Nana’s Bold Shoot For W Korea Has Shaken The Internet

The After School idol turned Netflix scene-stealer brings runway-level presence to Ferragamo’s AW26 campaign and reminds everyone why she’s one of K-culture’s most versatile stars.

An elevator is one of the least glamorous backdrops in the world a cramped metal box most people stare at the floor inside. Nana just turned it into a runway. In Ferragamo’s newly unveiled editorial with W Korea, the singer-actress stands framed by sliding doors in a button-detailed virgin-wool mini two-piece and sleek slingbacks, legs stretching toward the frame’s edge, and the entire composition bends around her. It’s a single image, and it does what the best fashion photography always does: it makes you forget the clothes are even for sale.

Owning the Frame

The Italian luxury house Ferragamo released the shoot in partnership with W Korea, and across the images Nana does something that can’t be styled onto a model she occupies space. Her famously long, lithe limbs and striking proportions aren’t just flattered by the camera; they dictate the geometry of each shot. The elevator cut has already become the editorial’s signature frame, the kind of image that circulates on its own long after the campaign fades.

What elevates it beyond a pretty picture is the mood match. This is a performer who understands editorial, not just a face lent to a brand for a season.

Nana posing for the W magazine while resting her head on her arm / W Korea

Decoding Davis’s Vision

To appreciate why Nana is such a natural fit here, it helps to understand what Ferragamo’s AW26 collection is actually about. Creative director Maximilian Davis the young British designer who has been steadily rewriting the house’s identity since taking the reins built the line around an unexpected pairing: the clandestine glamour of 1920s speakeasy culture and the romance of transatlantic ocean voyages. The result is an aesthetic of freedom and liberation, where, as Davis has described it, “clothes and their very structures completed a particular posture and poise, and even the placement of a pocket defined attitude.”

That’s a demanding brief for any muse. It asks for someone who can carry classic tailoring and daring attitude in the same breath. Nana translates it through a modern, distinctly chic sensibility making the vintage-rooted silhouettes feel current rather than costume.

Nana posing for the W magazine next to an elderly person / W Korea

A Masterclass in Bags and Tailoring

The styling leans hard into Ferragamo’s craft heritage, and Nana works it with ease. The lineup of bags alone reads like a wish list: the sculptural new Cara bag, a showcase of Italian artisanship; the Hug East-West shoulder bag with its arresting color contrast; the soft-silhouetted Gancini handbag; and the practical, hammered-leather Double Gancini top-handle bag. She swaps between them fluidly, treating each as a styling statement rather than an accessory afterthought.

The clothing earns equal billing. There’s a nappa-leather outerwear piece airbrushed in the colors of the sea, paired with a skirt in Greek lamb leather a nod, surely, to that oceanic voyage motif. Elsewhere, a boat-neck satin shirt is layered against a corset-string skirt, finished with slingbacks and two-tone stiletto shoes for a silhouette that’s bold and polished at once. The precision of the tailoring is the quiet star of these frames.

Nana posing for the W magazine while leaning against a wall / W Korea

Why This Campaign Lands Now

Here’s the context that makes this shoot more than a glossy fashion moment. Nana born Im Jin-ah in Cheongju first arrived in 2009 as a model-turned-idol in the girl group After School and its playful subunit Orange Caramel. For years, her striking looks threatened to overshadow everything else about her. Then she pivoted, and pivoted hard, into acting: a run of dramas culminating in her chilling, transformative turn in Netflix’s Mask Girl (2023), where she played a woman reinvented through surgery and lived in several registers at once.

Most recently, she stepped fully outside her comfort zone with The Scandal (스캔들), Netflix’s lavish Joseon-era reimagining of Dangerous Liaisons, starring alongside heavyweights Son Ye-jin and Ji Chang-wook. There she played Hee-yeon, a young widow bound by the era’s suffocating codes of chastity her first-ever historical role, and a dramatic departure from the glamour she’s known for.

Seen against that backdrop, the Ferragamo shoot isn’t just flattering it’s strategic. After a period drama that deliberately stripped away her modern polish, this editorial reasserts the other half of Nana’s identity: the fashion-forward icon with an instinct for the camera. It’s a reminder that she can disappear into a Joseon widow one month and command a luxury campaign the next, and that range is exactly what keeps her relevant across both screens and spreads.

The Takeaway

Nana has spent more than a decade refusing to be only one thing idol, actress, model, muse. This Ferragamo editorial, viewable through W Korea‘s official channels, is the latest proof that she thrives precisely in the space between those identities. An elevator, a two-piece, a pair of slingbacks in anyone else’s hands, a routine fashion shoot. In hers, a statement about staying power.