Trew Mullen appears in Numéro Netherlands January 2026, photographed in multiple editorial looks that highlight texture, mood, and avant-garde styling.
Look One
Oversized light blue ruched garment, buttons large, sleeves voluminous. Draped silhouette, loose, almost coat-like. Black loafers with white socks, one boot held in hand. The styling feels offbeat, deliberate, almost mischievous.
Look Two
Green and black striped sweater, buttoned collar neat. Green skirt paired with tights, black shoes grounding the look. Seated on wooden chair, legs crossed, hand under chin. Minimalist setting, contemplative pose.
Look Three
Light pink button-up shirt, patterned tie, black trousers. White socks, black shoes, trench coat draped over shoulders. Seated on director’s chair, spotlight behind. Hair long, hand resting on face. Vintage editorial energy, muted palette.
Look Four
Light shirt, sleeves rolled, tie loose. Tattoo visible on inner arm. Pose casual, one arm bent, hand resting on forearm. Background neutral, lighting soft. The mood moody, artistic, pared down.
Madelaine Petsch wore a crimson cutout silk dress with strappy heels at the Los Angeles special screening of The Strangers Trilogy.
There’s a cinematic quiet in how Madelaine Petsch arrives. No heavy poses, no flash-drama gesture–just a straight-lined gaze and that saturated red. The dress, a deep metallic crimson, holds close through the torso before tapering down in a smooth fall that stops mid-calf. Its halter-style straps knot and cross along her shoulders, almost sculptural, framing the neckline like an intentional flourish.
The fabric catches light with barely any reflection, absorbing it instead, matte but alive. She paired it with simple black sandals, slender straps letting the polish of the look rest on the color itself. Her hair’s tied back, strands left loose to soften the angular cut of the dress. The makeup stays neutral–warm toned lips, pale lids, no competing gold shimmer. Just her skin, the red, and the faint cool of stage lights.
Eiza Gonzalez wore a white strapless gown with a front slit and carried a Prada Cleo Brushed Leather Mini Bag on January 11 2026.
Outside the walls of Chateau Marmont, the night still carried that post-show static–flashbulbs, valet crunch, voices blurred together. Eiza Gonzalez stood amid it all, calm, almost statuesque. She wore a strapless white gown, the fabric sculpted close to her frame with a single precise slit cutting upward from the knee. No sequins, no fuss. Just clean, faultless tailoring under streetlight.
She held a Prada Cleo Brushed Leather Mini Bag , metallic against the calm of the dress, its curved shape catching the light with every tilt of her hand. Chrome-thin sandals mirrored it, barely there, leaving the impression of motion even as she stood still. Emerald drop earrings provided the only burst of color–a quiet interruption in monochrome. Hair was swept back tight, revealing the posture of someone too self-possessed to chase the camera.
