Ruth Wilson wore a black velvet jacket, wide cuffed jeans and sculptural heels for a Harper’s BAZAAR UK editorial shot before Dior’s fall show.
For a Harper’s BAZAAR UK x Dior editorial imagined through the quiet luxury lens of photographer Darren Gerrish, Ruth Wilson sat still. Not posed — placed. A frame within a frame.
She wore a black velvet double-breasted blazer , plush and matte, the fibers soaking up the soft light like ink on silk. Sharp lapels. No theatrics. Just tailored presence. The sleeves finished crisply at the wrist, hands relaxed on lacquered wood — ring-heavy, red-nailed, almost forgotten.
Below: denim. Not faded, not slim. Wide-cut, boxy cuffed jeans , stitched at the knee in a hybrid reenactment of workwear and rebellion. The exaggerated fold at the ankle felt deliberate but unbothered — like the pants refused to end any other way.
Then the shoes. A study in friction. Two-tone pointed slingbacks in cream and black, with a quirky bow, one foot sunk deeper into the carpet’s hush than the other. No symmetry. Pure quiet discordance.
Hair was pulled back — clean and simple. Makeup dialed into one feature: deep, dramatic oxblood lips , defined and defiant. Everything else stayed low-volume.
The mood wasn’t revolutionary. It just slowed everything down long enough to notice.
Eve’s Numéro Netherlands January 2026 shoot moves between leather grit, feathered drama, and surreal prints stitched into sharp frames.
In Numéro Netherlands’ January 2026 issue, Eve steps into a pink backdrop, sleeveless leather top zipped tight, shorts laced at the waist. Black heels, bracelets stacked, feathered headpiece rising like a crown. The pose is confident, almost defiant.
Another frame strips color away. Black-and-white, oversized coat with triangular sleeves jutting outward. Lace-up pants shine underneath, rings flashing as she clutches the collar. Hair cut blunt, bob neat. It feels architectural, more structure than clothing.
Then the textured dress. Spiked embellishments, feather-like shards running down the body. She leans against a metal bar, one hand on her hip, the other stretched. The roll-up door behind her makes the outfit sharper, less polished, more industrial.
The last look folds surrealism into tailoring. Gray blazer with exaggerated shoulders, pants printed with a human face. Gloves black, sunglasses dark. Arms raised, fingers spread. It’s dramatic, but not theatrical. More like a sketch come alive.
Together, the spread doesn’t flatten her. It lets her shift. Leather and feathers. Triangular sleeves. Spiked dress. Printed pants. Numéro Netherlands doesn’t chase one image. It lets Eve be many.
Mia Mckenna-Bruce’s Netflix UK January 2026 shoot moves between yellow energy and red precision, caught in two sharp frames.
In Netflix UK’s January 2026 photoshoot, Mia Mckenna-Bruce throws herself into color. One frame is pure yellow — cropped cardigan, high-waisted shorts, lace socks pulled to the knee. White heels with red soles, hoop earrings swinging. The pose is restless, one leg lifted, arms raised. It feels like dance, or maybe just joy.
Then the switch. Red and white patterned dress, asymmetrical cut, neckline sharp. Burgundy gloves long and deliberate, pink heels grounding it. The background is plain, which makes the outfit louder. It’s not playful like the yellow look. It’s more exact, almost stern.
Together, the spread doesn’t flatten her. It lets her shift. Bright cardigan, patterned dress. Movement and stillness. Netflix UK doesn’t chase one image. It lets Mia be many.
