Becky G wore a black one-shoulder slit gown with safety pin details at the 2026 MusiCares Person of the Year gala honoring Mariah Carey.
At the 2026 MusiCares Person of the Year tribute to Mariah Carey, held January 30 in Los Angeles, Becky G skipped the frills and came ready for a clean hit of visual impact—classic fabric, classic cut, sharp tailoring, sharper styling. The foundation was a black, one-shoulder floor-length gown , cut close through the torso and pooled at the hem with a barely-there sweep. Silky but not slippery, matte but not dead.
What gave it edge? A pair of silver safety pins , one at the bust and one gripping the side slit high up on her thigh—half-punk, half-throwback Versace. Enough skin shown to make the silhouette legible as body-conscious, but not desperate. The dress clung with certainty, not struggle.
Her hair was parted cleanly down the middle, styled in full, glassy lengths—the kind you don’t touch once it’s brushed. Absent neckline jewelry kept the profile severe, but she stacked silver rings across her fingers like punctuation. Black platform peep-toe stilettos brought height, bite, and balance.
This wasn’t a maximalist red carpet fashion moment—no sequins, no train, no bleeding trend. It was about one garment, two pins, and the confidence to let a sharp slit carry the rest.
Ashley Moore moves through Indah Clothing’s January 2026 “Age of Aquarius” collection, caught between beach ease and tropical edge.
In Indah Clothing’s January 2026 “Age of Aquarius” collection, Ashley Moore is framed in shifting moods. On the beach, she sits in a green chair, striped bikini, drink in hand, curls catching sunlight. Waves slide in quietly behind her. It’s casual, almost careless, but the kind of careless that feels deliberate.
Then the deck. A black one-shoulder dress, brown sandals, bracelets stacked. Hammock sways nearby, thatched roof above, ocean stretching out. The look is sharper, but softened by the tropical air.
Another frame leans into color. Patterned bikini, arms raised, bracelets glinting, pool water reflecting sky. The background is lush, green, ocean beyond. It’s vibrant, but not loud — more like a pause in the middle of a day.
The last shot folds it together. White bandeau top, brown wrap detail, long skirt with bold abstract print. Small handbag in hand, sunset light behind palm trees. It’s the most composed of the set, but still grounded in the same tropical ease.
Together, the spread doesn’t flatten her. It lets her shift. Beach chair, deck edge, poolside, sunset skirt. Indah’s “Age of Aquarius” doesn’t chase one image. It lets Ashley be many.
Josephine Skriver walked the Gestuz runway in an oversized leather coat, trousers, and shirt at Copenhagen Fashion Week on January 28, 2026.
On January 28, during the Gestuz runway show at Copenhagen Fashion Week, Josephine Skriver looked like a noir detective who stopped by the club on her way to solve capitalism. The look was pure oversized attitude—a distressed black leather trench coat , heavy, wide-shouldered, and dragging proportions halfway to the floor. Beneath it, a loose-fit light blue collared shirt , half-unbuttoned and partially tucked, hinting at a cropped cut without begging for attention.
Tied loosely at the neck: a muted khaki green necktie , knotted like an afterthought, not because it was needed but because it made the silhouette stranger—in a good way. Pants? Extra-wide leg black trousers with piped white trim. Boxy, satiny, nearly puddling. Pushed far past traditional tailoring into something more experimental, sporty, masculine, and tired—all at once.
In her hand? A chunky clutch, dark brown and crescent-shaped, with a sculptural handle that looked like a wooden toy. And the shoes, just catching light under all that draped leg: black split-toe boots—adding yet another genderless fragment to the muddled mix.
This wasn’t a polished event appearance . It was a fully lived-in moment of fashion fatigue disguised as edge. Skriver didn’t strut. She trudged—with purpose, wrapped in oversized armor and deliberate disarray.
