Anna Cathcart wore a patterned slip dress and red pointed heels to the Cosmopolitan and Pandora Jewelry event in Los Angeles in January 2026.
At the Cosmopolitan and Pandora Jewelry celebration of Music’s Biggest Weekend on January 30, 2026, in Los Angeles, Anna Cathcart stepped out in a look that felt quietly playful and personal. She wore a spaghetti-strap slip dress , semi-fitted and falling a bit below the knee, composed of contrasting patchwork prints — zebra-like optical stripes, acidic florals, digital swirls, and vintage-china blossoms — all stitched together into one calm chaos. The neckline dipped into a subtle V, edged in black lace , giving just enough softness to temper the mash-up of tension happening across the hem.
It read like something picked out instinctively. No overthinking. The mix of patterns was less fashion-statement and more moodboard scrap — lively but not chaotic, nostalgic without irony. It had an early-2000s thrift energy, but cleaner. Less rummage, more precision. Like someone who still remembers what Tumblr used to be but isn’t trying to recreate it. With deep red pointed heels , glossy and grounded, the outfit found its footing. No bag, no unnecessary clutter.
There’s something to be said for looks that prioritize mood over structure. This wasn’t a high-concept media event dress. But it had charm. It breathed. She wore it like it wasn’t trying to be the main character — more like a character on her own timeline. Slip dresses once signaled effortless minimalism — now they carry the weight of curated chaos, equal parts quiet and clashing. And that’s why a dress like this doesn’t need to scream. It just exists, surprisingly.
Kiernan Shipka wore a sheer black lace cropped top with high-waisted trousers at The Hollywood Reporter Studio at Sundance 2026.
Julia Garcia wore a sheer floral corset top with dark patchwork denim flares at the French in Fashion event in Beverly Hills in January 2026.
At the French in Fashion inaugural event in Beverly Hills on January 30, 2026, Julia Garcia arrived in something that felt equal parts fantasy and unfinished thought. A top with sculpted white rosettes molded over the bust — paired with long vertical strips of rhinestone trim that acted as both illusion and architecture. The straps were thin, white, barely-there. Structurally, it played with the idea of a corset, but without the usual compression. Instead, the transparency made space for breath, exposure, and curiosity.
The pants were loud in their own quiet way. High-waisted patchwork denim flares , with visible seams and raw edges — intentional, not accidental. A kind of unruly order. Each panel cut with intent, maybe a nod to vintage deconstruction. There was volume at the hem, pooling lightly over nude patent stilettos , their shine just peeking beneath the fray. Add to that a silk scarf — loosely knotted, printed in blue and white, almost forgetting it’s a fashion accessory and acting more like a gesture.
What makes this an authentic event appearance , not just a red carpet formality, is its tension. The contrast between the fragile floral bust and the rugged denim calls back to a long-standing trope in American style — femininity meeting workwear, cotton stitched next to crystal, milkmaid meets backstage Rockwell. It reads like someone interrupted a costume fitting from two different eras… and it worked anyway.
The makeup stayed soft. Dewy skin, lightly glossed lips, earrings that invoked pearls, not diamonds. And her hair — parted naturally, passed over the shoulders like it had somewhere else to be. That absence of over-styling gave the look a welcome casual oddness. It didn’t need to be ironed out.
