On March 10, 2026, Mercy Eke stepped out in a visually striking outfit and she captioned it with “Doing the least, but somehow it’s still doing the most” and the caption said everything.

Mercy Eke – Instagram

Mercy wore a long-sleeved bodycon mini gown featuring a colourful celestial-inspired graphic print from Lale Season. The dress has a turtleneck that creates a smooth shape. The print transitions from a yellow and orange sun motif on the chest to deep blue night sky pattern near the hem. The sleeves has a multi-coloured design with hints of floral details.

Mercy Eke – Instagram

The fabric had a slight sheen. The turtleneck neckline gave the top half a defined shape while the rest of the dress stayed fitted all the way to mid-thigh. Pairing long sleeves with a mini this short can be difficult to style but the proportions worked here. The length sat just at mid-thigh and the outfit created a clear, balanced proportion.

For footwear she wore black strappy heeled sandals with gold hardware at the toe and ankle. The shoes complemented the dress without drawing focus. A single gold bracelet and on her wrist and simple earrings was the only jewellery on display.

Mercy Eke – Instagram

Her hair was styled long and wavy with a middle part, sitting past her shoulders. Her makeup was classic full-glam, complementing her features.

Mercy often chooses standout pieces. She picks statement-making pieces and wears them without dialing anything down. This dress was bold from every angle.

Ahead of the Oscars, Vanity Fair’s Vanities Party for Young Hollywood took place at Bar Marmont in Los Angeles. Among those in attendance was Ayra Starr, who appeared in an emerald-green outfit from Cult Gaia’s Fall/Winter 2026 collection.

She wore the Rylee Jacket, wrapped in textured floral jacquard, with a hidden front clip at the waist that formed a V-shaped neckline. The rippled surface of the fabric added dimension, while the wide funnel sleeves extended outward instead of tapering at the wrists, giving the jacket a defined shape.

Photo credit: Instagram

The Honor Skirt ended well above the mid-thigh, creating a clear contrast with the jacket’s volume while maintaining a tailored silhouette. The fabric carries a soft metallic finish that explores sculptural shapes and references to ancient mythology.

She wore a nude pointed heel from Christian Louboutin that elongated her leg line without drawing focus from the outfit. She carried a crystal clutch, fully covered in crystals and finished with a slim metallic top handle, held at her side to complement the textures of her clothing.

Photo credit: Instagram

Her hair was styled into a full bun with a few loose strands framing her face and shoulders, softening the structured lines of the jacket. Her makeup was done by Kimora, who used neutral tones, subtle contouring, and a muted lip designed to harmonize with the green palette of her outfit.

Kelly Karamoh coordinated the look, arranging the jacket, skirt, shoes, and clutch that emphasized proportion, texture, and metallic details.

The oversized sleeves, fitted mini skirt, crystal clutch, and neutral heels highlighted the outfit’s different shapes and textures.

Wunmi Mosaku appears on the latest cover of Glamour UK in a photo story that draws on African heritage through hair, jewellery, and clothing. The British-Nigerian actress, known for her roles in Lovecraft Country and the most nominated film in Oscar history, Sinners, is photographed in a series of portraits that highlight braided hairstyles and strong metal jewellery.

Ekua King captures Mosaku against warm studio tones that keep the focus on the clothes and hair. Her braids were styled by Dionne Smith, and shaped into six braided loops, two large loops at the top and two smaller ones at each side of her face, near the temples. The hairstyle draws from long-standing Yoruba braiding traditions, known as Irun Kiko, where hair is often styled in intricate patterns that carry cultural significance.

Ekua King

Creative stylist Georgia Medley presents Mosaku in a selection of textured garments paired with bold jewellery. In one portrait, she wears a wide white attire with long black earrings and a structured headpiece. Another image centres on a stacked metal neck ring known as Dzilla, which is worn close to the collarbone, a type of neck ring inspired by similar styles found in multiple cultural traditions, including the Ndebele and Kayan peoples.

Ekua King

The editorial also moves through darker and brighter tones, where other portraits show Mosaku in a sheer black dress that falls loosely over the body, creating a light layered shape. In another full-length image, she wears a lime green hooded robe with a high slit that reveals one leg as she stands barefoot on an earth-toned set. Thick gold bangles line her forearms while the fabric hangs freely around the body.

Ekua King

Set designer Joshua Stovell keeps the background simple with clay-coloured ground and soft walls, allowing the materials like fabric, braids, and metal to stand out.
Makeup artist Joy Adenuga keeps Mosaku’s skin smooth with a deep lip colour that gives the portraits a strong finish. Nail artist Tinu Bello completes the beauty details with dark burgundy nails that work well with the gold jewellery and warm tones used across the shoot.

The shoot was produced in London by Raw Production under the editorial direction of Kemi-Olivia Alemoru. Behind-the-scenes footage was filmed by Nathaniel Rodriguez and edited by Celia Gomez.

Across the images, braids and metal jewellery act as cultural markers, linking the fashion story to traditions that have long shaped African identity.