Ana de Armas wore a sheer black lace Louis Vuitton dress and carried a small clutch at Vas J Morgan’s Golden Globes afterparty in 2026.
Inside Vas J Morgan’s Los Angeles after-party, flashes bounce off every waiter tray, then hit Ana de Armas and pause. She moves slowly, almost careful, in a custom Louis Vuitton slip dress cut entirely from black floral lace–no lining, just a body-hugging mesh that turns underwear into ornament. The V-neck drops low, one thin strap skims her shoulder, and diagonal seams slice across the fabric like faint shadow lines. In her hand: the rigid, rectangular Louis Vuitton Malle Bag , lacquer-black, no logo screaming. On her feet (mostly hidden), delicate heels echo the dress’s transparency. Soft waves fall over one eye, jewelry stays minimal–just a whisper of a diamond tennis necklace and a slim bracelet. The scene jumps straight onto every celebrity red carpet feed craving a bold event appearance recap.
Nostalgia for ’90s sheer dressing is everywhere this award season, but de Armas tweaks the trope. The lace isn’t sweet; it reads like smoke. The look channels that modern appetite for vulnerability dressed as confidence–the thrill of almost seeing everything while knowing the tailoring is airtight. One sharp thought: transparency has become the new armor; the more skin revealed, the less room for styling errors or second-guessing.
Constructive note. The gown’s hem skims the floor without weight, causing tiny torsions that risk tripping in crowded rooms; a discreet inner ribbon could anchor the lace. Otherwise, she nails the balance–seductive, yet composed, thanks to the no-nonsense clutch and restrained gems. When fabric disappears, posture takes center stage–and de Armas stands like the room belongs to her.
Does full-body lace feel elegantly daring or has the trend crossed into expected party uniform?
Emilia Clarke wore a belted black leather Toteme coat and pointed pumps during her SoHo street outing on January 2026.
SoHo, late-morning chill, sunlight ricocheting off shopfront glass. Emilia Clarke strides past the cafés wrapped head-to-ankle in a black Toteme leather trench that looks freshly cut from a biker’s daydream. Not a wrinkle. Not a scuff. A single belt cinches the waist, buttons march down the center, hands sink into pockets like she owns the sidewalk. Narrow cat-eye shades guard her gaze; tiny diamond studs flicker at each ear. Peeking from the coat’s front slit: sheer tights and razor-point pumps, black again, backswept heel just visible as she moves. A small boxy clutch–gold hardware, brief flash–tucks under one arm, but the coat is the headline. One frame of celebrity street style feeds and the look is instantly saved to mood boards under “urban armor.”
Context matters: 2026 winter fashion has shifted toward what editors call “quiet edge”–classic shapes rebuilt in tougher skins. Clarke nails that memo. The coat’s shoulder epaulettes and storm flap hint at trench heritage, yet the glossy leather drags it into Blade Runner territory. Sharp insight: when nostalgia and futurism share a garment, everyday errands start to feel like small sci-fi cameos.
A quibble worth mentioning. The hem hovers just above her pumps, risking a stiff break line with every long stride; an inch shorter would free the movement and show more shoe. Still, the overall picture is ruthless in the best way–black, spare, exact. Good tailoring doesn’t shout; it keeps walking while everyone else turns around.
Would you leave the trench buttoned to keep the mystery, or open it wide and let the city draft write the story?
Anna Kendrick wore a strapless Maticevski black dress, Bird on a Rock diamonds and Andrea Wazen slingbacks at Tiffany & Co.’s 2026 celebration.
The Chateau Marmont hallway feels almost too plain for so much sparkle, yet Anna Kendrick makes it work. She steps into the light in a Maticevski Sybil strapless dress –sleek black crepe through the bodice, then kicking out into crinkled-organza fins that flutter at calf level like dark petals. No color, no fuss, just texture games. Feet? Andrea Wazen Katy Slingback Pumps , mesh and leather, two skinny straps stalking toward a stiletto.
Jewelry is the whole point tonight–Tiffany & Co. throwing a bash for Amanda Seyfried’s Globe nod–so Kendrick answers with the full aviary: Tiffany & Co. Bird on a Rock Wings Pave Necklace in Platinum with Diamonds , matching Bird Earrings, and the Lovebirds Ring perched on her right hand. Stones catch every flash, turning a beige corridor into a soft-box studio worthy of a quick celebrity photos upload.
One sharp thought: in an era of loud gowns and louder discourse, a black dress only survives if it offers tension. Here it’s matte versus gloss, rigid boning against soft swoop, bird-bright diamonds next to near-monastic fabric. Minimal color, maximal contrast.
Critique? The organza panels risk bunching at mid-step, stealing a bit of the line; a touch more weight in the hem could smooth the swing. Still, the look whispers confidence–no need for a clutch, no need for neon. When fabric speaks quietly, diamonds start shouting the storyline.
Would you swap the mesh slingbacks for patent pumps to match the jewels, or does the current pairing keep the edge just sharp enough?
