Chantel Jeffries wore a bold red Saint Laurent halterneck jumpsuit with an Oura Ring Gen3 at the 2026 Fanatics Super Bowl Party.
If you ask me, red on the red carpet takes real confidence, and Chantel Jeffries didn’t hold back at the Fanatics Super Bowl Party in San Francisco. She went for something daring but controlled — a Saint Laurent halterneck jumpsuit in a saturated, almost signal‑flare red that’s impossible to ignore.
The cut is classic Saint Laurent: sharp lines meeting body-conscious tailoring. The deep halter plunge and center ring cut‑out create a balance between bold and sculpted, while the stretch fabric hugs smoothly without leaning costume. The fit at the waist is relaxed just enough to keep it from feeling too engineered. She paired it with sleek black knee‑high boots — a practical move that grounds the intensity of the color.
Jewelry stayed restrained: the Oura Ring Gen3 in Heritage Silver catches just a flash of light, a tech‑meets-fashion detail that fits her usual low‑key futuristic vibe. Hair down, parted center, slightly undone — it keeps the whole look real, not red‑carpet stiff. If you ask me, the boots make it: they give the whole look grip, literally and stylistically.
For an event appearance like this, it’s a smart call — enough glamour for the cameras but still party‑floor friendly. The color pops under bright lighting, and the silhouette hits the sweet spot between daring and wearable.
I think this is her signature lane: confident, clean, and a little bit calculated — in the best possible way.
Alexis Oakley wore a black corset top, lace tights, and stilettos at The One Party by Uber in San Francisco on February 6, 2026.
Alexis Oakley showed up to The One Party by Uber in San Francisco with an outfit that said: I’m here, I’m built for flash photography, and I didn’t overthink it. The yellow carpet was chaotic, but she kept it clean—and bold.
She wore a black asymmetric corset with a slight peplum flare and a deep curved neckline—structured but not harsh, with visible seams and a subtle unfinished edge vibe. Paired it with black mini shorts , barely visible under the hemline when photographed head-on, which makes the transition into the legs feel instant.
And let’s talk about the legs—fully covered in sheer black lace tights , the kind that instantly turn a basic mini moment into something with personality. No pattern mixing. No sparkle. Just tactile texture. The lace adds just enough excess. Matched with classic glossy black pointed stilettos , everything is cinched, lifted, extended.
Hair was loose, glossy, carved into subtle waves. Her makeup leaned warm-toned—bronzed lids, overlined nude lips, fresh but not fussy. No dress. No gown. Just the kind of event appearance that says, “I read the room—then decided to make it smaller.”
This was well executed. Nothing caught between trends. Nothing screaming. Just confident fabrics and clarity of vibe.
Bottom line: When lace tights carry this much weight, the rest of the outfit needs to get out of the way—and that’s exactly what it did.
Alison Oliver wore a pale pink satin gown with crystal bows to the Wuthering Heights film premiere in London on February 5, 2026.
There’s a particular kind of charm that doesn’t need to be loud — and Alison Oliver brought exactly that energy to the Wuthering Heights film premiere in London on February 5. Sweet, pale, and perfectly measured.
She wore a pale pink satin gown with a fitted column silhouette. The bodice? Softly structured with visible bonded seam lines , giving the shape a corset feel without the rigidity. But the real centerpiece: a trio of crystal-trimmed satin bows running straight down the front — delicate but very much not decorative filler. That’s the look. The bows are the story.
Tiny straps meet off-the-shoulder lace-trimmed sleeves , like the dress can’t fully decide if it wants to be antique or 2000s prom-core, so it splits the difference — and it works. The lace is fine, dusty-looking even, but holds its place quietly. Same with the accessories: a few slim bracelets, delicate earrings, nothing too shiny, nothing pulling away from the gown. She’s not competing with the dress.
Hair left down in a basic center part. Makeup is minimal — slight shadow, a cool-toned lip, nothing trying to contour its way into drama. It’s that very specific kind of red carpet restraint that reads thoughtful, not underdressed.
This gown works because it doesn’t try to be fashion-forward. It leans into being storybook . The kind of thing you’d wear if your name was embroidered inside the cover of the film.
