In the September 15, 2024, issue of The Sunday Times Style, French model Marilou Hanriot brings a precise, cinematic kind of cool to a story that treats clothes not as decoration, but as a language of power, poise, and self-invention. Photographed by David Abrahams, the editorial unfolds like a series of stills from a film about a woman who understands that her image is both armor and autobiography.
Hanriot’s presence is unmistakably French — insouciant, restrained, and fluent in understatement — yet the narrative is distinctly British in its moodiness. Abrahams shoots her with a documentarian’s eye, allowing the textures of tweed, leather, and wool to register as clearly as the angle of a jaw or the set of a shoulder. The result is an editorial that feels observational rather than aspirational. The viewer is invited to eavesdrop on a woman moving through her own world rather than being sold a fantasy.
Stylist Verity Parker builds that world through a sequence of looks from Miu Miu, Giorgio Armani, Fendi, Burberry, Céline by Hedi Slimane, Givenchy, Loewe, Dolce & Gabbana, Dior, Prada, Louis Vuitton, Gucci, Saint Laurent by Anthony Vaccarello, and Chanel. The casting is deliberate: a single woman wearing the full range of contemporary luxury — from rigorously tailored coats to abbreviated hemlines — underscores that a modern wardrobe is less about allegiance to a single brand and more about the agility to move between them.
Hair by Naoki Komiya and makeup by Kristina Ralph Andrews refine the story’s tension between softness and control. Nothing feels accidental or forced. The beauty is polished yet never masklike, suggesting a woman who understands the politics of visibility and deliberately chooses how she appears. The manicure by Chisato Yamamoto is another act of quiet assertion, a small but pointed detail in an image economy that notices everything.
The set design by Julia Dias gives Hanriot a world scaled to her presence rather than the other way around. The spaces feel lived in rather than theatrical, making the designer pieces — a sharp Saint Laurent jacket, a languid Chanel dress, and a forthright Louis Vuitton coat — read as tools rather than trophies. In that sense, the editorial is less about chasing trends than demonstrating how high fashion can be incorporated into a life with its own story and center of gravity.
Hair: Naoki Komiya
Make-up: Kristina Ralph Andrews
Manicure: Chisato Yamamoto
Set design: Julia Dias
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