In her July 2025 cover for Numéro Netherlands Digital, Jessie Murph turns a dimly lit room into a high fashion spread — sheer fringe, veiled mystery, and a box fan that whispers rebellion.
There’s something deliciously off-script about a barefoot artist in a veil, standing beside a box fan in a half-lit room. Jessie Murph’s Numéro Netherlands Digital cover, shot by Dana Trippe, doesn’t just bend the rules of fashion photography — it rewrites them in fringe.
Murph wears a sheer, fringed ensemble that drapes and dances with every shadow. The veil — gauzy and theatrical — obscures her face just enough to evoke mystery without detachment. The outfit’s silhouette is loose, almost ritualistic, with fringe cascading like smoke. She’s barefoot, grounded, and deliberate. No jewelry, no heels, no gloss — just raw styling and mood.
The embedded text is minimal: “JESSIE MURPH by DANA TRIPPE” and “Music.” It’s a whisper, not a shout — letting the image speak louder than any caption. The lowercase “digital” in the masthead feels intentional, almost anti-establishment. This isn’t a beauty shot. It’s a mood board for a generation that prefers emotion over polish.
At the Blanca Season 3 launch in Rome, Maria Chiara Giannetta fused high fashion with architectural tailoring — belted grey suiting, metal accents, and a garden backdrop that whispered editorial.
Maria Chiara Giannetta didn’t just attend the Blanca premiere — she redefined it. In belted grey suiting and a backdrop of Roman greenery, she made structure feel cinematic.
The look is built on precision. A double-breasted blazer, cinched at the waist with a belt that reads more sculpture than accessory, anchors the outfit in editorial clarity. The trousers fall straight, clean, and deliberate. The shirt — buttoned to the top — adds a layer of restraint that feels quietly powerful.
This is suiting that evokes the rigor of Phoebe Philo’s Céline and the edge of Haider Ackermann. The monochrome palette allows the cut and detailing to lead. The belt, with its metallic rings, disrupts the uniformity just enough to inject personality. It’s a fashion spread moment disguised as a press event.
No jewelry, no bag — just the belt. It’s a styling decision that keeps the focus on silhouette and proportion. The absence of adornment feels intentional, editorial, and era-aware.
When a belt can carry the whole silhouette, maybe it’s time we stopped calling suiting a trend — and started calling it a language.
Arriving at Milan Airport, Gwyneth Paltrow delivers a masterclass in off-duty style — black tailoring, blue tote, and a paparazzi moment that feels editorially effortless.
There’s a quiet power in Gwyneth Paltrow’s Milan arrival look — no red carpet, no flashbulbs, just a blazer, a tote, and a gesture that says “I know exactly what I’m doing.”
The outfit is built on monochrome clarity: a black blazer layered over a crisp white top, paired with black knee-length pants. The silhouette is clean and composed, with tailoring that evokes both business and leisure. It’s casual chic with a capital C — the kind of everyday outfit that editors call “airport armor.”
The blazer’s cut is structured but not stiff, falling just below the hip for a balanced proportion. The white top underneath adds contrast and brightness, while the pants — relaxed yet tailored — keep the look grounded. It’s a street style outfit that leans into simplicity without sacrificing polish.
Explore more celebrity street style moments that redefine the art of arrival.
