearing a sleeveless dark brown turtleneck sweater , black leather shorts , and a black fur coat draped over her shoulders. The textures—knit, leather, and faux fur—create a tactile richness, while her upward gaze and relaxed posture suggest confidence without rigidity.
A third image captures her sitting on the floor in front of the same chair, now styled in maroon polka-dot socks , black shoes , and the same sleeveless turtleneck. The pose is casual, the composition clean, and the mood introspective.
Finally, a close-up reveals a colorful striped sweater in horizontal bands of red, white, black, yellow, and purple. Her arm partially covers her forehead, framing her face and drawing attention to the direct gaze—a moment of beauty shot intensity within a broader editorial.
The Abercrombie campaign leans into the 2025 trend of layered realism , where garments are styled not just for visual impact but for emotional resonance. Obumova’s looks reflect a curated spontaneity—each outfit feels lived-in, not staged. The inclusion of domestic props (ironing board, hangers, upholstered chair) situates fashion within everyday rituals, blurring the line between studio portrait and lifestyle documentation.
The use of varied textures—lace, knit, leather, fur—signals a shift from logo-driven branding to material storytelling . Abercrombie’s pivot toward editorial credibility is evident here: the campaign doesn’t just sell clothes, it stages moods.
Maya Hawke wore multiple textured looks including fur, leather, and oversized tailoring for HommeGirls Volume 14 Fall/Winter 2025 editorial.
Look 1: The Oversized Coat & Jar
For the cover of HommeGirls Volume 14 , Maya Hawke appears seated cross-legged in an oversized dark gray coat , holding a small glass jar with a green plant. The styling is stark, the background neutral, and the mood contemplative. Shot by Nick Sethi , the image evokes a quiet rebellion—fashion as introspection.
The coat’s exaggerated proportions and Hawke’s grounded pose suggest a retreat from spectacle, embracing the editorial trend of quiet maximalism . The jar, seemingly mundane, becomes symbolic: a vessel of growth, fragility, and control.
Look 2: The Shearling Crown & Fur
In a second image, Hawke sits among scattered twigs wearing a brown textured fur coat with a large beige shearling collar , paired with black sheer tights and black footwear . Her head is adorned with a crown made of intertwined twigs , transforming the scene into a woodland tableau.
This look channels ritualistic surrealism , where fashion meets folklore. The crown, primitive yet poetic, reframes Hawke not as a model, but as a mythic figure—part queen, part creature. The contrast between the luxe coat and the raw branches creates tension: civilization vs. instinct, comfort vs. chaos.
Look 3: The Leather Skirt & White Shirt
Another frame shows Hawke lying on a white sheet-covered couch, wearing a long, dark brown leather skirt with a glossy finish and a loose white button-up shirt , partially unbuttoned to reveal her midriff. A beige drawstring handbag sits beside her, while a black frayed object anchors the composition.
This look plays with editorial dishevelment —the shirt undone, the skirt structured, the pose relaxed. It’s a study in contrasts: polish and ease, control and surrender. The handbag, placed casually, becomes part of the narrative rather than a product placement.
Look 4: The Pleated Pink Dress
Standing against a metallic shutter, Hawke wears a short, sleeveless light pink pleated dress with a tied waist, paired with off-white pointed-toe heels . The urban backdrop and concrete sidewalk inject a dose of street fashion realism , grounding the otherwise delicate look.
Here, the dress lifts slightly in front, revealing movement and spontaneity. It’s a moment of editorial flirtation , where the model becomes a passerby, the shoot becomes a scene.
Look 5: The Robe & Chandelier
In a final image, Hawke lies on a white couch with legs raised, wearing a brown textured robe . A chandelier rests beside her feet , and pointed-toe heels sit on the floor. The composition is surreal—elegance misplaced, domesticity disrupted.
The chandelier, typically suspended, becomes a grounded object, suggesting a collapse of hierarchy. Hawke’s pose, relaxed yet theatrical, turns the robe into anti-glamour armor —a garment of comfort worn in a world of absurdity.
One image includes a quote from Hawke:
“I want art to teach me how to get through a revolution and win.”
This line reframes the entire editorial. Each look becomes a chapter in that revolution—whether through softness, surrealism, or subversion. The styling isn’t just aesthetic; it’s strategic.
