Becky G wore a sheer leopard print column gown with glossy appliqués at the 68th GRAMMY Awards Pre-GRAMMY Gala in Los Angeles, January 2026.
At the 68th GRAMMY Awards Pre-GRAMMY Gala in Los Angeles on January 31, Becky G showed up in a look that felt half predator, half myth. The kind of dress that doesn’t demand space — it absorbs it.
She wore a sheer nude column gown , embellished with sculpted leopard print appliqués that looked poured on like molten vinyl. The top panel was squared off in python-like texture, locked tight across the chest. But the rest? Pure slink and tension. The spots climbed down her torso in rich reds, smokey ambers, hardened blacks — raw color trapped in gloss. There was no lining. Just her skin, working overtime, daring light to mess up its angles.
The dress sat flush to the floor. The silhouette stretched fully vertical, no fuss at the hemline. From a distance, almost minimalist. Up close? Chaos and craftsmanship.
Hair was pin-straight, sleek, parted sharp. Eyes bronzed. Nails metallic. Accessories? Tiny, almost invisible hoop earrings and one ring. The restraint said it all. This wasn’t a maximalist moment. It was a controlled burn.
Some red carpet looks scream for attention. Becky’s just looked straight back and didn’t blink.
Olivia Rodrigo wore a minimalist champagne-toned silk dress and black heels to the UMG’s 2026 Music Is Universal Showcase in Los Angeles.
At Sir Lucian Grainge’s 2026 “Music Is Universal” Artist Showcase in Los Angeles on January 31, Olivia Rodrigo walked in dressed like a tune held on pause — quiet, slow to shimmer, but impossible to skip.
She wore a champagne-colored silk midi dress from Valentino, with a high neckline and no visible seams besides the ones that matter. It shifted with her posture — that slippery silk quality that looks like it’s melting but holds everything perfectly. The silhouette: clean. The energy: subtle. The hem dipped just below the knee, untouched by embellishment. No ruffle, no lining, no flare.
The light made the fabric hum — not bright, just soft refractions like brushing your hand across polished metal. Her shoes were thin black ankle-strap pumps. A safe choice, which, in this case, let the dress breathe.
Hair was glossy, parted to the side, no visible pins. Makeup muted and hazy — mauve cheeks, diffused liner, and a lip somewhere between burnt rose and nothing at all. Accessories? None worth noting, and that was the point.
This wasn’t a fashion moment meant to be dissected — it was a mood held still.
Red carpets glamorize noise. Olivia walked in wearing silence. And she made it visible.
Tessa Thompson’s September 2025 Esquire USA feature moves between textured fashion and sharp talk about her left-of-center film choices.
In Esquire USA’s September 2025 issue, Tessa Thompson stands in front of a floral-patterned couch, black textured dress heavy against the warm-toned wall. One hand raised, the other holding a ribbon. Hair voluminous, carpet pale. The frame feels vintage, almost stubborn in its stillness.
The article digs into her career. Thompson has used her star power not to chase safe roles but to push unusual projects. From Creed and Marvel blockbusters to HBO’s Westworld , she’s balanced mainstream visibility with independent films like Annihilation , Dear White People , and Selma . Now she’s producing and starring in Hedda , a new take on Ibsen’s Hedda Gabler . It’s not just about acting — it’s about shaping stories that reflect her values, elevating voices often left out.
Her words carry the same edge as her pose. She talks about her mother’s influence, about relationships, about choosing work that feels alive. The spread doesn’t flatten her into one image. It lets her be both the Hollywood name and the restless producer.
