Kylie Cantrall wore a black leather mini dress with silver buckle details for an Alex Evans Grammy editorial photoshoot in February 2026.
For an Alex Evans–shot editorial tied to the 2026 Grammys , Kylie Cantrall didn’t show up in softness. She chose steel. Black leather. A fitted mini buckle dress covered in hardware—four silver clasps stacked tight along the ribs, zipper dead center, corset-tight. The look feels like a club anthem directed by Guillermo del Toro. It’s not meant to flatter in a polite way. It’s meant to bite.
Her pose? Asymmetrical. Arms bent like brackets, fingers sharp, like she’s slicing through the frame mid-spin. Hair slicked at the crown, split into high-strung braids, the rest left down with intentional mess—edgy, but there’s finesse in the placement. Shoes are black stiletto slingbacks , razor-sharp in silhouette. The kind of heels that belong in fashion spreads, not sidewalks. Just enough glint pulls from the buckles—they’re mirrored in hoops, nails, cheek highlight. Everything about the styling is pulled taut, like someone yanked the moodboard wire across a dark room.
This is a fashion photoshoot , yes, but it leans full music video energy—more movement than moment, more edge than elegance. It screams less like a cover look, more like a mic drop.
Kylie Cantrall wore a sculpted leather corset dress with oversized buckle hardware for a Thom Kerr Grammy editorial photoshoot in February 2026.
For her Grammy 2026 editorial photoshoot with Thom Kerr , Kylie Cantrall leaned all the way into industrial glam—edgy, exaggerated, and tightly controlled. The look? A strapless black leather corset top sculpted like armor, clinched with three oversized crystal-trimmed buckles shot straight down the bodice. There’s an undercurrent of cyberpunk here—slick but dangerous—with each buckle glinting like a jewel freshly ripped off a machine. Sharp tailoring flares at the hip, peplum-style but in hard textures, cutting the waist with intention.
Below it, a curve-hugging black pencil skirt , matte, ankle-grazing, no slits, no distractions. The body does the talking. On her feet? Pointed stilettos , black with a side cutout—not soft pumps. They bite. Like punctuation.
Her styling dials it up further. High pigtails , slicked and parted clean with just enough attitude to throw it all slightly off-center. Chunky crystal earrings , massive but intentional. Stacked rings. Nails painted in near-metallic cherry. Eyes smoked and sideswept. Lips deep, wine-toned. There’s no sweetness here, only statement.
This wasn’t a red carpet moment in soft lighting—it was a high-pressure studio portrait designed to catch edges. The whole look isn’t meant to flatter—it’s meant to strike.
Margot Robbie wore a custom Thom Browne corset gown and diamond choker for the Wuthering Heights Paris premiere shoot in February 2026.
Bathed in soft rainfall and old Paris light, Margot Robbie stood beneath a lamppost like she’d stepped out of a fever dream adaptation of Wuthering Heights . For the February 2026 Paris premiere shoot , the dress said everything—structured chaos in black. Custom Thom Browne , of course. A sharply tailored mid-corset bodice with lace-up cinch, delicate sheer overlay, and that bold rectangle of stiff skirting. It cut her off at the thigh only to rebuild her in geometry—horizontal line, then vertical drop. No slit. No flutter. Just dominion.
There’s elegance here, but it isn’t soft. This is strict. The kind of romance that’s half-weary and half-wild. Her accessories played court: a custom Jessica McCormack diamond choker , velvet banded, with a cross pendant dead center like a gothic punctuation mark. Matching bespoke earrings , barely visible under intentionally sculpted tendrils of wet-look curls. In hand (not pictured here, but confirmed from styled context): a sleek Thom Browne black case bag , bone-straight lines. And on foot? Heavy grounding— Thom John platforms in black calf leather, likely thudding across stone.
This wasn’t red carpet. It was editorial mood—more fashion photoshoot than premiere entrance. Rain glosses the ground. A basilica towers behind her. All that restraint becomes theater. She’s not posing for the camera; she’s haunting it.
