Lisa Vicari appears in the January 2026 issue of Numéro Netherlands, photographed in three distinct outfits that highlight structure, texture, and monochrome elegance.
January 2026. Lisa Vicari in pinstripes, blazer sharp, cuffs white, trousers black. A beret tilted, shoes mismatched — one light, one dark. Pose confident, hand on hip, the other raised slightly. The monochrome frame emphasizes lines, textures, the geometry of tailoring.
Another frame, softer but still deliberate. A polka-dotted dress, puffed sleeves, white collar, bow at the neckline. Buttons running down the front. One hand raised near her head, expression contemplative. Lighting gentle, vintage feel. The dress playful yet restrained, retro without excess.
Third look, pared down. A houndstooth sweater, pattern bold, hair pulled back. Seated, gaze direct, neutral expression. Background plain, light. The sweater’s texture against the simplicity of the setting makes the portrait feel raw, almost unfinished.
Her styling here: deliberate contrasts. Tailored pinstripes, retro dots, patterned knit. Together they form a fashion spread stitched from fragments. A celebrity photoshoot that resists glamour excess, leaning instead into texture, tone, and mood.
The critic’s note: Vicari’s editorial wasn’t about spectacle. It was about fragments — blazer lines, bow tied, houndstooth sharp. A styled shoot reframed into something tougher, more authentic.
Vicari’s three looks read as high fashion minimalism with grit. Each outfit carried authority: pinstripes structured, polka dots playful, houndstooth grounded. It’s the tension between tailoring and texture that makes this magazine cover and editorial resonate as authentic.
Kendall Jenner wore The Row Gala Pants and Stella Slippers with a paisley scarf at Sushi Park on January 10, 2026.
No coat. No commotion. Just Kendall Jenner gliding out of Sushi Park in what looks like a soft evening shrug. Look closer–this is not drama. It’s rhythm. Casual, ease-first rhythm. Her hand’s halfway up to tuck her hair, glasses low on her nose, belly casually exposed under the hem of a black cropped tee.
She’s wrapped in a burnt red paisley shawl, loosely tossed around shoulders like something borrowed from an aunt in Madrid. It’s not about warmth–it’s about shape. That one touch of seasonality over a base outfit built for movement. The black wide-leg pants –identify them as The Row Gala Pants if you know your minimalism–fall gently, no press lines, no hard tailoring. Easy, comfortable.
The shoes? Short black slippers–likely The Row Stella Slippers in Leather , though they barely peek out under the trousers. Soft toe. She’s moving. We don’t see the bag clearly, though a slim black strap flickers briefly by her side. If it’s The Row Lilou Woven Shoulder Bag , it stays discreet.
It’s not innovative. Doesn’t want to be. It’s one of those outfits that gets talked about not because it’s loud–but because it resists styling . The pants are quietly luxurious. The scarf is a wildcard. The shoes do their job and disappear. All grounded in familiar black, but shaken up by one printed splash up top. And that’s the point.
When fashion tries to vanish, it can sometimes end up saying more.
Emma Raducanu wore a blue long-sleeve top and tennis skirt during her Hobart International 2026 match opener against Camila Osorio.
This isn’t one of those polished, posed courtside shots. This is Emma Raducanu mid-swing , legs off the ground, racket slicing forward like she’s trying to split the night. No drama, just grit. Power, not posture.
She’s wearing something quiet, almost muted– a dusty blue long-sleeve performance top , fitted toward the torso, designed for function. Below the waist: a pale blue pleated tennis skirt that flies outward with the force of her movement. Her sneakers–neon pink, no ambiguity there–feel like the punctuation in an otherwise low-volume outfit. Nike visor on. Ponytail held back. Eyes tracking the ball like it insulted her family.
No frills. Just speed and tension and clean lines.
