Kristen Stewart appears in The Sunday Times Culture’s January 2026 issue, reflecting on fame, filmmaking, and feminist fury.
The January 25, 2026 issue of The Sunday Times Culture features Kristen Stewart in a stripped-down black-and-white portrait. White tank, black blazer, Calvin Klein underwear. Necklace, glasses. No fuss. The styling is minimal, but the mood is sharp. She’s not posing–she’s just there.
The interview dives deep. Stewart talks about method acting, calling it a male performance trick. She’s done pretending to be impressed by press-ups before a take. She’s more interested in clarity now. Calm, even. She recalls a moment when a male actor dismissed her critique of method acting as “crazy.” Years ago, she’d have boiled over. Now she just finishes her point.
She’s 35, but it feels like she’s lived three lives. From Panic Room to Twilight to Spencer. From tabloid chaos to César wins. Her directorial debut, The Chronology of Water, is raw, moody, and personal. It took eight years to fund. She’s engaged to screenwriter Dylan Meyer, producing the film together. The story–based on Lidia Yuknavitch’s memoir–is dark, tangled, and full of psychological grit. Abuse, swimming, fantasy, shame. Stewart doesn’t flinch.
She’s not chasing redemption. She’s building something else. A career that doesn’t ask permission. A voice that doesn’t soften.
This Sunday Times Culture spread works because it doesn’t try to dress up the moment. The styling is blunt, the tone even more so. The insight is that Stewart’s editorial presence is no longer about reinvention–it’s about refusal. She’s not performing. She’s directing.
Does this editorial feel like a portrait of transformation or a quiet declaration of creative control?
Penelope Cruz appears in W Magazine China’s 2026 issue, styled in multiple outfits that balance elegance with bold textures.
he 2026 edition of W Magazine China places Penelope Cruz in a sequence of looks that shift between restraint and drama. One frame shows her in a sleek ivory gown, satin-like, with a high slit and floral embellishment at the hip. The open back design adds a quiet sharpness, while feather-shaped earrings echo the dress’s detail. It’s clean, almost minimal, but not shy.
Another outfit pushes in the opposite direction. A voluminous red skirt, feathered and textured, paired with a simple white satin top. The contrast is striking–minimalist upper half, extravagant lower half. The red feels alive, almost unruly, while the top reins it in. Against the plain white background, the colors do all the talking.
The third look strips away color entirely. A dark two-piece ensemble, jacket and skirt, textured and tailored. Accessories are precise: quilted handbag, two-tone heels. The black-and-white frame emphasizes structure, not decoration. Hair straight, pose confident. It’s a modern uniform, softened only by the rolled cuffs.
Together, the spread insists on variety. Sleek ivory, explosive red, monochrome texture. Cruz moves through them without forcing a narrative. The clothes speak differently, but she carries them with the same steady presence.
This W Magazine China spread works because it doesn’t settle on one mood. The outfits argue with each other, but Cruz makes them coherent. The insight is that her editorial presence thrives in contradiction–minimal one moment, maximal the next, always grounded.
Do these images feel like a study in contrasts or a deliberate refusal to choose one fashion identity?
Haley Lu Richardson wore a striped sweater and denim overalls for a casual portrait session at the IMDB Studio during the 2026 Sundance Film Festival.
At the IMDB Portrait Studio during the 2026 Sundance Film Festival , Haley Lu Richardson brought a rare kind of ease to the press-week whirlwind. Lounging across a caramel-brown sofa, she lifted one boot toward the ceiling, laughing mid-pose as if mocking the formality of festival portraits. Her striped sweater –soft, fuzzy, confident–mixed with dark denim overalls , a pairing that told more truth about warmth and comfort than any brand-led outfit might.
Ash-blond hair, loosely curled, framed her grin. A pair of solid black ankle boots grounded the playfulness, giving the look quiet edge. The pillows–burnt mustard, white, and mint green–set a cozy frame around her, rustic but still studio-clean.
