Belen Cuesta wore an off-shoulder brown draped gown and pointed heels to the Carmen Awards in Granada, Spain, on January 31, 2026.
At the Carmen Awards for Andalusian Cinema on January 31, 2026, Belen Cuesta arrived in a look that didn’t lean loud—but still found its place among the flashbulbs. A dark clay brown gown with a twisted, off-the-shoulder fold-over neckline , sculpted to stay just shy of drama. No sparkle. No fringe. No trail. Just cut, drape, and confidence.
The fabric reads like silk gazar or a matte satin-sateen hybrid. Dense, but not heavy. The dress clings under the ribs before loosely gliding down her legs, gathering with minor creases toward the ankle. A thigh-high slit , subtle and clean, opens just enough for her foot to slide into frame. And those shoes? Brown pointed stilettos , patent finish, nothing to distract.
One finger, one ring. Maybe two. No visible earrings. No necklace. Hair curled into soft waves, swept over one shoulder with the kind of fullness that doesn’t require effort, just a mirror check and one good touch-up. Her makeup stays quiet—brushed brows, terra-cotta cheeks, and a sepia lip. Nothing glossy.
This wasn’t trying to compete. It was trying to withstand—and it did.
KATSEYE wore silver and white embellished lace looks in coordinated cuts to the 2026 GRAMMY Awards held at Crypto.com Arena in Los Angeles.
At the 68th GRAMMY Awards on February 1, 2026, KATSEYE made their official group red carpet debut in a lineup so visually synced it barely needed captioning. The pop collective—Yoonchae, Megan, Lara Raj, Manon, Sophia, and Daniela—arrived in full force, dressed in custom silver and white lace gowns , each offering a personal tweak but sticking to a common code: shimmer, skin, and sharp silhouettes.
Let’s break it down by look.
Yoonchae
Strapless and softly romantic. Her look combined scalloped white lace over a subtle silver lining, ending in a mermaid hem sweep. Beading interrupted the bustline with a single line of silverwork, keeping it polished but dreamy. Hair in loose waves, center part. A safe start—but clean.
Megan
Sculptural and modern. A fully glittered silver column gown , strapless, ultra-fitted, with a thigh-high slit running up one leg. A subtle icy ombré in the sparkle gave it edge. Long earrings, straight hair, one of the more minimalist in the group.
Lara Raj
The bolder cut. A plunging halter lace dress , white with strong vertical striping in mesh. The deep neckline dipped to the waist, revealing her clavicle tattoos. She paired it with a center-parted hairstyle and a delicate headpiece. Confident and constructed.
Manon
Cutout meets bridal-core. A high-contrast look with crystallized bra cups and a corset understructure merging into sheer lace hip panels, joined again at the skirt. Diamond choker, glam curls, air of mid-2000s pop diva resurgence.
Sophia
The cropped one. A halter-neck silver-embellished top , intersecting into a twisted crossover over the bust, paired with a floor-length silver skirt . Fully beaded. She kept accessories minimal—just a few rings and bands—and hair pin-straight, tucked behind ears.
Daniela
One-shoulder twist and full lace. Her version mixed white crochet with silver beading , plus a restrained halter detail that looped elegantly into the illusion neckline. Her long curls, parted heavily to one side, added softness and texture.
There’s always a danger with group styling—that everything blurs. But here? The sequencing worked. A little symmetry. A little surprise. Nothing matched exactly, but everything whispered in the same dialect.
This was less about blending in, more about orbiting together—same light, different gravity.
Natalia de Molina wore a sheer black gown with rhinestone appliqués and cape detailing to the Carmen Awards in Granada on January 31, 2026.
At the 2026 Carmen Awards in Granada, Natalia de Molina stepped onto the red carpet in a look that felt more like a whisper than a scream—delicate, dark, and full of pause. Her gown, barely skimming the shoulders and cut from sheer black fabric, moved like shadow. Except for the punctuation marks: the scattered crystal embellishments across the body, each catching flash like glass eyes.
The fabric is whisper-thin, bordering on translucent. This isn’t about drama; it’s about suggestion. A gown cut simple, una asymmetrical drape at the neckline , soft scoop, allowing the appliqués to break the silence. The stones resemble deconstructed floral buds or crushed disco sequins , irregular in their spacing and shine. Mesh panels float freely where lining would traditionally go. No waist cinching. No volume at the hem. It hangs—and that’s the point.
A sliver of cape detail sits lightly on her shoulders. Not a train, not a trail. Just light movement when she walks. A single visible ring on her index finger and pointed black heels ground the look in control. There’s no necklace, no earrings visible beneath the curtain of her softly waved hair and blunt fringe— the kind that doesn’t need styling, only brushing .
Her makeup echoes this restraint: pink cheeks, flushed lip, a little shimmer in the inner corner. Confidence here lives in the gaps. In sheer fabric left sheer. In rhinestones that glimmer more when they don’t pretend to be refined.
It’s not about “daring”—it’s about staying soft and still in a room full of volume.
