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.
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.
Molly Gordon’s Theory Spring 2026 campaign moves between tailored gray, soft green calm, and black leather boldness.
The Spring 2026 campaign from Theory opens with Molly Gordon in a light gray pantsuit. Structured blazer, wide-leg trousers, asymmetrical flap pocket. The setting is minimal, white walls and large windows. It feels professional but not stiff, more like a modern office paused mid-thought.
Another frame softens the mood. She’s seated, wearing a light green short-sleeved top and cream pants. Hair long, brown, falling loose. The background muted in white and gray. The palette is calm, almost domestic, like a quiet morning.
Then a sharper turn. Black oversized leather jacket, white wide-legged pants, hair wavy and covering part of her face. She sits on a chair, looking directly at the camera. The contrast is bold, jacket heavy against the clean background.
Together, the campaign doesn’t chase glamour. It leans into contrasts — tailored gray, soft green, black leather. Each outfit feels like a different note, stitched into one editorial rhythm.
