Halle Berry’s The CUT February 2026 shoot moves between patterned deep necklines, sheer robes, trench coats, and bedroom silhouettes.
In The CUT’s February 2026 issue, Halle Berry shifts through five outfits that feel more like fragments of moods than polished statements.
First frame: patterned outfit, neckline cut deep, pose angled with one hand on the thigh. Glass windows behind, chandelier above. Natural light softens the edges.
Second: sheer long dress, phone pressed to her ear, another device in hand. Living room styled with curved sofa, glass tables, abstract art. It’s multitasking, but dressed in elegance.
Third: black and red patterned look, kneeling on a bed. Plush blanket, pink wall, lamp on the nightstand. It’s intimate, almost casual, but the slit in the dress makes it sharp.
Fourth: dark green trench coat, gloves, necklace heavy. Standing against a curved wall, fence beside her. The outfit feels armored, but the background is plain, almost minimal.
Fifth: sheer robe trimmed with fur, heels visible. Seashells on the floor, glass wall opening to greenery outside. It’s glamour pressed against nature, a strange pairing that works.
Together, the spread doesn’t flatten her. It lets her shift. Pattern, sheer, trench, fur. The shoot wasn’t about one look. It was about letting each outfit carry its own imperfect rhythm.
Rachel Sennott wore a halter-neck purple dress and pale heels on the Perfect Magazine February 2026 cover photographed by Yasmine Diba.
For the Perfect Magazine #10 February 2026 cover, Rachel Sennott brought chaos, glamour, and a box wrench. Styled for maximum disruption by photographer Yasmine Diba, Sennott appears sprawled (on purpose) beneath the bumper of a classic white Cadillac, wearing a wind-whipped purple halter dress that might be couture or might be stolen from a prom queen in an indie comedy.
The dress, which lifts and folds around her legs like fabric caught mid-spin, features a bold halter neckline and flared mini skirt that reveals more street than silk. The material—likely taffeta or silk faille—catches natural daylight with soft reflectivity in a way that says shot in real light, not cleaned in post . A single dramatic fold at her side adds structure to what at first glance looks like chaos. But the chaos is constructed.
The heels— pale pink slip-ons with clean straps and thin stiletto base—feel like a dare. She’s holding a wrench, after all. The mismatch is deliberate. The sexy tool girl treatment—done without oil smudges or cleavage pander—is cut through with irony sharp enough to glint off chrome.
Hair is down, soft waves, not quite brushed out. A natural flush in the cheeks pushes realism, then collides with a wide-eyed expression looking somewhere between dramatics and dazed cool. There’s a hint of 2000s Los Angeles here—but it’s filtered through irony and updated with the post-post-post-feminist filter that knows you get dirty while being hot, not because you’re hot.
The fashion verdict ? Off-kilter, bold, and a little absurd—intentionally so. Rachel’s cover isn’t just styled—it’s staged like a punchline in stiletto timing.
Judy Greer’s Numéro Netherlands shoot moves between fringe leopard print, sculptural jackets, red ribbons, patchwork denim, and a white suit.
In Numéro Netherlands’ February 2026 issue, Judy Greer shifts through five outfits that feel more like moods than polished statements.
First frame: leopard print, long fringe trailing from sleeves and hem. Black tights, heels, hair loose. The motion is the point — fringe catching light, body cutting through shadow.
Second: a black asymmetrical jacket, shoulders exaggerated, neckline deep. White cuffs peeking out, tights and pointed shoes grounding it. The pose is statuesque, almost rigid, but the hair softens it.
Third: red full-body look. Sleeves long, pants extended, fabric ribbons flowing behind. Against the black backdrop, the red feels louder, almost too much, but the tilt of her head makes it calm.
Fourth: patchwork denim, wide legs flaring, stitching visible. Voluminous sleeves on the top, belt tied at the waist. One arm raised, tattoo visible. It’s retro, but also restless.
Fifth: white suit, structured shoulders, deep neckline, wide trousers. Hair wavy, headpiece balanced with fruit and leaves. It’s playful, almost absurd, but the frame makes it feel deliberate.
Together, the spread doesn’t flatten her. It lets her shift. Fringe, structure, ribbons, denim, fruit. The shoot wasn’t about one look. It was about letting each outfit carry its own imperfect rhythm.
