Emily Bader wore a caramel leather trench, striped roll-neck and tan knee-high boots for Tory Burch’s Fall 2025 campaign shoot.
Emily Bader steps into frame for Tory Burch’s Fall 2025 campaign , delivering a single look that feels like a lost still from a 1970s spy flick: a caramel leather trench cinched to a wasp waist, its patent sheen catching studio strobes like wet pavement under sodium light. Beneath the coat she layers a fine Breton roll-neck in muted ecru and charcoal—an optic trick that narrows the torso and elongates the neck without resorting to plunging theatrics. Tan knee-high boots rise to meet the hem, their block heels anchored enough for a dash across cobblestones yet polished enough for the embassy reception that inevitably follows. Hair is parted deep left and tucked behind one ear, exposing a gold huggie that winks each time she turns; makeup stays matte and mushroom-toned, a deliberate fade into celluloid grain.
Molly Gordon wore a black mini dress with off-shoulder puff sleeves and knee-high stockings for Harper’s Bazaar USA July 2023 photoshoot.
Molly Gordon graces the lens in a striking black mini dress for the July 2023 issue of Harper’s Bazaar USA . The dress features off-shoulder puff sleeves and a delicate neckline, adding a touch of romantic drama to the otherwise minimalist silhouette. Paired with knee-high black stockings and strappy black heels , the look exudes a blend of vintage charm and modern sophistication. Her hair, styled in loose waves, complements the effortless elegance of the ensemble.
This photoshoot captures Gordon in a moment of understated glamour, a theme that resonates with the current trend of blending classic and contemporary aesthetics. The choice of a black mini dress is both timeless and bold, making it a versatile statement piece for editorial spreads.
Kate Winslet wore a tobacco silk blouse and tailored trousers for her December 2025 Grazia UK cover, shot before her directorial debut Goodbye June.
Kate Winslet fronts the December 2025 issue of Grazia UK , lensed in a look that quietly mirrors her own behind-the-camera pivot: a tobacco-brown silk blouse whose fluid drape softens the interrogation flash of studio strobes, tucked into high-waisted charcoal trousers that refuse to pander to red-carpet spectacle. The palette—earth, ash, nocturne—reads like a storyboard for Goodbye June , the family drama she directs and which streams on Netflix from 24 December. Hair is swept into an unfussy mid-height knot, exposing the kind of neckline that once carried Titanic diamonds but now frames a woman who has swapped ornament for authorship; makeup stays candle-lit, a whisper of rust on lids and a matte nude lip that won’t compete with the narrative she’s finally controlling.Inside the magazine she admits that stepping behind the camera invited industry whispers of “vanity project,” yet the outfit’s restraint signals the opposite—an auteur who would rather let the work speak.
