Kristen Stewart and Imogen Poots appear in i-D Magazine’s December 2025 issue, styled across multiple expressive looks that fuse intimacy, edge, and editorial clarity.
For the December 2025 issue of i-D Magazine , Kristen Stewart and Imogen Poots deliver a multi-look editorial that fuses celebrity photoshoot-coded tonal intimacy with fashion spread-coded compositional sharpness , captured in a series of portraits that oscillate between cinematic softness and high-fashion tension.
The cover features a close-up of the duo — Stewart winking in a light green top and black leather jacket , Poots composed in a light blue blazer and top — creating a look rooted in studio portrait-coded chromatic contrast . Their expressions and proximity signal a deliberate embrace of styled shoot-coded emotional fluency , where personality and styling merge into a singular visual rhythm.
Inside the spread, the editorial shifts into layered intimacy: Stewart in a textured gray blazer , leaning into Poots, who wears a lavender blazer and displays a gold ring with black nail polish . The pose — arms wrapped, expressions grounded — evokes beauty shot-coded emotional depth , while the dark wood backdrop adds warmth and cinematic grounding.
Another look features Stewart in a black geometric-patterned leather jacket over a white tank top , paired with dark pinstriped pants , while Poots appears in a sheer layered top over a white shirt , accessorized with a gold ring, bracelet, and visible tattoo . These ensembles introduce high fashion-coded textural modulation , where contrast and silhouette drive the editorial’s visual cadence.
Sadie Sink appears in GLAMOUR USA’s November 2025 issue, styled across multiple expressive looks that fuse elegance, surrealism, and editorial clarity.
In the November 2025 issue of GLAMOUR USA , Sadie Sink delivers a multi-look editorial photographed by Arseny Jabiev , fusing celebrity photoshoot-coded tonal elegance with fashion spread-coded compositional sharpness , captured in a series of portraits that oscillate between sculptural softness and surrealist tension.
One standout look features Sink seated in a modern chair, wearing a dark fur coat draped over her shoulders , a light gray skirt , and white open-toe heels , creating a moment rooted in studio portrait-coded spatial precision . The clean backdrop and metallic floor amplify the editorial’s beauty shot-coded chromatic restraint , allowing the textures to dominate the visual rhythm.
Another frame shifts into motion: Sink steps through a tilted metallic structure, styled in a blue bra , shiny silver skirt , and silver heels , accessorized with large circular earrings . The wind-swept hair and dynamic pose introduce styled shoot-coded kinetic surrealism , where fashion becomes a vessel for movement and myth.
In a third look, she sits on the floor in a peach satin dress with beige straps , gray thigh-high stockings , and white heels , holding a metal slinky toy while laughing. This ensemble evokes photoshoot ideas-coded whimsical softness , where playfulness and polish coexist.
The final look features a black strapless top with a circular brooch , paired with a high-waisted pleated skirt and button detailing , captured mid-motion with arms raised and a subtle smile — a nod to fashion photoshoot-coded theatrical clarity .
Odessa A’zion appears in The Face Magazine’s Winter 2025 issue, styled across multiple expressive looks that fuse streetwear, surrealism, and editorial clarity.
In the Winter 2025 issue of The Face Magazine , Odessa A’zion delivers a multi-look editorial that fuses celebrity photoshoot-coded tonal eccentricity with fashion spread-coded compositional depth , captured in a series of portraits that oscillate between streetwear softness and surrealist sharpness.
One standout ensemble features A’zion in a loose-fitting blue top with a fantasy-themed graphic , paired with oversized light gray sweatpants and a draped hood , creating a look rooted in styled shoot-coded narrative ambiguity . Her expressive pose — hands pressed together near the face, head tilted — introduces studio portrait-coded kinetic softness , while the minimal backdrop amplifies the outfit’s visual rhythm.
Another portrait shifts into monochrome: A’zion wears a shaggy black coat with white trim , black gloves , and eyeglasses , framed by a dramatic hand gesture that evokes beauty shot-coded theatrical tension . The textures and grayscale palette suggest a deliberate embrace of high fashion-coded editorial surrealism , where gesture and garment merge into visual storytelling.
