French actress Mélanie Thierry debuts a breathtaking editorial for Madame Figaro, blending insouciant style with an intimate look into her life, philosophy, and storied career.
There’s a raw, unfiltered honesty to these images, a quiet confidence that immediately draws you in. Thierry, an “antistar” as the magazine notes, seems completely at ease, eschewing the contrived poses of celebrity to simply exist within the frame. In the main image, she perches with one knee drawn up, a massive, dark overcoat slipping off her shoulders to reveal a pale, flowing blouse and a deep, V-neck neckline. It’s a study in controlled chaos, where the structure of the coat contrasts beautifully with the soft, undone nature of the rest of the look. The styling, which includes bold rings and delicate, silver sandals, completes a narrative of understated glamour—the kind that doesn’t need to shout to be heard.
In the accompanying text, titled “The Things in Her Life,” Thierry herself offers a rare glimpse into her personal world. She discusses the importance of her work in Alex Lutz’s film Connemara and reflects on the freedom she’s found in her acting, a passion she’s had since she was a little girl. Thierry speaks of embracing vulnerability and finding strength in her own intuition, a sentiment that feels perfectly mirrored by the authenticity of the photos. “It’s about letting go, letting it live,” she says of her acting. This ethos, this belief in trusting the process, is palpable in every shot.
Thierry’s journey, as she reveals, was not always a straight path. She recounts a period of doubt, questioning if she had a place in the film industry, a sentiment many can relate to. Yet, her perseverance and her commitment to her craft shone through. She admits to being shy and lacking confidence in her youth, finding her true voice not in public life, but on set, in front of the camera. The article quotes her as saying, “I could never give up my freedom,” a powerful statement that resonates deeply.
The entire feature is a fascinating look at the intersection of a star’s public persona and her private self. It serves as a reminder that the most compelling celebrity fashion is often a reflection of the person behind the clothes. So, what can we take away from Mélanie Thierry’s effortlessly cool celebrity style ? Perhaps that true glamour isn’t about perfection, but about the beautiful, messy, and deeply human art of simply being yourself.
Never one to play it safe, Delilah Belle and Amelia Gray unleash a new kind of “whiplash chic” in their striking September 2025 editorial for US Vogue.
The image hits like a fever dream, an intimate moment captured with a jolt of high-octane glamour. On a concrete ledge by the water, the two sisters are locked in a silent, intensely stylish dialogue. The atmosphere is tense, cinematic—like a scene pulled from a glossy neo-noir film. One sister, perched on a sleek, turquoise structure, wears a black bustier-style top, a study in sharp angles and severe lines, paired with a lush, dark brown fur stole. Her counterpart, standing, commands the frame in a crisp, white bustier-like top with plunging neckline, its fabric catching the light like liquid silver, and a cool gray, A-line skirt. The juxtaposition of the raw, waterfront setting and the meticulously styled fashion feels deliberate, a commentary on the collision of grit and glamour.
<img loading=“lazy” src=“https://celebmafia.com/wp-content/uploads/2025/08/delilah-amelia-s-us-vogue-top-down-editorial-0_thumbnail.jpg" onerror=“this.onerror=null;this.src=‘https://blogger.googleusercontent.com/img/a/AVvXsEhe7F7TRXHtjiKvHb5vS7DmnxvpHiDyoYyYvm1nHB3Qp2_w3BnM6A2eq4v7FYxCC9bfZt3a9vIMtAYEKUiaDQbHMg-ViyGmRIj39MLp0bGFfgfYw1Dc9q_H-T0wiTm3l0Uq42dETrN9eC8aGJ9_IORZsxST1AcLR7np1koOfcc7tnHa4S8Mwz_xD9d0=s16000';" alt=“Delilah & Amelia’s US Vogue “Top Down” Editorial - 12”>
This isn’t just about clothes; it’s a mood board for a new era. The editorial, titled “Top Down,” feels like a challenge to the established order—as the accompanying text suggests, a “whole new way to think about our chests.” It’s an exploration of form and silhouette, where fashion becomes armor. Photographed by Steven Klein, the images are less about gentle beauty and more about a provocative, almost confrontational sensuality. The styling—from the severe, slicked-back hair to the dark, wraparound sunglasses—projects a cool, detached confidence. This is a look that doesn’t ask for permission; it takes the spotlight.
The sisters’ poses, particularly the dynamic between them, tell a story of unspoken connection, a shared world of high-fashion cool. It’s a testament to their presence and the aural intensity of Klein’s photography. Is this a new kind of glamour, one that’s less about a red carpet parade and more about an attitude? It feels like the start of a quiet rebellion, one piece of clothing at a time. So, are we witnessing the dawn of a more defiant, emotionally charged fashion—or just Delilah and Amelia proving, yet again, that the best looks are the ones that make us think?
Two icons of a certain kind of media maelstrom—Amanda Knox and Monica Lewinsky—unveil a new, deeply intentional form of celebrity power and, in the process, debut a surprisingly cohesive sartorial vision for The Hollywood Reporter.
It’s a strange kind of magic when two separate lives, each a public spectacle, converge not in a courtroom drama or political theater, but in the sterile, high-sheen intimacy of a studio. On the cover of The Hollywood Reporter’s August 20, 2025 issue, Amanda Knox and Monica Lewinsky appear less like subjects of a joint interview and more like sisters in a shared, silent language. The story is titled “Still Standing,” and their styling—a masterclass in minimalist resilience—is the first sentence of that narrative.
Amanda Knox, photographed by Mark Champion, stands in a pure white button-down, its crisp, classic lines a direct challenge to the messy narratives that have defined her for decades. The collar is undone just so, a hint of ease and nonchalant rebellion. The sleeves are rolled, revealing a single, gleaming Argent baubleBar bracelet. The styling by Samantha Traina is a clever bit of psychological costuming: this is not the girl on the front page, but a woman with a no-nonsense attitude and a subtle, almost defiant glow. It’s a look that says, “I’m here, but I’m not performing for you.”
By her side, Monica Lewinsky is a study in muted sophistication. She wears a cream-colored, textured blazer over a simple white tee, with her hair styled in soft, cascading waves—a look of effortless grace. The jacket, a quietly luxurious piece, is the antithesis of the loud, theatrical fashion of the ’90s, the era she was first thrust into the public eye. Her styling, credited to Veronica Lewinsky (unconfirmed if it’s a relative or a stylistic pseudonym at press time), is a testament to the power of quiet refinement. The focus is not on flashy trends but on a self-possessed elegance. Is this what “moving on” looks like? A rejection of spectacle in favor of understated cool?
This isn’t a red carpet coup or a catwalk moment; it’s a new kind of visual statement. The pair, bonded by what Knox calls “public shaming and decades of media scrutiny,” are styled to look not just like survivors, but like peers. They’ve traded the noise of public opinion for the serene clarity of a shared vision. Their wardrobes—a subtle palette of creams, whites, and light denim—are a unified front. The fashion here is not a distraction; it is the point. It is a wardrobe that, as Lewinsky notes in the interview, “has nothing to do with being flawless.” Instead, it’s about authenticity, about having “the audacity to be yourself.” And what is more stylish than that?
So, while we may be accustomed to seeing celebrities in gilded gowns and fantastical couture, this joint portrait of Knox and Lewinsky offers a different kind of glamour: the kind that comes from simply, quietly, being . Is this the next evolution of a celebrity image? Or just two women proving that the most powerful thing you can wear is your own story?
