Alix Earle wore a green Gucci leather jacket, mini skirt, Le Specs sunglasses, and vintage boots to the Fanatics Super Bowl Party 2026.
Alix Earle isn’t easing into Super Bowl weekend—she’s coming in sharp, zipped, and era-specific. At the 2026 Fanatics Super Bowl Party in San Francisco, she rolled up in Tom Ford-era Gucci and made it look born for the moment.
Let’s start with the green leather jacket . It’s from Gucci’s Tom Ford Fall 1999 collection , and you can feel it. The structure is precise: cinched through the waist with full-length zipper detailing and that signature ruched center. It hits at the hips for that slightly cropped effect, chic but grounded. It feels both archival and straight off the street.
From there, she kept it brutally simple. A black micro mini skirt , flat, no embellishment, just enough fabric. Legs bare except for a vintage finish: Gucci knee-high boots , pointed toe, mid-heel, tight to the calf—total ’90s energy. It’s very club kid with standards . The boots do a lot of lifting here, literally and contextually.
The best part? The head tilt framed by Le Specs Star Beam sunglasses in Matte Black Smoke Mono —oval, retro-inspired, straight-faced. They sit low on her nose like the flashbulbs don’t matter. Add softly waved blonde hair, glossed lips, and a casual stack of rings, and it’s done.
This red carpet fashion moment works because she picked a statement piece with history, then let the proportions carry everything else. No glitter. No branding overload. And somehow, still loud.
Final judgment? She didn’t borrow the ’90s—she took the wheel.
Meghan Markle wore a custom Harbison strapless gown with a velvet cape and Stuart Weitzman heels to the 2026 Fifteen Percent Pledge Gala.
Meghan Markle doesn’t just dress for the moment — she understands the message. At the 2026 Fifteen Percent Pledge Gala held at Paramount Studios, she arrived in a look that was elegant without panic, structured without being overworked.
The custom Harbison Studio gown was built on precision: a strapless silhouette in soft dove pink, with a jet-black velvet trim that sharply cut across the neckline. Tailored clean through the hips, the dress held its shape without clinging, falling straight into a dramatic black velvet cape train — not attached, just draped over the arms like a living accessory. It moved in silence behind her, absorbing light instead of reflecting it.
On her feet? Stuart Weitzman Nudist Sandals in black suede — minimalist, barely there, exactly what the dress needed. Classic. Controlled. Visible just enough to sharpen the whole posture.
No glitz, no brand overload. Jewelry was minimal — her Cleave & Company diamond engagement ring and black drop earrings. Hair slicked back into a clean center-part bun. Makeup softly sculpted, nude-toned and exact.
As a celebrity look , this one worked because it respected its own space. Meghan didn’t fight for attention; she arrived with the calm of someone who already has it.
Final note: some dresses whisper money. This one whispers power.
Chloe Zhao wore an asymmetric black gown with structured cutouts and a headband to the 78th Annual DGA Awards in California, February 2026.
There’s effortless, and then there’s Chloe Zhao walking onto the DGA Awards carpet in a black gown that’s quietly chaotic in all the right ways. No shine. No sparkle. Just structure and softness fighting for control — and somehow agreeing to coexist.
She wore a floor-length black gown , simple at first glance but let it breathe and you’ll see the asymmetry working overtime . One long sleeve. One shoulder exposed. One cutout at the side, kissing just above the hipbone. It’s not flashy — the fabric is soft and matte — but it’s giving deliberate imbalance, and she owns it.
The headband ? Not irony. Not kitsch. Just a functional black band pushed into middle-parted waves like it never left her bag. And still, it ties the whole thing together. Jewelry is minimal: slim gold bangles, a delicate chain necklace with a whisper of shape tucked right under her collar. It’s more “didn’t take it off,” less “added for the carpet.”
Her look reads like a fashion version of her filmmaking — clean but always with something lurking under the surface. Controlled. Self-aware. Uninterested in embellishment.
As a red carpet move? It’s smart. This is the part of the awards season where everyone else starts to run out of steam, overdo it, miss the mark. Chloe just… arrives. Fully herself. No fuss, no filler.
Final word? A dress that doesn’t need noise to strike.
