Madison Iseman unveils a new aesthetic for Numéro Netherlands, trading polished glamor for a raw, sun-soaked (and surprisingly gritty) vision of modern Hollywood.
There’s a specific kind of light in Los Angeles—that stark, late-afternoon sun that turns concrete into a blinding white and casts long, dramatic shadows. It’s this unvarnished quality that Madison Iseman embraces in her latest editorial for Numéro Netherlands, leaving behind the usual red carpet formality for something more elemental.
In one shot, she lounges on a bed of loose gravel and dirt, the setting a striking contrast to her look. She pairs a simple ribbed white tank top with ruffled, high-cut green bikini bottoms. The glossy black slingback heels—a stark, almost aggressive detail—disrupt the otherwise relaxed mood, creating a tension that is the core of this shoot. It’s a study in contradictions: casual yet high-fashion, delicate and strong.
The narrative shifts as she stands on a sidewalk, backlit by that same harsh sun. Her black dress, a feat of textural complexity, appears to be made of frayed, artfully deconstructed threads, revealing glimpses of the skin beneath. Paired with sharp, black pointed-toe pumps and oversized sunglasses, the outfit channels a kind of whiplash chic—a look that feels both carefully composed and completely undone.
Then, there’s the final image, where she commands the frame in a crimson mini-dress. The color is electric, a jolt against the muted urban backdrop. What makes this look is the unexpected styling: bright red sheer stockings that create a continuous line from her legs to her matching red shoes. It’s a deliberate choice that elevates a simple silhouette, lending it a playful, almost mischievous spirit. The mood is confident, effortless, and entirely her own.
Joséphine Jobert trades the idyllic scenery of Saint Marie for a captivating editorial, fusing casual elegance with raw, unfiltered allure.
There’s a certain magic to a candid, sun-drenched photograph that a perfectly lit studio shot can never replicate. In her latest photos, Joséphine Jobert gives us a masterclass in this kind of unstudied, effortless chic. It’s a series that feels less like a formal photoshoot and more like a stolen moment, a quiet afternoon where every detail—from the light to the pose—is simply right.
In one shot, she stands framed by the stark lines of a window, her arms raised in a gesture that is both languid and strong. She wears a black cropped top, its lace-up front and intricate lace detailing adding a soft, feminine contrast to the sharp geometry of her surroundings. Paired with form-fitting black trousers, the look is simple yet powerful, a modern uniform of confident ease. The single gold cuff on her wrist and a delicate necklace are the only accessories needed to complete this minimalist urban portrait.
Then, there’s the second image, a study in a different kind of grace. Here, she’s seated on a wooden lounge chair, wrapped in what appears to be a flowing white sheet. The fabric drapes and pools around her, creating an ancient, almost statuesque silhouette that recalls a classical muse. It’s a look that requires a certain poise and, more than anything, a great deal of confidence—something she clearly has in spades. The play of light and shadow on her skin and the soft, tousled waves of her hair make the entire scene feel intimate and timeless.
Sophie Thatcher debuts a striking aesthetic in her August 2025 photoshoot—a kind of modern-gothic glamour that’s equal parts raw, emotional, and utterly compelling.
Some photoshoots are just about clothes. Then there are those that tell a story, capturing a mood that lingers. In her latest series, Sophie Thatcher does just that. We see her on a rocky beach, the sky a brooding grey backdrop. Her hair, dark and disheveled, seems to mirror the untamed sea behind her. In one shot, she wears a simple, off-the-shoulder t-shirt that appears wet, almost clinging to her frame. The fabric’s sheer quality hints at a certain vulnerability, a raw honesty that feels far more interesting than a polished couture gown.
In another image, she kneels on the dark, wet sand, her clothes now a light, almost translucent hue. Her face is streaked with dirt, and a scattering of sand clings to her legs and arms. The look is a visceral rejection of clean-cut, studio-lit perfection. It’s a mood. This isn’t just a fashion shoot; it’s a cinematic moment, a fragment of a larger narrative. The whole atmosphere feels plucked from a brooding indie film, a quiet moment of introspection amidst a storm. It’s a bold choice that leans into a certain kind of anti-glamour, a kind of beauty found in the imperfect.
