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Meghann Fahy wearing a structured pale pink top against a neutral grey seamless background for The Cut March 2025 cover.
Meghann Fahy leaning against a wooden wall wearing a light blue dress for The Cut
Meghann Fahy crouching in a burgundy jacket against a wood-paneled wall for The Cut March 2025 Cover
Meghann Fahy leaning over a dark leather sofa wearing an olive green top against a white seamless backdrop.
Meghann Fahy wearing a structured grey blazer and skirt set against a textured wooden wall.
Meghann Fahy standing against a neutral background wearing a beige belted coat and black sheer tights for The Cut.
Meghann Fahy reclining on chairs wearing a dark green top and black skirt against a neutral studio backdrop.
Meghann Fahy standing against a neutral background wearing a snakeskin print coat and black strappy heels
Actor Meghann Fahy seated in a pale cream armchair wearing a dark sweater and seamed stockings for The Cut March 2025 Cover.
Meghann Fahy seated on a black chair wearing a pale pink draped top and sheer black skirt against a grey background
Meghann Fahy wearing a structured pale pink top against a neutral grey seamless background for The Cut March 2025 cover.
Meghann Fahy leaning against a wooden wall wearing a light blue dress for The Cut
Meghann Fahy crouching in a burgundy jacket against a wood-paneled wall for The Cut March 2025 Cover

The Cut The Cut March 2025 Cover 2025

About

For The Cut's March 2025 issue, actor Meghann Fahy appears as the cover subject in a series of editorial portraits. Photographed by Nagi Sakai, the feature emphasizes sharp tailoring and sculptural silhouettes, capturing the subject against a mix of neutral studio backdrops and warm wood-paneled walls. Fashion direction by Dione Davis centers on structured, contemporary garments, with the imagery utilizing clean, soft lighting to highlight tactile details in the wardrobe. The editorial, overseen by Editor-in-Chief Lindsay Peoples, includes hair styling by Jacob Rozenberg, makeup by Ren Nobuko, and manicures by Nori.

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