Amanda Peet wore a textured gray jacket and black floor-length skirt to Apple TV’s Press Day in Santa Monica on February 3, 2026.
At Apple TV’s Press Day in Santa Monica, Amanda Peet brought a sense of steady formality—quiet, architectural, and just a bit somber in the best way. Her look was entirely tonal. No pops of color. No shiny distraction. Just two classic shades—deep charcoal above, jet black below.
She wore a structured gray jacket , wool or something near it, with a subtle grain woven through the surface. No lapels, no buttons—just four tied closures down the center front, giving the top closure a slight East Asian nod without going costume. The cut followed the shoulder and curved slightly at the side seams, tapering toward the high hip before stopping blunt, clean. Below, a long black skirt —completely column in shape, no visible pleats, no obvious drape, just vertical language head to toe.
Minimalism, but not modern. More monastic. More grounded.
Hair pulled back, not tight, but neat. No visible jewelry beyond what might be a ring. Makeup, if any, was kept light—skin-forward, free of eager blush or lined lip.
The whole appearance landed with the same quiet strength as a closed door in a soft hallway. Not loud. Not lost. Firm.
Jessica Williams wore a structured black utility dress with statement belt and pointed heels at Apple TV’s Press Day in Santa Monica.
At Apple TV’s Press Day in Santa Monica on February 3, Jessica Williams pulled a look that felt like fashion architecture with a sharp mood. The materials didn’t scream. The structure did. She wore a tailored black dress with tactical precision—textbook waistline, padded shoulders, and details that felt stitched into functionality.
The coat-style dress hit below the knees. A notch collar bent into a pared down V. Double-breasted buttons ran down the front, but they weren’t the main event. That was the belt —a wide black cinch with a metallic front plate and carabiner-style attachment clipped loosely at the edge. It said “yes, I know where I’m going.”
The look wasn’t soft. But it wasn’t aggressive either. More like focused . Her hair , brushed into clean, soft waves, framed her face without competing. Jewelry minimal but deliberate — a few stacked rings , no necklace, matching energy in the stainless shine of the belt. Shoes : black pointed pumps, lightly textured, slingback style with just the slightest glint in the patent.
It was less about dressing up—and more about dressing exactly enough.
Kelly Rowland wore a Dalmatian-print Rowen Rose mini dress and sheer black tights to the New York premiere of “Relationship Goals.”
At the New York premiere of Relationship Goals on February 3, Kelly Rowland didn’t opt for safe elegance. She chose something sharper. She arrived in a long-sleeved Dalmatian-print mini dress by Rowen Rose, the kind of piece that could lean costume if it weren’t cut with surgical precision.
The dress, from the brand’s Fall/Winter 2025 collection, featured a sculpted silhouette with strong shoulders , a cinched belted waist , and a not-so-quiet contradiction: a dramatic high neckline arched delicately above a deep scoop chest cutout . The fit was firm but unforced. A clean shape against a wild print. Animal motif + architectural elegance.
She paired it with L’eggs Sheer Energy black tights , slightly glossy under red carpet lights, and classic peep-toe pumps with a curved vamp and restrained shine. Jewelry stayed minimal: squared velvet Saint Laurent earrings , a chunky cocktail ring. Her blunt bob hairdo was softly waved. Framed her jaw just right. Makeup landed right where it should—defined eye, satin lip, not over-bronzed. Day-to-night without shifting gears.
The whole thing had just enough chaos to feel alive—but never slipped off balance.
