At the ‘Nouvelle Vague’ photocall, Zoey Deutch delivered a masterclass in architectural elegance—voluminous sleeves, satin trousers, and a dash of Old Hollywood aloofness.
Zoey Deutch knows how to command a room without raising her voice. At the ‘Nouvelle Vague’ photocall during the 51st Deauville American Film Festival in France, she stepped into the frame like a character from a Jacques Demy film—poised, polished, and just a touch mysterious.
Her look? A monochrome study in proportion and restraint. The white blouse, crisp and sculptural, featured voluminous sleeves that ballooned with couture-level drama. It’s the kind of silhouette that recalls the golden age of Yves Saint Laurent—where volume wasn’t excess, but expression. Tucked into black high-waisted satin trousers, the ensemble balanced softness with structure. The pants, wide-legged and fluid, caught the light with a subtle sheen, adding movement to an otherwise composed silhouette.
Accessories were kept minimal, letting the tailoring speak. Black shoes peeked beneath the hem—sleek, unfussy, and grounding. Oversized dark sunglasses added a layer of anonymity, as if Deutch were slipping between roles: actress, muse, mystery.
The setting—a richly carpeted hotel hallway with red ceramic planters and warm wood paneling—only amplified the cinematic mood. Deutch stood tall, hands relaxed, gaze hidden, posture deliberate. It wasn’t just a pose; it was a performance.
Brooks Nader dialed up the off-duty allure—think newsstand nostalgia meets downtown polish—at Glance’s Fashion Week Pop-Up, proving that minimalism still has bite.
There’s something deliciously meta about a fashion week event staged at a faux newsstand—especially when Brooks Nader is the one commanding the frame. At Glance’s Fashion Week Pop-Up in New York City, the model and media darling turned a casual sidewalk tableau into a masterclass in elevated streetwear. No theatrics, no over-styled chaos—just a clean, confident look that whispered rather than screamed.
Nader’s black cropped top, buttoned and long-sleeved, struck a balance between structure and ease. The fabric—likely a soft ribbed knit—hugged her frame with quiet precision, while the high-waisted blue jeans offered a classic American silhouette, subtly nodding to 90s Calvin Klein minimalism. The pointed-toe black heels added a sharp punctuation mark to the ensemble, elongating the leg and anchoring the look in urban sophistication. It’s the kind of outfit that doesn’t beg for attention—it earns it.
No bag, no jewelry—just a pair of oversized sunglasses that felt more editorial than errand-run. The absence of excess was the point. In a sea of over-accessorized Fashion Week attendees, Nader’s restraint read as intentional, even rebellious. The heels—sleek, no embellishment—played into the same ethos: let the silhouette speak.
In a shoot that blurred the line between femme fatale and sci-fi siren, Gillian Anderson leaned into latex and dusk-lit drama for FHM’s April 1996 issue.
Before “quiet luxury” became the buzzword du jour, Gillian Anderson was already playing with louder textures and sharper silhouettes—proof that the ‘90s had its own brand of subversive elegance. Photographed by Jeff Dunas for FHM Magazine in April 1996, Anderson’s look is a study in tension: glossy versus matte, softness versus edge, allure versus armor.
