Ashley Moore’s September fashion photoshoot with Mary Nevezhyna turns high fashion into a cinematic study of contrasts — white fur, sheer black, and sculptural light.
What happens when fur collides with shadow, when sheer black meets the geometry of a poolside terrace? Ashley Moore’s September photoshoot with Mary Nevezhyna answers in fragments — each frame a study in tension.
The imagery thrives on contrast. In one shot, Moore reclines on a tiled floor, black lace dress paired with electric-blue socks and strappy heels — a collision of sensuality and irreverence. In another, she stands by a modernist pool, wrapped in a massive white fur coat, sheer tights elongating the line of her legs, sunlight slicing across the scene in sharp architectural shadows. Indoors, the narrative shifts again: seated against wood paneling, fur still enveloping her, she lights a cigarette — a cinematic tableau that feels equal parts Helmut Newton and Sofia Coppola.
The wardrobe is deliberately minimal in number but maximal in impact. The oversized fur coat dominates, its plush volume juxtaposed against the fragility of sheer tights. The lace dress, glimpsed in the floor pose, adds a layer of gothic sensuality, while the bright blue socks inject a jolt of surrealism. It’s styling that resists cohesion in favor of curated dissonance — a hallmark of high fashion editorials.
Accessories are stripped back to essentials: strappy black heels, the occasional cigarette, the fur itself functioning as both garment and prop. The absence of jewelry or bags underscores the editorial’s focus on form, texture, and mood rather than consumerist detail.
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