Never one to be boxed into a single aesthetic, Tricia Helfer unveils a softer, yet still fiercely confident, side for her Eclair Magazine spread—a study in modern elegance and Parisian cool.
In the world of fashion editorials, there are moments of high drama and then there are moments of quiet, understated power. Tricia Helfer’s latest work for Eclair Magazine falls squarely in the latter camp, a collection of images that are less about theatrics and more about the intrinsic grace of the woman herself. The mood is intimate, almost conversational, as if we’ve been granted a private glimpse into her personal style lexicon.
The images themselves unfold like a story. There’s the powerful, direct gaze on the cover—a striking black-and-white portrait that draws you in with its intensity. Her short, textured bob frames her face perfectly, a look of effortless chic that feels both timeless and very of-the-moment. It’s a shot that speaks to the magazine’s identity, with Eclair Magazine proudly emblazoned across the image, linking her to the fashion capitals of Paris, New York , and Los Angeles .
Emma Raducanu debuts a modern athletic look (with a hint of kinetic futurism) defeating Olga Danilovic at the Cincinnati Open, a high-octane fashion statement.
In the world of tennis, every swing and stride is a performance—and for Emma Raducanu , that extends to her on-court attire. Gone are the days of staid whites; today’s athletes are a walking runway, and Raducanu’s look at the Cincinnati Open in Mason, Ohio —where she defeated Olga Danilovic —was a masterclass in athletic chic. It was a study in motion and modernity, proving that power on the court can be paired with sartorial precision.
Alyssa Milano attends Justin Timberlake’s ‘Justified’ release party, putting a fresh, asymmetrical spin on the little black dress—a silhouette that defined the early 2000s (and feels surprisingly current).
Alyssa Milano, a fixture of the late ’90s and early ’00s, had a knack for showing up and showing out on the red carpet. At the Justin Timberlake ‘Justified’ release party in November 2002 at Smashbox Studios in Culver City, she unveiled a look that was classic yet entirely of its moment. Instead of a simple slip, Milano debuted a black gown with a striking, architectural bodice. One strap wraps around her shoulder with a delicate, lacy detail, while the other—a bold, angular cut—slashes across her decolletage, creating a fascinating asymmetry. Is it a dress? Is it a statement? Yes, to both.
The dress itself flows in a column, the fabric clinging just enough to hint at her form without revealing too much. The texture seems to be a light jersey or a similar clingy knit, giving it a casual-cool sensibility that’s perfect for a party, not a formal ball. This wasn’t about high-drama couture; it was about modern, effortless chic. She accessorized minimally with a sleek watch on her left wrist and a pair of open-toed heels that were, perhaps, a slightly forgotten element but still played their part.
The Smashbox Studios setting itself, a hub for fashion and photography, lent an industrial, edgy vibe that her outfit perfectly complemented. Her hair, styled in soft waves with a side part, framed her face beautifully, and her deep red lip was the only splash of color needed to complete the look. This ensemble wasn’t just clothing; it was a cohesive narrative of confident, understated glamour that still holds up. It was a testament to how the smallest details—that single lacy strap, the bold slash—can elevate a look from simple to unforgettable.
