Olga Obumova’s Juem Collection 12 shoot is a quiet rebellion—ribbed textures, undone silhouettes, and a mood that whispers rather than performs.
There’s a certain kind of fashion that doesn’t need to shout. It lingers. It hums. And in Juem Women’s Collection 12, Olga Obumova channels that exact energy—an editorial that trades spectacle for serenity, and polish for presence.
The look: a reddish-brown ribbed crop top paired with high-waisted bottoms, both cut to flatter without clinging. The fabric, likely a cotton-spandex blend, hugs the body with soft elasticity, offering texture without bulk. The top’s thin adjustable straps and subtle V-neckline evoke a 90s minimalism—think Carolyn Bessette-Kennedy, but with a modern, earthy twist.
Obumova’s pose, one hand raised to her head, feels instinctive rather than staged. The lighting is soft, natural, and forgiving—highlighting the ribbed texture and casting gentle shadows that add depth to the monochrome palette. Her long brown hair falls loosely, untouched by styling products or editorial fuss. It’s the kind of hair that moves with the wind, not a stylist’s comb.
In another frame, she wears a sleeveless white dress with a gathered neckline—loose, breezy, and almost monastic in its simplicity. Black flats ground the look, while the industrial backdrop (a concrete floor, a coiled hose) adds a touch of utilitarian grit. It’s fashion as contrast: clean lines against raw surfaces, softness against structure.
Elsewhere, a light blue ankle-length dress with a subtle pattern and black flats appears in front of a white door—its handwritten French sign (“Merci d’éteindre la lumière en sortant”) adding a charmingly domestic detail. The mood throughout is consistent: quiet, contemplative, and deeply rooted in the kind of celebrity style that favors authenticity over artifice.
Elizabeth Olsen’s TIFF appearance was pure cinematic seduction—sequins, shadows, and a low-back silhouette that whispered old Hollywood with a modern bite.
Elizabeth Olsen doesn’t just arrive—she materializes. At the 2025 Toronto International Film Festival premiere of Eternity , captured by DJ Quintero, Olsen stepped into a visual narrative that felt lifted from a monochrome dream. The look? A black sequined gown with a plunging back, worn like a secret.
The image, rendered in black and white, strips away distraction and leaves only form, texture, and mood. The gown clings and cascades, sequins catching ambient light like stars scattered across velvet. The silhouette is long and lean, with a low back that dips just enough to suggest drama without veering into excess. It’s the kind of dress that doesn’t need color to command attention.
Olsen’s pose—glancing over her shoulder in a softly lit hallway—feels deliberate, almost cinematic. The corridor’s geometric carpet and textured walls add architectural tension, framing her like a character in a noir thriller. Her expression? Controlled, enigmatic, and just a touch defiant.
In a companion shot, she wears a black sleeveless top with a glossy, textured finish—paired with wavy brown hair and piercing green eyes that seem to glow against the dim backdrop. The lighting highlights her bone structure and the reflective sheen of the fabric, creating a chiaroscuro effect that’s more gallery than red carpet.
Lily James traded dainty for defiant at TIFF—her oversized plaid suit was pure power dressing, with a hint of undone elegance and a whisper of rebellion.
There’s something thrilling about watching a star shed her signature softness for something sharper. At the Deadline Studio during the 2025 Toronto International Film Festival, Lily James stepped into a look that felt more boardroom than ballroom—and it worked. Think Katharine Hepburn meets downtown London cool.
Her outfit: a grey plaid double-breasted suit, oversized in all the right places. The blazer, worn sans shirt, created a plunging neckline that balanced structure with sensuality. The shoulders were pronounced, the cut boxy, and the fabric—likely wool or a brushed suiting blend—held its shape with architectural precision. The wide-legged trousers pooled slightly over black pointed-toe shoes, grounding the look in classic tailoring while nodding to 2020s streetwear proportions.
It’s a silhouette that’s been gaining traction in celebrity fashion circles—oversized, gender-fluid, and unapologetically bold. But James made it her own with subtle styling choices: no visible jewelry, no handbag, no distractions. Just the suit, the stance, and the attitude.
Her hair, long and wavy, cascaded over her shoulders with a lived-in texture that softened the suit’s severity. Makeup was kept neutral—matte skin, brushed brows, and a muted lip—allowing the outfit’s geometry to take center stage. Her pose, one hand on the hip and the other relaxed, radiated confidence without veering into stiffness. It was red carpet minimalism with editorial edge.
Olga Obumova wears a dramatic mushroom-print corset dress from the Selkie Fall 2025 “Libertine” collection, maximizing volume and whimsical historical fantasy.
Model Olga Obumova opts for a truly maximalist look from the Selkie Fall 2025 “Libertine” collection , showcasing a fantastical mushroom-print gown . This highly stylized choice is a core example of how the brand uses prints and historical volume to create highly shareable fantasycore moments in fashion spread content, pushing the boundaries of contemporary romantic fashion.
This particular garment firmly establishes Selkie’s dedication to the Fantasycore and Whimsigoth subcultures, illustrating the Brand & Designer Context where playful prints and extreme volume are paramount. The mushroom print is a highly specific and deliberate choice, capitalizing on the popularity of nature-based prints and elements of folklore that appeal to a digitally-engaged audience seeking escapism in their wardrobes.
The Comparative Styling Analysis here is rooted in the interplay between structured and fluid volume . The rigid, cinching corset —a symbol of restrictive historical fashion—is juxtaposed with the free-flowing, layered skirts and the fantastical, non-traditional print. This visual tension speaks to the core “Libertine” concept: taking traditional, opulent aesthetics and injecting them with modern, irreverent freedom. The overall visual effect channels a modern Alice in Wonderland aesthetic —a powerful narrative choice that makes this a standout look in any editorial
