Mel C appears in The Sunday Times Style’s January 2026 issue, reflecting on girl power, aging, and fashion grit.
The January 2026 issue of The Sunday Times Style places Melanie Chisholm in a setting that’s more shadow than spotlight. One shot shows her seated in a dark, watery space, trench coat wrapped tight, metallic heels catching the light. It’s not glamorous. It’s grounded. The pose is relaxed, but the mood is sharp.
Another frame shifts tone. She’s stretched out on a glossy surface, metallic Cavalli cutout dress clinging to her body, sheer tights, tattoos visible. The styling is bold, but the energy is quiet. She’s not performing. She’s resting.
The final image is more formal. Mel C stands beside her boyfriend, Australian model Chris Dingwall. Long dress, tailored suit. It’s a clean shot, but the intimacy is what holds it.
The interview cuts deeper. She talks about turning 50 and feeling better than ever. About the early Spice Girls days–naive, loud, determined. About being told girls don’t sell records, and deciding to prove otherwise. She recalls a panel with Leigh-Anne Pinnock, Shaznay Lewis, Nicola Roberts, and Keisha Buchanan. Their stories of manipulation and exploitation made her blood boil. “We called the shots,” she says. But she’s not naive about how rare that was.
She reflects on being seen as unpredictable, even scary. “We had to go in all guns blazing,” she says. There’s pride in that. But also a kind of disbelief. “Sometimes we laugh and go, ‘How did we get away with it?’”
Now, she’s softer but not quieter. She talks about her daughter Scarlett, her relationship, her album Sweat. Cosmetic tweaks, shopping habits, and the possibility of a reunion. But the core remains: she’s still the one who walked into a male-dominated industry and didn’t flinch.
Does this editorial feel like a celebration of survival or a quiet reckoning with legacy?
Olivia Wilde wore a black lace and chiffon slip dress at The Invite premiere during the 2026 Sundance Film Festival in Utah.
At the 2026 Sundance Film Festival in Park City, Olivia Wilde appeared at The Invite premiere wearing a look that fused casual western edge and couture sensuality. The ensemble centered on a black Dolce & Gabbana long silk chiffon and Chantilly lace slip dress , revealing a precise play between transparency and shadow. Delicate lace framing along the bodice transitioned into soft pleats that caught light subtly against the matte background.
The thigh-high lace panel on one side broke the symmetry, lending movement and attitude. Beneath, tall textured black boots –rugged and slightly unexpected–pushed the outfit out of evening elegance and into Sundance-terrain realism. Her long hair, undone and airy, balanced the precision of the gown with a sense of freedom, while minimal jewelry and crimson nails kept the focus on texture and flow rather than excess detail.
Penelope Cruz appears in W Magazine China’s 2026 issue, styled in multiple outfits that balance elegance with bold textures.
he 2026 edition of W Magazine China places Penelope Cruz in a sequence of looks that shift between restraint and drama. One frame shows her in a sleek ivory gown, satin-like, with a high slit and floral embellishment at the hip. The open back design adds a quiet sharpness, while feather-shaped earrings echo the dress’s detail. It’s clean, almost minimal, but not shy.
Another outfit pushes in the opposite direction. A voluminous red skirt, feathered and textured, paired with a simple white satin top. The contrast is striking–minimalist upper half, extravagant lower half. The red feels alive, almost unruly, while the top reins it in. Against the plain white background, the colors do all the talking.
The third look strips away color entirely. A dark two-piece ensemble, jacket and skirt, textured and tailored. Accessories are precise: quilted handbag, two-tone heels. The black-and-white frame emphasizes structure, not decoration. Hair straight, pose confident. It’s a modern uniform, softened only by the rolled cuffs.
Together, the spread insists on variety. Sleek ivory, explosive red, monochrome texture. Cruz moves through them without forcing a narrative. The clothes speak differently, but she carries them with the same steady presence.
This W Magazine China spread works because it doesn’t settle on one mood. The outfits argue with each other, but Cruz makes them coherent. The insight is that her editorial presence thrives in contradiction–minimal one moment, maximal the next, always grounded.
Do these images feel like a study in contrasts or a deliberate refusal to choose one fashion identity?
