Rose Byrne wore Romance Was Born, Christopher Esber, and Zimmermann in her NYT Style Australia editorial.
Rose Byrne’s editorial for The New York Times Style Magazine Australia December 2025 transcends fashion photography, becoming a layered portrait of artistic identity, emotional vulnerability, and cultural displacement. Across multiple spreads, Byrne reflects on her early career, her outsider status in Hollywood, and the psychological depth she brings to roles like Linda in If I Had Legs I’d Kick You . She discusses the tension of motherhood, the physicality of performance, and the importance of imperfection — from suggesting an undercut for Linda to embracing raw, unpolished characters. Her reflections on family, cultural difference, and creative doubt reveal a performer who resists self-seriousness and embraces the chaos of reinvention. “I still wake up and think, ‘What am I doing?’” she admits, grounding her success in humility and curiosity. Whether recounting her first role at 13 or her collaborations with Heath Ledger, Byrne’s narrative is one of quiet persistence and radical empathy — a woman who conjures alternative lives not just on screen, but in the way she inhabits space, style, and story.
Emma Roberts wore a black fur coat and heels at the Michael Kors Rockefeller Center tree lighting.
Emma Roberts attended the Michael Kors Rockefeller Center Tree Lighting on December 3, 2025, wearing a look that fused old-school glamour with urban edge. The oversized black fur coat , textured and dramatic, anchored the silhouette in winter opulence, while the short black skirt and high heels added a note of evening sharpness — a styling move that reframed holiday dressing as cinematic noir.
Her small black handbag , structured and tactile, echoed the coat’s surface logic, turning texture into a visual motif. The golden revolving door backdrop wasn’t just architectural — it became a reflective amplifier, casting Roberts in a halo of metallic light. This wasn’t just a public appearance . It was a studio portrait disguised as street style.
Sydney Sweeney wore a strapless black and white outfit for her Madame Figaro editorial portrait in December 2025.
Sydney Sweeney posed for Madame Figaro in a strapless black and white outfit, captured in a minimalist portrait that fused elegance with editorial clarity. The bare neckline , framed by her long blonde hair , emphasized the sculptural simplicity of the look — a gesture that reframed celebrity portraiture as fashion architecture.
The plain background served as a visual amplifier, allowing the outfit’s tonal contrast to dominate. This wasn’t just a media event image. It was a beauty shot engineered for resonance, not distraction.
In the accompanying interview, Sweeney reflects on her dual identity as both sex symbol and indie actress , a paradox she embraces with deliberate intent. She discusses her role as producer on the upcoming adaptation of The Housekeeper , and her refusal to forget her roots: “Je n’ai pas oublié d’où je viens.” Her quote — “I love those heroes that one cannot help but love despite their flaws” — becomes a thematic echo of her own career arc: complex, magnetic, and unapologetically layered.
