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.
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.
Adéla’s NYLON January 2026 shoot moves between corset beige, avant-garde black, sheer grit, and layered street drama.
The January 2026 issue of NYLON opens with Adéla crouched low, pink hair sharp against a white background. Beige corset, fishnets, metallic choker. One hand pressed to her chest. It feels raw, almost improvised, like she’s testing the edges of the outfit rather than posing for it.
Another frame: black gown, high collar, fringe shoulders, cut-out sides. Arms stretched wide against a wall. The dress is long, form-fitting, dramatic. Nail polish black. The pose is rigid, stylized, almost architectural.
Then a shift outdoors. Sheer black top and pants, bra visible, undergarments plain. Pink hair against a cracked wall, plants at the base. The contrast is sharp — urban decay against styled transparency.
Finally, a sidewalk shot. Layered black outfit, train flowing, stockings sheer, heels high. Sunlight cuts shadows across the pavement. A street sign in the background. It feels less editorial, more like someone caught mid-stride in a city that doesn’t care.
Together, the spread doesn’t chase glamour. It leans into contrasts — corset beige, fringe black, sheer grit, layered street. Each outfit feels like a different note, stitched into one restless editorial rhythm.
