Imogen Poots wore a textured black bouclé jacket and pants by Stella McCartney for Harper’s Bazaar UK March 2026.
It’s rare for a black look to feel this unpolished — in a good way. But this one doesn’t blur or disappear. It sits heavy. On purpose.
Imogen Poots appears in the Harper’s Bazaar UK March 2026 fashion spread wearing a matching bouclé jacket and pants by Stella McCartney that leans into softness, but not ease. The texture is thick and forceful, almost sponge-like in places. No gloss here. Just matte muteness, all black, grounded further by sharp pointed heels from Jimmy Choo that poke the edge of the frame like punctuation — not quite delicate, barely feminine.
What I like is that there’s no jewelry overload. Just a white gold and onyx Tiffany & Co. ring , high-shine and minimal. It’s styling detail used more for rhythm than for flair. Hair’s undone in a shaggy part-curl, part-wave cut, and her pose — seated low, looking out instead of up — makes the whole thing feel like she’s not performing for it.
In the accompanying interview, Poots talks openly about her role in Kristen Stewart’s directorial debut The Chronology of Water — portraying Lidia Yuknavitch, a woman whose story threads through trauma, writing, and survival. She speaks about not wanting to be “lifted out” of reality by status or stardom, saying even now, she struggles with the idea of becoming “an actual leading lady.” There’s a kind of quiet friction in how that idea rubs up against the kidskin leather and award-season atmosphere of this shoot.
She’s not floating above the moment. She’s anchoring it from the floor — boots dug into it.
Morfydd Clark wore a strapless textured white Hussain Chalayan dress for her Harper’s Bazaar UK March 2026 editorial shoot.
There’s a stillness in this shot that doesn’t try to be beautiful. That’s why it works. It just is . Bare. Balanced. And stubbornly grounded.
Morfydd Clark appears in Harper’s Bazaar UK March 2026 in a no-frills textured white strapless dress by Hussein Chalayan , styled against a stark grayscale backdrop marked with abstract black circles. The silhouette isn’t sharp. It doesn’t cling or flatter in an obvious way. It rests — softly sculpted, quietly architectural, but never cold. The fabric looks like it might crinkle if you pinched it. It’s simplicity with presence.
Her makeup is close to none. Skin is left raw. Hair is slicked straight, tucked behind one ear. Gold earrings by Tiffany & Co. flicker faintly but aren’t working overtime. This kind of styling doesn’t try to frame her — it lets her float. Or lean, really. She’s tilted on one hip, gazing into nowhere, like she’s thinking through something complex under fluorescent light.
What comes through, beyond the visuals, is how at home she feels in stories that twist on the edge of strange. From Lord of the Rings: The Rings of Power to her recent Hamlet , Clark is drawn to roles that scrape against genre rules. But it’s not about fantasy for fantasy’s sake — she admits there’s something comforting in the weird, especially when it deals with people who are “swimming against something,” not coasting. That tension shows up here too — delicate fabric, tense stance.
She doesn’t need to say she’s in control. The whole frame says it for her.
Emeline Hoareau wore Givenchy, Alberta Ferretti, Simone Rocha, and Miu Miu in Harper’s Bazaar UK March 2026 editorial photoshoot.
