Yerin Ha and Luke Thompson posed for Netflix Tudum’s 2026 editorial shoot in layered city looks with playful details and classic textures.
For Netflix’s Tudum 2026 editorial shoot, Yerin Ha and Luke Thompson leaned into that mid-season mood: in-between weather, early afternoon light, and outfits built to hold some contradiction.
Yerin Ha is the scene stealer, obviously. Boxy brown leather jacket , cropped right below the ribs, layered over a white tee, sleeves slightly pushed. Below, a mini skirt in a classic plaid check —muted camel, black, gray—and a subtle A-line cut. Burgundy socks scrunched mid-calf and worn with dark patent loafers give the whole thing a prep-gone-indie twist. But then there’s the pink umbrella. She’s barely holding it, just letting it float above her like punctuation. Hair down, parted natural. Face clean, unfussed. She looks like she got caught in the weather and styled herself through it.
Luke Thompson stands off to the side, casual to the core but still deliberate. Double denim underneath a long beige overcoat , with the collar of the button-down open over a soft blue tee. Jeans slightly baggy. White sneakers grounded the palette, loosening the entire frame. His hands are behind his back, leaning casually—but there’s a kind of tension in the posture, like a moment just before something.
Together, it feels like a mid-scene film still, not a photoshoot. Less about posing, more about holding the space between two people—and everything unsaid.
Nell Fisher stuns in a soft glam beauty look with pink lids, glossy lips, and radiant skin for her L’Beaute Magazine spread in February 2026.
For the February 2026 issue of L’Beaute Magazine , Nell Fisher embraced a kind of candy-flushed surrealism—equal parts delicate and polished. Her eyes are rimmed in rosy shadow , dabbed with cool lilac liner on the lower lash that melts into her pale blue stare like watercolor bleeding into fresh paper.
It’s playful but not loud. Skin is glistening , but not in that hyper-highlighted way. This is lit-from-within territory. Her blush traces softly across the upper cheekbone, almost disappearing into the skin, while lips are kept glossy and bare-pink , slick but restrained. The brows? Natural, brushed up, unapologetically present—but not overly shaped.
Hair is tied back into an understated updo—strands loose around the face in a way that softens everything else. The styling leans into the futuristic fairytale: metallic pink fabric , structured folds , and a translucent flowered collar that looks torn from a digital couture sketchbook. But none of it screams.
Instead, the whole portrait hums.
She looks like the moment right after a blush, caught in focus before it fades.
Emma Raducanu defeated Greet Minnen in the first round of the Winners Open in Cluj-Napoca, Romania, on February 2, 2026.
In Cluj-Napoca on February 2nd, 2026, Emma Raducanu stepped onto the court like she had no intention of easing into anything. First round at the Winners Open, and her footwork said “quarterfinal” from the first serve. Opponent: Belgium’s Greet Minnen. Outcome: clean, efficient, quietly intense.
Visually, the look was sharp. Color-blocked tennis dress —mostly powder blue, with black and neon yellow detailing adding slices of contrast through the silhouette. It flared lightly with movement but held close at the zippered neckline, keeping it modern, athletic, and sharp. Her Nike shoes , in white with coral soles, padded each pivot precisely—no wasted motion.
Hair was tied back into an effortless mid-height pony. No jewelry. No dramatic sleeves or statement logos. Just form and function. That’s always been part of her off-court appeal too —clean lines, high performance. The look fits the player, and the moment.
And that forehand? Snappy. Aggressive. Ready. This wasn’t nostalgia Raducanu—it was current form, current drive, and completely in the now.
