Kristen Stewart wore a sleeveless white dress and later a black leather jacket in The Telegraph February 2026 editorial photoshoot.
For The Telegraph’s February 5, 2026 editorial, Kristen Stewart shows up in two sharply different outfits. That’s the point — the spread doesn’t settle on one version of her.
First look: a sleeveless short white dress trimmed in black, with pocket details that keep it playful. Tattoos visible on her arms and thigh, including the word “MINE.” If you ask me, the ink makes the dress less prim, more lived-in. Black shoes ground it. The whole thing feels like a styled shoot but still believable, not costume.
Second look: black leather jacket over a ribbed white top. Accessories pared down to silver necklace and rings. Hair loose, posture leaning against a chair. It’s simple but looks expensive, the kind of outfit you’d throw on for a press event without overthinking. The best part? The jacket does all the work here.
Together, the two outfits balance sharpness and ease. One says “styled,” the other says “casual edge.” And that’s why the editorial works — it doesn’t flatten her into one mood.
Miriam Petche wore a sheer mint floral top and pencil skirt by Fendi for her Elle UK March 2026 feature.
I like when a look feels like air. Or better yet, like something you could crumple in your fist — and it would bounce back.
Miriam Petche appears on the Elle UK March 2026 page in a sheer mint-green floral set by Fendi , and it’s lightweight in every sense of the word. The long-sleeve top is puffed just slightly at the shoulders and wrists — soft volume, not fuss — and zipped down the front with a concealed placket. Beneath it, the matching pencil skirt floats between translucency and structure, printed with lemony dots and white blotted florals. The whole thing feels like it was made for British light.
But what gives this look depth is where it shows up. Petche opens up about playing Sweetpea in Industry — a TikTok-viral character with frenetic energy — and how distant that role is from her real self. She’s calm, intentional. Talks about navigating social media boundaries, wanting to take her Kindle and just unplug for a while. She jokes her Spotify Wrapped said she listened to “77” tracks, which sounds like a glitch but mostly reads as: she’s not performative. At all.
Jewelry is pared-back elegance: gold-and-diamond earrings and a matching ring by Tiffany & Co. , nothing screaming but still sharp in close crop shots.
This shoot isn’t loud. It’s not grabbing. It’s the kind of styling that lets someone exist inside it rather than be consumed by it.
Sarah Pidgeon wore a sequined gown in Variety February 2026, reflecting her role as Carolyn Bessette-Kennedy in FX’s Love Story series.
Variety’s February 2026 issue places Sarah Pidgeon in the spotlight, styled in a sequined multicolored gown while Paul Anthony Kelly sits behind her in a sharp black suit. The cover headline, “Nights in Camelot,” sets the tone for FX’s Love Story , a retelling of the Kennedy family’s tragic romance.
Inside, the feature digs into the casting process. Carolyn Bessette-Kennedy was locked early, with producers convinced once they saw Pidgeon as a blonde. But finding John F. Kennedy Jr. was a nightmare. Casting agents searched in Australia, England, even pulled random men off the street. None could match the unique mix of charisma and physique that JFK Jr. carried through the ’90s.
The article also highlights the chemistry between actors. Pidgeon herself notes, “There was a serious love there… that was always what we were searching for.” Producers echoed that the emotional depth mattered more than surface resemblance. If you ask me, that’s the right call — audiences buy into connection, not just looks.
Another section ties the project to Carolyn Bessette-Kennedy’s legacy. Her life, personality, and relationship with the Kennedy family are explored, with commentary about the risks of backlash. Connor Hines summed it up: “Once people see it, they will feel a different type of way.”
