Molly Gordon sprawls across vintage floorboards in a black blazer and sultry top—her FX Vanity Fair portrait channels moody glamour with a cinematic pulse.
There’s a moment in every fashion cycle when restraint meets rebellion—and Molly Gordon’s FX & Vanity Fair Pre-Emmys portrait nails that intersection with unapologetic flair.
Lying across a rustic wooden floor, Gordon wears a black blazer layered over a revealing top that hints at lingerie but lands firmly in editorial territory. The blazer, matte and structured, evokes classic menswear tailoring—think Helmut Lang or early Saint Laurent—while the top beneath adds a whisper of seduction, possibly satin or mesh, though the lighting keeps its secrets.
No accessories interrupt the visual tension. No jewelry, no visible shoes—just Molly, the outfit, and the room. And what a room: amber lighting, aged walls, a wooden table and chair that feel plucked from a 1970s arthouse set. The composition is painterly, almost Caravaggio-esque in its chiaroscuro drama.
Her pose—reclined, limbs relaxed but deliberate—suggests a woman in control of her narrative. It’s not passive; it’s performative. She’s the subject and the storyteller.
Hair and makeup are obscured, but that only adds to the mystique. This isn’t about polish—it’s about presence. The image feels like a still from a lost Cassavetes film or a moody editorial in early 2000s W Magazine.
Hunter Schafer’s magenta McQueen halter dress—minus the runway theatrics—brought clean drama and Cartier sparkle to the 2025 Emmys red carpet (and we’re still not over it).
Hunter Schafer knows how to make an entrance—and more importantly, how to edit one. At the 77th Primetime Emmy Awards, she stepped onto the red carpet in a magenta Alexander McQueen Fall 2025 gown that proved restraint can be radical.
The dress, a sleeveless halter with a high neckline and fitted bodice, featured tonal velvet paneling that added depth without distraction. The silhouette was sculptural yet fluid, hugging Schafer’s frame with McQueen’s signature precision. It’s the same design Ariana DeBose wore in black—though hers was cloaked in a dramatic shearling coat. Schafer skipped the theatrics, and the result was a cleaner, more impactful statement.
She paired the gown with Christian Louboutin Hot Chick sling pumps—those signature scalloped edges peeking out just enough to add a wink of playfulness. Jewelry was Cartier, and perfectly chosen: Reflection De Cartier diamond drop earrings and a Broderie De Cartier ring. No excess, no over-styling—just sharp choices that amplified the look’s elegance.
Her hair, styled in loose waves, softened the architectural lines of the dress, while makeup stayed fresh and minimal—dewy skin, a hint of blush, and a barely-there lip. It’s the kind of beauty that lets the fashion breathe.
Sydney Chandler leans into cinematic nostalgia—her frilled blouse and ribbon tie evoke a bygone elegance that feels freshly relevant (and quietly rebellious).
Sydney Chandler doesn’t just wear an outfit—she curates a mood. In this FX & Vanity Fair Pre-Emmys portrait, she’s captured mid-lean against a wooden structure, framed by golden light and vintage textures. The result? A look that feels like a still from a 1970s arthouse film, reimagined for 2025.
Her blouse—a sheer white piece with frilled cuffs and a black ribbon tie—evokes the romanticism of Belle Époque tailoring, filtered through a punk-adjacent lens. The black buttons add punctuation, while the slightly translucent fabric (likely organza or chiffon) softens the sharpness of the silhouette. It’s Victoriana meets Patti Smith.
Paired with high-waisted black trousers, the look balances drama with discipline. The trousers are tailored, possibly wool or crepe, and cut to elongate the leg without overwhelming the blouse’s delicacy. It’s a masterclass in proportion play.
