PinkPantheress unveils a nuanced, preppy-but-perverse style for her August 2025 GQ UK photoshoot—a quiet, confident statement on a new fashion moment.
In the ever-evolving landscape of celebrity style, there are few who can so perfectly translate their artistic persona into a definitive fashion aesthetic. The new editorial featuring PinkPantheress for GQ UK’s August 2025 issue is a masterclass in just that. Photographed by the magazine, the artist debuts a series of looks that are a clever, confident expansion of her soft-spoken, hyper-online world.
Never one to shy from sartorial risks, Meg Bellamy debuts a stunning (and frankly unforgettable) array of looks, cementing her status as a style provocateur to watch in 2024.
What a welcome surprise—that one-shoulder pinstripe top, slung with an attitude that feels both relaxed and utterly intentional. It’s the kind of effortless chic that makes you stop and look. But then, almost in a visual whiplash, Bellamy switches gears entirely. There she is, a striking vision in a red silk swimsuit with a delicate, pearl-encrusted neckline. It’s a look that feels more Old Hollywood glamour than modern swimwear, suggesting a depth and versatility to her style that’s truly refreshing.
The young actress Julia Butters debuts a new fashion-forward edge in V Magazine #155 for August 2025—a stunning study in texture, emotion, and unapologetic youth.
In the rarefied world of high-fashion editorials, a new face can make a statement that is as much about identity as it is about aesthetic. Julia Butters unveils just such a statement in her new spread for V Magazine #155, photographed by Mico Corvino for the August 2025 issue. It’s a visual unfolding of a young star’s evolution, from ingénue to style maverick.
PinkPantheress wore an abstract off-the-shoulder gown with draped sleeves and a fluid print at the 2026 Grammy Awards red carpet.
At the 68th Annual Grammy Awards held on February 1, 2026, PinkPantheress showed up in something that didn’t scream, but hummed—a subtle kind of statement. Her gown was off-the-shoulder, constructed from loosely draped fabric panels in soft painterly tones—muted reds, rust, muddy mauves, a bit of washed-out teal. Not pattern in the conventional sense. More like abstract brushwork stretched across silk. The sleeves, if we can even call them that, hung low and ribbon-like, trailing as if mid-unravel. Nothing tight. Nothing sharp. Even the bodice, though fitted, avoided stiffness.
Her hair was knotted up, not overly neat, with fringe skimming just above delicately defined brows. The jewelry was sparse—just a diamond necklace. Enough. She gave the camera a soft look, not blank but unreadable. Less about claiming space, more about allowing herself to be framed, like part of the backdrop, but conscious of it.
In a swirl of sculpted corsets and amplified volume clogging this year’s red carpet , this felt like the opposite instinct. An anti-gown. Still long, still formal—but emotionally slouched. The visual language? Somewhere between fabric-as-canvas and early 2000s Galliano daydreams, minus the drama. Roughly romantic. Not ironic.
It’s clear this wasn’t dropped on her last minute. There’s an idea here. Not design as armor or seduction, but as ease. She looked like someone who had already whispered everything she needed to say—now just letting the dress speak in brushstrokes and folds.
When fashion gives you air instead of architecture, it’s not underwhelming—it’s a choice to float.
