**Chapter 346: Comfort Zone**

Clothes make the man.

Everyone has heard this saying, but it's hard to believe how much a person's aura can change with different outfits and styles until you see it with your own eyes.

That's why people love watching the transformation scenes in movies like *Pretty Woman* or *The Princess Diaries*, where the ugly duckling turns into a swan. The story of Cinderella is one of the most frequently adapted fairy tales in film history, proving that these classic tales never go out of style.

And now, it was happening again.

Anna's eyes lit up slightly—

The leather jacket paired with a shirt had the same innovative flair as when Anson had worn the bomber jacket with a shirt the other day. It boldly broke the rules, changing the aura with what seemed like a simple yet unconventional mix-and-match. A single item added an unpredictable element to everyday fashion, making it truly eye-catching.

Whether Anson drew inspiration from Hedi or vice versa, one thing was certain:

Dior menswear was truly enviable.

Behind the bold rebellion and subversion, the lines and proportions perfectly showcased the beauty of a man's physique. Compared to the other models, who were slender to the point of fragility, Anson's well-proportioned, streamlined muscles brought out a different kind of charm, one that words couldn't capture.

For once, there was a glint of appreciation in Anna's eyes.

Those who are truly familiar with *Vogue* magazine know that it is primarily a women's fashion magazine.

From cover to content, women's clothing dominates the spotlight. While there is occasionally some coverage of men's fashion, it's not uncommon for issues to focus entirely on women's wear.

This is also why Steven and Tom, both men, rarely accept interviews with *Vogue*.

Because of this, *Vogue* has faced some criticism and controversy, but as editor-in-chief, Anna has always stuck to her guns, maintaining the magazine's style. This steadfastness has led *Vogue* to achieve incredible success, remaining at the pinnacle of the industry and far ahead of its competitors.

This time, Anna took the initiative to invite Anson to collaborate on a feature, which was both challenging and rare.

At its core, it was because Anna sensed a shift in the winds of fashion, keenly capturing a crucial moment and taking a bold step forward.

And now, Anna was thinking that maybe she should be even more daring.

Instinctively, Anna turned to Steven and lowered her voice, saying, "This is the style you saw in the studio that day."

Steven: ???

It was clear from Steven's expression that he didn't remember.

This made Anna shake her head in frustration. Was it too late to change seats? The most important fashion show of the last ten or even fifteen years, and she was sitting next to two guys who couldn't appreciate it?

It was like playing music to a cow!

Steven chuckled softly.

Even though Steven couldn't respond to Anna, as he really had no concept of fashion, he couldn't make sense of the show. He didn't understand the designs and pairings of the clothes; he couldn't see what others saw. One thing he was sure of: he wouldn't wear them himself. But he had his own perspective.

Steven couldn't tell if it was just his preconceived notions, but he always managed to catch a glimpse of a childlike stubbornness in those clear, deep blue eyes—a proud yet lonely streak, hiding wounds beneath sharp edges.

"Isn't that just little Frank?" Steven couldn't help but lean slightly towards Tom, lowering his voice in a murmur.

He needed to talk, to share. Otherwise, the storm of emotions swirling in his mind might explode, and his overflowing passion and excitement would erupt at any moment.

Fashion enthusiasts have their perspective; film enthusiasts have theirs.

Steven didn't get a response.

When he turned, he was met with Tom's eyes, gleaming with a knowing smile.

Caught red-handed.

Tom whispered back, "So, is this the elusive *little Frank Abagnale* we've been searching for?"

Steven could read a trace of schadenfreude in Tom's smile, which left him feeling a bit irritated. His first instinct was to deny it, but he couldn't bring himself to outright reject the idea either, which made him want to roll his eyes in frustration.

Tom noticed this, but being the honest person he was, he knew when to joke and when not to—this was one of those serious moments.

So instead of teasing, Tom returned to the main topic. "I think he's incredibly versatile, a different kind of actor compared to Leonardo."

"Of course, we could go with Leonardo and wait patiently for *Gangs of New York* to wrap. Leonardo is a surefire choice, no doubt about that."

"But we could also take a risk with Anson, let him explore and experiment, and see what kind of new character he can create. It could be a success, or it could be a failure."

Tom was bold, cutting straight to the heart of the matter.

Steven didn't respond immediately. He averted his gaze, quietly watching Anson on the runway.

Tom sighed inwardly.

He knew Steven well—Steven was an excellent director, but when it came to casting, he was conservative, even a bit pedestrian. He had his comfort zone, and after achieving massive success over the past decade, he had become increasingly comfortable staying within it, avoiding risks.

So Tom shifted his approach from professional analysis to something more personal. "Steven, when was the last time you cast an inexperienced, unproven actor?"

"*The Color Purple*, or *E.T.*?"

*The Color Purple*, released in 1985, marked a bold artistic shift for Steven from commercial films. He had taken a significant risk by using an entirely new cast to make a film centered on African American experiences—a groundbreaking move even today.

*E.T.*, released in 1982, was another bold move, a film built around a cast of children, as Steven sought to capture the essence of his childhood memories.

Fifteen years had passed, and it seemed Steven no longer had the same daring spirit. His casting choices had grown increasingly conservative, narrower, and more reliant on star power.

So, was it laziness or fear?

Steven admitted that he had never considered his work from this angle before. After all, casting wasn't his primary focus as a director.

Now that Tom pointed it out, Steven instinctively wanted to argue back, "*A.I. Artificial Intelligence*!"

Tom looked at Steven with a face full of exasperation. "Haley? Jude? Or Frances?"

*Artificial Intelligence*, released earlier this summer, was Steven's latest film, boasting a noteworthy cast.

Haley Joel Osment, the hottest child star thanks to *The Sixth Sense*.

Jude Law, the British actor known for *The Talented Mr. Ripley*, *eXistenZ*, *Wilde*, and *Gattaca*.

Frances O'Connor, an emerging Australian actress who had already starred in *Madame Bovary* and *Mansfield Park*.

Tom's response left Steven momentarily stunned, throwing him off balance and causing his thoughts to scatter. His gaze followed Anson's movements on the runway.

Unconsciously, he began to ponder.