There is a particular grammar to the Who What Wear cover shoot, and the latest Kylie Jenner Tom Ford cover reads it fluently: oversized suiting as a vehicle for deliberate undress, the white-collar silhouette destabilised from within. Photographed by Aidan Zamiri, Jenner appears in a blue-and-white striped Tom Ford boyfriend shirt from the brand’s Fall/Winter 2026 collection by Haider Ackermann, left fully unbuttoned to reveal delicate sheer lace lingerie beneath. The editorial is part of a broader cultural moment in which the interior of a garment becomes its primary statement, but it also arrives at a moment of deliberate reinvention for Jenner herself.
The Kylie Jenner Tom Ford editorial, image by image
The shirt, an oversized silk piece, functions here less as clothing than as frame. Worn open and draped, it surrounds the lace beneath rather than concealing it, a gesture that has become one of the more recurring ones in contemporary fashion: transparency as a kind of candour. Jenner paired it with a glossy transparent pencil skirt layered over coordinating bottoms, so that sheerness operates at two registers simultaneously, the lace underneath the shirt and the skirt over the skirt beneath.
The styling was completed with black Tom Ford pointed-toe pumps with slim ankle straps, and the hair was worn in two relaxed low ponytails pulled over one shoulder, a loose strand left at the face to soften the structure. The makeup leaned glamorous and controlled: smoky eyes, lightly sculpted cheeks, and the matte nude lip that has become something close to Jenner’s signature. The cumulative effect was deliberately retro, reinforced by the set design, which scattered vintage electronic equipment across the floor: microphones, cables, retro audio devices. A behind-the-scenes aesthetic used to front an editorial is its own small paradox, and Zamiri’s framing sits comfortably inside it.
A “princess era,” a possible Substack, and what Khy is becoming
The images accompany an interview in which Jenner describes this period as a ‘personal refresh,’ using the phrase ‘princess era’ to characterise her current state of mind. She is not the first to reach for royalist metaphor when describing a period of renewed self-presentation, and she will not be the last. What is more specific to this moment is the combination of declarations she makes within the same conversation: she is entering a new creative chapter, she is considering new outlets, and she revealed, in terms that carry a note of genuine uncertainty, ‘I’m kind of into [Substack]. I might start one. It seems fun.’
The tentative quality of that disclosure is worth preserving. In a media environment in which every platform pivot tends to be announced as a launch and every cultural moment becomes a ‘chapter,’ the slightly halting, exploratory register of ‘I might start one’ is almost disarming. Whether or not a Substack materialises, the impulse toward a more direct, less mediated form of address is consistent with the direction her label, Khy, has also been taking.
Khy’s trajectory sharpens the picture. Jenner has said that the brand is shifting toward timeless wardrobe essentials drawn from her personal style, moving away from the collaboration-focused model of its earlier releases. Yahoo Style reports that Khy was relaunched in April 2026 as a wardrobe-first fashion label, with the Born in LA Collection introduced as its first capsule under that repositioned direction. The shift is from fashion as event to fashion as foundation: the kind of wardrobe that is assembled rather than consumed, that accumulates rather than turns over seasonally.
Read together, the Who What Wear cover and the interview it accompanies form a coherent argument: that the lingerie worn under an unbuttoned shirt, the ‘princess era,’ the cautious Substack ambition, and the pivot toward wardrobe essentials are all expressions of the same instinct. The desire to show the interior as the real thing, and to let the exterior sit, for once, a little loose.
