Miriam Petche wore three contrasting outfits for Squaremile Magazine January 2026, mixing sleek black layers, edgy leather, and casual knitwear with bold styling.
Miriam Petche appears in Squaremile Magazine’s January 2026 editorial shot by Craig Gibson, and the styling runs across three very different moods.
First look: a black fitted top paired with floral sheer tights and pointed heels . It’s sharp, minimal, almost severe. The tights add texture, breaking the monotony. If you ask me, this one feels like a studio portrait idea that’s all about line and detail.
Second look: a black leather blazer layered over a high‑neck top, with patterned fishnet tights and knee‑high boots strapped with buckles. It’s modern, edgy, and a little aggressive. I’ll say it — the boots do all the talking here. Without them, the blazer risks looking too safe.
Third look: a light brown cardigan , partly unbuttoned to show midriff, paired with dark pants and a waistband labeled “Aaron Bradley.” It’s casual but styled, softer than the others. The cardigan feels lived‑in, almost careless, and that’s why it works.
Together, the three outfits show range: sleek, tough, relaxed. What I love is that none of them chase glamour — they sit closer to everyday grit, styled but not polished.
Closing thought: the leather blazer with buckled boots is the one that sticks — like armor dropped into a quiet room, blunt and unforgettable.
Amanda Seyfried wore a red sleeveless tailored pantsuit to the UK gala screening of The Testament of Ann Lee in London on February 6, 2026.
Amanda Seyfried didn’t need sequins to make noise. At the UK Gala screening of The Testament of Ann Lee on February 6, 2026, she stepped onto the red carpet in an all-red pantsuit so sleek and self-assured it almost refused commentary.
The look: head-to-toe Giorgio Armani . A sleeveless waistcoat made from washed silk crepe , clean-lined, tailored right to the frame, with a hidden front zip instead of buttons. It has a razor-sharp hem that almost mimics a cropped jacket. Below that, high-waisted single-pleat, wide-leg trousers , also crepe, fluid but grounded. There’s movement here, but it doesn’t swish — it glides.
She paired it with pointed black pumps and carried a Giorgio Armani Small Grained Leather Trapezoid Tote Bag — demure, structured, barely demanding attention. Hair fell long, parted on the side, old-Hollywood smooth. Softly waved but polished enough to let the red shine take point.
No necklace. No heavy earrings. Nothing trying to wrestle the spotlight. Just color, silhouette, and insane tailoring. It’s bold but not forced. You either show off or you show up — Amanda managed both.
No fuss. No trend-chasing. Just the kind of red carpet fashion that makes designers proud and stylists relieved.
Zoë Bleu wore four striking outfits for Numéro Netherlands February 2026, blending bold gowns, tailored suits, textured knits, and feathered drama.
Zoë Bleu steps into the Numéro Netherlands February 2026 editorial with four looks that feel like different chapters of the same story.
First: a deep burgundy strapless gown , shiny and heavy, somewhere between satin and leather. The bodice is tight, the skirt full. It’s dramatic but not fussy. If you ask me, the tousled hair keeps it from tipping into costume territory.
Second: a gray oversized suit with a lace top peeking out. The proportions are exaggerated, almost clumsy, but then those bright red heels cut through the neutrality. I’ll say it — the shoes save the look. Without them, it’s just fabric swallowing her frame.
Third: a black dress covered in long white feather‑like fringes . It’s messy, tactile, almost chaotic. Tattoos visible, hair pulled back loosely. This one feels raw, like a fashion photoshoot idea that doesn’t care about polish. The best part? The contrast — black base, white fringe, skin and ink all colliding.
Fourth: a beige knit outfit , loose sleeves, long drape, cozy but styled. Sitting low, crouched, tattoos showing again. It’s softer, calmer, almost domestic compared to the others. And that’s why it works — it’s the pause between louder notes.
Together, the four outfits show range: glamour, tailoring, chaos, comfort. What I love is that none of them chase perfection. They’re lived‑in, imperfect, and that makes them stick.
Closing thought: the feathered black dress is the one that lingers — like static electricity caught mid‑movement, strange and unforgettable.
