Mia McKenna-Bruce opens up in Culture Magazine’s January 2026 issue, balancing rising fame with grounded honesty.
In Culture Magazine’s January 2026 issue, Mia McKenna-Bruce leans against a textured wall in a brown polka-dot dress. The pose is relaxed, almost casual. Her expression isn’t posed—it’s mid-thought, maybe mid-laugh. There’s no high-gloss styling here. Just a woman in motion, caught between roles.
She’s everywhere right now. Playing Ringo Starr’s wife in Sam Mendes’s Beatles biopic, starring in Toxic Dial with Helena Bonham Carter, and stepping into Agatha Christie’s world as Eileen ‘Bundle’ Brent. But the buzz doesn’t seem to rattle her. She still worries about the cost of bottled water during interviews. Still answers calls from Barry Keoghan with a laugh.
The article traces her path from child actor in Tracy Beaker Returns to her breakout in How to Have Sex , a film that’s still echoing through classrooms and conversations. She talks about shame, expression, and the years of introspection that preceded her rise. There’s no performance in her words—just clarity. She’s a mother now, too. “It’s not easy, but it’s magic,” she says. That line lands harder than most.
She reflects on accents, ballet, voice work. On being taken seriously. On people who saw themselves in her characters, even when it hurt. The editorial doesn’t try to dress her up. It lets her speak, lets her sit still. And that’s what makes it work.
Emma Naomi steps into Cosmopolitan UK’s February–March 2026 issue, styled in playful contrasts and bold textures.
In Cosmopolitan UK’s February–March 2026 issue, Emma Naomi sits on the floor beside a freestanding bathtub, cardigan patterned with a torso sketch, tiered skirt spilling around her, blue Mary Jane platforms grounding the look. The scene is cluttered—soap dish, jewelry, stray heels. It feels lived-in, not staged.
Another frame shifts mood. A sheer lavender shirt with cutout shoulders, mauve trousers cinched by a belt dripping gold and silver charms. She leans against a mantelpiece, candle and floral print above, lamp with fringe beside. The outfit is sharp but softened by the domestic setting. Accessories do the talking here, the belt pulling focus.
Then comes the baroque print top with balloon sleeves, paired with lace-trimmed bloomers and towering platforms. A green plant, designer chairs, and a floor lamp fill the background. It’s playful, almost absurd, but deliberate. Bloomers dragged into the 21st century, stitched with irony and confidence.
Together, the spread doesn’t chase glamour. It leans into contrasts—bathroom clutter, mantelpiece calm, baroque exaggeration. Naomi doesn’t smooth the edges. She lets them stay jagged.
Ruth Wilson wore a floor‑length gray double‑breasted coat with black velvet lapels and heels at the Christian Dior Haute Couture Show in Paris January 2026.
On January 26, 2026 , during Paris Fashion Week , Ruth Wilson arrived at the Christian Dior Haute Couture Spring/Summer 2026 show in a look that felt both severe and elegant. She wore a long gray double‑breasted coat , cut cleanly to the ankles, shoulders firm and straight. A pair of black velvet lapels broke the monochrome quietly, absorbing light in contrast to the wool’s muted texture.
Wilson’s stance was unflinching, further sharpened by black cross‑strap heels and dark sunglasses that framed her expression in deliberate neutrality. The outfit avoided playfulness entirely—it was all line and intent. Even her signature red hair, softly waved, carried into the tone of the ensemble: structured, minimal, impossible to misinterpret. The setting’s marble backdrop reflected the same precision, keeping focus on the simplicity of Dior’s tailoring over embellishment.
